Blending funk, soul, and indie, Brooklyn band Pimps of Joytime showcases their unique artistry on their new single, “Are You Gonna?” The release comes in anticipation of their new album Reachin’ Up, set to release Friday, April 15th. Accompanying this release, the band will be performing at Brooklyn Made with additional shows throughout the country.
Pimps of Joytime
Forming in 2005, Pimps of Joytime embellished the unique Brooklyn culture of the 2000s. After four studio albums, the band has found a unique sound encompassing a multitude of genres. They are unique, and their next album release is set to demonstrate the magnitude of this talent.
The Brooklyn band is no stranger to the soul and funk scenes, and “Are You Gonna?” showcases their experience. Combining Cuban blue rhythms, blues guitar progressions, and a vocal delivery akin to Bob Marley, the band beautifully demonstrates their ability to encompass multiple genres with grace and poise.
Their prior release, “Lesson,” also set to be on the album, further highlights their unique artistry. Pulsating drums and hypnotizing blues guitar capture the immediate attention of the listener. Most prominently, however, Brian Jay displays masterful and unique vocals that give the band its respective personality and flavor. His voice sensationally bounces over the instrumentation in a way that exhibits experience and confidence.
The latest single “Reachin’ Up” features Antibalas‘ shekere player and vocalist Marcus Farrar and singer Carol C (Si*Sé) for a funk and soul track sure to put smiles on people’s faces all spring long. Brian J comments, “‘Reachin’ Up’ originated from a batch of instrumentals I created in a two-week studio bender in 2019. I hit up old friend and early PJT collaborator Marcus Farrar to come work on one of the tracks. Marcus pretty quickly came up with great melody and lyric ideas. I had the lyric ‘Reachin’ Up’ kickin’ around for a few years and it fit perfectly. I hit record and Marcus did his thing with a stellar vocal performance. Carol C of Si*Sé and Pete Shand of New Mastersounds were the missing puzzle pieces who graced this track with an incredible vibe.”
Pimps of Joytime Winter 2022 Tour Dates:
Saturday, February 19 – The Fillmore – Denver, CO
Thursday, March 24 – Starline Social Club – Oakland, CA
Friday, March 25 – The Venice West – Venice, CA
Saturday, March 26 – Mustache Bash – San Diego, CA
Friday, April 15 – Brooklyn Made – Brooklyn, NY
Saturday, April 16 – Park City Music Hall – Bridgeport, CT
Saturday, Apr 30 – The Parish – House of Blues – New Orleans, LA
Saturday, May 28 – Denver Day of Rock – Denver, CO
Saturday, June 11 – Hog Farm Hideaway – Laytonville, CA
MasterVoices is an interracial, interfaith chorus based in New York City.
The musical tells the story of a corrupt, small-town mayor in 1960s America. Vanessa Williams stars as the aforementioned mayor who fabricates a miracle to attract tourists. The cast also features Tony Award winner, Santino Fontana, as J. Bowden Hapgood, a stranger who comes to town during the mayor’s scam and may or may not help uncover it.
The show is directed by Ted Sperling the Artistic Director of MasterVoices. Prior to his role at MasterVoices Sperling directed the New York Philharmonic, New York City Opera, and was Principal Conductor of the Westchester Orchestra.
View of American composer and lyricist Stephen Sondheim onstage during an event at the Fairchild Theater, East Lansing, Michigan, February 12, 1997. (Photo by Douglas Elbinger/Getty Images)
“Steve was a friend, a great colleague and a mentor,” Sperling said. “He was delighted we were revisiting Anyone Can Whistle, which has one of his favorite songs, ‘With So Little to Be Sure Of,’ and he had agreed to help us with the project. The month ahead will be a labor of love, and we know his spirit will be with us.”
The rarely performed musical’s notable songs include “There Won’t Be Trumpets,” “Anyone Can Whistle,” “Everybody Says Don’t” and “With So Little to be Sure Of”.
Sondheim, and his long-time creative partner, Arthur Laurents, who wrote the book, conceived the story as a treatise on the importance individuality in 1960s America. In particular, when faced with the inherent contradiction of attempting to remain sane in an increasingly insane society.
While a product of the 1960s the show has been lauded for its timelessness. Specifically for its portrayal of an unscrupulous leader and the consequences that occur should a community decide to follow one. The musical also satirizes religion and science, examining their ties to political power.
