Molding the future fans and musicians should and often does start in utero. This little girl and her dad are perfect examples of how much love, joy, and fun music can bring into our lives. I’ll be watching this on repeat today!
Category Archives: Music
2014 Summer Featured Artists
Each summer, new and seasoned artists step into the sunny spotlight and seem to shine just a little bit brighter than before. This coming summer is no exception to the rule. With festival lineups set, music lovers have a chance to catch these artists on multiple outdoor stages across the US.
Evolution of a Fan has chosen to feature a handful of these artists as their momentum builds. Stay tuned for features on the following artists through the end of summer:
Filed under Fans, Live Shows, Music, Review
Album Review – Beyoncé’s “Beyoncé”
Dreams and fantasies creep into the mind, often cloaked by the darkness of night and with little warning. Such is also true for Beyoncé’s fifth solo album, “Beyoncé,” which was secretly released through iTunes on a random Thursday night in December without any promotion.
While albums are typically released on Tuesdays and hyped-up for months beforehand, Mrs. Carter decided to forego industry standards and make her own rules. She wanted to be the one to deliver this 14-track, 17-video “visual album” directly to her fans, and that is exactly what she did.
It was a risky endeavor, but in a world where tweets and Instagram photos spread within seconds, Beyoncé’s risk reaped major rewards. The singer’s most erotic album to date now sits high on its throne as the fastest selling album ever on iTunes.
Collectively, “Beyoncé” is a brilliant portrayal of one woman’s flawed but honest journey into womanhood. What makes it brilliant is that as Beyoncé shares her most intimate thoughts, she speaks to and for so many others. Despite the fact that Beyoncé is worth an estimated $53 million, the album reveals that at 32 years of age she still struggles with very common emotional battles.
In line with Madonna’s 1992 album “Erotica” — also her fifth album which features alter-ego Mistress Dita —“Beyoncé” delivers a heavy dose of sexuality, so much so that Freud would seriously have a field day analyzing it. Not only do listeners get a boatload of not-so-subtle innuendos, but Beyoncé also ties childhood sound bytes into the story and introduces yet another alter-ego—smack-talking ferocious Yoncé—to her fans. It doesn’t get much more Freudian than that.
After watching the rise and fall of MTV, Beyoncé is doing her part to bring back the art of the music video. While the accompanying videos leave little to the imagination, they are playful, poignant and cinematic, all while providing a vivid vision to back the lyrics. Tracks like “Blow,” “Partition,” “Drunk in Love” and “Rocket” are matched with in-your-face images across the spectrum of attraction that breathe life and love into her closest relationship.
In particular, Beyoncé — along with Miguel and Justin Timberlake — find that sweet spot with “Rocket,” which is unmistakably the female version of D’Angelo’s “Untitled (How Does it Feel).” Thirteen years after D’Angelo’s iconic song hit the airwaves, “Rocket” explodes with Prince-esque boudoir beats and rich R&B runs. This type of between-the-sheets plea to husband Jay Z effectively permeates the album without making fans feel like uninvited peepers. Rather, Beyoncé’s transparency translates as a newly found freedom from expectations that have previously been placed upon her.
While the erotic nature of the album demands attention, there are other important themes that develop through the tracks. One of the most powerful tracks, “***Flawless,” features the powerful words of Nigerian poet Chimamanda Ngozi Adichie and reminds women of all ages to fight for gender equality.
Another standout fan-favorite is “XO,” a call-and-response percussive carpe diem love jam that celebrates living every moment like it is the last. “Pretty Hurts” speaks to the pressures of sacrificing the soul for superficial beauty, while “Blue” celebrates the triumphs and joys of motherhood. Beyoncé also gives a glimpse into the ups and downs of marriage on tracks like “Jealous” and “Mine,” tapping into some of the not-so-sexy emotions that can threaten even one of the most influential couples in the music business.
