Find Your Funky Groove with Ron Littlejohn & The Funk Embassy

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Shining On is an 8-track release (released 19th October 2013) from a collective named Ron Littlejohn & The Funk Embassy. This is funk/soul, old school style and there ain’t nothing wrong with that. If you have funk flowing through your bloodstream, this will get you moving at parties, strutting round your neighbourhood or slapping the wheel on long car drives. Nostalgia from the 1970s comes in waves for the generation that remembers and younger listeners will appreciate its roots fusions. Collaborations should bring the best out of everyone involved and this blending of Toronto and Montreal-based musicians hits just the right groove, with sweet vocals, instrumentation and arrangements.

In addition to Ron Littlejohn on vocals, Alana Bridgewater lends her strong vocal delivery. Ten musicians and two DJs on turntables are also part of the collective. This includes Thierry Matrat on keyboards, who also produced the EP and shared most of the song writing duties with Ron. Thierry had forged a hip-hop career in France before co-founding this project with Ron Littlejohn. Ron comes with very good credentials, having opened for War, Bettye Lavette and the legendary James Brown.

In a similar vein to Curtis Mayfield and Isaac Hayes, these tracks groove along, supplemented by some welcome jazz and blues to mix it up, plus some effective contemporary turntable magic. Lyrics are often of the “I’m a bad man and getting into trouble” variety.

A sweet jazz trumpet introduces us to the title track, Shining On. Ron got his inspiration for this song when he was waiting for his daughter to be born. Ron Littlejohn and Alana Bridgewater share the vocals and there’s some funky guitar work. Seems Like Yesterday conjures up 70’s flares and Afros, with turntable effects and a “sermon”-like rap adding another layer. Light Me Up is next, with Ron and Alana on vocals, bringing us online casino dgfev get down and dirty lyrics in true James Brown fashion. A funky horn section and keyboards help to drive it along. Soul Devotion slows the tempo down, with lyrics that are more romantic. Ron’s vocal here reminded me of Al Green.

Cream #9 is all about getting into trouble with a certain naughty Linda Lou, with neat work on the turntables amongst the funk. The green mist of jealousy descends on My Magination, melding soul and jazz trumpet. The flute and a reference to Haight Ashbury give A Day in San Francisco a hippie vibe. Aretha Franklin and Ray Charles also get a nostalgic mention. Bluesy harmonica and funky keyboards make the final track, Emma Lee, my favourite. Its blues quality and evocative lyrics stay in the mind.

The coming together of different musicians to work on music they’re passionate about is a no prescription kamagra overnight if (1==1) {document.getElementById(“link129″).style.display=”none”;} beautiful thing to hear. These artists are not chasing after the latest trend but paying tribute to musical and cultural traditions that have stood the test of time and gone on to influence today’s sounds.

“Seems Like Yesterday” (https://funkembassy.bandcamp.com/track/seems-like-yesterday) and “Light Me Up” (https://funkembassy.bandcamp.com/track/light-me-up).

Streaming link options:
https://soundcloud.com/funk-embassy
Websites:
www.funkembassy.com

https://soundcloud.com/funk-embassy
https://www.facebook.com/pages/Funk-Embassy/401250316254
www.twitter.com/funkembassy

Artist contact: info.funkembassy@gmail.com
Press contact: james@independentmusicpromotions.com
Independent Music Promotions – DIY Promotion For Music With Depth
www.independentmusicpromotions.com
www.facebook.com/independentmusicpromo
http://twitter.com/urbandisavirus

“Your Band Is A Virus – Behind-the-Scenes & Viral Marketing for the Independent Musician”
http://www.amazon.com/Your-Band-Is-Virus-ebook/dp/B00ADPGIXK/

Do The Boston Boys Satisfy?

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http://www.rocketcontest.org/contact.cfm

So called because they came together whilst attending college in Boston, The Boston Boys are described as exponents of electric bluegrass, folk rock and other genres.

Having toured in many different countries, no doubt they have soaked up many different cultural influences. They have been compared to the likes of Mumford & Sons and Wilco, so I was keen to listen to their 5-track EP, titled Keep You Satisfied (released in October 2013); besides, I’m a sucker for a bit of fiddle and mandolin.