This is the first performance of Anyone Can Whistle in New York City since the Encore! series at City Center in 2010.
Tickets
Anyone Can Whistle will play at Carnegie Hall for one night only on March 10. Tickets can be purchased online, by calling 212.247.7800, or in person at the box office. Guests must show proof of vaccination to attend the performance.
Today marks the anniversary of the heralded moe. Tsunami Benefit show at Roseland Ballroom in New York City, which gathered a host of notable to musicians to raise money for a good cause. A terrible earthquake and a resulting tsunami devastated the area near Sumatra, Indonesia as the year 2004 came to a close. moe. decided to do what they do best in order to lend assistance and brought some friends along for the ride. Together with a matching donation from Dave Matthews, nearly $150,000 was raised for the relief cause. Those in attendance this evening certainly got their money’s worth with a show featuring some traditional moe. songs, a whole lot of covers, and a mesmerizing 35-minute jam that nearly brought the house down.
Bassist Rob Derhak greets the crowd at the start of the show and thanks them all for “supporting a great cause.” And then instantly, the familiar pre-“Rebubula” noodling ensues and moe. opens the Roseland show with one of their signature songs, setting a lively tone early. No special guests needed for this one. Those begin with John Medeski and violinist Sam Bush coming out for a spirited take on “Mexico.” Medeski, ever the keys virtuoso, helps drive the pace of this one through the roof with some triumphant fills on organ that helps build a steadily escalating and emotional jam. Bush then exits and Medeski remains on for “Plane Crash,” again providing some extra rich sonic texture to another moe. staple before taking lead on the jam that ensues.
With three standout moe. songs now out of the way, the cover parade begins with a take on the legendary blues song “Got My Mojo Working,” popularized by the great Muddy Waters in the late ’50s. Guitarist Al Schnier deftly replaces “Louisiana” in the lyrics with “New York City” which does not go unnoticed by the crowd. Despite an uptempo, jazzy start the “Mojo” jam quickly devolves into a harrowing, psychedelic journey with Medeski again helping forge the path forward before the song rounds back into form.
Sam Bush then reemerges with a mandolin and has the Roseland stage to himself for a cover of the Lowell George-penned “Sailing Shoes,” a song he recently got to play with Little Feat in Jamaica according to him. By song’s end, he’s got most of the crowd engaged in a back-and-forth singalong. Bush then offers his thanks to both the crowd and moe. before the latter rejoins him on stage for one of his own songs, “Same Old River.” It’s a perky, bluegrass-y number that would fit perfectly in any stringed band show, with Bush ripping off a fierce mandolin solo in the middle.
One more special guest, “who needs no introduction” per Al, enters the first set fray and Trey Anastasio joins everyone on stage for an electric cover of “Crossroads” with both he and Bush handling vocals. An already tight jam doubles in speed about midway through as the first set comes to a rousing finish.
The second set picks up right where the last one left off, except Bush is now replaced by Jennifer Hartswick on vocals and Ray Paczkowski on keys with moe. serving as the backing band for “Night Speaks To A Woman,” an early Trey Anastasio Band staple with which both newcomers are very familiar. There’s not much lost with this version with Trey throwing down a scintillating solo in a jam that starts fiercely, breaks down into some loose improv, and then steadily builds back up to a joyous peak.
Derhak then takes another moment to thank tonight’s patrons and mentions that Dave Matthews has offered to match whatever amount of money is raised this evening. Then it’s back to the moe. catalog with “Spine Of A Dog” with the crowd ably assisting on the opening lyrics. The “Dog” jam then meshes incredibly seamlessly into the opening of “Buster” and moe. and friends take off with another longtime fan favorite.
This opening 1-2 punch gets a well deserved roar of approval from the Roseland crowd before moe. yields the floor for another cover. This time it’s “Boogie On Reggae Woman,” the Stevie Wonder song that is no stranger to a live Phish show with Anastasio handling lead vocals accordingly. Another lively jam ensues, this time with Paczkowski eagerly showing off his chops that helps drive the momentum. Towards the end, the music gets very percussion-heavy before falling out into full fledged “Drums” section, giving Jim Loughlin and drummer Vinnie Amico a chance to do the same.
Afterwards, Trey then reemerges with only himself and an acoustic guitar for a pair of Phish tunes. For Phish heads, this must have been like an oasis in the desert with the band’s forgettable “final” shows at Coventry having taken place about six months earlier and it being years before they would reunite again. The crowd has no problem at all assisting on the “can I live while I’m young” lyric to “Chalkdust Torture” before adding their collective voice to the traditional opening of “Wilson.”
