Tag: aretha franklin

Anna Vogelzang’s Dream Summer Camp Cabin Playlist

Posted on by Editor

Now that summer is finally here and I’m about to embark on tour to support the release of my new album, I’m dreaming about idyllic summer pastimes, driving with the windows down, and crossing my fingers that I can force the band to have ice cream on the beach at least once. My new album, Afterglow, celebrates the rebuilding of self and who we become in the wake of life’s big cosmic shifts. The album has an ethereal, playful energy unlike any other record I’ve ever put out and it feels fitting that it’s being released in June (a Gemini baby!).

I never went to summer camp. My best fantasies about it fall somewhere between Wet Hot American Summer, The Parent Trap, and the tales my best friend spun while sitting on top of her sparkly pink trunk, freshly home in the late summer of 1999. In my dream scenario here, I am in an old school bunk with the most amazing women and songwriters four walls can hold; can you imagine what the moonlit campfire harmonies would sound like?! – Anna Vogelzang

“Limelight” – Tune-Yards

This song has the best groove of the summer; I cannot stop listening to it. “We all get free in the family” –Merrill is an incredible soul and I want to be around her fierceness all the time.

“The Light” – Anna Vogelzang

Of all the songs on the new record, this one is the most groove-forward. When I think about summer I think about wanting to move and groove, and this song makes me move every time I play it (or hear it!).

“Night Still Comes” – Neko Case

If I puked up some sonnets, would you call me a miracle?

Neko Case is one of my musical heroes and this song is so singable. That transition from intro to tempo, the way the background vocals fill the spaces – it all feels like dancing on a warm night.

“(You Make Me Feel Like) A Natural Woman” – Aretha Franklin

The clip of Aretha playing this song at the Kennedy Center just resurfaced on my algorithm. Watching Carole King watch Aretha sing is such an incredible joy bomb and brought tears to my eyes, even though I’ve seen the clip a million times.

“Can I Talk My Shit?” – Vagabon

I love Vagabon’s melodies so much; I started hearing about her around town when I lived in LA and have been soaking up each album since. This “honestly I’m ready to go” hook is so dreamy.

“True Blue” – boygenius

“You said you wanted to feel alive so we went to the beach…”  There are so many songs I love on this record, but this one is all summer, all the time. Belting out harmonies on this near-perfect chorus while driving along Lake Michigan is something everyone should try at least once.

“Baby I’m Sorry” – mmeadows, Monica Martin

I’m obsessed with this new song from two of my all-time favorite singers. I know from experience that Moni is down to belt it out late into the night and the production on this entire track is so killer, I can’t get enough.

“The Returner” – Allison Russell

When Alli does this song live with her Rainbow Coalition, it’s otherworldly. I had the joy of jumping on stage with them for this tune at Thalia Hall and the energetic power of singing out, “If you think you’re alone, hold on, I’m comin’” cannot be denied.

“Make It Hot” – Mirah

I have been in love with Mirah since I saw her sing in a basement of a neighboring college almost 20 years ago. I love the descending chord progression on this chorus so much and arriving at the outro feels like a moment of pure triumph.

“not a lot, just forever” – Adrianne Lenker

I got to hear Adrianne play this song at a campfire hang at Kerrville once and it felt like a spell being cast – her specific song sorcery is unmatched.

“We the Common (For Valerie Bolden)” – Thao

I am a forever Thao stan and could’ve chosen so many different songs of hers, but this one’s chorus is so goddamn catchy and such a great sing-along moment (and all while speaking truth to power).

“Scaled to Survive” – Leyla McCalla

Summer laid out for us in a groove! This guitar tone, the percussion groove, and Leyla’s heavenly voice create the perfect summer storm. I love Leyla and have such a deep respect for her artistry.

“Ancient Light” – I’m With Her

Another mixed meter groove-forward campfire jam. I love this song, especially the breakdown, but really I’m loving the whole new album so much. These ladies are such a great hang and I would love their hilarity and power trio vibes in our cabin party!

“California” – Joni Mitchell

There is no song hero greater than Joni, and there is no song that feels more like summer to me than California. The opener might as well be today: “They won’t give peace a chance; that was just a dream some of us had.” On days where I really miss LA, I find myself humming this tune without even realizing it.

“King & Queen” –Anna Vogelzang

This track opens Afterglow and is a totally casual ode to toxic relationships – and really hits how good it feels when you realize you’ve outgrown someone, or something, and finally leave them in the dust. It’s giving running on the beach and into the sunset.

