With the eccentric musical flair of Grizzly Bear and a penchant for 60s pop psychedelia, DAMEDAS is about ready to take the Los Angeles scene by storm. Founded in 2007 by musician Felipe Damedas, DAMEDAS has just recently expanded to include a full group of musicians…and words. The transformation from instrumental to lyric-laden psych/pop was not a difficult for the foursome.
What is perhaps most striking about DAMEDAS is its clear appreciation for the roots of rock n’ roll. The art (above) is reminiscent of the Beatles, and, class-style portraits aside, the music bears a neat resemblance to Beatles-style psychedelia – infectiously effervescent, heavily melodic, and elusively organized. Let me explain:
“All I Need is All I Have” is a tight single by DAMEDAS. The music is crowded with drenched harmonies, twangy guitar, and spondaic percussion. The instrumentation combines a wall of sound approach with portions of sincere quiet. Although I already made this comparison, I can best describe the music as a mix between old and new psych/pop. While the synth fits in with newer Indie Psych/Pop, the sing-song swooning melody is much like late 60s psych/pop. Excellent track!
Let’s be realistic. This has been an unsuccessful season for the declining singing talent show, American Idol. After 12 seasons it seems that the show is losing touch with the viewership and the loss of ratings evidences this theory. The show is formulaic, almost intransigent in its weekly routine. Superficially, there have been some changes to how the results are revealed, for example, but these are not extensive. It seems like I am a bit captious in this brief synopsis, but after so many years of watching the show I’d love to see American Idol transform with the times. The basic structure will always be effective and enjoyable, but the show needs to do a massive re-haul of the judges (which seems to be happening) and the creative content.
For the most part, Season 12 of American Idol came down to two singers. Putting aside the sycophantic, effusive praise machines that were the four judges this year and the top 10 that was almost completely devoid of talent, the show was saved by two vocal powerhouses – one a gritty country vocalist and the other an Aretha Franklin-like, soul superstar. Back on March 11 when I made my predictions for the Idol Top 10, I went on the logic that these two singers would be in it until the end, and I am happy to report that I was accurate in my guess. Kree Harrison and Candice Glover make up your final two.
Of all of my predictions, I was most wrong about Amber Holcomb. I initially viewed her as a throw-away contestant who would be the first eliminated in the Top 10, but she made it all the way to 4th place. This was more of a testament to the lack of talent among the top 10 than her own ability. For some reason the judges gushingly extolled her like she was the second coming of Beyonce. Holcomb’s voice only worked in the lower register, and when she tried pushing it higher she was invariably flat. Yet despite her clear inability, the judges praised her with impunity. It was strange. Sometimes it felt like the judges were listening to another artist.
Back to Kree and Candice. Who will win? In my initial predictions I chose Kree. The country audience is just so strong. Now, I’m not sure. Candice has proven that her voice is freakishly good. She is a vocal spectacle. It is an absolute wonder to listen to her sing. In March I compared her with Jennifer Hudson and said her “big voice should help her sail through the competition.” It may help her win it. Check out her performance of “Somewhere.” Just mind-blowing.
Kree “has rangy chops and her voice just fits today’s country music scene.” I agree with my assessment from March. She has displayed her relevance and ability. It would not surprise me if she made good on my March prediction and won Season 12.
Ultimately, though, I will be happy with whoever wins, and it will be good to see “American Idol” have its first female winner since Season 6 and first all-female final since Season 3 when Fantasia won.
I’m going to go out on a limb and start this post off with a guarantee. If you like creative pop/rock music, you will enjoy “Goodbye Serenade” by The Rebel Light. It’s that simple. It doesn’t matter if you are from Montauk, New York, Yucaipa, California, or anywhere in between or across the seas; if you like pop/rock music, you will like “Goodbye Serenade.” Why am I so confident?
