Completing Selma to Montgomery: The Power of Song!

 

 

King and Marchers singing (photo by Matt Herron)

King and Marchers sing on their way to Montgomery  (photo by Matt Herron)

This week marks the 50th anniversary of the beginning and completion of the historic voting rights march from the sleepy town of Selma, Alabama to the state capital of Montgomery. Just a few weeks earlier in March 1965 several failed attempts to conduct a march led by Dr. King and civil rights groups were stalled by Alabama’s governor, George Wallace. Wallace fought to maintain a segregated society. He used State Police, who joined forces with a hostile citizenry, to violently strike down the mass of folks marching for their voting rights. One of those failed attempts was known as “Bloody Sunday,” which took place on March 7th. This event was gracefully depicted in the film Selma and nationally remembered with great ceremony earlier this month in 2015.

In the days following “Bloody Sunday,” Dr. King, the SCLC, and SNCC assembled an unprecedented troop of national supporters from a wide variety of clergy, civil rights groups, and laymen. Together they pressured President Johnson to introduce the Voting Rights Act to Congress, which he did so on March 17th. At this point, with voting rights legislation moving forward, Dr. King and his national supporters were Federally sanctioned to begin and complete the march with full protection by the Alabama National Guardsmen and the FBI (courtesy of LBJ).

The Selma to Montgomery march began its great 54 mile stride to completion on March 21, 1965. The marchers were driven by the urgency of the situation and to complete

(Photo by Matt Herron)

(Photo by Matt Herron)

what they started so they covered 10 to 12 miles a day. They slept the cold nights in the yards and fields of sympathetic citizens on the route to Montgomery. But more succinctly, what drove them and carried them step by step for mile after mile was music.

The march from Selma to Montgomery was not a quiet one.  It was filled with hums and moans and Negro Spirituals familiar in the Black church. Melodic singing voices soared over the sound of moving bodies and the shuffling of shoes on the road.  Hand claps, repeating choruses, solo voices, and call and response filled the air with an electric rhythm that maintained the movement and spirit of the March.  Song was a present and palpable force during the long march.

Photo by Spider Martin

(Photo by Spider Martin)

It lifted spirits in moments of doubt; it joined folks from all walks of life in support of a common goal. Music permeated and propelled their march from Selma to Montgomery.

On the fourth of five days of marching, everyone gathered just outside the city limits of Montgomery on the campus of The City of St. Jude High School to rest one more night before marching to the Capital of Montgomery in the morning. With the cooperation of Dr. King, singer and actor Harry Belafonte organized a grand rally to continue to motivate and uplift the marchers who were nearing the end of their journey.

Sammy Davis, Jr. sings the National Anthem at the Stars for Freedom rally. (photo by Robert Abbot sengstacke)

Sammy Davis, Jr. sings the National Anthem at the Stars for Freedom rally. (photo by Robert Abbot Sengstacke)

Belafonte organized the Stars for Freedom rally.  The rally was a musical showcase of stars which included the likes of Tony Bennett, Pete Seeger, Sammy Davis, Jr., Odetta Holmes, singing group Peter, Paul and Mary, Nina Simone, and many others.  The stars sang about hope, freedom, love, and the Savior. Music washed over the crowd filling them with joy and a sense of accomplishment. The marchers rejoiced in song until 2am.

Nina Simone sings! (photo by Robert Abbot Sengstacke)

Nina Simone sings! (photo by Robert Abbot Sengstacke)

Odetta Holmes and Belafonte sing of hope (photo by Robert Abbot Sengstacke)

Odetta Holmes and Belafonte sing of hope (photo by Robert Abbot Sengstacke)

King and wife Coretta enjoy the songs! (photo by Spider Martin)

King and wife Coretta enjoy the songs! (photo by Spider Martin)

On March 25, 1965 the Marchers completed their five day 54 mile trek to the state capital in Montgomery. They marched right up to the capital building singing “we shall overcome.” And they did.

After a few false starts, the gathering of like minded freedom fighters, the turnaround of a President, and the promise of a safe passage the March from Selma to Montgomery was completed all the while inspired and supported by music.