Photo Credit: Audre Rae Photography

MIXTAPE: Shoals Gold with Mike Farris

Posted on by Justin Hiltner

Playlists are the new Mixtape – and who doesn’t love a good Mixtape? With the release of my brand new album, The Sound of Muscle Shoals, recorded at legendary FAME Studios in Muscle Shoals, Alabama, I thought it would be cool to highlight not only a few of the most important – albeit ubiquitous – classic songs, but more importantly some of the rare gems from the legendary Muscle Shoals canon. For a nerd like me, to be able to have personal access to reach out to guys like Norbert Putnam and David Hood and ask, “Where was this recorded?” is a surreal and cherished thing. I had no idea that Leon Russell’s “Stranger in a Stranger Land” was recorded down there– just amazing.

For this list, I didn’t want to put just the usual suspects on it, but how could you do a Muscle Shoals playlist and not include the song that launched Aretha’s career, “I Never Loved a Man”? For me, everybody on this list is owed some more attention, but the big three that jump out to me that should be way more well known, in my opinion, are Candi Staton, George Jackson, and Arthur Conley. Enjoy! – Mike Farris

“You Left the Water Running” – Otis Redding

Written by the great Dan Penn along with Rick Hall and Oscar Franks. I believe this may be the only record the Big O recorded at FAME – Rick Hall had merely asked Otis to sing the demo for an upcoming Wilson Pickett session – as this predates Otis’ ascension the King of Soul. This is one of the many great songs Dan Penn had a hand in, by the way.

“I Never Loved a Man (The Way I Love You)” – Aretha Franklin

A must for any Shoals playlist. The song that launched the Queen of Soul!

“Stranger in a Strange Land” – Leon Russell

I actually had no idea “Stranger” was recorded with the Swamper crew. There was a lot of confusion online about this one, but in the sometimes surreal nature of the music business, I realized that I could just text the great David Hood and simply ask him about it, which is nice. And he did, in fact, confirm it was recorded at Muscle Shoals Sound.

“Mustang Sally” – Wilson Pickett

Another must-have. I always imagined being in the studio watching everyone’s expressions on their faces while WP sang. It had to have been unreal. Also, this groove is DEEEP!

“Ease On” – Mike Farris

I tried to demo this song a few times, but it never came close to what I was hearing. From the moment we stepped out on the floor with all the FAME guys in FAME Studios’ legendary Studio A, I knew this song was being delivered to the right guys. It’s everything I imagined it to be and then some…

“You Better Move On” – Arthur Alexander

Arthur Alexander gave Rick Hall and FAME Studios their first hit record with “You Better Move On” and he was just getting started.

“Heart on a String” – Candi Staton 

Candi is one of the greatest R&B singers, period. I could literally fill this playlist with all of the great Candi Staton songs.

“You Got a Lot to Like” – George Jackson

George Jackson was one of the most prolific and important writers in the Southern R&B and rock and roll world, make no mistake, but he was also a great artist in my opinion. This one highlights his great vocal ability.

“I’m Your Puppet” – James & Bobby Purify

A great song by the great Dan Penn and Spooner Oldham. In addition to being an all-around damn fine composition, “I’m Your Puppet” has to be one of the hardest hittin’ mid-tempo grooves of all time.

“When a Man Loves a Woman” – Percy Sledge

I once asked Spooner Oldham and the late Jimmie Johnson why they chose to use a Farfisa instead of a Hammond organ on “When a Man Loves a Woman.” I would actually throw these questions out knowing full well that it would spark a long, meandering, completely engaging conversation with them that could and would take you all over town and back before finally coming back around to what would typically be a simple answer. This question was no different. The answer, given by Jimmie and agreed upon by Spooner was, “We used the Farfisa because that was all we had.”

“I’ll Take You There” – The Staples Singers

Produced by Al Bell, possibly the biggest hit by The Staples features an iconic shoutout by Mavis to the legendary “Swamper,” David Hood, on bass. Jimbo Hart pays homage to his hero, David, on “Learning to Love,” from my new album, The Sound Of Muscle Shoals, which I am forever grateful for.

“Loves Me Like a Rock” – Paul Simon

One of my favorite songs growing up. I clearly remember hearing this song play over WCDT 1510-AM radio station in my hometown as a kid and being completely taken with the backing vocals of the great gospel group, The Dixie Hummingbirds.

“Sweet Soul Music” – Arthur Conley

Classic soul swing-dance groove with one of the most explosive and iconic horn intros of all time! Soon as they heard that intro in the control room, you just know that they knew they had a hit on their hands.

“I Worship the Ground You Walk On” – Jimmy Hughes

Jimmy Hughes at his best with a very underrated classic

“This Love of Mine” – Arthur Conley

Incredible number with an amazing arrangement by the one of the greatest soul singers of all time, Arthur Conley.

