FAULT Music

FAULT Magazine talk new music with Tor Miller

 

While many know of Tor Miller from 2015 tracks Midnight and Carter & Cash, with the release of his debut album ‘American English’ today, we have been introduced to a whole different side of his artistry. From upbeat track Chelsea to the stripped back Washington Square Park, Headlights and Stampede tearing at the heartstrings while Tor croons without the large production of ‘Midnight’ to hide behind, it’s great to see how diverse Tor truly is as an artist. The debut is strong and a record which screams to be listened to live (lucky for us he is off on tour and coming to the UK in October). We sat down with the NYC born musician during the leadup to the release of  ‘American English’ to discuss dream gigs, touring and his musical background.

 

Countdown to the album release, are you happy with the final product?

I’m just so relieved. I finished the record a year ago and at this point, I’m just happy for it to be out. I’m so excited for it and I think the fans will be too.

 

Has there been a lot of changes made over the year?

I think the label were waiting for the time to be right and everything being in order. It’s a different way of working for me as I’d have just thrown it all out there and been on to the next one.

 

What can people expect to hear that they haven’t already?

It’s a much larger record and the arrangements are so lush and full. There’s a lot more uptempo number compared to the EP also and a better balance. It’s more of my influences and broad musical tastes coming through.

 

 

You’re about to leave on tour, excited?

Very excited and my band consists of so many close friends that it’s like a friends road trip. It’s great and what I realised is that I’ve been throughout Europe and the rest of the world more than I’ve been around the United States so it’s kind of crazy because it’s such a diverse and beautiful country.

 

Where do you feel most at home the stage or the studio?

At this moment, I’d say the stage but I’ve been in and out of studios my whole life and I’m growing more accustomed to that lifestyle and I’m putting my head into production a lot more so in time it’ll hopefully be more balanced.

 

You’re very classic in your music training, what was it like to get in the studio and learn about producing and all the technical side of music?

It’s nuts, I went to engineering school which covered a broad spectrum but it just wasn’t where my heart sat so I left that to the people who enjoyed it. Picking a producer for this album was such a big deal for me because it had to be someone that I really trusted. It was different and when everything is under a microscope you realise you’re not as brilliant as you thought you were to the naked ear so it pushes you to be better.

 

When you were growing up did you always have a flair for music?

My parents are VERY into music so growing up there was a lot of Frank Sinatra and my mum gave me a lot of records and I was always in piano lessons. It wasn’t until I started playing shows at fourteen years old that I realised that “yes, this is what I want to do”.

 

What’s your favourite thing about going on tour?

So many things but I love getting to meet a whole lot of people who are so diverse and great. Playing the shows and the comradery in going through it all with the band is awesome because you really kill yourself travelling, staying up late, waking up early and then travelling again. We can travel for fifteen hours a day and I used to be doing it all alone so it’s great to have my band with me.

 

When you picture your dream show?

I used to watch a load of festivals from the tv growing up and I’d just love to play the Pyramid stage at Glastonbury festival one day. It’s always been a dream to play Madison Square Garden also, I’ve been so a lot of games and shows there before.

 

What is your FAULT?

Laziness and I doubt myself at times.

Listen: Niall Horan’s releases Surprise Single

“I’m excited to announce I have signed a record deal with Capitol Records USA and released my first solo song.

Thank you to all the One Direction fans for your love and support as always.

I’m looking forward to the next part of this journey together.” – Niall Horan

Whenever a band decides to take a break many fans are left in disarray fearing the worst for the future of their faves and that was no more evident when 1D decided to focus on their solo projects. Today, Niall Horan has put some minds at ease with the release of his first solo song entitled ‘This Town’. It’s a great acoustic track and Niall looks very comfortable on stage with  just a mic and guitar as backup. A great start for what will no doubt be a huge solo career.

The studio version of ‘This Town’, released via Capitol Records USA,  is available now across Spotify, iTunes and Apple Music.

