Mixing Soul, Jazz, Pop, Angel Voices, subtile drums and brilliant arrangements... A fantastic tip from the Claaps' House!
A recent broadsheet article (in The Guardian specifically) claims mod bands today aren’t very good. But do they actually exist? Or is it a case of mods finding bands that suit their musical tastes?
Seems an odd thing for The Guardian to take on, but the state of the mod band was just what was in their sights this week. Apparently, there’s a new breed of mods, but the bands catering for them are a bit rubbish. That was the general gist. But what actually is a ‘mod band’?
The mod scene has never been completely band-driven in its history. In the ’60s, there were plenty of bands, but bands that filled a gap in the market, often playing their own take on soul 45s in cellar bars. Obviously they appealed to mods. On top of that, there were bands made up of mods, which was hardly a surprise in the early to mod-60s. But ultimately, the likes of The Action and The Small Faces were still bands – great bands that were taken up by mods on their merits.
Of course, The Who were famously styled as a mod band and Townshend himself was always a self-confessed mod. However, they had something else on their side that took them much further than a haircut and a pop art t-shirt. They had ability, talent and dedication, as well as the foresight to see beyond the mod phenomena. That’s why they became one of the biggest bands in the world. TBC HERE.
James Skelly (The Coral) First solo LP with the Intenders. You've got it all, next single, has been written with Paul Weller.
James Skelly & The Intenders have announced details of the debut album Love Undercover, released via Skeleton Key Records on Monday June 3rd 2013.
Produced by James & Ian Skelly and featuring all members of The Coral, the album was recorded in the autumn of 2012 at Parr Street studios in Liverpool.
James explains more about the band "The name is about letting people know it's not just me and an acoustic guitar," Skelly says. "I had the songs, but it became a proper group thing very quickly with everyone involved having a big input. It's that Bruce Springsteen & the E Street Band, Tom Petty & The Heartbreakers idea."
Do It Again is the first taster of the album and available now as a free download via the official website -- www.jamesskellyandtheintenders.com
HeavySoulBrutha est ce genre de type qui bosse dans sa piaule comme un acharné. Ou plutôt comme un amoureux fou de musique. Et pas n’importe laquelle, puisqu’il s’agit essentiellement de Soul, comme son pseudo le laisse penser. Il balance ses mix online, gratos, et réjouit le coeur et les oreilles de milliers d’auditeurs partout dans le monde – magie d’Internet. Rencontre avec un frère.
... Even when you're getting mad and want to throw your bike away...Bradley did it cool. ;)
was in Seattle's Frye Art Museum that I first found endless love with a work of art. My mother often took us there to look at the landscapes and portraits bequeathed by the culturally aspirational owner of a local meatpacking plant. The canvas that fascinated me was one of the sentimental painter William Bougeureau's many little shepherdesses, chaste yet Lolita-like figures that signified Victorian innocence. My sad shoeless girl, all alone in a vast, rocky landscape, seemed to know the unspoken yearning my middle school melancholia. Her beauty was austere and aloof, but through a trick of perspective, her eyes seemed to follow me. I felt that she had a secret that was unspeakable, but also magically mine. TBC Here.
Trois ans après "I Learned the Hard Way", son plus gros succès à ce jour, la Soul Sister N°1 Sharon Jones prépare un retour en force avec ses Dap Kings: le nouvel album vient d'être mixé, après avoir été enregistré dans les deux studios du label Daptone Records (celui, historique, à Brooklyn, et le nouvel équipement californien de Gabe Roth, un des boss du label). Lire aussi l'interview que Neal Sugarman, co-fondateur de Daptone Records avait donné à "Sud Ouest", à l'occasion des 10 ans du label.
No one's ever been voted Least Likely To Lead An 11-Piece Band, but if such an honor had been bestowed 12 years ago, Sam Beam would've been a frontrunner. A shy, prolifically bearded academic, Beam started out making whisper-quiet bedroom recordings — just his voice and an acoustic guitar, issuing bleakly poignant songs about troubled lives and worried minds. But ever since his 2001 debut, , Beam has piled on accouterments gradually, as he's slowly and subtly built his sound into something lavish and even orchestral in scope.
Bruce Foxton has always lived in the shadow of the Jam or, more specifically, Paul
Weller, his former friend and bandmate who left him in the lurch when he split up the
punk trio at the height of their powers in 1982. Foxton released a solo album called Touch
Sensitive in 1983, but had trouble gaining traction on his own, so he headed on out to Stiff
Little Fingers, where he stayed for 15 years. After a Jam reunion looked like an
impossibility when Weller made a smashing comeback in the '90s, Foxton assembled the
tribute band From the Jam with drummer Rick Buckler, a move that upset Weller and
made frosty relations even chillier. But life is messy. In 2009, Foxton lost his wife Pat to
cancer, and Weller lost his father, two life-changing events that sparked a reconciliation
between the bandmates, leading to Foxton appearing on Paul's 2010 album Wake Up the
Nation and in 2012, Back in the Room, Bruce's first album in nearly 30 years, and one that
features Weller on several songs. Often, it sounds as if Weller is all over Back in the Room,
which is partially due to the striking vocal similarities of Foxton's lead singer Russell
Hastings -- he was the frontman in From the Jam -- but also in how Bruce has designed the
album as something similar to Paul's '90s work. Sure, there's an element of latter-day Jam
here -- the Tamla/Motown bounce of "Reflection" could have fit onto The Gift -- but this is
muscular trad rock -- Beatles hooks as played by Humble Pie, taking a brief respite from
the heavy soul to indulge in pastoral folk. It may be familiar but it's executed sharply;
Foxton and his band seem invigorated by playing new material and those new songs are
solid, holding their own next to Weller's late-'90s work.
Nearly no soul in history could say they were the Blues like Muddy Waters could. Muddy is one of the most prolific embodiments of the Blues that there ever was. His larger-than-life sound has played a hugely influential role in the style of countless musicians. The nuances in his guitar playing and his deep, rough voice made Muddy into an un-imitatable force that drove Chicago Blues, and subsequently Rock n’ Roll, to unheard of heights.
McKinley Morganfield, Muddy’s real name, was born to a Mississippi sharecropper, reportedly in the town of Rolling Fork, Mississippi. His mother died when he was only three years old, and he moved to the outskirts of Clarksdale, Mississippi, to Stovall’s Plantation. He was given the nickname “Muddy” because of his penchant for playing in the mud as a child. Like so many from the Delta, Muddy grew up sharecropping himself, tending to cotton fields for hardly a dollar per week. In the fields, he learned the long standing tradition of call-and-response singing. Influenced strongly by the Blues giant Son House, who lived nearby, Muddy began to play the guitar at 17. He quickly picked up the delta style and mastered the bottleneck slide, which would help to define his electric style later in life. It didn’t take long for him to start playing parties & jukes with his friend Sunnyland Sims, who would later play a pivotal role in Muddy’s bullet-train to fame. In 1941, while looking for the Delta legend Robert Johnson, (who had already been dead for 3 years), famed folklorist Alan Lomax recorded Muddy for the first time in his life. Mud later equated this experience to hearing himself for the first time. He was recorded again by Lomax in 1943, and that year, inspired by his recordings, he boarded a train from Clarksdale, to Chicago, Illinois to play his guitar.