“Before There Was You & I” – Mike Farris

I had the verses and chorus when I showed up at FAME. What I didn’t have was the B section for the solo break and the outro, which the great Will McFarlane came up with. It made the song

“Lovin’ the Easy Way” – Candi Staton

This has to be one of the steamiest, sexiest songs ever.

Photo Credit: Ed Rodes

BGS 5+5: JD Clayton

Posted on by Editor

Artist: JD Clayton
Hometown: Fort Smith, Arkansas
Latest Album: Long Way From Home (out January 27, 2023)
Personal Nicknames: JD

Which artist has influenced you the most … and how?

Jack Johnson has influenced me more than any other artist. I know that might seem like it’s out of left field but it’s the truth. My dad was given a CD in the summer of 2001 by a friend who had just gone out to California. The CD was Brushfire Fairytales, Jack’s first album. From my earliest years, I can remember riding my bike around the backyard as my dad tinkered with projects while Jack’s albums played from a Sony CD/cassette player. I can remember my dad with tab booklets learning Jack’s songs on the back porch. It was my earliest idea of being a singer-songwriter. And I always knew I wanted to make albums and tour like Jack Johnson.

What rituals do you have, either in the studio or before a show?

Typically in the studio I like to light some incense and turn all of the lights out except for a few lamps. This helps me get into a very interesting head space and I can clearly see my vision for the song. When I’m on the road I like to get the boys together before we take the stage to pray and I ask one of the players to say something of encouragement. Then we sing the classroom song that Jack Black sings in School of Rock… “Lawrence is good at piano…” at the top of our lungs which ends with us all pointing to each other and saying “you’re perfect, you’re perfect… no you’re perfect.” If you know, you know.

What’s the toughest time you ever had writing a song?

I was writing my song “Cotton Candy Clouds” which appears on my debut album, Long Way From Home. I had about three different versions of the song and I could not figure out how it needed to work within the parameters of the song’s form. I originally wrote it on piano and rewrote it on acoustic to give it more of an upbeat, swinging feel. I showed it to the producer and he couldn’t follow my vision for the song. So, I came home and went for a long walk around the park. I took my phone out and hummed into my voice memo app what I was hearing in my head. As soon as I walked back to my house, I wrote out the form as you hear it on the record. Thankfully I had hired some great musicians to be in the studio who were patient with me as we learned the song together.

Which elements of nature do you spend the most time with and how do those impact your work?

I’d say water has impacted my work the most. My hometown of Fort Smith was founded on the Arkansas River and that region is known as the River Valley. I grew up swimming on the city swim team with my sister so we were constantly at the pool. We would do a two-hour workout in the mornings and then come home to play in our pool at home. I love floating on the Mulberry River in the summertime. It’s the perfect place to unwind for the day. And when I’m not writing or playing shows I try to go fly fishing with my brother and dad. The water is what I know best and I think it has helped shape me into the artist I am today.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

My dream pairing of a meal and a musician would be a peanut butter & jelly sandwich and Paul McCartney. The peanut butter & jelly sandwich is tough because it has to be made correctly. Any variations and you’ve ruined it. It requires two pieces of soft white wheat bread taken from the center of the loaf. The peanut butter has to be Smucker’s Chunky peanut butter. If it isn’t chunky don’t bother coming for lunch. As far as jelly goes, I’m not picky. But I do lean towards strawberry. I haven’t the slightest clue if Paul likes PB&J but I would love to ask him some questions about Sgt. Pepper and Ram.

Photo Credit: Sean O’Halloran

BGS 5+5: Cristina Vane

Posted on by Editor

Artist: Cristina Vane
Hometown: Nashville, Tennessee
Latest Album: Make Myself Me Again
Personal Nicknames: In college my friends called me X… it was the year DMX came out with a big hit and the name kinda just happened! Bluetip or Young Tippy happened when I first dyed my hair blue around 2014, and that was started by the same group of friends.

What has been the best advice you’ve received in your career so far?

The best lesson I learned was through some co-workers advising me at the guitar shop I worked at back in 2014. I had just moved to L.A. and had met a “famous” guitar player who befriended me and then blew up at me in a diva fashion for no reason. I remember my co-workers telling me how there is no excuse for that kind of behavior — it doesn’t matter who this man had played with or what he had done. There were endless examples of people far more “famous” who were kind and polite (like Jackson Browne, who came into that shop once while I was working!) That advice helped me feel better but it also taught me that it doesn’t ever matter who you are, you always have the option to be kind to people, and I try my best to do that even if I’m tired or stressed out.

What’s your favorite memory from being on stage?