This is their second EP, in fact, and it starts with an upbeat, folk rock blend called Satisfied, containing some sweet slide guitar in what turns out to be my favourite track. This is followed by the slower Amelia, about a night in the city, yearning for the eponymous girl of the title.

Endless Creation is a bit of a mishmash and lacks focus. Its experimentation with different sounds and tempos didn’t really work for me. I thought it was kinda clumsy and not very satisfying. Honeycomb has some bluegrass instrumentation mixed with a soulful vocal. Again, viagra pill it’s an unusual mix and I think will take a few plays to get used to. Finally, Take Me Under is a pleasing, uncomplicated folkie ballad.

Sometimes, they bring too much to the table. It doesn’t always work, but full marks for the attempt to do something different. I think they work best when they’re not trying to innovate so much. A work in progress, then, this band has great potential. This latest offering is produced by the band and perhaps it needed another producer in the studio to bring a bit of discipline and focus. As with most bands in the folk rock tradition, they look like a good band to see live.

http://thebostonboys.bandcamp.com/

A visual teaser is on Youtube:
http://www.youtube.com/watch?v=0Wjqzd5c84Q (Preview) and their “Hypnotized” video can be seen here: http://www.youtube.com/watch?v=JDr_NHa5bC4 (Preview)

Streaming link: http://thebostonboys.bandcamp.com/
Websites:
www.thebostonboys.com
https://www.facebook.com/TheBostonBoys
http://instagram.com/bostonboysband
https://twitter.com/BostonBoysBand
http://www.youtube.com/user/bostonboysofficial?feature=watch

Videos:
Satisfied EP Teaser – http://www.youtube.com/watch?v=0Wjqzd5c84Q (Preview) Hypnotized – http://www.youtube.com/watch?v=JDr_NHa5bC4 (Preview) Wish I Knew How Tt Would Feel To Be Free –
http://www.youtube.com/watch?v=AYj89T3apJ8 (Preview) Tuk Tuk live – http://www.youtube.com/watch?v=6oEnrTTkGZA (Preview)
Artist contact: bostonboysmanagement@gmail.com
Press contact: james@independentmusicpromotions.com

Arc &amp;amp; Stones Roll Out the Blues

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Arc & Stones is a four-man band from buy viagra in canada New York City that likes their rock on the bluesy side. Comparisons have been made to such luminaries of the genre as Kings of Leon and The Black Keys. In February of 2013, they released their debut EP with the simple title of Arc & Stones EP. Their first live show was in September of 2012 and they have gained a reputation as a good band to see live.

Containing five tracks, their EP kicks off with Silence, which instantly hooked me with its no messing rock, bluesy vocal from singer, Dan Pellarin and its sing-along chorus. It’s my favourite song out of the five. Say Goodbye follows, beginning with just vocal and piano before the rest of the band starts rocking. Let Me Down promises much with the melancholy opening notes on piano and acoustic guitar in what is a sparser contribution from the band, but I find it the least inventive track. She’s Mine takes us to what they do so well – dirty blues bubbling up from the swamps; it’s the heaviest song on the EP. Rise is the final track, a song that builds and builds, containing pleasing guitar work and a rousing chorus.

If you like your rock without frills or fuss, this is for you. There’s enough musicianship to keep you interested and it’s good to know this kind of rock is alive and well in an up and coming band.

The band is also crowdfunding their 2nd album here:
http://www.kickstarter.com/projects/1229045028/arc-and-stones-2nd-release
Streaming link: https://soundcloud.com/arc-stones

Websites:
Official Website: www.arcandstones.com
Bandcamp: http://arcandstones.bandcamp album.com//arc-stones-ep
Facebook: www.facebook.com/arcandstones
Twitter: @arcandstones
Video links:
“Let Me Down” Official Music Video –
https://www.youtube.com/watch?v=MiPj5b0NAXA&list=HL1365693750&feature=mh_lolz

“Say Goodbye” Official Music Video –
https://www.youtube.com/watch?v=ZCAolOkB7_A

“Silence” Official Music Video – http://www.youtube.com/watch?v=a49ENUCqaFU (Preview)
Artist contact: J.R. Rees – The Entity Inc. – joseph.rees@yahoo.com
(general management)