Vevo – http://niall.to/thistownvevo

Website – http://niallhoran.com

Twitter – http://twitter.com/niallofficial

Instagram – http://instagram.com/niallhoran

Facebook – http://facebook.com/niallofficial

Ryan Tedder returns to FAULT Magazine Cover ahead of new OneRepublic Album

 

 

Ryan Tedder is a very busy man these days. Having worked alongside the biggest talents in the industry, he’s now taken time to focus on OneRepublic’s 4th album due to be released in early October. Some have accused Tedder of handing out his greatest hits to other musicians, but the band’s upcoming album is bound to prove everyone wrong. Appropriately entitled Oh My My, the album unmasks Tedder’s incredible versatility and vocal range, as you’ve never heard it before. In short, it’s safe to say that Oh My My is a revelation and the beginning of a new era for OneRepublic. An era where Tedder fully showcases a modern day genius whose talent falls beyond comprehension. After writing for the likes of Beyonce, Adele, Ed Sheeran and many more, he’s comprised all of it in the form of Oh My My. From first listen onwards, you shortly realize that you can find Ryan Tedder in Ellie Goulding’s Burn, Beyoncé’s Halo and Adele’s Turning Tables – as opposed to the other way around. Tedder is undoubtedly the music industry’s secret weapon and the mind that makes it all go round. We spoke to Ryan ahead of the album release and here’s his take on it all.

 

You’ve worked with some of the biggest names in the industry– Beyoncé, Adele, Ed Sheeran, Ellie Goulding, Taylor Swift – just to name a few. Aside from that, you’ve also got OneRepublic. That’s a lot to put on anyone’s plate. Do you have a particular routine that you stick to in order to be more efficient?

You just get really good at multitasking. There are a lot of hours in the day, there’s a lot of time that people waste and you basically figure out how not to waste that much time. So there’s no routine basically – every day is different. I’ve got a different routine when I’m on tour as opposed to when I’m not. But it all comes down to not wasting time and being as efficient as you can.

Oh My My – your next album – is coming out in October. After Native, how far did you go with this one?

With this album, I pushed the envelope as far as it could go and on some songs we probably pushed it too far. But then again, that’s how you figure out how far you can go within your own world.

 

What qualifies as ‘too far’ for OneRepublic?

There will be some songs that people hear and go ‘Oh, they shouldn’t be doing that’. Because people have their own perception of whom you are. Like ‘Oh, you look amazing! You shouldn’t be wearing that jacket though.” Or if you dye your hair black – there’s always going to be that one person who’s going to say that you look better blonde. I’m sure that there are going to be some people that feel that some songs are too far, but it’s a very honest record. The songs are crazy; they’re all over the place. It’s like a playlist. And that’s how people listen to music nowadays anyway. You listen to five artists; you don’t listen to just one artist. I work with 100 artists, so our music is reflective of that. You’ll hear little moments of Adele, little moments of EDM. You won’t hear a song that sounds like it, you’ll hear like a second. You can hear the influences, but the album feels very honest. Our last album did better than we thought, so we have a lot of pressure of doing something that’s better than that.

 

Do you ever get overwhelmed?

Yes, but that’s normal.

What’s your process of differentiating the material that you’re going to use for yourself as opposed to what you’re going to give away?

It’s pretty easy. If you’re a chef and you own a Japanese restaurant, you can go cook with your friends at different restaurants anytime you want. But one friend of yours might have an Italian restaurant or a hamburger shop and your other friend might have a dessert pastry shop. That doesn’t mean that you’re going to go back to your Japanese restaurant and make pizza.

 

In short – it’s a question of being aware of your own identity.

Yeah and I know myself very well. Even the hit records that I give away to other people – I give them away because they’re inauthentic. If I put out a record that’s a hit and it’s inauthentic to me – guess what happens – it’s not a hit. It doesn’t connect because people won’t believe it.

 

So the core of OneRepublic’s sound lies very much in the humanity that you put in it. Is that what you feel that draws people to your music?

That’s exactly what I feel. If I did Katy Perry’s record, people would be like “What the hell is he doing?” Or if I released Taylor Swift’s 1989. Can you imagine that? It would’ve been pretty inauthentic, to say the least. Even Ed Sheeran’s Thinking Out Loud. People go like ‘Oh, I can see you doing that’ – but no. If we actually did it, people wouldn’t believe it coming from me. It wouldn’t be real coming from me.

Speaking of Taylor and Ed, how do you usually go about picking the artists that you’re going to work with?

