Silk Sonic
Silk Sonic is a lavish tribute to 70s soul music. Bruno Mars and Anderson Paak make an engaging duo who skillfully fuse old with new styles into one of the most engaging albums of 2021. Their relaxed personalities combine beautifully with vintage inspirations resulting in something truly spectacular.
Bootsy Collins, best known as bassist of Parliament and Funkadelic, introduces this record with an introduction that sets a playful, comedic tone reminiscent of classic funk and soul music – though R&B and hip-hop influence is evident throughout as well.
No surprise that this record has become one of the top funk, soul, and R&B albums of 2015. From its flawless production to impeccable vocal harmonies by duo members Ty Dolla Sign and Victoria Monet – it is sure to take its place among this year’s finest albums in this genre. Supported by Grammy and Oscar winner D’Mile who has worked with artists like Ty Dolla Sign and Victoria Monet.
Owing to its creation during the Covid Pandemic, musicians don’t try to hide the fact that they’re having fun on this album; their infectious energy was evident at their one-night-only performance at Peppermint Club in LA.
Songs by Tilted feature groove-filled basslines, dripping bass guitars, and organs reminiscent of vintage Cadillacs. One of the album’s most accessible tracks, Leave the Door Open, sounds just like an effortless soul classic from an era where disco was reigned supreme and funk was the soundtrack for intimate moments.
Lady Wray
Nicole Wray decided after an unpleasant parting from Portsmouth Church to explore different avenues for her musical career. While as a teenager she sang gospel alongside her sister and mother in church choir, once she tasted secular success she found herself drawn towards R&B music and has drawn influence from Mary J. Blige, Mariah Carey and Toni Braxton as she developed her signature sound evident on Piece of Me.
Wray and Terri Walker collaborated on this retro-soul project together, having both experienced R&B success at the turn of the millennium. Produced by Leon Michels – a Brooklyn musician who rose from being a teenage funk prodigy at Desco Records to becoming the label head for Truth and Soul before cofounding Big Crown–their self-titled album was released by Big Crown Records in 2013.
Boom-bap drums and speaker-testing bass lines set the scene on “Money”, an opening track showcasing both their street anthem abilities as well as their love ballad covers (such as Irma Thomas songs). “Money” serves as an unforgettable reminder that love, even though fickle at times, remains very real.
Wray’s infectious vocal delivery should not be mistaken for naivete; her ballad “Habit” makes that clear. Wray knows how to present unsavory themes in innocent-sounding packages that would pass Ed Sullivan’s censors without issue. Her lyrics might feature sardonic rhymes or romantic melodies; either way, Wray always manages to make her point with such infectious energy that even though she has been around for two decades already, her journey seems only just starting.
Wesley Bright & the Honeytones
Wesley Bright and his Honeytones quickly made an impressionful entrance on Cleveland music fans with their sweaty, horn-driven retro soul, quickly becoming one of its most beloved bands. Soaring vocals and retro-influenced musicianship transport audiences back to an earlier era when legendary soul artists graced our stages; making Wesley Bright and his Honeytones an excellent choice for anyone who appreciates old school R&B and appreciates live shows.
Though taking time off this year to regroup and record their full-length album at Colemine Records in Loveland. Their most recent single “Must Be the Love” offers an appealing tribute to romantic love that was released just ahead of Valentine’s Day.
Lead singer Wesley Bright boasts honeyed vocals that rival those of Otis Redding and Al Green, with pipes worthy of Otis Redding himself, as well as moves that keep dancers moving all night long. Akron band’s sound recalls early 1970s retro soul and rhythm and blues; making them popular club fixtures who have shared stages with acts such as War and Tower of Power.
The band owes much to the legacy of Northern Ohio soul music. Their musical inspiration comes from classic soul acts such as Otis Redding and Jackie Wilson as well as elements from Memphis soul and northern soul music.
Wesley Bright and the Honeytones stand out among modern bands playing similar music by placing more importance on recording craft and songwriting than pure entertainment, earning them a loyal following that appreciates their more refined sound.
Ghost-Note
Ghost-Note is an engaging ensemble led by multi-Grammy winning Snarky Puppy drummers Robert “Sput” Searight and Nate Werth who offer an open approach to groove and rhythm. Their two albums (2015’s Fortified and 2018’s Swagism) both made it onto iTunes Jazz Chart’s top 10. Led by their original drumming duo, Ghost-Note also draws upon an outstanding group of rotating musicians that has played with Kendrick Lamar, Herbie Hancock and Toto among many others.
On the live set we heard, the band started strong and kept up their intensity until their last track an hour and fifteen minutes later. Their set consisted of both originals and covers; with drummers showing off their rhythmic skills.
The members’ chemistry was evident. They seemed to play off each other’s strengths and weaknesses without ever showing displeasure, with bassist MonoNeon and drummer Sput having an almost psychic connection on songs; one would sing while the other provided rhythm that fit seamlessly.
While their percussion was undeniable, vocals and guitar work were just as impressive. Their blend of soulful and funky sounds had the crowd dancing along to every tune they performed.
The night was brought to an exciting close with a cover of Billy Cobham’s “Some Skunk Funk,” featuring the band’s drumming duo who left everyone dancing and smiling! If this was their debut show, it surely was an indication of great things to come – we can’t wait until their return!
Devon Gilfillian
Devon Gilfillian’s expressive vocals combine vintage R&B and folk rock influences into one seamless sound, making him a popular touring artist. Opening for everyone from Keith Urban and Mavis Staples to Brothers Osborne as well as performing solo acoustic sets at Nashville venues like Music Row is only part of his job; on his latest record “Love You Anyway”, Gilfillian explores more modern sounds but maintains his signature acoustic sound; its use being part of what keeps his varied musical influences together!
Last year, Gilfillian was inspired by protests for racial justice following George Floyd’s killing to revisit Marvin Gaye’s classic 1971 album What’s Going On by Marvin Gaye and record it from beginning to end re-recording it from scratch. Gilfillian discusses in this FUV Q&A what inspired him to make that bold leap, covering multiple songs rather than covering just one and his affinity for using music as political activism.
Gilfillian’s live shows are captivating, whether performed with his band or solo. We caught him performing an acoustic version of Black Hole Rainbow’s “The Good Life.” During that set, we heard him combine elements of gospel-blues and Southern soul into his signature sound. Our discussion covered his childhood in Philadelphia where he took influence from musical icons like Ray Charles, Stevie Wonder, Otis Redding, The Temptations as well as contemporary artists like Wu-Tang Clan and Kanye West among many other sources of musical influence.