Stylistically, Beyoncé experiments with a more electro-pop sound, often jagged and jolting in its delivery, similar to methods found on Frank Ocean’s “Chanel Orange.” It is no surprise that Ocean joins Beyoncé on “Superpower,” an apocalyptic anthem that could be construed as a call-to-arms to her fans, or perhaps just a love letter to Mr. Carter.
Interestingly, across the album’s tracks and videos there exists a drastic trade-off between the harder and softer sides of Beyoncé, along with a fierce loyalty to her family and hometown, Houston. As with almost everything she has ever created, there is an air of modern-day feminism and empowerment that prevails on this album.
However, this empowerment has never quite felt as authentic as it does on “Beyoncé,” because Beyoncé is finally showing the world that she is confident and comfortable being her true self. It is in her honesty that she is liberated as a woman, mother and wife, and this in turn spreads naturally to her listeners. While this girl-power quality may imply that “Beyoncé” is strictly for the female listeners, think again. With open minds, men can get a detailed glimpse into the female psyche after taking in this visual album, and if he were alive today, Freud would certainly agree.
Music and Healthcare – Dave Lamb’s Story
Brown Bird’s Dave Lamb and MorganEve Swain
Independent touring musicians typically think about costs associated with lodging, van repairs, and replacing an old blown out amp. While a touring life doesn’t always coincide with the healthiest of lifestyles, the thought of budgeting for proper healthcare is often placed on the back burner–that is until it turns into a screaming tea kettle that can no longer be ignored.
Such was the case for Brown Bird‘s Dave Lamb, who was diagnosed with Leukemia last year while on tour promoting the band’s most recent album, “Fits of Reason.” It was at a show in Houston when the fatigue was so insurmountable that he was rushed to the emergency room. The diagnosis was shocking, as was the aftermath of medical bills that piled up for this uninsured musician.
With the tour cancelled, and no income in sight, Lamb set up a crowd-funding campaign on YouCaring to help offset the growing medical expenses. The response was overwhelming, and Lamb was able to raise over $60,000. As he continues treatment along the long road to recovery, Lamb is speaking out to other uninsured artists about the importance of finding coverage.
“It’s important to be informed about your health care options because the costs may be more manageable than you might otherwise have thought,” Lamb said. “I want to encourage others to understand the importance of having health insurance when you’re suddenly faced with a very serious illness.”
Lamb, along with bandmate MorganEve Swain, recently teamed up with HeadCount–a nonprofit organization that works with musicians and fans to help promote participation in democracy. While HeadCount typically focuses on voter registration, the organization is now working directly with the U.S. Department of Health and Human Services to assist musicians seeking information about health insurance. They are also helping musicians like Lamb tell their stories.
HeadCount has created a dedicated information hotline that musicians and music industry professionals can call with questions about health insurance, at (919) 264-0418.
Super Bowl Mixtape – Richard Sherman Edition
In light of the most recent post-game interview heard round the world, EOAF presents to its readers, the 1st Annual Super Bowl Mixtape: Richard Sherman Edition. Let the games begin…
Roc Boys (And the Winner is)… – Jay Z
Me, Myself, & I – De La Soul
Catch a Bad One – Del tha Funkee Homosapien
Down With The King – RUN-DMC
Superstar (ft. Matt Santos) – Lupe Fiasco
Buggin’ Out – A Tribe Called Quest
Mass Appeal – Gang Starr
Breathe – Fabulous
Hustlin’ – Rick Ross
Close Edge – Mos Def
So Fresh, So Clean – Outkast
Straight Outta Compton – N.W.A
Time 4 Sum Aksion – Redman
Filed under Music
Album Review – Rebekah Todd’s “Roots Bury Deep”
Photo by: Kristen Abigail
Deep beneath the muddied surface of the Tar River and the sifted soil of tobacco fields lays the history of our state. Layered stories from past generations have formed the foundation upon which all other stories are told.
This month, local songstress Rebekah Todd adds her own stories to the thick NC bedrock with her first LP, “Roots Bury Deep.” Funded through a successful Kickstarter campaign, this 9-track album proves to be a soulful folk gem with shades of jazz and funk that paints across the canvas of genres, all while maintaining a cohesiveness that keeps the listener engaged.