You’ve got limited time in a day and you have to choose the ones that move you the most. You can’t just chase the ones that you think you’re going to have a hit with. You go for the ones that you know you’ll bring out the best in and that they’ll bring out the best in you. There are a handful of really big pop stars that I haven’t worked with and that’s not an accident. It’s no offence to them – it’s just that what they do isn’t a brand of clothing that I wear. I can look at Fendi all day long and admire the hell out of it, but I’m not going to wear it. There are some brands that you just don’t wear.

 

Having worked with Taylor and winning a Grammy for her 1989 album– is there something that you’d like to put out there – especially now in times of turmoil – about her that you feel the public needs to know?

She is pound for pound the most talented writer of any artist I’ve ever worked with. Taylor is the only artist that I’ve worked with that has the complete skillset. If she weren’t an artist, she’d be the number one songwriter in the world. If she weren’t a songwriter, she’d be the number one artist in the world. She can write songs with the technical understanding of a master of songwriting, but she still taps into the emotional and personal side of the artist that she is and writes from that place. To do both at the same time is incredibly rare and I haven’t met many other people that do it. And Taylor has known what she wanted to do ever since she was 12, so there’s that. She’s a bit of a prodigy. And as long as I’ve known her, she’s been nothing but kind to me and thoughtful and generous. I’ve read a lot of stuff and heard a lot of stuff and obviously, she’s caught up in some drama right now and it’s a sticky situation – but personally I’ve had nothing but awesome experiences with her from day one.

Having shared the studio with so many talents, is there a specific moment in your songwriting career that has stuck with you to this day?

Stevie Wonder. I did a song for a movie with him a couple of weeks ago. He and I were sitting in a room, going back and forth over lyrics and I had a moment where I was sat there and I wished there was a camera filming – because I was writing a song with Stevie Wonder. And it was just like – this is the coolest day I’ve ever had. I’ve been to a lot of places, I’ve seen a lot of things – but the evening with Stevie – I remember literally every hour of it. Up until 3am. I remember everything that happened. Which you can’t really control, your brain just prioritizes memories without you thinking about it. That was probably my favourite moment. I have so many though, it’s hard to choose.

 

For the sake of amusement, you must have quite an interesting bundle of stories under your belt. Care to share one of them?

I accidentally stood up Peter Gabriel. Twice. I’ve obviously got random tour stories and stuff like that, but I think my most embarrassing story is my Peter Gabriel story. He’s one of my favourite recording artists and this happened last summer. It was during Ed Sheeran’s Wembley Stadium shows and I connected with Peter through a mutual friend. One day, I got an email from my manager who had talked to his manager and said that Peter wanted to have coffee and get to know me. I went to Peter Gabriel’s place in Notting Hill and I worship him so I was like ‘This is incredible’. I hung out with him all night, we had dinner, listened to music and then it ended. And at the end of the night, I was like ‘Okay, that was amazing, let’s get together again soon.’ What I didn’t know was that there was a miscommunication between his manager and my manager – so his people thought that I had booked to write with him Saturday and Sunday. The way it was explained to me was that we were only meeting up for coffee. So I hung out with him on Friday, had a great night, and Saturday – without knowing – I stood him up. He came into the studio at 10am and waited for me until 2pm and I never showed up. I didn’t know that I was supposed to be there. And the next day – I was also booked. The message that I stood him up on Saturday never got to me, so I didn’t know. And then Sunday – AGAIN. As I was driving to the airport to leave, I get a phone call from Peter. He had been in the studio again for the second day for 2 hours. And he was less than happy with me. So I was on the phone with him for 20 minutes just apologizing while emailing my manager telling him that I stood up Peter 2 days in a row. I was completely mortified and upset. That was my favourite recording artist and I just completely blew him off 2 days in a row. And we made up – after I continuously sent him emails and phone calls cause I was horrified that he was going to hate me – and well, it took two months to make up, but he eventually agreed to work together and now he’s featured on our album. And it’s one of the best songs on the album. It all worked well, but that’s my worst story. My idol is Peter Gabriel and I blew him off two days in a row. It’s the single worst thing that’s happened to my career so far.

Do you currently have your eyes set on any newcomers that you’d like to work with?

James Bay would be great to work with. Someone connected us and we plan on writing together at the beginning of 2017, around January. But yeah, James is my favourite newcomer. I’m sure there are more, but I’ve been so busy with the album that I literally didn’t have time to pay attention. I normally know everything that’s coming out.

