The Show on the Road – Sammy Rae & The Friends

This week, we talk to Brooklyn-based bandleader and jazz-roots singer extraordinaire Sammy Rae, who for the last four years has barnstormed the country with her kinetic octet, The Friends.

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Look, when you’re young and inspired, you drop out of college, you’re waiting tables and you’re thinking about starting a jazzy pop band — most people (as well as common sense and basic economics) tell you to start small. Get a few like-minded musicians in a room, work and work on your best songs, try packing out a few local shows, put some radio-ready singles on the internet, do a music video or two. See what happens. But Sammy Rae does her own thing — and has done pretty much the opposite.

Much like your host of this fine program, Z. Lupetin (who went against all advice and began Dustbowl Revival as an 8 to 10 piece genre-bending, New Orleans-string band mashup in 2008), Sammy has harnessed the open-minded, countercultural energy of Broadway musicals, the slinky funk-pop of the 1970s AM radio, and her own rapid-fire poetic style to create a massive sound that’s made with three singers, two saxophones, and a fearless, seasoned rhythm section. Plus, they are all friends who don’t just treat this as a temporary weekend gig. Too much too soon? Well, ask the packed houses up and down the Eastern Seaboard if they care about playing it safe.

Sammy Rae knows the road ahead for The Friends won’t be easy, but so far, the response from listeners has been undeniable. Starting at tiny supportive clubs in New York like Rockwood Music Hall and graduating to the biggest rooms in one of the hardest towns to impress, the group struck a nerve with their debut EP The Good Life in 2018 — with the standout jazzy experiment “Kick It To Me” gaining nearly ten million steams and counting. “Don’t record songs over four minutes long,” they keep telling us. “No one will pay attention!” Yet their most listened-to track clocks in at nearly seven minutes.

What’s the lesson here? For Sammy it’s finally learning to trust her instincts and be herself. Their upbeat EP Let’s Throw A Party dropped in 2021. Make sure you stick around to the end of the episode to hear how Sammy’s experience as a queer teenager in a Connecticut girls’ Catholic school informed their new track, “Jackie Onassis.”


 

LISTEN: Ruby Landen, “Self Help”

Artist: Ruby Landen
Hometown: Arcata, California; currently Brooklyn, New York
Song: “Self Help”
Album: Martyr, well
Release Date: August 27, 2021
Label: Slang Church

In Their Words: “‘Self Help’ is a song meant to convey the self-indulgent contempt I feel for myself at the lowest of times. Though not really a conscious choice, I find myself often juxtaposing pretty instrumentation and melody with somewhat ugly subject matter. I don’t ever try to make myself seem good in any of my songs, but I do portray most of the people referenced in the record especially badly, and I think in bearing all of my ugly nakedness I’m trying to communicate that I’m no different from any of these people — maybe I’m even worse. It’s by far the most personal and vulnerable song I’ve written, so I’m a little nervous for people to hear it.” — Ruby Landen


Photo credit: Brynn Lewis

LISTEN: Nora Brown, “The Very Day I’m Gone”

Artist: Nora Brown
Hometown: Brooklyn, New York
Song: “The Very Day I’m Gone”
Album: Sidetrack My Engine
Release Date: September 24, 2021
Label: Jalopy Records

In Their Words: “‘The Very Day I’m Gone’ is a prime example of the timelessness of old-time music; it has opportunities for a more contemporary sound, but still holds on to its ancient roots. This song comes from ballad singer Addie Graham, an incredible artist from Eastern Kentucky. Me and my fam were listening to this song by Anna & Elizabeth off a tribute record called The Very Day I’m Gone in the car and found the song so mesmerizing we played it again and again.” — Nora Brown


Photo credit: Benton Brown

WATCH: J.M. Clifford, “Kick the Drum”

Artist: J.M. Clifford
Hometown: Allendale, New Jersey
Song: “Kick the Drum”
Album: On a Saturday Night
Release Date: August 26, 2021

In Their Words: “’Here’s to the music that we make at night till we feel alright.’ I honestly don’t know what would have become of me if I hadn’t fallen in with the bluegrass community at Sunny’s Bar in Red Hook, Brooklyn in 2017. The music and the musicians got me through some very dark times. This is really a love song to that whole scene. This was the first tune I wrote for the record (although it went through about a hundred revisions). In fact, it’s the first thing I had written in a long, long time. Stylistically it was very different from anything I had done before. I integrated some of the prominent features of the old folk and bluegrass music I’d been immersing myself in with my singer-songwriter background and landed on something that felt fresh to me. That approach informed all of the songs that came after it.” — J.M. Clifford


Photo credit: Nicole Mago

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

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

LISTEN: Nick Africano, “Heavy to Hold”

Artist: Nick Africano
Hometown: Brooklyn, New York
Song: “Heavy to Hold”
Album: Gossip of Flames
Release Date: June 18, 2021

In Their Words: “This is a song about not having a chance to say goodbye, and living with that lack of closure and guilt. Sometimes, all we want to do is hold on: to pain, to sadness, to grief, to guilt…because, if we can’t have the person or thing we lost, at least we have the pain, the sadness, the guilt still; the loss isn’t as final, we convince ourselves. Letting go is a risk…an ultimate act of trust…trust that perhaps we won’t be forever cut off from what we let go of, but, rather, even closer. When I went to my mother’s house after we lost her, her bible was open to a passage that read, ‘Do not let your hearts be troubled, don’t be afraid.’ It sent chills through me. But I don’t think I listened. Hahaha. Maybe in this song I’m trying to say, ‘I’m listening now.'” — Nick Africano