The second set then comes to a gigantic finish with one last banger in “meat.” that sees Medeski, Bush and Trey all lend a hand. What results is a 35-minute plus monster jam where everyone gets a chance to solo and shine. The jam starts out in traditional metal-esque fashion, before breaking down into a definitive bluegrass sequence with Bush leading the charge, before passing the baton to Medeski who helps steer it in another direction entirely. It eventually winds down into a near-ambient section with Loughlin chiming in on vibes and a plethora of effects emanating from Medeski’s rig. It’s a whirlwind cavalcade of sound that serves as the crux of the second set, if not the show itself, and is well worth a listen.
One last pair of covers serves as the encore for this benefit show, starting with Frank Zappa’s “Peaches En Regalia,” another song that’s no stranger to a Phish show with Loughlin on vibes giving this one a proper feel. Anastasio and Hartswick then team up one last time on vocals for “After Midnight.” Extra special attention is given to the “gonna let it all hang out” which moe. and friends certainly did this evening, and for a noble cause no less.
You can listen to and relive this memorable gig here or see below.
moe. Tsunami Relief Benefit Show Roseland Ballroom – New York, NY 2/10/05
Set 1: Rebubula, Mexico*, Plane Crash^, Got My Mojo Working^, Sailing Shoes**, Same Old River^^, Crossroads#
Set 2: Night Speaks To A Woman$%, Spine Of A Dog$ > Buster$, Boogie On Reggae Woman$%>Drums, Chalkdust Torture$$, Wilson$$, meat.*$
E: Peaches En Regalia*$>After Midnight*$%
* with John Medeski on keys, Sam Bush on Violin ^ with John Medeski on keys ** Sam Bush solo ^^ with Sam Bush on mandolin # with Sam Bush on mandolin, Trey Anastasio on guitar $ with Trey Anastasio on guitar $$ Trey Anastasio solo acoustic % with Jennifer Hartswick and Ray Paczowski keyboard most of SET II
Jazz at Lincoln Center will head out on a “Songs We Love” tour featuring rising stars in New York City jazz.The tourfeatures Riley Mulherkar as Musical Director, with Vuyo Sotashe, Brianna Thomas and Shenel Johns on vocals with Julian Lee, Mariel Bildsten, Mathis Picard, Barry Stephenson and TJ Reddick.
Jazz at Lincoln Center Presents “Songs We Love”
Today’s rising stars in jazz music are to preform “Songs We Love,” from March 3-19. The tour will feature a journey through the first 50 years of jazz music under the musical direction of Riley Mulherkar, along with three guest vocalists who will join the band of New York’s rising stars. By combining their unique talents, the group will perform their way through decades of music, beginning with the early blues, the jazz of the 1920s, and then ending in the early 1950s. With this, Iconic singers included such as Ma Rainey, Billie Holiday, Ella Fitzgerald, Frank Sinatra and Judy Garland.
Riley Mulherkar “Songs We Love” Musical Director
The “Songs We Love” tour will kick off in March with nine shows throughout the north, east and south coasts. The tour was first presented as the 2016 Season opener at Lincoln Center in New York City. For over three decades, Jazz at Lincoln Center has been a huge advocate for genres such as jazz, culture, and arts education globally. With the help of Wynton Marsalis, Jazz at Lincoln Center Orchestra, and many guest artists throughout the generations, this venue produces thousands of performances, education, and broadcast events for people around the world.
By providing new opportunities to present great jazz programming, the Jazz at Lincon Center can feature up and coming musicians who are rising in fame. This allows for their mission ““to entertain, enrich and expand a global community for jazz through performance, education, and advocacy.”
Riley Mulherkar “Songs We Love” Musical Director
Musician Riley Mulherkar has been recognized as a “smart young trumpet player” by The New York Times, along with being praised by The Wall Street Journal as a “youngster to keep an eye on.” By being a founding member of the band, The Westerlies, Riley helps create a hybrid genre of music that can be both “folk-like, lovely and intellectually rigorous” (NPR Music). Riley works with many leading and up-and-coming artists today, he was born and raised in Seattle, but later moved to New York to study at The Juilliard School, later receiving the Knowles Prize for Jazz and the Peter Mennin Prize for “outstanding achievement and leadership in music.”