 

What’s your FAULT?

Over commitment. I’m overly ambitious and I over commit, which inevitably leads to letting someone down.

 

OneRepublic’s new album Oh My My is available for pre-order now via iTunes and is due to be released on October 7th on Interscope Records.

 

Words  Adina Ilie

Photography Joseph Sinclair

Styling Krishan Parmar

Grooming Shamirah Sairally

 

Beaty Heart: Exclusive FAULT interview and shoot

Ever since the release of their debut album back in 2014, there’s been no looking back for alternative-pop trio Beaty Heart. Likening to the sounds of Jungle, Caribou and Alt-J, these boys are young, they’re original and their music will have you hooked. The former art-school students’ new album ‘Till The Tomb’ has already received amazing recognition after it’s release in July, including praise from Annie Mac, who believes the boys are definitely one to keep an eye on this year. Currently on their September tour across the US and Canada, Beaty Heart took the time to discuss their remarkable journey with us.

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First question, think quick – describe each of yourselves in one word.

Charlie: Fair.

Josh: …Fair?!

James: Confused.

Josh: Broke.

 

You’ve definitely introduced a new sound to your most recent album. Was the process of writing a lot different from your previous album?

Josh: Yeah it was completely different. We wrote the first record in practice space studios and we weren’t really focusing on writing songs or anything. A lot of those songs came out of this energy we had from performing together in these spaces, but this new one we really focused on the song writing a bit more. It was written in much more subdued environments where we were a lot more isolated. We said at the start of the process that this was something we really wanted to focus on more.

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So currently you’re on your incredible tour around the US and Canada. Have you noticed a difference between the fans across countries?

Josh: I mean not really. There are definitely places where we go down better, but it all kind of depends on loads of different factors, like the day of the week or the age group. I wouldn’t say there’s a difference between nationalities of fans – everyone seems to go for it.

Charlie: Everyone digs it [laughs].

Josh: But yeah, it’s just so great to be in America.

 

Have you got any crazy tour stories for us?

Josh: We’ve literally just been driving for the last three days, but we’ve been through so many different environments, it’s been so mental. We drove through Yellowstone National Park, which was honestly the most beautiful thing I’ve ever seen. Every day we see something either really ridiculous or really crazy. We were in Montana the other day and we had to stop off in this shitty little town to stay the night. We ended up going to this casino/saloon thing next door and we met these cattle farmers.

Charlie: Real life cowboys!

Josh: Yeah they had like the hats and the accents – everything. So we had a few whiskeys with them and ended up lassoing each other! It was pretty crazy, but that’s what America is like! Our experience of it seems to be really surreal.

Charlie: It’s exactly how you imagine it [everyone laughs].

 

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What’s it been like working with such prestigious producers like Dave Eringa and David Wrench? Did you find it slighting daunting?

Charlie: Dave [Eringa] is, for anyone that knows him, the loveliest man. Even taking into consideration his incredible reputation and everyone he’s worked with, it wasn’t at all daunting. He’s a good friend of ours now and I think we work really well with him in the studio. David Wrench we had a slightly different relationship with, but again he’s such lovely man.

 

Could you give us a bit of an insight into your new album artwork? 

Josh: Well we have this Pinterest board where we collect all these images and we had hundreds of different images that we really wanted to outsource the artwork from because in the past we’d always done it ourselves. Me and James were looking and we found the photograph that you see on the front cover and we felt that it just really suited the tone of the record. It’s kind of this really…almost stereotypically beautiful image that has these sort-of tear marks going down it. We thought it kind of reflected the album in terms of it being quite accessible, but also having something that’s slightly uneasy about it – something slightly distorted about it. From there we contacted the artist and James mocked up this layout, which is based on similarities from Miles Davis records – where there’s an image in the middle and a nice text at the top. The artwork was something we also thought really reflected the aesthetics and the tones we’d discussed.

Charlie: The photographer is called Yves Rulliere [www.savage-eyes.blogspot.com].

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What’s been the most special moment of your careers so far?

James: Probably getting on FIFA 2017 [everyone laughs].

Charlie: To be fair, the two times we’ve come to America have been pretty big moments for the band, definitely a really exciting place to play. It’s kind of like a home away from home and there’s really incredible scenery we get to drive through everyday. We played Glastonbury as well! That was fun.