“Goodbye Serenade” is structured to be successful. The song is effervescently focused on a catchy melody that is accentuated by several instruments like the piano, trumpet and the xylophone. It fits into the rare category of mainstream Indie, where the song is accessible enough to be dispersed to a wide range of audiences but still maintains a strong taste of Indie musicianship mixed with an enviable DIY enthusiasm. Also, the song is a waltz. Yes, I’m not lying, it is in three. Immediate kudos right there to The Rebel Light.
The Rebel Light released its debut EP last year, which was independently recorded and mixed. Vocals for each song were recorded in a bathroom and the drums were tracked in a wood shed. The band is made up of two brothers from Montauk, New York and a cousin from Yucaipa, California. The Rebel Light is currently based in Los Angeles.
“Goodbye Serenade,” as is expressed in the praise above, is my favorite piece off of the EP. The video paired with the song was also created by the band, and it provides a spine-tingling trip into history. This historical waltz flashes images and video as the song builds in the background. The strength of this song resides in its climactic chorus; a true diapason of harmonic instruments mixed with potent vocals. It has an empowering effect on the listener. The song is puissant. The melody is delightful. It all meshes well. The Rebel Light may have a big hit on its hands.
Here is a good trivia question. What was the first song ever released by the Motown/Tamla label (In 1960, the Motown and Tamla Records merged into Motown Record Corporation)? Miracles, Supremes, Vandellas, Four Tops, Temptations? Nope. Try Marv Johnson, the singer and co-writer of “Come To Me,” which, after it was released in 1959, would go on to reach number 30 on the Billboard Top 100 and number six on the national R&B chart. Since Motown was a fledgling label, Berry Gordy, the founder and king of “The Motown Sound,” sold the rights of this incipient piece to United Artists.
Berry Gordy first met Johnson at a carnival in Michigan. Johnson was performing with a doo-wop group called the Serenaders, and Gordy, a tremendous evaluator of vocal talent, implored Johnson to join his label. “Come To Me” was recorded in February of 1959 at United Sound Studios in Detroit. Johnson recorded with future Funk Brothers bassist James Jamerson and drummer Benny Benjamin. Take a listen to the song:
And, as they say, the rest is history. For good reason, Motown burgeoned like a pandemic. But, for a second, let’s imagine we are back in 1959 and listening to Marv Johnson performing this new song “Come to Me.” The song shares similar doo-wop qualities with the popular music of the time, but, the instrumentation and arrangement is different. It’s, dare I say, modern. More than 50 years later, it is easy to say that such characteristics helped spring Gordy, Smokey, and the talented folk at Motown to the cockaigne of music.
On Saturday, I will venture into NYC to see Motown: The Musical. If you have seen it, let me know what you thought of it. All I know, is that there will be the great music of Motown, and that is all I need.
Galore means abundance or plentiful amounts. If you have food and drinks galore, you have a party on your hands. Hopefully, you also have some music by Blayer Pointdujour & The Rockers Galore to accentuate your bacchanal! Most bands stretch the truth with a band name (they are not really Eagles), but The Rockers Galore truly serve a massive helping of every facet of rock: pummeling electric guitar, swift percussion, hip/hop vocals, and potent horns. And, most importantly, the music blends together and goes down smooth like a toasted lager and some chips and salsa.
The Rockers Galore, a Reggae/ Hip Hop band from Philadelphia, PA, was founded in 2008 by multi-instrumentalist Blayer Pointdujour. The Rockers Galore recently released their new album The Bull (mixed and mastered at Milkboy the Studio formerly Larry Gold, The Roots, Common, Kanye West).
“1804” combines horns borrows from The Skatalites’ “Rock Fort Rocks” with a panoply of guitar and percussion. The lyric is genuine and it helps form a puissant piece. Perhaps most impressive is the effective balancing act that The Rockers Galore are able to achieve in this song. The wide array of sounds can be intimidating if not organized well, and The Rockers Galore are able to provide a “controlled madness.”
“Mansion Party” features constant rhythm – a fun mix of horns and rock – almost Mexican influences. The music plays like upbeat Ska.
Check out more about The Rockers Galore by visiting the website and Facebook of the band.
The Music Court 