With this album, Todd enlisted some of the best that Greenville has to offer. Local musicians Demetrice Everett (drums), Chris Knuckles (saxophone), Evan Roberson (trombone), William Seymour (bass), and Brandon Shamar (keys) lend their talents and create a more textured auditory landscape that enhances Todd’s traditional folk sound. The final product takes listeners on a journey from the deep, dark corners of loss and despair to the wide-open, bright spaces of love and hope.
The album opens with “Devil’s Gonna Buy,” a ghostly, Bourbon Street bender flushed out with whiney trombone and eerie background vocals fit for the dark, gritty alleyways of New Orleans. This track jumps right into “Closer To Dead,” which shines with gospel undertones as the organ and saxophone emerge in line with the supernatural opener.
The catchy radio hit “On The Run” features a punchy cadence and baseline reminiscent of Paul Simon’s “Graceland.” While the title may imply runaway-bride-syndrome, this track is all about empowerment and drive — an important message for anyone who may need a nudge in life. The stripped-down acoustic “Thinking About You” takes a softer, day-dreamy glimpse into Todd’s past, where she opens up about the gripping realization that life is quite incompatible without love.
On “Tornado,” Todd channels her heartaches into powerhouse vocals and tempts the heavens, while reminding listeners that the only way to trump adversity is to face it head-on. “Your Smiling Face” is a toe-tap-clapper with a steam engine drum line fitted with enough spunk to become a crowd favorite.
Todd’s songwriting truly gleams on “Old Days,” a track that traces Todd back through time where she bears the pain of loss, but finds comfort in reliving memories and relishing in the little signs from above. The title track “Roots Bury Deep” follows, and proves once again this songstress’ lyrical prowess as she belts “Let me take you back to the rhythm/Back to the time when you felt only love in my arms/Let me take you back to the country where your roots bury deep/And the soil is rich for all.”
The album closes with “Wishing Well,” an eight-minute magical woodland wonder that captures Todd at a vulnerable crossroad, gazing into her reflection and foreshadowing her path. The horns on this track fade in gently to compliment Todd’s vocal tones and ride the song out as an instrumental. Roberson and Knuckles trade off leads, as if improvising a conversation between Todd’s yesterdays and tomorrows. This track is a beautiful tribute to the fragile nature of life and all of the events and decisions that guide its course.
Throughout “Roots Bury Deep,” Todd’s superb songwriting ties itself closely to the earth — the soil, the roots, the elements. In a world bogged down by technology and the next new trend, Todd keeps things clean, simple and organic, focusing on the most primal of emotions.
Todd’s poignant and powerful vocals reign supreme on each track, with the force to puncture even the toughest of exteriors. However, it is clear to any listener that the backing band elevates Todd’s signature sound to an entirely new level. The horns and organ pull out a speakeasy soul from Todd’s voice that was not yet fully developed on her 2011 EP “Forget Me Not.”
Overall, “Roots Bury Deep” translates as a potent collection of Todd’s most intimate stories. The album reveals that Todd has matured not only as a songwriter, but also as a performer as she displays a renewed confidence in her music. As with any artist, it is important to evolve and grow, and with this album Todd shows that she is capable and comfortable in her own skin, all while staying grounded by her roots.
“Roots Bury Deep” will be released officially February 18, 2014, and will be available on iTunes, Bandcamp, Amazon and more. For more information about her Greenville and Raleigh album release parties, be sure to keep up with Todd on Facebook, Twitter and Instagram or at www.rebekahtodd.com.
Enjoy the title track here!
Interview: Jiggley Jones
Photo: Beauty By Grace
To kick off the new year, Evolution of a Fan caught up with Americana singer-songwriter Jiggley Jones, out of Coatesville, PA. Last year was a huge year for Jones, who took home the Songwriter of the Year award at the 2013 International Music and Entertainment Association Awards (IMEA), which was held in Ashland, Kentucky. Jones took some time to chat with us about his music, fans, and family.