 

What is your ‘FAULT’?

Josh: As a band, we’re quite indecisive.

James: We’re too kind to people!

 

Words Georgia Dixon

Photography Abbie Douglas

Exclusive insight into #CreateSyria: An evening sharing positive visions of the country’s future

To kick off the the Talking Peace Festival, FAULT attended the Create Syria exhibition. Presented by International Alert in partnership with House of Vans, the exhibition celebrates 30 years of building peace, from rebuilding trust in Rwanda following the horrors of the genocide, to now helping young people in Syria imagine a future free from violence.

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Grammy-winning musician La Roux

 

The multimedia installation explores how arts can help build a better future in the wake of crisis. Attendees are encouraged to take the time to pause and give due awareness to audiovisual interpretations and tellings of the hardships people are forced to face day after day. The featured artists have all undertaken projects working with displaced children, young people in refugee camps, and other communities across Lebanon. Their goal is to promote regrowth and creativity, and to, in the words of featured artist and actress Raghad Makhlouf, “help make teenagers dream again”.

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Attending the private view were Grammy award-winning singer La Roux and her mother, actress Trudie Goodwin (Sgt June Ackland in The Bill and Georgia Sharma in Emmerdale); activist and former actress Bianca Jagger; comedian and TV presenter Harry Hill (an artist in his spare time); and Invictus star Adjoa Andoh among others.

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Comedian Harry Hill

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Together, the artists involved in this exhibition join forces to create a vision for a brighter future in Syria. Create Syria is a poignant exhibition that not only raises awareness to stories of hardship, but more importantly carries out the imperative task of personifying the facts and figures that are constantly being thrown our way. Attendees leave the exhibition with an increased comprehension of Syrian people outside of newscasts, and a positive conviction that creativity and collaboration will always prevail in spite of the current crisis.

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The installation is open to the public from 22 September to 2 October 2016 at House of Vans in London.

You can find the organisers, International Alert and Talking Peace Festival, on Twitter.

Words Courtney Farrell

In conversation with Jamie N Commons

Jamie N Commons just might be the owner of the strongest, greasiest singing voice to have ever come out of London. Although he now spends half his time in L.A., he’s been doing Great Britain proud—so much so that his latest single, “Not Gonna Break Me,” has been featured in the BBC’s broadcast of the Rio Olympics.

 

Here, he chats with FAULT about archery, creative collaborations, and Dutch humour.

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FAULT: First of all, how did your voice become what it is? Because when I hear your music, I don’t picture an English dude with long, straight hair.

Jamie: I guess I was just trying copy what I grew up listening to: Ray Charles, Greg Allman, Johnny Cash, and all that kind of stuff. Luckily enough, I had the physical body to do it—the throat or whatever.

 

FAULT: What was the process that brought your song “Jungle” to life? Who wrote it, and how was the collaboration with X Ambassadors organized?

Jamie: Alex [da Kid] and one of his writers had come up with this beat and played for me and Sam [from X Ambassadors] as a possible track to write over. Sam had come up with this really good chorus, but he couldn’t get the verse down. So I was like, “Oh, I could probably lay something on that.” I think it was probably originally intended to be for only one of us or the other, but then it kind of sounded cool like a double man duet, so we ended up doing that.

 

FAULT: What about “Desperation” with Eminem?

Jamie: That was actually a full song that I wrote and recorded. [Eminem] heard the song, and we took my verses off and he did his own over it. So [the original version] is a full song yet to be released, but watch this space. Hopefully at some point it’ll see the light of day.

 

FAULT: How did you wind up opening for Bruce Springsteen?

Jamie: I’ve always had a really special time in Holland. It’s always been a bit of a fairy tale every time I go over. We played this show there one time, and I was talking to a promoter about our favorite bands and stuff. I was like, “Yeah, my dream is to open for Bruce Springsteen. He’s the best live act out there.” It turned out the promoter was putting on a show with him, and had a free spot on the bottom of the bill. He was like, “You know what would be funny? If I gave that spot to Jamie,” so he rang me up. I thought he was joking at the start, but then he was like, “Nope, let’s do it!.” It was part Dutch sense of humour and part great timing.

 

FAULT: Which is worse, L.A. traffic or London weather?