My favorite memory of being on stage was at the Fillmore San Francisco when I got to open for Bob Weir, Wynonna Judd and Cass McCombs in 2020. That was the most magical feeling — to be in a place oozing with the history of all the talented people who had graced that stage was so electric. I felt similarly elated when I was called up to play Red’s in Clarksdale, Mississippi, for the same reason. The legacy from that area was tangible. I was just thinking about all the folks who had passed through before me.

Which artist has influenced you the most … and how?

One of the artists who I would say influenced me the most is Alanis Morissette. I listened to her when I was young and impressionable, but at the age just before I started becoming my own angsty person, right around 10 or 11. The sheer grit of her vocal delivery, the unapologetic sarcasm, the in-your-face tone…I loved it all. I thought her songs were so catchy, and still think so. I may not write like her but she shaped my understanding of the space a musician can take up in a deep way and I still rock out to songs like “Baba” and some of her other deeper cuts.

Which elements of nature do you spend the most time with and how do those impact your work?

I really love hiking, camping, and kayaking, and have incorporated so much of my travels into songs — some in a literal way (on my recent record, “Colorado Sky” was written under a stunning Northern Colorado sunset as I free camped in the hunting and wildlife land, “Dreaming of Utah” on the old album is about Moab, “Badlands” about the Badlands…) But in my opinion, what is cool about writing a song about a place is the challenge of trying to communicate what that place is making me feel. Sometimes I look out over some amazing vista and am inspired to capture that feeling in my chest. Sometimes it feels lonely, too. I’d say recently, I do more hiking than camping out, but I still enjoy it when I can.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

If it were possible, I’d love to sit down and eat a full four-course meal — cheese plate and wine starter included — while listening to Aretha Franklin. Main course could be lobster or pasta — and for dessert…anything with caramel. Preferably while she sings “Do Right Woman, Do Right Man.”

Photo Credit: Lizzy Oakley

WATCH: Katie Cole, “Short Story Long”

Posted on by Editor

Artist: Katie Cole
Hometown: Melbourne, Australia, and lives in Nashville, Tennessee
Song: “Short Story Long”
Release Date: October 15, 2021

In Their Words: “I wrote this song hoping to channel some old school Aretha and Otis, but applying a little more rootsy instrumentation. Honestly, it’s the first song I’ve penned where I take back my power in a relationship and call a spade a spade. I’ve had my share of relationships where I have tolerated too much for too long. So being familiar with the phrase of making a long story short, where you cut to the chase, I started thinking, ‘What if I could flip that to a short story long?’ where things get dragged out. Right then I knew this would have to be a fun and sassy song that really contrasts with my more acoustic and sparse songs. Luckily when my producer Howard Willing and I started tracking, he managed to bring in Cheap Trick’s bass player Tom Petersson to play on this song. I am really proud of this one!” — Katie Cole

Photo credit: Dire Image

BGS 5+5: Bruce Iglauer, Alligator Records

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Artist: Bruce Iglauer, Founder and President of Alligator Records
Hometown: Sweet Home Chicago
New Release: Alligator Records — 50 Years of Genuine Houserockin’ Music
Latest Album Produced: The Preacher, The Politician or the Pimp by Toronzo Cannon
Personal Nickname: Mr. Alligator

What’s your favorite memory from working in the music business?

After all these years, it would still be the first session I produced, back in 1971, with my favorite Chicago blues band, Hound Dog Taylor & The HouseRockers. We cut their debut album in two four-hour sessions, direct to two-track (I couldn’t afford multi-track recording) and 100% live in the studio. They played the same ragged instruments that they played in the South Side Chicago clubs. Hound Dog had a cheap Kingston guitar played through a Sears & Roebuck Silvertone amp built by Danelectro. Of the six speakers, two were cracked and distorted beautifully. Brewer Phillips played an ancient Fender Telecaster through a not-too-old Fender Concert amp, and Ted Harvey beat on an old Slingerland drum set. We recorded a couple of takes each of about 25 songs both nights, and chose the best for the album. We tried to make a record that felt just like their gigs at Florence’s Lounge, a South Side neighborhood bar where they played every Sunday. They rocked the house, so the slogan of Alligator Records became (and still is) “Genuine Houserockin’ Music.”

What was the first moment that you knew you wanted to work in the music business?

I came to Chicago in 1970 to work for a year as the shipping clerk at Delmark Records, a venerable small blues and jazz label. Then I was going to go back to college. The first week, the boss, Bob Koester, asked me to come to a recording session as “gopher” (the guy who goes for things like sandwiches, whiskey, guitar strings, etc.). I watched as, before my eyes, Chicago bluesman Junior Wells, accompanied by Buddy Guy, Louis Myers, Fred Below, Earnest Johnson and the best blues piano player in the world, Otis Spann, sculpted a blues record that’s worth hearing 100 times. I couldn’t believe this music was being created live right before my eyes. It was incredibly exciting. After that, I had no thoughts of going back to college.