Belafonte, Leon Bibb, and Joan Baez sing on the capital steps in  Montgomery (photo by Matt Herron)

Belafonte, Leon Bibb, and Joan Baez sing on the capital steps in Montgomery (photo by Matt Herron)

Your Sunday iPod add: Cécile McLorin Salvant and Zara McFarlane are the new wave of Jazz

Welcome to your new iPod add.

salvant

Cécile McLorin Salvant

This is a two for one iPod add. Oh snap! There are several jazz vocalists who are part of the exciting new wave of artists in the jazz genre.  Vocalist such as Gregory Porter and José James, just to name a few, are definitely members of the new wave.  To be sure, Miami born pianist, singer, songwriter Cécile McLorin Salvant and London born singer, songwriter musician Zara McFarlane are emerging movers and shakers in the genre.

Zara McFarlane

Zara McFarlane

Salvant and McFarlane share Caribbean roots and have attained European music training over the past few years, which in a sense makes them truly international. Together they contribute to the wonderful world of jazz in terms of their skill, sincere performances, and honest lyrics that speak of their life’s journey thus far.

I’m ecstatic to have added Salvant’s Womanchild, (2013) and McFarlane’s If You Knew Her, (2014) to my collection.  This week double up your jazz and add these fine ladies to your iPod! You will thank me later!

Listen and enjoy:

Your Sunday iPod Add: Latasha Lee & the Blackties is good music!

latasha-lee-and-the-black-ties-picWelcome back to your Sunday iPod add. It’s been a minute so let’s get to it!  This year I have really made an effort only to listen to what I deem as good music. Music with lyrics that actually move beyond the sophomoric and say something or at the very least try to say something; music that sonically takes you on a ride by consciously utilizing verse, chorus, and bridge; musicians whom know how to employ most of the following: the turnaround, refrain, and tag; Oh and unique, sincere, and talented voices are indeed a necessity for creating good music. So for me listening to over the air radio is a poor option­–at least in my neck of the woods. In this endeavor I have been relegated to listening to various Internet radio stations–which if you find the right station can be a dream come true.

Thus far I have found some amazing jazz, blues, 60s and 70s era stations, and even Latin jazz stations that kill.  But what I have found myself gravitating to the most are so called underground neo soul music stations.  In other words newly recorded soul music by individuals who strive to retain elements of authentic soul.  A couple of stations use the terms contemporary soul and organic soul to help explain their content.  However it’s all music with groove, feeling, and mature lyrics. Think Aretha, Marvin, Chaka, Stevie, Gladys, Donny and Roberta.  Good music, right?

Anyway, in my search for good music I’ve come across some amazing artists who are skillful songwriters, musicians, and singers that I would like to share with you.

That being said let me introduce you to Latasha Lee & the Blackties.  What an awesome band!  Comparable to Charles Bradley and Sharon Jones and the Dap Kings, Lee and the Blackties are contemporary artists who combine both the musical precision of Motown and the gritty-ness of Stax with ease.   Lead singer Lee, whom was born and bred in Corpus Christi, Texas, has a noticeably strong yet nimble voice.  I was taken back on first listen because her voice emitted the timbre of the late Amy Winehouse.  Blogger E. of Music Nerdery notice this fact a year ago and stated, “It’s almost uncanny to a certain extent. She’s not TRYING to sound like Amy…. she just… does.Austin City Limits Music Fest web site also chimed in on Lee’s voice after a great performance at the event a few months ago, the site wrote Lee’s “soulful voice cuts cleanly and crisply through the genre clutter with a groove that slices directly to the heart with honest power.” Yep!

Certainly Latasha Lee & The Blackties, who have been together for a little over a year and a half and recently graced the stages of SXSW, are unpretentiously reviving classic 60s doo wop.  Their self-titled album Latasha Lee & the Blackties is a pleasure to listen to, which you need to add to you iPod. It’s good music. I do believe you will thank me later.

My BFF is Better Than Yours: Prince And Sheila E.

BFFs Prince and Sheila E share a moment

BFFs Prince and Sheila E share a moment

Prince and Sheila E., BFFs if there ever was a pair!  The above photo was taken in Oakland, California during Prince’s Welcome 2 America tour.  On this night of the tour, Sheila E. opened for Prince.  The picture captures the moment as she finished her hit song “Glamorous Life” and Prince walked on stage to congratulate her.  She immediately grabbed and hugged her BFF.  They then shared a laugh.

Inseparable and certainly joined at the hip for almost 3 decades, Prince and Sheila E. have collaborated to create some of the most memorable music from the mid to late 80s.

