#homer steinweiss

[bandcampsnoop]

8/15/24.

I've been waiting months for Big Crown Records to actually announce the pre-order for this: Homer "Ensatina".

Homer is Homer Steinweiss (Brooklyn, New York), a drummer who has played with so many big-name musicians (Jonas Brothers, Adele, Bruno Mars). I was introduced to his work when I heard Holy Hive. That band and unfortunately, a personal relationship broke up during the pandemic. On the other side of these crises, comes "Ensatina".

I've learned that I'm a big fan of soul/retro soul. Over the years my Stevie Wonder/Supremes collection has grown, but so has my Aaron Frazer/Holy Hive collection.

[thejoyofviolentmovement]

Raised in the East Village, acclaimed and highly sought-after trumpeter Dave Guy was surrounded by hip-hop and the hustle that seemed to define the city in the 90s. During those formative days, he and his playing style were influenced by the likes of Donald Byrd and Hugh Masekela, but also by A Tribe Called Quest and De La Soul.  His time at LaGuardia Performing Arts High School furthered this path. Guy remembers sharing playing time with  Big Crown Records co-founder Leon Michels and highly sought-after drummer Homer Steinweiss. “Being in the All-City Jazz Big Band, I would see them rehearsing all the time,” the New York-born and-based musician recalls. “They were already doing things with The Dap-Kings back then—which was crazy.” His voice as a player began to take shape and continued to be refined through his studies at The Manhattan School of Music and The New School — and then playing withSharon Jones & The Dap Kings, Charles Bradley and Menahan Street Band, The Sugarman 3 and more. He has played on albums from the likes of Amy Winehouse, Mark Ronson, Pharrell Williams, Lee Fields, the legendary Al Green — er, correction, the Rev. Al Green — and a lengthy list of others. And adding to a growing profile, Guy currently plays with The Roots live and on The Tonight Show Starring Jimmy Fallon. Guy finally steps out into the much-deserved spotlight with his full-length debut, Ruby. Slated for a September 20, 2024 release through Big Crown Records, the 12-song album sees the highly sought-after NYC scene mainstay exploring New York jazz and pushing the boundaries of the style by incorporating elements of hip-hop and soul in a way that’s both unique and modern.  As fate would have it, a classic case of “when one door shuts, another opens” was really what got the ball rolling on the album. “I never wanted to force my own project,” Guy explains. “There was always a lot going on between things—the timing was never right.” But when The Tonight Show went on hiatus during last year’s Writers’ Strike, there was an unexpected free moment.  Within days, Guy started recording sessions with Steinweiss and Nick Movshon (bass). What initially started out as a just an opportunity to create music, quickly took shape and direction when they ended up laying down something that felt wildly special and authentic. The result is an album that captures different moods and serves as an invitation to the world as Dave Guys sees it and feels it.  Last month, the acclaimed and highly sought-after musician shared the album’s first single “7th Heaven,” a composition anchored around a bed of twinkling and dancing keys, a strutting Movshown bass line, swaggering boom bap drums from Steinweiss and ethereal backing coos from Clairo/Claire Cottrill serving as a funky and anthemic bed for Guy’s regal and soulful horn melody. The result is a composition that’s swaggering yet cinematic, while capturing the energy and vibe of a day — or night — in and around New York.  “It has a groove and is more in line with what the guys and I are known for with Menahan Street Band, but it is also in-your-face and catchy,” Guy says. “It’s a bit of an ode to Tijuana Brass too, a Herb Alpert-esque track with a tight horn line and has that energy that pops.” Ruby‘s latest single “I’ll Follow You” is a gorgeously serene bit of counterbalance anchored around a driving rhythm section and juxtaposed by Guy’s soulful and meditative horn melody with a subtle call and response. Sonically, “I’ll Follow You” — to my ears, at least — is a bit of a synthesis of Kind of Blue-era modal compositions with J. Dilla and Stones Throw Records-like beat tapes. It feels thoughtful and warmly familiar yet new — and much like its predecessors evokes the energy and feel of Guy’s hometown.