In 2011, Riley was named a “rising jazz artist” by Wynton Marsalis in JET magazine, and in 2014 was the first recipient of the Laurie Frink Career Grant at the Festival of New Trumpet Music. He is serving as an ambassador for Jazz at Lincoln Center’s “Jazz for Young People” program in both New York and St. Louis. All of this experience and accolades position him as the perfect musical director for Songs We Love.
Riley Mulherkar Musical Director
Vocalists on tour include South African jazz vocalist Vuyo Sotashe, who moved to NYC in 2013 after being awarded the prestigious Fulbright Scholarship to pursue Master of Music at William Paterson University. Since then, he has gone to win numerous awards including first prize at the very first Mid-Atlantic Jazz Festival Vocal Competition in 2014, and more recently, he won the Audience prize award and placed second over-all at the Shure Montreux Jazz Voice Competition in 2015.
Brianna Thomas is another vocalist who has described by The NY Times stating, “Ms. Thomas has a strong voice and a big range, descended from Sarah Vaughan and Betty Carter and routed through Dianne Reeves, with clarity and confidence and a little dirt.”
Paring with these vocalists with a voice that embodies passion and a personal style that sways effortlessly from jazz, to R&B, to gospel is Shenel Johns, who has emerged as one of the shining stars of her generation.
Accompanying Riley Mulherkar and the three guest vocalists is Julian Lee, who quickly established himself as one of the most versatile saxophonists of his generation. Lee is the beneficiary of the 2017 Lincoln Center Emerging Artist Award from Jazz at Lincoln Center and has performed both internationally and nationally with a wide array of critically acclaimed artists.
Along with these well-astounded artists, Mariel bildsten will also join on the trombone. She is known as the lead trombonist in Arturo O’Farrill’s Afro-Latin Jazz Orchestra and tours internationally with the rock band, Brass Against. Mariel has performed at Carnegie Hall, Radio City, O2 Arena, Birdland Jazz Club, the Apollo Theater, the Chicago Jazz Festival, Perth International Arts Festival, Caramoor Jazz Festival, Smalls Jazz Club, and Smoke Jazz Club, and many more.
On piano is French-Malagasy pianist Mathis Picard, who has recently released his new album Live at the Museum, showcasing his diverse talent. Considered one of the most sought-after bassists on the scene today, Barry Stephenson also joins the tour with his raw talent. On drums is TJ Reddick, already a world traveler, who has performed in many countries including France, Brazil and Belize. TJ is an energetic musician ready to light up any stage.
Together, these musicians are bringing a young dynamic vibe to each performance that you won’t want to miss.
The Jazz at Lincoln Center Tour dates, tickets and showtimes can be found on their website.
On Saturday, February 19 at 8 PM, Flushing Town Hall is hosting Alicia Olatuja, an amazing singer who came into the national spotlight as the featured soloist of the Brooklyn Tabernacle Choir at President Barack Obama’s Second Inauguration in 2013.
“We are overjoyed to welcome Alicia Olatuja to Flushing Town Hall and excited to hear her lush vocals,” says Executive & Artistic Director Ellen Kodadek. “Audiences are in for a real treat, be they fans of jazz, folk, rock, or pop. Olatuja crosses genres seamlessly and is known for her regal presence and stunning voice.”
Photo By Harrison Weinstein
Olatuja’s show, Intuition: From the Minds of Women, will celebrate esteemed, female composers and draws from her 2019 sophomore album. Along with this, includes her interpretations of the music of Sade, Tracy Chapman, Kate Bush, Linda Creed, Angela Bofill, and Brenda Russell. This event is an in-person event but is also streaming for free on Flushing Town Hall’s YouTube channel.
Along with Olatuja’s performance, Flushing Town Hall hosts a Black History Trilogy for the celebration of Black History month. The trilogy will feature award-winning performers paying tribute to influential African-American artists, entertainers, and musical traditions.
Though she is originally from St. Louis, Missouri, Olatuja grew up immersed in a wide range of musical styles, including gospel, soul, jazz and classical. Shortly after, she assembled her own jazz-based ensemble and recorded her first solo album, Timeless (2014).
Praised by DownBeat for her “full-bodied tone, precise pitch, and personal engagement at the lowest whisper or highest wail,” Olatuja’s first came into the national spotlight in 2013 when performing as the featured soloist with the Brooklyn Tabernacle Choir at President Barack Obama’s Second Inauguration.
