Swerve premiere “Green” – their debut music video – today via BandWagon Magazine. Goofy though they are, the Greeley’s quintet are an impressive and funky force newly unleashed on the Northern Colorado music scene. Having won the 2019 BandWagon Battle Of The Bands, the outfit play The Greeley Stampede on Tuesday night, July 2.
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This month’s cover story and 2018 Bandwagon Battle Of The Bands winner The Great Salmon Famine premiere their lead single The Funky Circus via Bandwagmag.com today.
A downtempo bass guitar pulse thumps along with a Sgt. Pepper organ twirling about in the background setting the perfect scene for The Great Salmon Famine’s mantra: play.
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Last November, we spoke to Oklahoma native Bryce Merritt, a singer-songwriter and YouTuber, who had released his first album CHROMA I at the time. Growing up, Merritt had thought only country music existed since that’s all his parents listened to in the car, and began to write country songs. Upon getting his own car and picking his own stations, he discovered Motown and other genres which pushed his songwriting into a Pop direction. Merritt’s follow-up, CHROMA II, is a continuation into pop music, but it’s still a really good album.
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Rise and Shine is another big step forward for the Kris Lager Band and offered fans a satisfying place to return to. This album proves they really know how to deliver solid blues and rock tunes, but it’s some of the funk and R&B tracks that don’t quite add up. I get it, they want to explore some different tunes and create something unique, but KLB fans know what they want and it’s the blues.
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Mark and Matt Hill of The Floozies are two brothers on a funk mission. Since their first show as The Floozies in 2008, The Hill brothers have taken that mission around the world, sharing their brand of EDM everywhere from house parties to sold out festivals alongside so many industry greats. Recently, we spoke with The Floozies about the things that make their world go around.
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Bryce Merritt’s latest release, Chroma: I, effortlessly blends pop with elements of funk and R&B. He pulls his influences from artists ranging from Stevie Wonder to John Mayer, but it was actually country music that first got him into writing songs. “I grew up in Oklahoma and just based on what my parents listened to, growing up, the only thing that I knew existed, musically, was country music. They controlled the [radio] dial in the car,” recalls Merritt. He knew he always wanted to sing, so naturally he got his start writing country songs. “But then I got my car whenever I started driving in high school and I had control over the radio and I started discovering so much more music. The first thing I really got into was Motown,” he says, realizing that was the music that he wanted to make.
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While I find the majority of instrumentals have a regional style, not always glaring, but almost always present. L.A. jazz, Delta Blues, the sample heavy style of production prevalent in the East coast, generally speaking there’s something you can grab on to. Khruangbin plays like a musical atlas, sending fiery frets to Japan, then Brazil, and back over to Africa. The eighth track, cheekily titled “The Man Who Took My Sunglasses,” almost creates the illusion of needing them. Blinding sun beams reflect off polished surfboards and sparkling fret boards, cutting through swirling cigarette smoke on its way. Four tracks earlier, guitarist Mark Speer cools the jets to a low roar, infusing in its exhaust at first a wiff of the Far East, then an utterly American crashing collapse of guitar, amp, and kit.
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In 1979, a group of musicians bound by circumstance gathered in earnest to craft their first album. Calling themselves Edge of Daybreak, the album that was recorded, while finding little commercial success and almost no financial returns for its creators, was (is) absolutely laden with the sounds of the day from which it came. The players behind this record, a record brimming with vitality and an urgency for life, were all inmates serving out sentences at the Powhatan Correctional Center in Richmond Virginia. Reaping the benefits of a liberal prison music program, band mates Jamal Jahal Nubi (drums, vocal) Harry Coleman (adt. vocal) James Carrington (keys), Cornelius Cade (guitar), McEvoy Robinson (bass), and Willie Williams (percussion) crafted Eyes of Love on a budget of $3,000 and a little less than five hours studio time. Now, almost 40 years later, the Numero Group has re-released the record for our listening pleasure. Lucky for us.
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