According to Alex Hahn’s book Possessed: The Rise and Fall of Prince, Prince Rogers Nelson and Sheila Escovedo met in 1978, while Sheila was touring with her father, the magnificent timbalero Pete Escovedo.  They met back stage and Prince prophetically proclaimed they would one day make music together.  Soon Prince and Sheila began to jam together and share musical ideas.  Prince began to produce Sheila as an artist and bestowed upon her the moniker Sheila E.  Their first recorded collaboration took place just a few years later when a reluctant Sheila sang background on Prince’s big hit “Let’s Go Crazy”.  Hahn suggests Sheila, up to this point, saw herself as an instrumentalist and in no way a singer.  Prince was able to instill in her the confidence to sing.  The newly minted BFFs began their productive and legendary collaboration.  Prince produced Sheila E’s albums The Glamorous Life (‘84), Romance 1600 (‘85), and Sheila E. (‘87)During the same period Sheila shared her drumming and percussion talents on Prince’s albums, Purple Rain (‘84), Around The World in a Day (‘85), Parade (‘86), and Sign O’ The Times (‘87).  Sheila E.’s ability to play complex Jazz and Latin rhythms added a new dimension to Prince’s recordings and live sound.

Prince and Sheila E. have over the decades forged an unbreakable music bond that is filled with love, respect, honor, and support for one other.  When you see one of the BFFs perform the other is no doubt not too far away.

Prince and Sheila E.’s friendship fused musical cousins R&B, Funk, Rock, Blues, and Latin Jazz together in a way that allowed it to soar far beyond rigid musical genres, which were intended to keep the masses in their respected cultural places.  Their music was multi-genre and multicultural; simply put, they used Black music to bring people together.

Happy BMM!

Scandal: I Know Why Bey Lip-Synched!

Beyonce Lip SynchingOk, it’s been over a week since Beyonce sang the Star Spangled Banner on the Capital steps in celebration of the historical second inauguration of President Barack Obama.  The following day of the event it was revealed that she lip-synched her performance on such a momentous occasion, which set off a firestorm of commentary and opinions that ranged from it being the best performance of her life to so what!  Well, the following is my commentary and opinion of her performance and most likely not the last public discharge on the happening before Beyonce’s next performance: the Superbowl Halftime Show.

So what is it that I have to say that has not already been said?  Well I hope to put into context the reason Beyonce decided to lip sync the tune and the reason we were all talking about it.

First let me say that to me her performance was not surprising.  During her live performance, I thought it was just good.  It wasn’t spectacular or all that! Just good. I’ve heard better. The next day, when I heard she might have lip-synched her performance I thought, “Ok, I’m not surprised.”  Please understand the Star Spangled Banner is a relatively easy song to sing.  I can sing it (albeit it may not be pleasing to your ears).  Its melody, which has it’s origins in an 1800 century English social club was composed no doubt while inebriated, is catchy and memorable which is why you can hum along when you forget Francis Scott Key’s words, which he scribed almost a century later.  Although it is an easy song to sing, what makes its performance special lies in the ability of the singer.  Here is the reason why shower singers or alone-in-the-car singers like me will never be asked to sing the song in public.  The song’s simple melody provides plenty of space for the gifted singer to seemingly perform vocal miracles at will.  Not many can do this.  Able gifted singers are free to explore the boundaries of their gift with this song. The ability to perform at this level is what makes it an amazing anthem and exciting to listen to, especially when sung by someone who is indeed capable.  Enter Bey.

Let me be clear here, I’m not hating on her, she is simply neither capable nor gifted enough to perform the song in a spectacular manner.  And for that matter a lot of folks are not either.  Bey’s vocal prowess is limited.  She lacks the range and power needed to create a memorable performance.  A few articles, penned in her defense last week, announced she was one of the greatest singers of all time.  Ha, this is laughable.  Her mentors are still around, right?  She possesses nowhere near the vocal talent of Patti, Chaka, Gladys, Anita, and certainly not Aretha.  These truly gifted singers at Bey’s age were unrivaled in their talent.  Bey, to no fault of her own, does not have what it takes in terms of her physical voice to match any performance of her mentors.

Aretha at 30 around Bey's age.

Aretha at around Bey’s age, 30.

Even in comparison to her contemporaries such as Ledisi, Jennifer Hudson, Alicia Keys and I’ll throw in the untouchable and seasoned Rachelle Ferrell just to f**k with the curve, she falls extremely short of the mark.

What Bey did was not unprecedented. That day the choir, not the soloist, lip-synched to a prerecorded track.  Also in 2009, the cellist Yo-Yo Ma and the violinist Itzhak Perlman “string-synched” their performance because string instruments are notoriously temperamental in cold weather.  They did this because they had no physical control over their instrument . . . like Bey.