This in-person performance will take place on Saturday, February 19 at 8 PM. Tickets can be purchased here ($15/$12 members). Lastly, all visitors, performers and staff are required to show proof of vaccination, masks will be required at all times as well.
This concert will stream live for FREE on Flushing Town Hall’s YouTube Channel
Billy Strings completed a four night run of sold out shows at The Capitol Theatre in Port Chester over February 3rd to 6th. This was the second year celebrating a telepathic experiment conducted by The Grateful Dead 51 years ago.
Billy Strings Capitol Theatre Night 4 by Em Walis
Fans were asked to send images with their minds to selected celebrity participants while they sat at home for the duration of the concert, but without viewing it. After each show, Billy, Royal Masat (bass), Billy Failing (banjo), and Jarrod Walker (mandolin) interviewed participants via video call.
Song selections throughout the weekend ranged from bluegrass standards to hot tracks off the latest album Renewal. Grateful Dead favorites were peppered in for good measure.
Spiritual Dance Party
The Capitol Theatre has been a coveted venue for artists throughout the decades. A sense of importance could be felt. Perhaps a supernatural energy vibrated by those attuned to such mysteries. Security carried themselves with pride, as if they had answered a higher calling to protect the spirits as they arrived to dance.
Attendees young and old accumulated mass as the general admission section filled the room. Stories were passed about the first show, or the most recent. The conclusion was always that the best show was the most recent attended.
Left to Right: Jarrod Walker, Royal Masat, Billy Strings, Billy Failing by Em Walis
Going To Church
A man seeing Billy play for the first time questioned “is this Billy guy really as good as my buddy says he is?” A seasoned fan insisted Billy was about to take the new guy to church.
Not far into “Pyramid Country,” the new guy propped an arm on his buddy’s shoulder and signaled satisfaction towards the seasoned fan. “Ole Slew-Foot” played soon after. A big hug was given to the new guy’s buddy, promptly followed by a Slew-Foot sized hug with the seasoned fan. Comments were made about the playing being unreal as well as the superior mixing by Sound Engineer Andy Lytle. Suddenly, the new guy vanished, and was replaced with a glowing, dancing, euphoric human. This believer was free of ego and self doubt. Replaced in his soul was a cup filled with gratitude and joy.
Transformation
Little did this believer know that the experience was about to enter a next level of intensity: “Wargasm.’ With help from Lighting Designer Roger Gant, the anthemic powerhouse sound converged with light to take form in a way one might only read about in a fantasy novel series.
Shapes and colors woven harmoniously together with perfectly timed layers created a supernatural depth and texture.
Experiencing Billy Strings by Em Walis
Alive
At last, the theater walls which have seen so much, were given a voice to share stories of dancing bears and grinding gears. The visceral journey shattered any preconceived notion about what music should feel like.
As “Wargasm” built up in intensity,once again, the believer evolved. Transformation occurred during Billy’s guitar solo when the believer’s dancing slowed, eyes widened, palms with outstretched fingers rested over his temples and jaw slowly dropped. That is how a new disciple to the church of Billy was born.
Experimental
It was very clear why people traveled from 48 states. Those sequined jacket gals glistened like the snowflakes of Colorado from which they hailed. Tie dye armies converged, their uniforms unique by region like a family’s plaid and crest. All gathered and communicated as one stomping, singing, boisterous ball of life.
The people, all so different, blended together beautifully in a way that mimicked the pairing of projections on the walls and ceilings with the futuristic lights. Like the individuals in attendance, the music and the lights were on a journey all reflecting one another. Supernatural energy was conjured.
Life after experiencing a Billy Strings show by Em Walis
Clairvoyance
Lights paused, showing bright white lights in perfect timing with the return to the hook of the song. Spirits of the past materialized and could be seen all over the theatre.
Through the haze, there was a young woman glowing in white overalls perched in the balcony. She danced with one specific person down on the GA floor who emanated sonic maternal energy. It appeared as if they had known each other for decades.
Teleportation
The great mother appeared on the balcony beside the woman in white. As if to acknowledge all the spiritual boogie happening that weekend, and to continue the dream-like reality of the Deja-Tu Experiment, Billy showed up in the balcony next to the great mother and her friend in white. Billy performed an epic solo duel with mandolinist Jarrod Walker who played from the opposite side.