Evolution of a Fan: How did your upbringing affect the type of musician you are today? What kind of music were you exposed to at an early age?
Jiggley Jones: I only dabbled in music when I was really young, singing at church and playing the clarinet in elementary school. It wasn’t until my later teens that I started to get serious about my love for music. I think the radio was my main influence musically when young and as I got older and bought my own albums I was finally able to branch out a bit.
EOAF: What does it mean to you, to have won the 2013 IMEA Songwriter of the Year award?
JJ: Wow, “Songwriter of the Year”. This is my forte, my bread and butter, my contribution. It means everything to me to be recognized for that!!
EOAF: What is your songwriting process like?
JJ: I do try to block out time to write because I really need to focus on the mental side of the music without distraction. I usually start with a guitar chord progression or “riff” and then I’ll “scat’ sing a vocal melody over that. I might even put in some vocal harmonies before I sit down and painstakingly work out the lyrics. Usually they will be based off of how the music is “moving” me at the time.
EOAF: What types of things/events/experiences inspire you to write?
JJ: Everything I’ve stumbled across in life inspires my lyrics. Mostly I generalize so the listener can put their own life into the song. Once in a while I get more specific but overall music means emotion.
EOAF: How does “storytelling” play a part in your music?
JJ: I have told a few specific stories in the past but I feel the story is up to the listener to develop in their own mind.
EOAF: Why type of venue/music event do you enjoy playing the most?
JJ: I really like the coffee house or small “tight” room/bar. The sound quality is usually perfect for what I’m doing which most of the time is me with my acoustic guitar and maybe one other instrument at most.
EOAF: What do you enjoy the most about performing live? Any specific experiences that stand out from your shows?
JJ: There’s an energy in the air that can’t be simulated in any other situation. There’s always that pressure to get it right and perform with the emotion that you need on a consistent basis. So playing live pulls out that inner you and when you’re on, you’re on. It’s always nice to get those compliments at the end of the night also.
EOAF: Which musician/band has had the most profound influence on your songwriting/performing?
JJ: Classic rock was always my go-to influence. I still listen to it today. Mix some old Neil Young with some acoustic Led Zeppelin, and throw in some Eagles and Steve Miller and there you go.
EOAF: What musicians would you have on an iTunes playlist?
JJ: Other then the ones I just mentioned I would go more current and throw in some Blackberry Smoke, Zac Brown, Dave Matthews, and maybe go real old school with Mozart.
EOAF: Is there a story behind your name? If so, care to share?
JJ: Well it’s certainly not that interesting of a story but Jiggley is a real nickname that I’ve had for years. I was at a party one night up in New York and that name got stuck to me during the night somehow and of course that spread like wildfire. Everybody that ran in that circle of friends called me that from then on. Fast forward a handful of years and when this project started I thought I’d use my old nickname just for fun. Everybody once again seemed to like it, so it stayed.
EOAF: In our crazy technology driven world, what is the best way for you to get the word out about your music? What seems to work best (word of mouth, social media, etc.)?
JJ: Definitely social media. Because of that I have an international fan base instead of just local and I’ve never left the country, so that pretty much sums it up.
EOAF: What kind of support have you received from the music scene in PA?
JJ: I love Pennsylvania and you’ll find just as many music lovers around here as anywhere else. The one problem with being from rural Pa is that there aren’t a lot of original venues around and you have to travel. As far as support goes, I have a lot of old friends from my local area who follow my social media sites.
EOAF: What do you think of the re-emergence of “roots”/”Americana” music in the mainstream? Good, bad, indifferent? Any rising acts that you really like?
JJ: Man if it weren’t for the re-surgence of Americana/roots stuff I think I’d be in big trouble as a songwriter, lol. I have to say that I do like The Lumineers and I think that they and maybe Mumford and Sons have really given Americana that “mainstream” push. I’m sure there are plenty of others I didn’t mention also.
EOAF: What was your experience like writing music for various MTV shows? Have you watched MTV lately? Do you think it still is an important avenue for musicians?