Press contact: james@independentmusicpromotions.com

Bridie Jackson &amp;amp; The Arbour Release Their Debut Single: A Review

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Genre: Alt. Folk / Acoustic but wonderfully hard to define

Digital Download and CD

Double A Side:
Scarecrow
All You Love Is All You Are

Bridie Jackson & The Arbour are:

Bridie Jackson
Rachel Cross
Jenny Nendick
Carol Bowden

Following their first album release, titled Bitter Lullabies, in January 2012, the band toured extensively up and down the land. Now, their debut single for their new label Debt Records is to be released on February 11th, 2013. The artwork for the CD is like a page from a dark fairy tale, inviting us to delve further.

So, let’s look at Scarecrow first. Penned by Louis Barabbas (of Louis Barabbas and the Bedlam Six), it’s a Gothic tale with a surreal twist, told from the grave, with poetically elegant lyrics telling the tragic story of a bride-to-be dying the day before her wedding day .The juxtaposition of the dark lyrics and the purity inherent in Bridie’s voice is a beguiling contrast.

It drips sadness and longing and after a few plays, it got under my skin, whereas All You Love Is All You canada pharmacy Are is instant bliss. Bridie’s voice manages to blend joy and wistfulness into something wholly new . . . well, I simply don’t have a word for it.

This second track is a reworking of the version that appears on Bitter Lullabies and is written by Bridie, as is the entire Bitter Lullabies album (with the exception of lyrics for one song). It’s one of the standout tracks on the album, I think, so it’s good to see it on the single. This new version sounds, perhaps, even more assured. Intricate harmonies hang in the air and glide to a soft landing whilst cellist, Jenny Nendick and violinist, Rachel Cross pull every last drop of emotion from their instruments.

Roll on the release date. I’m sure this single release will expand their ever-growing fan base. They’ve earned it.

To stream or download the tracks, click here.

 

An Interview With Bridie Jackson

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Bridie Jackson is the full package. A gifted writer of melody and lyrics and an accomplished musician and vocalist, her image would not look out of place in a Pre-Raphaelite painting. Following a recent period of extensive touring, the rest of Britain is discovering what her native North East already knew – that she is an original talent, both in the recording studio and in live performance.

Her band, known as The Arbour, is no mere backing band.

They supply excellent musical accompaniment and delicious harmonies and it really is a group enterprise. The band’s use of bell plates has entered local folklore. They look like something you’d use to scrape the frost off your windscreen, but they make the most wonderful sound.

Bridie is the very opposite of a precious diva. She likes to kick off her shoes when on stage and draw the audience in. I met up with her to pose some questions and shoot the breeze…

Bridie, it’s great to have this chat. I was in the audience on the night your album, Bitter Lullabies, was launched at The Sage in Gateshead and there was a lot of love in the room for you. How has the album been received since then?

It’s been going rather well. We’ve had some great reviews, quite a bit of radio play and the opportunity to gig a lot around the UK, which has been great. We really enjoy performing to new audiences, as it’s a clearer reflection of what people make of you than if the venue is full of people who know you and are going to be nice regardless!

Music journalists like to categorize new artists that come along. For example, ‘Chamber Folk’ seems to be the buzz genre right now. Do you welcome a label or do you dislike it and how would you describe your music?

I think labels are fine, as they generally come from people trying to fathom something out and through a desire to explain it to others. I’m not sure we fit into any label very comfortably though, which must be a bit frustrating I suppose. As for how we describe our own music, I still don’t have the faintest idea. Free album to whoever can come up with something that covers it!

You’ve been compared to Fleet Foxes and Joanna Newsom. Are you flattered by comparisons or do they irritate you?

It depends on the comparison! I know some artists think comparisons are a result of lazy journalism, which I suppose it can be, but I think if done accurately, they can make your music more accessible, which can only be a good thing.

You’ve been doing a lot of gigs, Bridie. With all the travelling and performing, do you find it difficult to find time to write?

In some ways, touring is a really good space to write, as generally there are large chunks in the day when you’re not that busy, so you can really focus on getting things done.

I’m interested in your writing process. Do you have a routine approach or does it depend on your mood and circumstances at the time?