Each and every attendee experienced at least one form of Deja Vu over the cold February weekend. One attendee recalled feeling like they were back to mom’s couch with the tape player and the big headphones where “China Doll” tapes were listened to over and over. Another noticed the variety of swagger bassist Royal Masat carried with ease. That person was immediately taken back to a fond memory of that Rolling Stones show 30 years ago. As the deep pink lights blanketed the audience during “In the Morning Light,” a young couple were together reminded of when they met and realized life was about to change for the better.
Terrestrial
Waking up on Monday morning, all in attendance faithfully checked instagram for last night’s photos while sipping their morning coffee. Receiving the grounding signal from Photographer Jesse Faatz provided closure and peace for all that had been experienced. Colorful imagery depicted emotions and encapsulated memories. These photos confirmed that the past few days were more than just the feeling of Deja Vu.
Transmutation
Billy Strings and The Capitol Theatre together created a healing fountain for people to connect, dance with spirits and feel alive again.
Setlist February 3: You Don’t Know My Mind (Bluegrass Allstars), Pyramid Country, Ole Slew-Foot (Johnny Horton), Cold on the Shoulder (Gordon Lightfoot), West Dakota Rose (Chris Henry), Love & Regret, Wargasm, Along the Road (Dan Fogelberg), Streamline Cannonball (Roy Acuff), Ground Speed (Earl Scruggs), John Hardy (Traditional), Bronzeback, Secrets, Slipstream (Bela Fleck), Red Rocking Chair (Traditional), Pretty Daughter (Danny Barnes), Love Like Me, Away From the Mire, Long Forgotten Dream, Dire Wolf (Grateful Dead), Come Down the Mountain Katie Daly (traditional)
Encore February 3: If You Hair’s Too Long (There’s Sin in Your Heart)
Setlist February 4: Know It All, How Mountain Girls Can Love (The Stanley Brothers), Tipper (Tony Rice), Run Down (Jeff Austin), There Is A Time (The Dillards), Dust in a Baggie, Dealing Despair, Living Like an Animal, Me and My Uncle (John Phillips), Heartbeat of America, John Deere Tractor (Larry Sparks), On the Line, Freeborn Man (Keith Allison), Thunder (Robert Hunter), My Love Comes Rolling Down (The Doc Watson Family), Ernest T. Grass (The Dillards), Air Mail Special (Jim and Jesse), Show Me the Door, Oh Babe, It Ain’t No Lie (Elizabeth Cotten), Rosa Lee McFall (Charlie Monroe), Turmoil & Tinfoil
Encore February 4: Roll On Buddy Roll On (Bill Monroe and the Bluegrass Boys)
Setlist February 5: Red Daisy, Thirst Mutilator, A Good Woman’s Love (Bill Monroe), A Robin Built A Nest on Daddy’s Grave (The Stanley Brothers), While I’m Waiting Here, Home of the Red Fox (Bill Emerson), Little Maggie (Traditional), China Doll (Grateful Dead), I’m Still Here (John Hartford), Last Train to Clarksville (The Monkees), Everything’s the Same, Doin’ My Time (Lester Flatt & Earl Scruggs), Running, Ice Bridges, In the Morning Light, Meet Me at the Creek, Shady Grove (Traditional), Deal (Jerry Garcia)
Encore February 5: Don’t Let Your Deal Go Down (Lester Flatt & Earl Scruggs)
Setlist February 6: Fire on My Tongue, Must Be Seven, Hellbender, Fire Line, Reuben’s Train (traditional), End of the Rainbow (Frank Wakefield), Running the Route, Home, Highway Hypnosis, Taking Water, The Likes of Me (Jerry Reed), All Fall Down (John Hartford), Tennessee (Jimmy Martin), Nothing’s Working, Doin’ Things Right, Peggy-O (Traditional), Hide & Seek
Long Island singer Carly X has released her new project called A Dark Frequency, featuring two songs “Lowkey” and “Don’t Mind Me.”
Growing up, she was influenced by a variety of artists, from SugarHill to McFadden & Whitehead, and also Marvin Gaye. She started writing music at age six, and once she discovered female rappers like Nicki Minaj and Queen Latifah, she started writing her own rap verses.
Carly X.
After being hand-selected by Doritos and Busta Rhymes to complete a rap competition, she was the youngest and only female to touch the stage, when she was only 19. She opened for Wiz Khalifa and was featured in Billboard Magazine.
