It’s a vibe from Sydney producer MXXWLL, New York producer Carrtoons, and L.A.’s John Givez and Rae Khalil. They could subtitle this track, “A Funky Day in the Life”. From MXXWLL’s debut album, Sheeesh, here’s “Light Turn Green”.
Along with reviews here at GLM, I’ve been producing and co-hosting a podcast called Modern Brews + Beats. It’s hosted at my sister site, NTX Beer. You can listen and subscribe to the podcast at Spotify, Google Podcasts, Stitcher, TuneIn, and iHeartRadio. Topically, it’s 65 % music and 35% craft beer as Tony and I are fans of both. Come listen, subscribe and be at part of our community.
Thinking back on a week when presumptive positive cases of the virus became known around the city of Dallas, it makes the memory of this night at the House of Blues even more magical as the congregation waited to be lifted. A lift is what we needed from the dreadful selection of instrumental lo-fi hip-hop coming through the speakers as we first entered the auditorium. I’m a fan of genre, but not of whatever that was.
So like an answer to prayer, the evening’s opener, Bastards of Soul came out strong with muscular, 60s-inspired soul grooves. While I’d seen Chadwick Murray before as the bassist in the band, Mur, this was my first time seeing him handling frontman duties. By the time the band served the second song in their short set, “That’s the Way it Should Be”, most of the crowd was on board. For those who weren’t yet convinced, their last two songs, “If These Walls Could Talk” and “I’ve Got The Key”, won everyone over.
During the break, I felt it was fitting to hear Stevie Wonder’s deep cut, “Saturn”, from Songs in the Key of Life. Kamasi Washington has always appeared to be a messenger receiving transmissions from other worlds. His seven-song set confirmed such beliefs. Each energizing solo from Washington and his six-piece band (including his father, Rickey Washington) took us all on musical journey into love and togetherness. What a message to remember as the media messages later in the week would stress social distancing due to COVID-19.
The late McCoy Tyner surely would have loved Washington’s tribute in the performance of his song, “Passion Dance” as well as Washington’s own “Fists of Fury” with added Tyner flair. Passionate, spiritual music remains an anchor in the Black American experience to bring peace in times of uncertainty. All of these musicians brought the balm that was needed, perhaps more than we realized.
From talk show performances earlier in 2019, it was clear that Adam Lambert’s fourth solo project was going to be influenced by the sounds of the 1970s. After all, Lambert has been performing lead vocals for Queen – one of the decade’s best-known bands, so the influence is understandable. Listening to the new EP, Velvet Side A brings an engaging – albeit brief – vocal performance from Lambert. The overall production receives inspiration from the past without getting lost in it.
Speaking about those talk show performances, the first single, “New Eyes” isn’t on Velvet Side A. Perhaps Lambert will save that song plus “Coming In Hot” for Side B. In the meantime, the funk-tinged second single and opener “Superpower” has echoes of Freddy Mercury (in an “Another One Bites the Dust” framework) as well as Faith-era George Michael. He brings similar George Michael energy to “Loverboy” with a touch of Chic. “Closer to You”, the album’s expressive third single sounds like it’s from the songbook of Pink. “Overglow”, the fourth track on the EP with a vocal performance that in my mind oscillates between Fleetwood Mac and 80’s era Heart.
At just six songs, Velvet Side A may be Lambert’s best project yet. Looking forward to hearing Side B whenever it’s released.
Multi-instrumentalist trio Moonchild is back with its fourth set of velvety neo-soul grooves. Little Ghost doesn’t break new sonic ground from their previous efforts. But given that it was 2017’s Voyager that put more people on to the group thanks to outlets like NPR, who can blame them for not wanting to mess with a good thing.
It is nice to hear more acoustic instrumentation in the mix on the songs, “The Other Side” and “Strength”. The breathy, smiling vocal tone of Amber Navran remains a core element of their sound. Little Ghost provides fresh chill-out tunes for your workday or for any horizontal dancing you’re planning for later.
While Adam Lambert has the enviable position as the lead vocalist with Queen over the last few years, he’s also been writing new solo music. While his first album right after American Idol has had the highest chart success in the U.S., I feel his upcoming EP, Velvet Side A, could make a bigger splash stateside than his previous two outings. The single, “Superpower”, has an 80s production like Queen’s “Another One Bites the Dust”, bridging disco and rock with ease. And much like the Queen track, there’s sticking power to it.
Share your thoughts on Adam Lambert’s single, “Superpower”, from Velvet Side A, scheduled to be released on September 27, 2019.
This episode, Tony and I are sharing beer trends, chopped and screwed music, and Instagram handle backstories. Plus, we offer a shout-out to Robert Celestino II of Craft and Growler and Marsha Ambrosius along the way. We’d love your feedback! Find us on Spotify, Google Podcasts, iHeart Radio, Stitcher, and Podbean.
At around 6:00 p.m. on July 13, 2019, excitement is building in delicious anticipation from all walks of life at The Pavilion at Toyota Music Factory; black folks, white folks, interracial couples, gay and lesbian couples, people in shorts and flip flops, others in three-piece suits, skin-tight dresses and stilettos—all buzzing with conversations about one man: Michael McDonald.