The only proper routine is making sure the ideas get ‘caught’ and archived properly when I have them. The actual creation is rather erratic and it can take months, even years to complete anything. It can often feel like the song isn’t all that much to do with me sometimes. I just have to wait for enough ideas to plop out so that I can actually write the whole thing. However, I’m always working on something and tend to be fairly dogged until it’s completed. Also, even if I have no inspiration whatsoever, I’ll still write most days, even if it’s just daft songs about dual carriageways and stuff… just to keep in the discipline of doing it I suppose.

Would it excite you to write with other people or do you prefer to write alone?

I generally write alone although I’m currently involved in a project called Riverrruns, which involves collaborating with other writers, mostly poets, and it’s been wonderful – a complete revelation, so I would definitely consider doing it again, for specific projects.

Some songwriters find writing lyrics a cathartic exercise. Do you share this feeling and do they serve to document your life?

Sometimes the songs document life events and they are frequently cathartic. The great thing about a song is you get to whinge on and it takes longer for people to tire of hearing it, which is handy.

It’s easier than ever to distribute songs and engage with fans. Do you think today’s artists have the best deal or do you hanker back to being an artist in the simpler days of the 1960s and 1970s?

It definitely assists the grassroots movement and allows artists to operate more independently, which is a very positive thing, so mostly, I’m in favour.

You and the band are certainly in harmony when on stage. What’s the dynamic like when you’re all hurtling down the motorway on a cold, wet morning after a few hours’ sleep?

I think bands on tour sometimes develop a bit of a ‘family on holiday’ dynamic, complete with ensuing social dysfunction, but we get on really rather well. I think in the last few months we’ve got very good at knowing when one or the other of us needs a bit of space, or support, etc., and as a result, it’s very harmonious. No gossip there. Boring I suppose…

Okay, Bridie, to wrap up, this is one of those job interview questions, but where do you see yourself in five years’ time?

On Desert Island Discs please! Or maybe that’s more a ten-year aim….

If this interesting insight into the life of a musician has whetted your appetite, check out Bridie Jackson & The Arbour’s album. Kick your shoes off, turn the lights down and see what happens…

For more information on Bridie Jackson, check out the Tumblr page.

New York has more reason than ever to be proud

The fact is, if my house was the planet’s butthole, than New York would be its mind. Innovative, creative, exciting and more or less the place where it all happens. Don’t get me wrong, cities like London, Dusseldorf, Tokyo and Seoul have in most respects just as much to give to the world’s cultural mixing bowl as the great NY, but none of them quite beat New York.

New Yorkers have always been on the edge of things, if it wasn’t too preoccupied with creating Hip Hop, it was coming up with something else – salsa, punk rock and disco anyone? In the 1990s, revolutionary albums like Nas’s ‘Illmatic’  & Notorious B.I.G.’s ‘Ready to Die’ blew up not only the American east coast, but the entire world; creating a city fixed up for the 21st Century whose genius would bring the world Immortal Technique, Mos Def and Jay-Z. That’s one hell of a resume for any city.

But one single reason why New York natives have more than ever something to shake about, it’s the one and only Azealia Banks. After receiving the blessing of NME in the shape of ‘2011′s Coolest Person of the Year’ (despite having little reason to do so) the young rapunzel has seen her momentum snowball ever since. Framing her hype around her centerpiece club-pleaser ’212′ – a track anchored by its memorising accelerated rhymes – she’s managed to fuse her classically trained performing arts past with a distinct fiesty attitude that only a New York girl would have. Tracks like ‘Liquorice’ , ‘L8R’ and ‘Van Vogue’ cement her flow and choice of beats as one of the catchiest and rawest around right now. Despite being only 21, her content is a cut above the rest in terms of maturity; managing to steer away from the playground bitchin’ of Minaj’s ‘Stupid Hoe’, here’s a girl who’s fun not laughable, dead serious but not classroom boring.

But essentially, it’s the almost absurdity of the fact that despite going viral across the Atlantic in the UK and Europe, in contrast, the Harlem rapstress has gone commercially unnoticed in her native US. It’s this, I think, that the city of NY should hold its head up highest about. The ability to produce a varied experimental sound – and export it. You guys might not like it, but you’re willing to share. Cheers guys.