Her newest piece of music, A Dark Frequency is about the silent battles she faces alone in the dark.
No matter how bright a light may seem to shine, it’s only a matter of time until darkness arrives. Sometimes we pretend everything is ok, sometimes we let the darkness consume us, and sometimes we fight to see the light again.
Carly X
The two songs featured in the project, “Lowkey” and “Don’t Mind Me” both encompass strong beats and melodic backing tracks as she spits verses down. The songs are reminiscent of older rappers, like Biggie or Tupac, but also give a modern rap feel. These are songs that everyone could add to their playlists and be able to vibe with.
Carly X is taking names and is here to stay and make her mark in the industry. She officially started releasing music in 2020 and has no plans to stop. Her new project A Dark Frequency is available to stream here.
58 years ago, on February 9, 1964, The Beatles played on The Ed Sullivan show in NYC, creating one of the most seminal moments in television history. A record-setting 73 million tuned in to watch the Fab Four perform “All My Loving,” “Till There Was You,” “She Loves You,” “I Saw Her Standing There,” and “I Want to Hold Your Hand.”
The Beatles with Ed Sullivan.
Consisting of John, Paul, George, and Ringo, The Beatles are one of the most influential bands to have ever existed. The group was formed in 1960 in Liverpool, England. They spent the first couple years playing small clubs in Europe and perfected their craft after playing eight-hour days in Hamburg, Germany. It wasn’t until their performance on “Val Parnell’s Sunday Night at the London Palladium” and the release of their first LP Please Please Me that Beatlemania truly began.
https://vimeo.com/385906665
Please Please Me by The Beatles full album.
Urban legend says Ed Sullivan first heard about the group when he and his wife were at an airport in London returning to NYC and witnessed 1,500 screaming fans welcoming The Beatles back from a successful tour in Sweden.
Actually, Sullivan found out about The Beatles before that, through his Talent Booker Jack Babb, and London-based agent Peter Prichard. Sullivan was eager to book the group but needed a selling point. Prichard said they had just performed in the Royal Variety Show where they were the first “long-haired boys” to be invited to appear before Queen Elizabeth II.
The Beatles meeting Queen Elizabeth II
On November 11, 1963, Beatles manager Brian Epstein met Sullivan in the Delmonico Hotel in NYC, and the deal was done with a handshake. The Beatles were booked for three performances, two live and one a taped rehearsal.
Before the debut performance on the Sullivan show, the group’s record “I Want To Hold Your Hand” was leaked before its planned US release. The record label was unable to stop the radio from playing it, so they released the LP earlier than expected, and it went to the number one spot on the Billboard charts before the month was over.
The Flight
The Beatles flew to America on February 7, 1964. When they arrived at the airport, they were surprised at the number of people there to see them. Paul McCartney commented on it during the Anthology sessions in the 90s.
There were millions of kids at the airport, which nobody had expected. We heard about it in mid-air. There were journalists on the plane, and the pilot had rang ahead and said, ‘Tell the boys there’s a big crowd waiting for them.’ We thought, ‘Wow! God, we have really made it.’
5,000 fans, mostly young girls, were crowded on the balcony of one of the buildings at JFK, waving banners and screaming at the top of their lungs.
They were able to get so many people there because the group’s American record company promised that every person who showed up at the airport would get a dollar bill and a t-shirt. The receptionists at Capitol Records would answer the phone, “Capitol Records – The Beatles are coming.” Every radio station was talking about it too.
The Beatles arriving at JFK.
The Ed Sullivan Show
Paul McCartney spoke about their appearance on the show also during the Anthology sessions.
It was very important. We came out of nowhere with funny hair, looking like marionettes or something. That was very influential. I think that was really one of the big things that broke us – the hairdo more than the music, originally. A lot of people’s fathers had wanted to turn us off. They told their kids, ‘Don’t be fooled, they’re wearing wigs.’
The band rehearsed the day before, and George Harrison was feeling ill, and their road manager Neil Aspinall stood in for him to mark where everyone would stand.
Neil Aspinall standing in for George Harrison during the rehearsals.
Their live debut broke record for television viewing figures, as a record 73 million people tuned into the show. The group even got a telegram from Elvis Presley and his manager Colonel Tom Parker, wishing the group luck. Harrison made a witty remark about the show, during the Anthology sessions.