Michael McDonald’s co-headlining tour with Chaka Khan is to introduce his audiences and fans to new music from his 2017 album, Wide Open. It has been 17 years since we have had new music from McDonald, and it features collaborations with Branford Marsalis, Robben Ford, and Marcus Miller. Tonight’s performance features McDonald on guitar, piano, and lead vocals, we have Bernie Chiaravalle on guitar and vocals, Jacob Lowery on bass, Dan Needham on drums and percussion, Mark Douthhit on saxophone and keyboards, Pat Coil on keyboards, and Drea Rhenee’ on vocal and percussion.
As I sat outside the pavilion in this Texas heat waiting for my concert companion, I struck up some conversations with fellow McDonald fans. We discussed specific songs that we hoped he would play. Familiar statements such as “soundtrack of my childhood” and “blue-eyed soul” kept popping up. One person drove over two hours to be there, expressing that this was possibility his 24th time seeing McDonald live. He felt that due to the recent death of specific entertainers, he feels that it is still very important to come out and see aging artists before they are gone. Others shook their collective heads in approval, and then conversations delved into artists we have lost.
Upon entering the pavilion and finding our seats, the lights dimmed as his band enters the stage to thunderous applause. McDonald walks out shortly after his band, and takes a seat behind a black grand piano. McDonald welcomes us stating that it was great to be back in the great state of Texas and invites us to sing along if we know the words. We did just that! He performed his 1983 hit, ‘Ya Mo Be There’, made even more emotional given James Ingram’s recent passing. However, with the infectious groove and McDonald’s powerful voice, no one could be sad for long.
McDonald primarily remained seated behind his piano for the rest of the performance and cranks out the solo hits, including ‘I Keep Forgettin’, ‘Sweet Freedom’, and a duet of ‘On My Own’ where back-up singer Drea Rhenee’ makes the Patti LaBelle part all her own and brought the house down. McDonald also served the Doobie Brothers’ classics, ‘Here To Love You’, ‘Minute By Minute’, and ‘What A Fool Believes’. Next up is his Motown set including ‘Ain’t No Mountain High Enough’, ‘Ain’t Nothing Like the Real Thing’, then bringing Chaka Khan and her crew out to end his set with ‘Takin’ It To The Streets’.
As good as McDonald’s set was, there was some speculation in the audience as to why he did not perform any of his new material from Wide Open. Some stated that he seemed ill and was very low energy. Others stated they were worried because of his age. All questions were answered when, to my surprise, back-up singer Drea Rhenee’ came and sat down in the audience (next to me!) during stage changes, preparing for Chaka Khan. Ms. Rhenee’ stated that McDonald had a cold so many changes had to be made including but not limited to performing first instead of closing and not performing any new material. Rhenee’ welcomed well-wishers, took pictures with them, answered questions then posed for a picture with me since we were sitting right next to one another—as we waited with excitement for Chaka Khan’s upcoming set!
A Michael Jackson-inspired yowl kicks off Kevin McHale’s five-track EP, Boy. While American audiences know Kevin most from the Fox series, Glee, as Artie Abrams, some know well of his time in the boy band, NLT. With this solo project, Kevin brings catchy pop music that’s unapologetically homoerotic.
Letting your neuroses get the better of you is the lyrical core of “Help Me Now”. Kevin’s character takes feelings of insecurity within a relationship to absurd levels, even bluntly asking “do you wanna fuck?”. Can’t say the man doesn’t know how to communicate. The heat climbs from there with the next tracks, “James Dean”. “Arizona”, and “All I Want is You”.
With “Younger”, Kevin’s character recounts a childhood infatuation with another boy and wonders what would have happened had he been ready and if they weren’t kids. Kevin sings, “We could’ve done white picket fences and could have been fine, but I needed time to slow.” Towards the song’s end, he speaks to his would-be lover in Portuguese.
While the overall production on Boy feels like a series of pop demos, curious to hear what a proper full-length project could bring from Kevin.
B. Slade has a deep well of songs to share. In the past twelve years he’s released 30 albums – an incredible amount of music. Then add his gospel albums from the earlier moniker, Tonex, to that discography, and you have an immense production history.
Taurus is his 2nd full-length project for 2019. With his birthday being May 16th, B. Slade gives his fans the gift of music with this birthday mixtape. Tracks like the blissful “Waves of Love”, “Very Best Man, and “Girl, I Just Want You Around” are radio-ready singles. The overall album production is trap music, though it switches up from time to time. Sensual slow jams (“Nowhere Fast Tonight”, “Wonder”), a touch of 60’s soul (“Stubborn”), and mid-tempo R&B sounds complement the set.
One thing that I find fascinating with some tracks is that he chooses to mute the profanity. On the aforementioned “Waves of Love”, he clarifies his interest in someone by saying “I just wanted to acknowledge you / Naw, I ain’t talking about fucking – I’m talking ‘bout vibing with you.”. Yet on “Mood”, “Pause”, and “Nothing To See Here”, the sung/spoken curses get cut. While it doesn’t ruin the overall experience with those songs, it’s a curious move.
There are two tracks that were unexpected earworms for me. “Boy, Interrupted” didn’t stick with me at first. Then came the almost two-minute vamp at the end. The pull was magnetic. It’s become my favorite track on the record. The second surprise was “Love My Life”. Considering B’s unique path and all that he’s experienced to support his artistic vision, it’s an anthem of celebration that unites the project’s theme. Taurus showcases the lover and fighter who’s stubborn about his craft.