Ok knowing this about her lack of ability, it’s great she did in fact lip sync her performance.  Can you imagine what it might have sounded like?

So, why was this a scandal if others have in essence faked their performance as well?  It’s the expectation created by the event.  We the people expect the best when it comes to such events like the Presidential inauguration.  For decades the best and most significant/impact-ful singers, poets, writers, and politicians were gathered together to help set the tone of the up coming Presidency.  With this type of talent we the people expect the best.  Bey’s lip synching performance was not the best for the American people.  Of course her fans beg to differ or simply shrug it off and say, “so!”  Along with the fact that most Americans hold high expectations of all portions of the inauguration we also expected the best from Bey, which would have been a live, sincere, and authentic performance.  However, when it comes to the singing talent of Bey, I feel most of the world has been duped into believing what she is not.  I believe we have confused her ability to entertain with the ability to sing.  These are two very different things.  Let’s not get it twisted, Bey is not a singer and never has been a singer.  As mentioned, she is not physically capable of sangin’.  What I mean by this is I doubt she can belt out any tune in my living room sans a mic with enough power, conviction, skill, or emotion to move me.  Please realize this, I refer to my vocal luminaries to guide me in the direction of a person who is truly gifted in voice. [a few of my vocal luminaries in terms of women are of course Patti, Chaka, Aretha, Rachelle, but also Ella Fitzgerald, Billie Holiday, Sarah Vaughan, Mahalia Jackson, Whitney Houston, and again Jennifer Hudson . . .] I recognize and embrace those singers who match my vocal luminaries and move me.  I will never embrace anyone who falls short of this high bar as a singer.  Why would I accept anything less or mediocre?  Bey can indeed hold a tune, but so can many others.  Bey is mediocre.  Rather than a singer I define her as an extremely successful entertainer.  She possesses many abilities to entertain her fans and even me.  An entertainer does it all to appeal to a mass audience.  She can hold a tune, dance, and act.  Bey is an entertainer! I like entertainers; I like being entertained.  Ben Vereen and Sammy Davis, Jr. were entertainers who were also in the top ten of the list in all those categories that define an entertainer.  They could sing, dance, and act on a high level.

Davis acting his ass off in the film "A Man Called Adam"

Davis acting his ass off in the film “A Man Called Adam” click here

Unlike Vereen and Davis, I believe Bey being mediocre in all of these is still able to dupe the American public into thinking she is a singer on a high level.  She is not the best singer, she is not the best dancer, and she is not the best actor by any stretch of the imagination.  Today’s entertainer does it all and is categorized wrongly as a singer.  And it is because of this wrongly placed moniker Bey, an entertainer, was chosen and expected to do the work of a singer at the Presidential inauguration.  I believe this was made a scandal because we expected Bey to be that amazing singer and she failed us.

Furthermore, I believe Bey knows she can’t sing on that level.  According to all the reports and articles, Bey at the last minute decided to lip sync her performance.  Why?  Was she nervous? Did she forget the words?  I think not! She has sung the Star Spangled Banner many times before both live and lip-synched.  I believe she did not feel capable of creating a memorable performance with her knowingly limited skill.  I can imagine her saying to H.O.V.A., “I know I’m not going to be able to sing anything better than what I did in the studio yesterday not to mention I have not practiced with the Marine Band.”  She lacked the ability and with this lacked the confidence to even try.  In so many words she had no guts, no courage, no gumption . . . in essence no Balls!  This is completely expected when you don’t believe in your own talent.  Bey demonstrated pure fear.  Any stellar singer worth anything would have marched out on the steps of the Capital and did the damn thang!  Four years ago Aretha Franklin sang her ass off in colder weather and very little warm up time.  In an interview about her spectacular performance she commented that she wished she had more time to warm up because her performance would have been better . . .  Balls!  Oh and she also commented she wanted to give this historical occasion an atmosphere of authenticity.  However when you are unsure of you own instrument or lack the ability you will fold like a wet noodle.  Luckily Bey recorded a stand in the day before and tagged out of the task.

With all this being said I feel Bey’s credibility, as a singer is unchanged in my mind. I didn’t expect her to do anything more.  Hell, if anything it should have been better, after all, she recorded in near perfect conditions in a studio the day before.  In the end, I hope you can understand the context of Bey’s performance or lack there of.  She is a physically limited singer, which she is fully aware of who lacks the self-confidence to perform on the grandest of stages all while an audience who has been duped into believing she is a singer who can create something amazing!