JJ: There are other music video choices these days which is great. MTV specially, though the innovator of the popular music video, has changed away from that format it seems. Maybe YouTube has something to do with that I don’t know. We didn’t write music specifically for MTV, they actually picked up what we had written and used pieces of it on the shows as soundtrack stuff.
EOAF: How has your work with Bright Star International changed you? Why is this charity so near and dear to your heart?
JJ: To be honest, though I am on the Bright Star roster, I haven’t worked with them yet. I am definitely looking forward to working with them and the various charities that are involved with children. I have three youngsters myself and they mean the world to me. It kills me to think that there are kids out there that don’t have the opportunities to thrive in life. Bright Star themselves are not a charity but an organization that hooks artists up with charities. What a great idea !!
EOAF: Have you always been a Taylor guitar guy? Tell us a bit about your guitar and how it helps you tell your story.
JJ: This is my first Taylor and I don’t think I’ll ever change from that. One day I picked up a friend’s Taylor and instantly fell in love with it. I just wish I had enough money to go out and grab up a few more of them. It’s mainly a comfort thing and that means a lot to me as I’m playing for long periods of time. The feel is great, the sound is great and the quality/workmanship is great. What more can I say.
Photo by Beauty By Grace
To learn more about Jiggley Jones and his music, please visit: http://jiggleyjones.com/wordpress/
2013 in review – Thank You Readers!
The WordPress.com stats helper monkeys prepared a 2013 annual report for this blog.
Here’s an excerpt:
The concert hall at the Sydney Opera House holds 2,700 people. This blog was viewed about 14,000 times in 2013. If it were a concert at Sydney Opera House, it would take about 5 sold-out performances for that many people to see it.
A-E-I-O-U and sometimes Y
October 4, 1996
I was born in the late 70’s and grew up in the suburbs of Washington, DC and Hartford, CT. I knew nothing of the “streets” or city life, although I was drawn to it. I wanted to understand the world that was so different from mine. So, like any curious little suburban girl, I grasped for things that I thought would bring me closer to that understanding. I watched “Breakin’,” wore my pink and gray parachute pants and practiced my head spins as often as I could. At the time, it seemed logical–I was 6 years old.
Despite my desire and incessant practicing, I quickly learned that breakdancing was not my calling. Soon thereafter, I found a new obsession–hip-hop–lurking closely behind the breakdancing culture that exploded in the 80s. In 1985, I stood in a family friend’s bedroom with my older brother and listened to Run DMC’s “King of Rock” album. I had never heard anything like it, but I wanted more. Soon thereafter, Beastie Boys, Public Enemy and Big Daddy Kane found their way to our boom box and we were hooked.
Fast-forward to our family trip to San Diego in 1990. On a hot summer day, my brother and I roamed through a flea market before heading to a Padres game with our parents. I spotted the stand that sold cassette singles and started scanning the titles. At that time, cassette singles were where it was at. You’d get the original track along with maybe 2-3 remixes without having to buy the whole album. It was at this flea market stand where I purchased the small chunk of hip-hop history that would forever shape how I measure hip-hop from that point on–“I Left My Wallet in El Segundo” by A Tribe Called Quest.
I wore that cassette single out to the point where it literally would not play anymore. I bought the album, “People’s Instinctive Travels and the Paths of Rhythm,” and watched Yo! MTV Raps as much as I could, just to get a glimpse of Tribe videos and interviews. My catalog of hip-hop grew, but I always fell back on Tribe as the best. I thrived off of the beats, the samples, the flow, the lyrics, the intellect, and the fact that they celebrated their uniqueness without a care in the world.
The next two albums, “Low End Theory” and “Midnight Marauders,” solidified Tribe’ place at the top. I was supposed to go see them perform at Lollapallooza in 1994 but was sidelined by a yearly physical that somehow couldn’t be rescheduled (Note to self: if my future child has a doctor’s appointment on the same day as a concert where he/she will get to experience his/her favorite band for the first time live, I will let the child go to the show). I was devastated, and had to wait another 2 years until they came through and played at the college I was attending. It was my freshman year and the only time I’ve ever seen them live. I rode the rail, rapped along with them like I was the 5th member, and even got a wave and smile from Q-Tip after the show.