[my-chaos-radio]

Release: July 9, 2010

Lyrics:

Un, deux, trois (uh ah, turn it up a little bit more)

Bang, bang, bang

Feathers, I'm plucking feathers

One by one, by one

No more skylarking, around my head

Your information

But there's no hiding it, behind moulting feathers

On the plane, on my brain, 'bout to do the sho'

40k contract, take it out the do'

Dice, symbolize my life, roll 'em on the flo'

From your grubby hands, as you hand the grandstand

You live a shitty life, we live a bon, bon vie

Hotter than the book, while we watch the tv

Think you got us fooled, ooh never again

First time, shame on me, second time, your time will end

No way, bang your dead, here's your silhouette

Je te plumerai la, tete

Je te plumerai la, tete

Bang your dead, alouette, here's your silhouette

Je te plumerai la, tete

Je te plumerai la, tete

No way, no, (the clock) it's ticking forward

No way, it's just a cruel, cruel world

Cruel world is fittin', they got us all hittin'

With late night divisions, and lab app decisions

We're faced with decisions, to fight a fricassee

And you've clearly decided, on how to handle me

Difficile, imbecile, is it fake, is it real

Are we dying on our feet, are we trying in our sleep

There's a rumour goin' 'round, 'bout the suits runnin' town

If you look into the sky, them birds fly high, high, high

Numbers, you got that number

You're logging hours, and don't see the big picture

Over your shoulder, you'll get no last words

Because it's too late, you've clipped your own wings (your own wings)

No way, bang your dead, here's your silhouette

Je te plumerai la, tete

Je te plumerai la, tete

Bang your dead, alouette, here's your silhouette

Je te plumerai la, tete

Je te plumerai la, tete

We're never gonna, believe in, the stories, that you're weavin'

We're never gonna, believe in, the stories, that you're weavin'

We're never gonna, believe in, the stories, that you're weavin'

We're believin' in the proof, we're believin' in the truth

We're believin' in each other, not you, you, you

Stories (you with the tall tales), how many stories (so many tall tales)

We climb the structure (you scale the ladder)

You build it higher (you make us madder)

We take our aim (so now we're bearin' off)

You perch above your nest (in your charms)

The stories in your head (it's a crazy bald head)

Yeah, that's what got you dead

No way, no, (the clock) it's ticking forward

No way, it's just a cruel, cruel world (cruel, cruel world)

No way, bang your dead, here's your silhouette

Je te plumerai la, tete

Je te plumerai la, tete

Bang your dead, alouette, here's your silhouette

Je te plumerai la, tete

Je te plumerai la, tete

Songwriter:

Un, deux, trois

No one ever does it like that anymore

Bang, bang, bang

When feathers fly, you deny everything (alouette)

Un, deux, trois

No one ever does it like that anymore

Bang, bang, bang (alouette)

When feathers fly, you deny everything yo

Alex Greenwald / Amanda Warner / Homer Steinweiss / Kamaal Fareed / Mark Ronson / Nick Hodgson / Peter Keush

SongFacts:

👉📖

[flustered-fish]

Have a little obsession i need to get off my chest...

Homer Steinweiss (session drummer)

dudes been at the heart of the new york soul revival scene since 2002 and I barely even noticed until i happened to see a familiar face gracing Holy Hive's music videos, and tracking my deja vu to Freddie Gibbs NPR tiny desk session then following with that revalation trekked deeper into his discography. Which is in short.... quite fucked (but we'll get into that later)

what really grabs me now that I've listened closer to his playing is that his mission statement seems to be nothing too flashy, everything funky. dude has more in common with Clyde Stubblefield then more technical modern dummers like Chris "daddy" Dave or Luke Titus. but honestly his shit is so rhythmically tight and serving of the tune that everything he touches becomes 80% more enjoyable seriously listen to this shit...

this is just the shit I already loved before finding out he was the common thread minus amy who even though i really dig, I hadnt gone too deep on for various reasons (person real life stuff that happened to me that my brain replays everytime i think of her) but speaking of amy every live video i found of hers that didnt have Homer was either over the top of just not sitting as well as this performance right here (ofcourse that a whole band problem not just a drums thing but thats a whole other rant). this guys a living legend im giving him his flowers now.