Oh, the scandal!

This coming Sunday when you are watching the Superbowl Halftime Show remember you are watching an entertainer and not a singer, so don’t expect to be amazed much by her vocal performance.  However you will be greatly entertained.

Ndegeocello Sings Simone!

Me'Shell NdegeocelloI confess I’ve been a fan of bassist/singer/songwriter Meshell Ndegeocello since she dropped her first album Plantation Lullabies in the early 90s.  I’ve watched her perform in L.A. several times and once in Atlanta in 2007, which was memorable I must say.  However, even more memorable than that was when I saw her years earlier live at the Virgin Mega store in Hollywood.  Ndegeocello played a small in-store set then signed copies of her second released Peace Beyond Passion (96).  I clearly remember asking her, as she signed the cover of my freshly bought CD, “Where’d you get that funk from?” like the P-Funk lyric.  She smiled and said, “Yes, right there!”  Wow! I just had a brief moment with Meshell Ndegeocello, whoa!

Over the years I’ve enjoyed the limitless range of Ndegeocello’s music.  As a serious soul music lover, I’ve especially relished in her exploration of the many nuances of soul. Ndegeocello and her music easily moved beyond the essentialist theory of the black artist.  She approached several other genres of music in her own unique way.

So, when I heard she was in the process of recording an album of Nina Simone songs I was excitedly perplexed (this is a good thing).  What would it sound like? Would it be funky with heavy bass lines? Or would the songs be reconfigured in emotion filled ballads with spoken word-like delivery? (You know how she does).

Nina Simone and Meshell Ndegeocello, on the one hand, are quite unique in their own right who together share some similarities.  Scholar Salamishah Tillet suggests, “Ndegeocello, like Simone, has dared to cross musical boundaries, express bold politics and be a steadfast presence as an African American woman instrumentalist in a male-dominated music scene.”  Also their similarities continue in terms of their fitting into socially comfortable places in America.  On the other hand, they are opposites in terms of the musical RESPONSE to their perspective eras; Simone confronted racial inequality amid social and civil unrest while Ndegeocello struggled in a post civil rights climate with her personal sexuality within rigid cultural mores.  A struggle afforded her by the work of Simone, in all seriousness.

Ndegeocello’s new album, Pour Une Âme Souveraine (For A Sovereign Soul) was released in October and is a wonderfully crafted tribute to Simone.  Pour Une Ame SouveraineFirst and foremost, Ndegeocello’s voice is perfect for the songs she sings while her musical approach is spot on.  She organically moves away–though not far–from the musical intention of Simone certainly due to the contemporary climate of the times. Ndegeocello finds a laid back groove for each song that departs from what NPR calls the “urgent” tone of Simone.  Her small group of musicians recorded the album with an obvious audible post soul aesthetic that is undeniably Ndegeocello.  She invited vocalist/musicians such as Cody ChesnuTT, Toshi Reagon, Sinead O’Connor, and Lizz Wright to join her on this tribute to Simone.  Collectively they sing with heartfelt respect for Simone whom Ndegeocello calls “royalty.”

This tribute album is a way to remember the indescribable force that was Nina Simone. Ndegeocello stated in a recent interview she hopes, “to get more people interested in her, check out her catalog and sort of revive it, and also use her story and learn from her story.”  After hearing the album it is clear to me that Ndegeocello was the perfect person to put forth this stellar tribute. Yes, Ndegeocello sings Simone!  In the end, I have to agree with Dr. Tillet when she suggests, Ndegeocello “has always been Simone’s heir apparent.

Your Sunday iPod add: Michael Kiwanuka: Raw Soul Folk

Here is your Sunday iPod add . . . any song form Michael Kiwanuka’s debut album Home Again.  For months now I have seen Kiwanuka’s face on the sidebar of my facebook page staring at me suggesting I should click on his image to hear his new music.  I’ve also seen his image on the bottom of my iTunes in a star-studded line up of what other listeners bought.  For months I have pass over his image and move on the next artist that caught my interest.

Well, today, after church and my daughter’s long rehearsal for a play, I headed home and I logged on.  There he was Michael Kiwanuka staring at me.  While eating my corndog I clicked on his image.  Wow! What took me so long to do this? What was I waiting for? Kiwanuka’s music combined the essential elements of acoustic soul and folk in the best way.  My musical taste are admittedly broad so, I listen to just about anything (I merely talk about the soul I listen to on this blog) and it’s been a quite along time since I’ve listen to some good contemporary acoustic folk music, rather, acoustic soul folk music.