Photo credit: Owen Donovan

WATCH: Lea Thomas, “Hummingbird”

Artist: Lea Thomas
Hometown: Born in Hawaii, based in Brooklyn
Song: “Hummingbird”
Release Date: May 26, 2021
Label: Spirit House Records

In Their Words: “‘Hummingbird’ was inspired by a dream I had in which I shape-shifted into a white wolf and ran like the wind across a mountainside, overwhelmed with the beauty and the interconnectedness of all life. I knew from the start that I wanted the song and the video to feel similarly ecstatic, like a celebration of life and a reminder of how psychedelic and magical everyday life can be. I’m especially in love with the way the horn and slide guitar duets turned out for that reason. This is the first record I’ve arranged for horns and that instrumental section still gets me so excited every time I hear it!” — Lea Thomas


Photo credit: Hannah Rosa Lewis Lopes

BGS 5+5: Abby Hollander Band

Artist: Abby Hollander Band
Hometown: Brooklyn, New York
Latest Album: Letters

What was the first moment that you knew you wanted to be a musician?

I’ve always been a musician. Growing up in Woodstock, New York, with musician parents, brother, friends, it was just a natural part of life, the expression of self through song. I started picking out cartoon theme songs on the piano when I was 4, and kept learning and playing from there. By high school I’d sit in with my parents at their gigs, and I first did my own gigs (singing in a jazz trio) by college. It wasn’t until after I’d graduated with a BA in theater that I realized in order to be an actor you have to audition; but to be a musician, you just have to play.

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

My training as an actor has had a big impact on my music, especially when it comes to performance. When acting, you’re taught to always be in the moment, and that despite knowing what words you’re going to say you never know exactly how they’re going to come out, because you’re listening and reacting to what’s going on around you. That’s something I’ve tried to take with me into my music… even if I’m singing the same words or the same melody, a song doesn’t become stagnant because each time it’s sung, it’s being informed by the present moment. I also try to transport myself to the circumstances of the songs as I sing them. For example, “Still Got It Bad,” a John Herald song on this new album, is a heartbreaking story about never getting over an old love. That’s not my reality, but the way he wrote the lyrics is so relatable and so true that it puts me in a place where I can sing it honestly.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

Actually, I’ve found myself writing too many first-person songs! When I was writing “Back When We Could’ve Been In Love,” I decided to turn it into a character and started saying “she” instead of “me.” It’s really still about me though probably. And now you know!

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

I try to be really dedicated about taking care of my voice, and that’s especially true leading up to a recording or show. Right after we released our first album, in 2015, I was diagnosed with polyps on my vocal folds. My voice didn’t sound like me, and I got hoarse after singing even just a few songs. I eventually had surgery to remove them, and through voice therapy I’ve learned how to take better care of my voice. I even went back to school to become a speech-language pathologist so I could work as a voice therapist and help others avoid these problems. It was an incredibly scary time (it’s what the song “Eyes of Loss” is about), and so these days I’m much more diligent about keeping my voice in good shape. That involves frequent warm-ups, vocal exercises, and being mindful not only when I’m singing but also speaking.

What’s your favorite memory from being on stage?

I don’t have one specific favorite memory, but every time I’m on stage and I’m singing with friends, or even strangers, if there’s a tight harmony that clicks in the right way I feel this current, this electric charge of life and joy, and that’s what it’s about for me.


Photo credit: Justin Camerer

WATCH: The Antlers, “Porchlight”

Artist: The Antlers
Hometown: Brooklyn, New York
Song: “Porchlight”
Album: Green to Gold
Release Date: March 26, 2021
Label: ANTI-

In Their Words: “This song is a tribute to the person that grounds me, and the power of that partnership in my life. It’s about knowing somebody so well as to recognize when they’re lost, and helping them find their way back home.” — Peter Silberman, The Antlers


Photo credit: Shervin Lainez

WATCH: Cole Quest and The City Pickers, “The Bitcoin Gambler”

Artist: Cole Quest and The City Pickers
Hometown: Brooklyn, New York
Song: “The Bitcoin Gambler”
Album Title: Self [En]Titled EP
Release Date: April 16, 2021
Label: Omnivore

In Their Words: “As a software engineer by day, a folk musician by night, and someone who lost a chunk of money in the Bitcoin crash of 2018, I felt I had a unique connection to this modern day dilemma. I wanted to write a song that would show the parallels of this moment to the gambling sagas folks have been telling for hundreds of years. First came the melody line written on guitar, and the rest of the song wrote itself in a matter of minutes. As the band laid down the tracks, I fell in love with the ending of the recording. You can hear how each musician found their own wonderfully unique voicing to this melody. As I was writing the song, I found myself reflecting on things that are important. Surely, gambling a few dollars was nothing to worry about, especially in contrast to the problems created by an ill-equipped fool in the White House.” — Cole Quest


Photo credit: James Salzano