What advice would you give to an artist who’s pursuing a career as a singer-songwriter?

Be a realist. The chances are better than not that you will not be able to make a living doing this. Be prepared to be hungry. Then, if you’re truly determined, insist on making your own statement. Don’t consciously think about being “commercial,” but do think, “Will other people relate to this music, or am I just indulging myself?” If your music doesn’t communicate, then you should perform for yourself in your bedroom and get a day job! If you do perform, remember that each performance is a way of auditioning your songs to the people you want to be your fans. Pay attention to their feedback, both what they say and how they react to each song, each verse, each line.

Which artist has influenced you the most … and how?

I guess that I should answer that about both artists and producers (because above all, I’m a talent scout and producer). The artist who influenced me most has to be Elmore James. He wasn’t the best technical guitar player in the world, but he played and sang with such undiluted passion that every record he cut is worth listening to over and over. The first two things I listen for with an artist are passion and originality. He had both. As far as producers, I’d name my old boss, Bob Koester, of Delmark Records, for letting artists be who they are, and Tom Dowd, for inspiring artists to great performances in the studio — including Ray Charles, The Allman Brothers, Wilson Pickett, Aretha Franklin, Freddie King, Eric Clapton and literally hundreds more.

If you had to write a mission statement for your career, what would it be?

Find blues and blues-based artists who have that passion and originality, and help them (whether I’m their producer or not) to capture that passion and originality in a recording. Then, be the bridge that connects the artist to his or her potential audience. That way, if the Alligator Records team and I succeed, artists will make records that will rock people’s bodies and souls, and we will help the artists reach more and more ears and (hopefully) get the recognition they deserve.

Photo credit: Chris Monaghan

The Show on the Road – Menahan Street Band (The Daptone Sound)

Posted on by Shelby Williamson

This week, The Show On The Road brings you a rare conversation with Thomas Brenneck and Homer Steinweiss, the braintrust behind brass-forward instrumental supergroup the Menahan Street Band. If Tarantino and Scorsese ever needed a custom-made, 1970’s greasy-soul soundtrack, MSB might be the perfect choice. While the timeless Daptone Records sound has gone worldwide thanks to breakout stars like the late Sharon Jones and Charles Bradley, most don’t know the bandleaders and songwriters behind their intricately arranged works.

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Guitarist/producer Thomas Brenneck has been the secret sauce in helping hitmaker Mark Ronson create vintage backdrops for crossover stars like Amy Winehouse, while Homer Steinweiss’ slinky drumming can be heard across the Daptone universe, including on Jones, Winehouse, and Lee Fields and The Expressions records, not to mention his work with Lady Gaga, St. Vincent, and Bruno Mars. For the first time in a decade, MSB — which includes Dave Guy (The Roots), Leon Michaels (The Black Keys) and Nick Movshon (The Expressions) — have reconvened the troops to create their most effortlessly cinematic collection yet: the cheekily titled The Exciting Sounds Of The Menahan Street Band. The album art alone signifies a sensual, intimate evening is ahead to whoever listens. Is the design NSFW? Maybe.

Brenneck called into the episode taping from outside L.A. and Steinweiss from his studio in New York City. The conservation jumped back to how they formed the group in 2007, how they convinced Bradley to join them in making new music (he had been doing James Brown impression work), and how they find that out-of-body, improvisational zen zone which creates their aural moods of mystery and intrigue — showcased best in the reverb-y Bond-like jam “Starchaser.”

A favorite surreal moment that Brenneck mentioned was driving through Brooklyn hearing their song sampled by Jay-Z. For a moment, their horns were blaring from every car radio in the city. While hip-hop legends often find their beats and backdrops from classic soul and R&B vinyl, notables like Eminem, Kendrick Lamar, Travis Scott and 50 Cent have mined the funky MSB catalog for years. Sir Paul McCartney also used their services. If you need an instant vibe, they’ve got you. Even in sparkling trumpet-led themes like “Glovebox Pistol,” which clocks in at a minute and eight seconds long, you can see a velvet-boothed, smoke-filled scene unfolding, bringing to mind the lush scores of The Godfather or The Score.

Only recently have star backing-bands like The Wrecking Crew, The Swampers, and the Muscle Shoals Rhythm Section come to be appreciated for creating some of the most beloved songs in the American pop canon, from The Beach Boys and Aretha Franklin to Paul Simon, Bob Dylan, and The Staples Singers. It can be argued that in the 21st century, Brenneck and Steinweiss (and the work of The Menahan Street Band) deserve to be included in that conversation. With one listen of The Exciting Sounds Of The Menahan Street Band, you are transported — exactly where is up to you.