I listened to a few of his songs and videos on youtube with amazement.  Kiwanuka, a 25 year old Brit with roots in Uganda has manage to capture a unique musical rawness of a generation and a half ago.  A recent USA Today article described his music as “warm and familiar as Sunday morning” and make sensible vocal comparisons to “Otis Redding” and “Bill Withers.”  However, I’ll take it a step further and easily compare him to the likes of badass guitar slingers and song poets such as Neil Young, Jimi Hendrix, Bob Dylan, and Richie Havens without reservation. He’s that good! His music is soulful and righteously folk yet contain just enough blues to elicit a mystical wonder that conjures images of deals being made at a Mississippi crossroads.

Listen to Michael Kiwanuka! Don’t sleep on MK! Don’t be like me and pass on him.

Add his album to your iPod and you will thank me later.

Check his videos below:

You gotta check out his version of Hendrix’s “Waterfall”

Your Sunday iPod Add: Funkin’ For Fun

Ok, I had something else cued up for this Sunday’s iPod add, but when I heard “Funkin’ For Fun” earlier today I had to pass it along.  This is one of my favorite songs off Parliament’s The Clones of Dr. Funkenstein(1976) album.  What makes this song so special to me are the vocals of Glen Goins.

Glen Goins and George Clinton circa 1976-77

He has the most powerful soulful gospel vocals I’ve ever heard.  He is featured on the entire album along with Garry Shider and together they are amazing (you ain’t heard nothing like it).  Goins guttural crescendos, screams, and hollers do it for me.  Goins voice easily creates a space, which hovers just outside the realm early turn of the century gospel music.  If you changed the lyrics, which give assurances to ones mother that everything is all right, the song might as well be a gospel song.  However, this song is not gospel it is full fledge Funk!  Sadly, Goins passed away in 1978 from Hodgkins Lymphoma at the age of 24. (RIP)

Anyway add this song to your iPod and you will thank me later.

Below is a live version of the song, however for a better experience of the song I suggest you take listen to the album version for more detail of Glen’s voice and the perfectly place version of the Beatles’ lyric “coo coo ca choo!”

Your Sunday iPod add: Cold Specks

Why aren’t you listening to Cold Specks?  Hello! She’s only a click away.  Her music is probably better than anything you listened to today.  Trust me, she sings what you like.  You like Dylan?  You like Nina Simone? You like Sting?  You like Stevie Wonder?  You like the blues?  You like folk music?  You like coffee shop ditties on guitar?  You like turn of the century Southern gospel???  Chances are you said yes to one or all of these questions.  Why aren’t you listening to Cold Specks?  Besides having one of the coolest stage names in show business today, Cold Specks owns the most unique voice you’ve ever heard.  It’s slightly raspy yet soft enough to draw you near your speakers.  Also, her voice is magical.  It’s infused with the sound of wisdom–a wisdom far beyond her age of 24.  Her voice seems to come from a guitar strapped centenarian storyteller bent on telling you one more tale.  When I look at her face and hear her sing I am easily perplexed.  When was the last time an artist did this for you? 

A Canadian who now hails from London and a nominee of the 2012 Polaris Music Prize, Cold Specks has upped the ante on the expectation for the human voice.  So, again, why aren’t you listening to Cold Specks?  Now that you know about her you have no excuse.  Watch her videos below, add her to your iPod, and buy her album, titled I Predict a Graceful Expulsion.  You will thank me later.

Cold Specks is on tour. Check her out at a venue near you.

Your Sunday iPod Add: Rachelle Ferrell

Here is your Sunday iPod add.  Identified as a singer’s singer, Rachelle Farrell easily stands a top the small community of those truly gifted to sing.  Her GOD given vocal talent is revered by both veterans and up and coming singers who strive to hone their gift. The incomparable Anita Baker recently stated, “Rachelle Ferrell . . . is who we all want to be when we grow up.”  Rachelle is that rare talent that only comes around every once in a while.  Her voice, of seemingly endless amount octaves, can easily create a sonic tapestry that warms the soul.  Rachelle is one of a few artists that have mastered multiple genres of music such as jazz, blues, gospel, and R&B.  She is known for her ability to re-imagine and perform songs in her own unique way.  Rachelle is pitch-perfect in her endeavors and does not disappoint.  She is indeed a treasured commodity.  Take a moment to listen to this amazing vocalist then add her to your iPod.  You will thank me later.

And