P.S.

Also listen to his work with El Michel Affair, Sharon Jones and the Dap Kings, Lee Fields and the Expressions, The Olympians, The Arcs, Aloe Blacc... actually find his wikipedia yourself and get digging, Enjoy.

[sunshinesesequencing]

10 Randomised Breakbeats for Sequencers

10 sequencer scores for breakbeats with percentage chances.

Original source is the Breakbeat Bible by Mike Adamo.

The text sequences where developed for the Elektron sequencers Conditional steps changed to percentages for a broader range of sequencers. 

Adamo has examples over 8 bars which have been compressed into one bar with percentage chances of hits. 

The initial idea was for use with the Elektron Rytm and then the Polyend Play to explore their chance based features.

These two sequences have features for conditional steps which have been changes to percentage values for more generalised sequencers.

These scores will sound different to the initial score because of the randomisation and due to different drum kits being used 

while providing an overall feel for the patten. 

One aim of the system is not to duplicate the beat but to provide a basis for variations depending on the needs of the producer and the features of the drum machine.

Studying the breakbeats can be helpful in creating your own.

Breakbeats are used because there is more variety than the standard 4x4 of EDM but if the Kick a shifted a bit and percentages changed these patten can be used. 

Having an initial patten and then using the features of your drum machine is also a useful way to learn the features and gain mastery.

C = closed hihat , O = open hihat, S = snare, K = kick, Cy = cymbals, R - rimshot

1. Runnin - The Pharcyde - J Dilla

94bpm C,3,5,7,9,11,13,15 @ 100% S 5,13 @ 100 K 1@87, 2@12, 3@38, 6@25 8@50 9@37 10@75 12@87, 16@37 A straight forward percentage patten. With an all percentage track there is the slight chance that there can be no hits or all hits. Note: Percentage as calculated which may need to be rounded if the drum machine has fixed values.

2. Funky Drummer - James Brown - Clyde Stubblefield

101bpm C 1,2,3,4, 5 @100, 6@50, 8@75, 9,10,11,12,13@100,14@12,15,16@100 O 8@25, 14@88 S 5@100, 8@100, K 1@100, 3@30, 6@12, 9@33 11@100, 14@100, 16@1 This is a very simplified version of the patten as there is a lot more hat work in the original.

3. Amen Brother - The Winstons - Gregory C. Coleman

129bpm C 1.3.5.7.9, 11 @75, 13@75, 15@100 O 11@25 Cy 13@25 S 2@25, 5,8,10@100, 13@50, 15@50,16@50 K 1@75, 3@100, 4@25, 11@100, 12@50

4. Apache - Michael Viner’s Incredible Bongo Band - Jim Gordon

bpm116 C 1,3,5,7,9,11,13,15 @ 100 S 5,10,13,16 @ 100 K 3@75, 111@100

A repetitive four bar patten with scope for added probabilities.

5. Soul Pride - James Brown - Clyde Subblefield

bpm 121 C 1@100, 3@66, 5@100, 7@100, 9@100, 11@50, 13@100, 15@50 S 2@50, 4@33, 5@78, 6@16, 8@78, 10@100, 11@66, 12@50, 14@50, 15@6100, 16@50 K 1@50, 3@78, 7@33, 9@50, 11@50, 13@50, 15@50

6. Tighten Up - Archie Bell and the Drells - Billy Butler

bpm133 C 1,3,5,7 @ 100, 9@75 R 8@100, 12@25, 13@25, 16@100 O 1,5,9,13@100 S 2,5@100, 6@75, 10@100, 13@75, 14@100 K 1,3,7 @100, 11@75, 15@25