To this day, I continue to find surprises in Tribe’s songs–a witty lyric I somehow missed or a sample that now jumps out and makes listening to Tribe a new experience. I think something in hip-hop died when Tribe dissolved. Even though there are a handful of musicians that still try to carry Tribe’s torch and light that path of hip-hop, there still feels like something is missing.
I spent most of my teens and twenties immersed in hip-hop. Once Tribe called it quits, I turned to groups like Outkast, The Roots, Del the Funky Homosapein and Mos Def. These musicians excited me in the same way Tribe did, but never enough to knock Q-Tip, Phife, Ali, and Jarobi off of their pedestal. While it is true that all good things come to an end, from a fan’s point of view it is never easy to watch. Fans are greedy and sometimes forget that musicians are real people with real problems.
Recently, I was turned on to “Beats, Rhymes & Life: The Travels of A Tribe Called Quest,” a 2011 documentary directed by actor Michael Rapaport. This documentary speaks to the highest of highs and the lowest of lows of my favorite hip-hop group. It was sad to watch, but joyful at the same time because it transported me back to those years when Tribe’s albums dropped and gave us some of the best music that the world has ever heard. Even for those readers who never got into A Tribe Called Quest, this documentary is worth your time and attention. Enjoy!
2013…The Year of the Fan!
With 2013 coming to a close, it’s time to reflect on another spectacular year of music. Live music pulled me to many different corners of our beautiful United States. From Rhode Island’s Newport Harbor to Colorado’s Red Rocks and everywhere in between, I’ve been lifted up by the music and the many friends and fans I’ve met along the way.
I know 2014 will bring many new musical experiences–already have 5 concerts on the books so far–however, I’d like to take this opportunity to share my 2013 Top 10 EOAF Moments:
10. Watching Jay-Z and JT somehow get a sold-out Fenway Park to sing along to “Empire State of Mind” with little to no resistance, might I add. Perhaps all it takes is these two powerhouse performers to dissolve decades of hatred between Bostonians and New Yorkers. Not too sure New Yorkers would have done the same if roles were reversed!
9. Filling our home with the imperfect but impeccable sounds of vinyl, and the constant chase to find my next favorite record at the thrift shop…oh and my first Record Store Day, too!
8. Being one of 200 people at MerleFest who got to listen to Wayne Henderson tell the story about the first guitar he ever made. That sweet, humble man seriously blew my mind.
7. Experiencing my first live Bob Dylan performance. Even though I could barely understand him, I knew I was in the presence of folk greatness!
6. Being a part of this wonderful “Thank You” project…
5. Stumbling upon the surprise songwriters session at Newport Folk Festival and spending the morning listening to Langhorne Slim and Scott and Seth Avett play and answer questions from a small audience (capped off by a Jim James eyes closed staring contest).
4. Experiencing The Avett Brothers’ performance of “Complainte D’Un Matelot Mourant” at Red Rocks Night 1 — to try to describe the ghostly wind that blew down through the rock amphitheater to the stage would be impossible. Even the video doesn’t do it justice.
3. Being one day late from experiencing The Milk Carton Kids at Newport Folk Festival, but falling in love with them through the NPR podcast anyway. They are by far the best musical discovery of the year!
2. Experiencing Neutral Milk Hotel live at The National in Richmond, VA. The musical saw performance alone was worth the trip.
1. Being involved in the recording process from start to finish, and then hearing the absolutely amazing final product. Thanks to Rebekah Todd for having me along for the ride! (“Roots Bury Deep” out in early 2014)
Thank you all for coming back time and time again to pay EOAF a visit. Next year we hope to bring you more exciting music news, reviews, guest bloggers, and more. Merry music cheers and happy ears in 2014!
Filed under Fans, Live Shows, Music, Review
Evolution of a Fan 