Photo credit: Shervin Lainez

BGS 5+5: Oliver Wood

Posted on by Editor

Artist: Oliver Wood
Hometown: Boulder, Colorado (born & raised); Nashville, Tennessee (current locale)
Latest Album: Always Smilin’
Personal nicknames: O

Which artist has influenced you the most … and how?

I’d have to say that Ray Charles has influenced me the most. And I don’t claim to sound anything like Ray, but I think most of my heroes are people who combine all types of American music and come up with their own unique recipe. Artists like Ray, The Band (especially Levon), Dr. John, Sly Stone, The Allman Brothers Band, Aretha Franklin, and Allen Toussaint. It could be a long list, but all of them are able to combine musical traditions in their own way to create a unique voice. And as much as I love traditional music, I really get excited when someone creates something unique by mixing up those traditions and adding their own personality. Ray was a master at that, and I’ve probably listened to him more than anyone.

What’s your favorite memory from being on stage?

My favorite memory of being on stage is when my brother Chris and I got to sing with Levon Helm (multiple times!). We did several shows with Levon and his band, but the most memorable were the Rambles at Levon’s barn. Being in that intimate space and standing right next to him at his drum kit and singing “The Weight,” with him smiling at us and egging us on… that was a huge highlight for me. To meet and sing with your hero is a pretty rare and special thing.

What other art forms — literature, film, dance, painting, etc. — inform your music?

Other art forms definitely inform my music, especially books and films. I love stories that have ambiguity and abstraction, like a David Lynch film or a Faulkner book. I like when you can feel something without fully understanding it. And the ambiguity allows for personal interpretation. It’s nice when something isn’t completely spelled out for you and you can draw your own conclusions. And a great thing about books is that you can put your own pictures to the images and characters described in the stories (which is why movie adaptations often disappoint). That can happen in songs too. And I like when I’m able to write a song based on my own experience and images in my head that resonates with someone else, even though they may interpret it in their own way.

What’s the toughest time you ever had writing a song?

I’d say the toughest songs to write are often the most rewarding and cathartic. When my mom was dying I found there was no way to not write about it. My brother and I were so consumed by her illness (ALS) and passing that it just became part of our work. And as painful as it was, it was also a way to process and understand the situation (and a way to immortalize our mom). Songs like “Loving Arms,” “Blue and Green,” and “Don’t Look Back” came from that time. In the years since then I have found that writing tributes to my close friends who passed away was a difficult but healthy pursuit.

If you had to write a mission statement for your career, what would it be?

Stop giving a f#%k and just do it. Don’t worry, think, hesitate or compare yourself to others. Just be completely yourself, because that’s all you have, and that’s enough… Of course I’m not there yet, but that’s what I’m going for.

Photo credit: Joshua Black Wilkins

This Nashville Museum Shows the Vital Role of Black Music in American History

Posted on by Editor

Nashville’s “Music City” nickname has always been broader and more inclusive than the national impression, which largely has been built on two things: the city’s impressive country music legacy and its equal importance as a hub for the general music business, with major emphasis on recording and publishing. But what hasn’t been as well recognized and celebrated, at least by those outside particular communities in Nashville, is its contribution to numerous other idioms and its role in their evolution and development.

Hopefully that’s going to change with the new National Museum of African American Music (NMAAM), now open across the street from the historic Ryman Auditorium in downtown Nashville. The Fifth and Broadway entrance to NMAAM and its proximity to one of the nation’s music shrines couldn’t be more appropriate, and it is notable that the museum isn’t located in one of the sites better known as a Black music hotbed such as Detroit, New York, Los Angeles or even Memphis. Nashville has always been a major player in the African American music world, from the days of the Fisk Jubilee Singers to radio station WLAC breaking R&B, soul and blues hits, and the Jefferson Street nightclub scene providing both valuable training for emerging artists and a vital showcase for established ones.

However, the museum isn’t focused mainly or wholly on Nashville, nor any single city or musical style. The 56,000-square-foot entity aims to spotlight the entirety of the music made in this nation by Blacks, to demonstrate its impact on the totality of American sounds, and to celebrate its history and multiple influences. As CEO/president Henry Hicks repeatedly told media members who attended tours in January, “We’re showing how music through the prism of the Black experience has played a vital role in the growth of this country and how it’s affected every fabric of the culture.”