7. You Know I’m No Good - Amy Winehouse - Homer Steinweiss

bpm: 104 O 8,11@25 C 1,3,5,7,9,11,13,15@100 S 5@100, 7@75, 8@100, 10@50, 13@100, 15@16 K 1@100, 7@25, 11@100, 15@100

8. Speak E.Z. - Lettuce - Adam Deitch

bpm: 83 CY 1@1st C 1@12, 3@100, 5@25, 7@75, 8@12, 9@12, 10@12, 11@75, 13@12, 15@100, 16@12 O 5@25, 13@12 S 2@20, 3@12, 5@75, 6@50, 8@100, 9@12, 10@12, 11@12, 13@75, 15@12, 16@75 K 1@100, 2@12, 4@75, 7@12, 9@1:2, 10@100, 12@75, 14@12, 16@12

9. Organ Donor - DJ Shadow

bpm: 110 CH 1,3,5,7,9,11,13,15@100 SD 1@12 2@25, 4@12, 5@75, 6@12 8@25, 9@12, 10@100, 11@8:8, 12@12, 13@75, 14@8:8, 16@100 BD 1@100, 3@75, 5@12, 6@12, 7@50, 8@50, 9@59, 11@100, 12@8:8, 15@25

10. God make me Funky - James Brown - Clyde Stubblefield

94bpm C 1,3,5,7,9,@100, 11@75, 13@100, 14@75, 15@75 O 11@25 S  5,13@100 K 1,8@100, 16@88

[parkerbombshell]

Stereo Embers The Podcast: Homer Steinweiss (Holy Hive)

“The Story Of My Life” Based out of Brooklyn, Holy Hive are a truly singular band. Formed in 2015’s Holy Hive’s innovative brand of neo-folk is both spare and rich, incorporating elements of Turkish Funk, Chicano soul, low-fi pop and traditional American roots music. Singer Paul Spring’s falsetto floats with the kind of effortless finesse that falls somewhere between Brian Wilson and Shuggie Otis. Meanwhile, drummer Homer Steinweiss, who has sat behind the kit for Lady Gaga, Amy Winehouse, Sharon Jones, Adele and Bruno Mars, plays so deep in the pocket the groove it yields is sheer percussive bliss. He’s an extraordinarily player whose instincts and inventions make him one of the best drummers around. Their debut album Float Back To You cashed in on the promise of their Harping EP—and their self titled second album was a quiet and stirring revelation. They also released an instrumental version of the album, which is an equally stirring companion. www.holyhivemusic.bandcamp.com www.bigcrownrecords.com www.bombshellradio.com Stereo Embers www.stereoembersmagazine.com www.alexgreenonline.com Instagram: @emberspodcast editor@stereoembersmagazine.com Read the full article

[inevertookart]

Music Response

Album Cover Imagery -

Designed in 1939 by twenty three year old Alex steinweiss while working at Columbia records. Taken from New York's West 45th Street and stood outside the city's famous Imperial Theatre. This was one of the first album covers to use a photography.

As the first album art cover and with no previous subjects to take inspiration from i think this is a great use of imagery, imagination and colour to start.

5O'S

Elvis Presley 1956 was taken by William V. "Red" Robertson from the debut studio album, The picture of Elvis playing the guitar and singing during a performance at the Fort Homer Hesterly Armory, Tampa, Florida, on July 31, 1955 was used here with the singers name and album title vertically and horizontally in some bright cool colours. The set up of this album would go on to be, I used the word reference lightly in a later massive album cover. I thought this was really cool for the time of the album.

60s

A great visual and cover to reflect the time the psychedelic 60s, Jimi Hendrix’s Axis Bold As Love (1967) was created by David King and Roger Law shows art work of religious faith with the bright 60s colours. The artwork would go on to be the source of complaints and banned by the Malaysian government's Home Ministry and Jimi himself explaining how he had nothing to do with the choice of the cover. Its great reference to something to looks good but the more information you gather about it the more questions it raises.