We were aware that Ed Sullivan was the big one because we got a telegram from Elvis and the Colonel. And I’ve heard that while the show was on there were no reported crimes, or very few. When The Beatles were on Ed Sullivan, even the criminals had a rest for ten minutes.
The band came on and played “All My Loving” to an audience full of ear-splitting screeching from teenage girls. Then they played “Til There Was You,” and while the song was playing, a camera cut to each member of the band to introduce them, and when the camera cut to John Lennon, the caption said “SORRY GIRLS. HE’S MARRIED.”
The band played three more songs, “She Loves You,” “I Saw Her Standing There,” and their number one hit “I Want To Hold Your Hand.” After the show, The Beatles were whisked away to the Playboy Club with a police escort.
The Beatles’ success on The Ed Sullivan show paved the way for the British Invasion, for groups like The Rolling Stones and The Animals. The group have also inspired the works of many bands, like the Ramones song “You’re Gonna Kill That Girl,” a parody of the tune “You’re Gonna Lose That Girl” by The Beatles.
The South Bronx non profit Women’s Housing and Economic Development Corporation, has recently received a $2.5 million grant to finish construction of the Bronx Music Hall. The grant was awarded by the Andrew W. Mellon Foundation.
The state of the art facility is 14,000 sq. ft. and will be the first music venue built in the borough in more than half a century. It is located on 438 East 163rd Street within WHEDco’s newest affordable housing development, Bronx Commons. The venue is currently capable of 250 occupants, and also contains a green room, studio, classroom and a lobby to host additional events. The Bronx Music Hall is capable of serving 20,000 in person audience members, post pandemic.
Davon Russell, president of WHEDco, cites the new venue as a “community cultural asset” that will respond to historic inequities that the borough has experienced through the decades. It will also help to bring funds to the borough, and greater NYC area to assist in its economic recovery.
Historians documented each wave of immigrants who settled in the Bronx spanning more than a century. The traditions and rhythms they carried have endured and inspired new generations and new forms of music. Inside and out, the Bronx Music Hall was designed to reflect and showcase today’s diverse contemporary culture
Nancy Biberman, WHEDco Founder and President Emerita.
The Mellon Foundation funding will allow for completion of the main elements within the music hall, including back end lighting, rigging and audio control, as well as cosmetic additions and necessary audience seating.
The Bronx Music Hall is scheduled to open later this year. For more information, visit the Bronx Music website. More information about the WHEDco organization can be found here.
Brooklyn punk band SAVAK announce their new album Human Error / Human Delight, and a Spring tour, with multiple dates in the NY Metro area.
SAVAK, photo by Taylor Sesselman.
The band is led by Sohrab Habibion and Michael Jaworski, and Matt Shulz on drums. Jaworski and Habibion have both been doing singing and songwriting together since the band was created in 2015.
All the members played in bands in the 90s, which helps them reform their sound, as touches of the scene are heard in their music.
The album art for SAVAK’s Human Error/Human Delight.
SAVAK have released a number of singles ahead of the album’s release, which is set to come out April 15. The title of the album comes from the fascination of just existing as a human. The newest release, “No Blues No Jazz,” speaks of what life would be if genres didn’t exist. The album was written over Zoom, and grapples with the idea of creating an album during a pandemic, and if it is justified.
The group have also announced a Spring tour, with many NY metro dates, and tickets to that can be found here.
SAVAK LIVE 2022 Fri. Mar. 4 – Providence, RI – TBD
Sat. Mar. 5 – Northampton, MA – Bishop’s Lounge*
Wed. Mar. 16 – Austin, TX – SXSW*
Thu. Mar. 17 – Austin, TX – SXSW*
Fri. Mar. 18 – Austin, TX – SXSW*
Sat. Mar. 19 – Austin, TX – SXSW*
Thu. Apr. 7 – Brooklyn, NY – Littlefield #+
Fri. Apr. 8 – Kingston, NY – Tubby’s #
Sat. Apr. 9 – Lowell, MA – The Town and the City Festival (early show)
Sat. Apr. 9 – Boston, MA – Midway Cafe #
Fri. May 13 – Philadelphia, PA – TBD +
Sat. May 14 – Washington, DC – TBD +
Fri. Oct. 21 – New York, NY – Le Poisson Rouge !
* w/Pays P. # w/Chris Brokaw + w/Upper Wilds ! w/June of 44