The sleek, architecturally striking building has the same visual splendor and attractiveness as the National Museum of African American History and Culture in Washington D.C. Upon entrance, visitors to NMAAM will be immediately drawn to the central corridor that’s billed as the Rivers of Rhythm. It features touch panel interactive exhibits, something that’s a recurring sight throughout the halls housing exhibits and other items designed to showcase 50 genres and sub-genres of Black music.

The corridor leads into The Roots Theater, which is actually where the museum tour formally begins. There’s an introductory film presentation that provides the African background and heritage of the various exhibits. It also offers a cinematic shorthand of what visitors later see presented in more exacting, visually striking manner: the multiple sounds and styles of notable Black music creators and performers. The theater seats approximately 190, and in later weeks and months will serve as the location for various screenings, lectures, music performances, and concerts.

The different genre exhibitions feature everything from more interactive exhibits with timelines to cases containing such items as one of Louis Armstrong’s trumpets, one of B.B. King’s “Lucille” guitars, or costumes worn on key nights by performers like Billie Holiday, Nat “King” Cole, Ella Fitzgerald, Ray Charles, or Aretha Franklin. The museum doesn’t neglect any area of Black music, going from the earliest spirituals to pre-jazz, traditional and modern jazz, blues, R&B/soul, funk, disco, and into contemporary hip-hop and EDM. There’s also a detailed storyboard for every idiom.

The greatest examples of Black music influencing other idioms that are sometimes mistakenly assumed not to have any links with African Americans can be seen in the Crossroads section. It includes an essay that traces how country founding fathers like Jimmie Rodgers and Hank Williams were influenced by the blues, and how the acoustic guitar playing of people like Sister Rosetta Tharpe and the gospel-tinged shouting of Odetta in turn influenced white folkies like Joan Baez and Bob Dylan.

One of Chuck Berry’s biggest hits, “Maybellene,” was a reworked version of Bob Wills’ “Ida Red” with new lyrics, while certainly Elvis Presley, Carl Perkins, Jerry Lee Lewis and other white rock ‘n’ roll and rockabilly types were performing a hybrid of country, blues, and R&B. In both cases, as well as early string band music played by white and Black performers, these artists were hearing and creating a fresh sound based on their love of multiple genres, which the Crossroads section reflects in text and exhibits.

Along the way, depending on your musical preferences, you’re able to become an active part of the experience. There’s a disco dance room that inserts a neon silhouette onto the wall. You can construct your own blues song, improvise within a personal jazz composition, become part of a gospel choir, or craft your own freestyle raps. Any or all of this activity is recorded on a personal RFID wristband and automatically uploaded so that it can be shared online with friends, assuming you really want those efforts heard by others.

But most importantly, the mission, one frequently cited by tour guides and reinforced through the various exhibits, displays, and films, is Black music’s cross-generational links and the way it’s been both a voice of protest and a force for unity across diverse backgrounds. The role music played both in rallying Blacks into the World War II effort and helping inspire and fortify the Civil Rights Movement are just two parts of that underlying joint theme.

Whether it’s “One Nation Under a Groove” or “A Love Supreme,” regardless of spiritual or secular content, Black music has been at the core and forefront of American culture. No single building better exemplifies and reveals that than the National Museum of African American Music. No matter what kind of music you love, or even if you’re tone deaf, this museum will have something of value for you to see, hear and enjoy, as well as valuable lessons to learn and history to remember.

Photo Credit: NMAAM/353 Media Group

From Homemade Tapes to Hip Hop, Black Pumas Share Their Influences (2 of 2)

Posted on by Editor

Heading into the Grammy Awards this year, Black Pumas are competing for three trophies, two of them in high-profile categories. Their breakout single, “Colors,” is up for Record of the Year, while Black Pumas (Deluxe Edition) will vie for Album of the Year. Their third nod, with “Colors” in the Best American Roots Performance category, reflects the duo’s affinity for soul and folk music, as well as the way they blend genres without losing the groove or the message. The recognition also follows their 2020 win from the Americana Music Association as Emerging Act of the Year.

From their home base in Austin, Texas, Black Pumas’ Eric Burton and Adrian Quesada caught up with BGS by phone, speaking about the music that shaped them, trusting their instincts, and the message they’d like to send out in 2021.

Editor’s Note: Read part one of our Artist of the Month interview with Black Pumas.

BGS: One of my favorite songs on this album is “Fire.” To me, it has a message of encouragement. What sparked the idea to write that song?

Eric: “Fire” was one of the tracks that Adrian first sent me. Adrian has such a brilliant way of making music that feels almost visual and vivid, almost cinematic, so when I got it, I couldn’t help but be moved to allow the song to inspire lyrics. At the time I was living with a girlfriend who was going through some health issues. She had an autoimmune deficiency and I was encouraging her to call on me. That you don’t have to feel like you’re overbearing or too much was the message that I made universal on the song “Fire.”