I have also included this album cover by Led Zeplin from the 1969 self titled album, photographed by Sam Shere on 6 May 1937, during the hidenburg disaster. taken from a joke about the band starting and how it would go down like a lead balloon. The design was coordinated by George Hardie the front cover illustration, rendering the famous original black-and-white photograph in ink using a radiograph technical pen and a mezzotint technique.

70s

Designed by Paula Scher and illustrated by Roger Huyssen for Epic Records the cover of Boston's album is one of my favourites even if it designer Paula Scher does not understand why it got a backing when released, “The Boston cover was designed in 1976 and is now 39 years old,” she says. “It was, and still is, in my opinion, a mediocre piece of work.” The guitar shaped spaceships have become a trademark for the band and other album covers. Paula had a meeting with Tom scholz guitarist for Boston and the bands product manager, “The first space ship cover idea we showed Scholz had a Boston invasion of the planet, but Scholz said that space ships should be saving the planet, not attacking. So we came up with the Earth-blowing-up idea.

Rogger Huyssen has created close to 100 album including James Brown and has work in the Smithsonian National Portrait gallery in Washington DC, his work is amazing and very recognisable.

80s

Released on October 8th 1980 Talking Heads Remain in the light album is a great alternative album cover. Using and image of the band the Massachusetts Institute of Technology blotted out the band face using red and keeping the bands eyes and mouth. Painstakingly the job took hours due to the lack of computer power in the 80s. The rest of the artwork was created by graphic designer Tibor Kilman. It was Kilman that came up with the idea of inverting the A's in the bands name, I think this is a great addition and simple idea but also has a great effect that pulls you to the writing. This and the what would be a simple job now but lengthy job in the 80s creates a great cover.

90s

The Glasgow boys make my top album on the 90s. Released in September 1991 and created by Paul Cannell the psychedelic sunburst that adorns the album’s sleeve has become the bands recognisable calling card featuring on countless t-shirts, posters and other memorabilia. According to myth the picture was created after artist Paul had taken LSD at the Creation Records office in Westgate London and Paul was inspired by a damp patch. Paul would go on to create other album covers for Primal Scream and also created work for the Manic Street Preachers. Sadly Paul passed away in 2005 but thankfully his amazing artwork lives on.

Released in June 2003 and Created by English artist Stanley Donwood. Donwood has created all the artwork for Radiohead with Thom Yorke. The cover art is a roadmap of Hollywood, with words and phrases taken from roadside advertising in Los Angeles, such as "God", "TV" and "oil". Not only did Donwood use the advertising but he also used songs from the album such as Burn the Witch and also used some political reference due to the ongoing war on terror at this time.

2010s

Bon Iver's second studio album Bon Iver album was released in June 2011 and the album cover was created by American contemporary artist and teacher Gregory Euclide. Gregory's artwork is most recognisable for its water colour look and its focus on nature and the outdoors. Gregory's work has had plenty of recognition from appearing on album covers and in magazines to the museum of Art and Design in New York and exhibitions on Nevada's Museum of Art. Euclide has went on to do many more Album covers and book covers.

2020s

Released in August 2020 the Killers most recent Album 'Imploding The Mirage' album artwork was created by Thomas Blackshears piece called 'Dance of the Wind and Storm'. The Killers have noted that the artwork is the main source for most of the inspiration for the entire album, the band have said there is a number of direct links between the art and song lyrics. Thomas Blackshear work has been exhibited at The Smithsonian National Museum of American History and has created work for stamps, Hallmark cards and illustrations, He has also created artwork for Disney pictures, George Lucas Studios and National Geographic magazine.

Below are some other amazing album covers.....

[nofatclips-home]

Casual Encounter by Doug Shorts

[nofatclips]

Hey Girl by Lady Gaga (featuring Florence Welch and Kelsey Lu) from the album Joanne

[rainingmusic]

Charles Bradley - Stay Away 

[bandcampsnoop]

6/28/23.

I woke up the other morning and immediately was sent on an emotional rollercoaster. Big Crown Records was releasing another Holy Hive (Brooklyn, New York) album! Holy Hive was no more!