Jamie: I actually don’t have a car at the moment, so I’m doing the Uber. So the traffic doesn’t bother me too much because I can sit in the back doing the emails. But at the same time, I quite like miserable weather, so I don’t see either of them as a bad thing.

 

FAULT: With “Not Gonna Break Me” being used in the Olympic coverage, if you could compete in any Olympic sport, which one would it be?

Jamie: I just got super-into archery, so that would be cool. I feel like that’s like the least strenuous as well. You gotta train really hard, but comparatively to, I dunno marathon running, I feel like shooting bow and arrow all day is pretty good.

 

FAULT: What’s next for you?

Jamie: We’ve got some busy months coming up. At the moment, we’ve got three singles going on in three different territories. In England, we’ve got this song “Not Gonna Break Me” for the BBC. Over here in America, we’ve got “Low Life” with X Ambassadors and A$AP Ferg. We just did that one on Good Morning America last week (which was tough for the non-morning people like myself). And then in Europe, we’re currently in the top five with this Kungs collaboration I did with that new DJ, Kung. So we’re attacking all fronts.

 

FAULT: What is your FAULT?

Jamie: Always having a beer or two too many. That unnecessary beer when you’re like, “Oh yeah, I’ll just have one little nightcap.” Always a bad idea.

Words Cody Fitzpatrick

Just try and resist this food-themed playlist from Digital Farm Animals

Digital Farm Animals has been making waves since his track ‘Millionaire’, a collaboration with Cash Cash, was playlisted by the UK’s biggest radios. Featuring both Nelly and an infectious beat, the track has been putting his name on the map. Here, he puts together a playlist of his favourite food-related tracks – what’s not to love?!

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  1. J. Cole & Kendrick Lamar- Forbidden Fruit

“That bassline – sampling at it’s finest matched with current day rap royalty”

 

2. Moby – Honey

“A veteran and one of the best all-time electronic music producers”

 

3. Gym Class Heroes – Cookie Jar

“A forgotten gem from a couple of year’s back right here”

 

4. 50 Cent – Candy Shop

“50 Cent – Getting dancefloors crunk since 2005”

 

5. Maroon 5 – Sugar

“Such a feel good video, gotta love these guys”

 

6. Rihanna – Birthday Cake

“Cake Cake Cake Cake….. Work Work Work Work. Repetition is a winning formula”

 

7. Red Hot Chili Peppers – Californication

“This has stood the test of time and will never get old”

 

8. Galantis – Peanut Butter Jelly

“Summer festival vibes. Every time!”

 

9. Notorious BIG – What’s Beef

“One of the greatest to have ever rapped”

 

10. Drake – Poundcake

“One of the greatest alive to rap”

 

11. DNCE – Cake By The Ocean

“By far the catchiest song of the summer 2016 (after Millionaire :-P)”

 

 

Millionaire, with Cash Cash and featuring Nelly, is out now.

You can find Digital Farm Animals on FacebookTwitter and Instagram.

 

Cambio Sun’s Exclusive Fault Playlist

The brainchild of Australian composer Charlie Tait and percussionist John Cleworth, Cambio Sun is their new project. Here they compile their favourite tracks exclusively for Fault.

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Come on Come Over – Jaco Pastorius

“A virtuosic bass player on a straight ahead funk tune. No further

explanation needed.”

Sugah Daddy – D’angelo & the Vanguard

“The closest thing to make a white man feel cool.”

What About It – Eddie Hazel

“Parliaments great guitar player Eddie Hazel at his best”.

Hang Up Your Hang Ups – Herbie Hancock

“The first guitar riff always throws me off.  I’m always on the off-beat”.

People Say – Jon Cleary & the Absolute Monster Gentlemen

“Saw them at byron bay blues festivals few years ago.  Great band”.

Greasy G – Joshua Redman

“Funky bass line, supplied by Flea from the Red Hot Chilli Peppers”.

Shake Everything You Got – Maceo Parker

“Some of the tightest horns you’ll ever hear”.

Watermelon Man – Herbie Hancock

“One of the tracks that brought us together”.

PYT – Michael Jackson

“One of Michael’s best”

Higher Ground – Stevie Wonder

“It’s all about the clav”

 

Cambio Sun play a headline show at Servant Jazz Quarters on 27th September. You can find the boys on Facebook and Twitter.