And lastly, with that song specifically, the funny thing was, before this I had never sung to another man on the phone. But this was one of the first songs that I was inspired to write lyrics to. When I get an idea, I like to show my friends almost right away. I called Adrian right away, not even meeting him yet. I called him and I said, “Hey, man, check this out!” I turned the song up and I started singing the melody and a few lyrics here and there, showing where it was moving, so I could integrate the space. It was really interesting to show Adrian that, and I was glad we were able to finalize the idea.

Adrian, what was going through your mind when you heard Eric sing in person, in the same room at the same time?

Adrian: Goosebumps. Trying to play it cool and not get too excited. I tried to play it off, but yeah, I knew that it was going to be a special thing, but I hadn’t heard it in the room. There was obviously a spark there, so it was just a matter of containing my enthusiasm and not getting too ahead of anything — until I finally broke down and said, “All right, man, we have to play this stuff live. Are you into doing that?” And he was like, “Yeah, let’s do it.”

It seems like you guys are in tune with your instincts. How important has that been to the success of Black Pumas?

Eric: It’s hard to put too much pressure on ourselves regarding what others are going to think about us. As opposed to trusting how easy it is to know what moves you first. It’s much more of an easygoing experience making music if you’re doing it to move yourself, knowing that what moves you has a really good chance of moving someone else. As Adrian mentioned earlier, when we started making music together, it was to have fun. We really dug what we were doing and we just kept doing it, and it turned into what it is now. Regardless if anyone was listening to the music or not, we would probably be making music every other week or so, because we enjoy doing it together. Hopefully like what we having coming up next, but if not, I think we’ll still be making music. It won’t crush it.

Adrian, who are some of your favorite guitarists?

Adrian: I personally have gravitated more toward rhythm players, and the finesse and nuance that goes into something like that. Recently I’ve been getting into Cornell Dupree, who played on thousands of recording sessions. He was in Aretha Franklin’s band for a long time and played with Donnie Hathaway and all the classic soul recordings. He’s an unsung hero of the instrument, and of the genre, too, because he didn’t always get all the shine. I don’t know if you saw that Aretha movie, Amazing Grace, from a few years ago that finally saw the light of day. I saw him playing on there and it was like, “Oh, man!” He never got that much attention, but I just started going down the rabbit hole of looking up YouTube videos.

Eric, I read that you grew up listening almost exclusively to gospel music. Is that right?

Eric: Not necessarily. My family comes from the church, and my grandparents were missionaries, so it was part of what was around, but for the most part, my family are also very artistic – musicians and writers. I would listen to my uncle write songs. He would pull out tubs and tubs of little tapes, and I would pop in one of his tapes once in a while and listen to his songwriting process. As a young kid, that was one of my toys, if you will. That’s pretty much how I learned to write music, listening to an uncle who had a really heavy hand in raising me, bringing me up, especially as an artist. For the most part, I would either hear whatever was on the radio in California, but most intimately it was through my uncle’s songmanship and his songwriting.

Adrian, who did you grow up listening to?

Adrian: I grew up listening to whatever was on MTV. I was really influenced by that. I was an only child and I was home by myself a lot. I grew up in South Texas and didn’t have a lot of places to get music from. So, when I discovered MTV, it turned me on to a lot of stuff, everything from hair rock bands to Nirvana and that whole sound. But the one thing I was really into, that had the biggest influence, is hip hop music, which I discovered through one of my neighbors who would always be playing stuff outside when they would be playing basketball. … I don’t know exactly what it was about the sound of hip-hop, but as I discovered the source of a lot of it, there was jazz and soul and funk at its core. And later on, I started getting into that music. I realized there was *that* underneath, hiding there for me to discover.

Looking ahead, what would be the best-case scenario for you in 2021? What would you hope that this year brings for you?

Eric: That we get to continue to create time and space to do exactly what we really love to do, which is to create music. We’re very fortunate that we’re seeing the opportunities we’re seeing now because people are buying the music and supporting us. Individually I look forward to creating more with Adrian, one, and also I just bought a house so I look forward creating somewhat of a studio set-up to can get into production myself.

Adrian: Yeah, I’ll second that — just the opportunity to put some new music to tape and get some out this year.

Eric: Lastly, I’ll speak for both of us briefly and say thank you [to our fans]. Thank you so much for listening to our music, for supporting us. We miss you guys, we love you guys. You guys fuel our passion and we look forward to continuing to be honest in the studio, together, that we may take what comes from our heart to allow it to move you guys’ heart.

Photo credit: Jackie Lee Young