I'll focus on the positive. Paul Spring and Homer Steinweiss have created another gem of folk-soul or whatever you want to call it. And we've been lucky enough to get four releases of beautifully crafted music.

I'd be remiss if I didn't name-drop similar artists: Me and My Friends, Surprise Chef, and Aaron Frazer.

[thejoyofviolentmovement]

New Audio: Dave Guy Shares Cinematic and Strutting "7th Heaven"

New Audio: Dave Guy Shares Cinematic and Strutting "7th Heaven" @bigcrownrecords @grandstandhq @shazi_la @clairo @theroots

Raised in the East Village, acclaimed and highly sought-after trumpeter Dave Guy was surrounded by hip-hop and the hustle that seemed to define the city in the 90s. During those formative days, he and his playing style were influenced by the likes of Donald Byrd and Hugh Masekela, but also by A Tribe Called Quest and De La Soul. His time at LaGuardia Performing Arts High School furthered this…

[plus-low-overthrow]

El Michels Affair feat. Bobby Oroza - Reasons (Big Crown)

prod. Leon Michels, 2020.

[cbjustmusic]

Sharon Jones - “Get Up And Get Out” - Live à L'Olympia (Paris)

_____________________________________________ Get Up and Get Out Songwriter: Homer Steinweiss

[Verse 1] I been laying night after night You leave me before I see the morning light I always say you're welcome no more But when you knock I open up my door [Bridge] I say Get up, get up, get up And get out I say Get up, get up, get up And get out [Chorus] No one can know that you are here For you I've shed so many tears No one can know that you are here For you I've shed so many tears [Verse 2] All my friends they ask me about you I swear up and down that we are through Oh, if only what I say was true Why can't you find someone new? ADVERTISEMENTSCROLL TO CONTINUE WITH CONTENT [Chorus] No one can know that you are here For you I've shed so many tears No one can know that you are here For you I've shed so many tears [Chorus] Get up, get out...

[sinceileftyoublog]

Live Picks: 4/12

Lee Fields; Photo by Sesse Lind

BY JORDAN MAINZER

Four singular artists tonight.

Lee Fields & The Expressions, Thalia Hall

We last caught Lee Fields still touring strong off of Emma Jean, one of the best soul albums of the decade. Since then, he’s released a couple albums, most recently It Rains Love. While not quite the revelation that Emma Jean was, which at the time felt like the best album he had ever made (and still does), Fields’ new record with his band The Expression is solid. The title track combines high-pitched, soft lead electric guitar with cinematic orchestration and a funky beat; “It rains love when I’m with you,” Fields sings sweetly, the other side of the normally raucous showman. (The crooner also appears on the call-and-response highlight “You’re What’s Needed in My Life”.) “Two Faces” is slinkier, with echoing snare hits that announce the arrival of Fields and the harmonizing singers, his rasp and scream at full effect before the bridge. Perhaps the most impressive vocal exercise is the urgent “Wake Up”, Fields loud enough for anybody to hear him beg those believing in “fake news” to be more critical of the current political climate. 

The best songs, however, are “A Promise Is A Promise” and “God Is Real”. On the former, Fields admits he still loves someone who got away but that there’s no bad blood and that he wants them to be happy. On the latter, which combines gospel singing with a reggae beat, he uses his relationship with religion to lift himself up so that he can lift others up simply by telling his story of overcoming--without pandering or proselytizing. That such attitudes and tactics are exceptions, not the norm, is perhaps evocative of the political climate he sings about on “Wake Up”, but the rarity of genuineness like his doesn’t take away from your enjoyment of very good songs on a very good album.

7.2/10

Tonight’s the record release party for It Rains Love. Chicago blues musician Neal Francis opens. Dave Mata DJs.

Chris Smither, Fitzgerald’s

Last year, I interviewed Chris Smither about his most recent album Call Me Lucky, an album in which the band members switched instruments during the recording. Here’s what he had to say about playing it live:

“Since the record came out, the majority of the gigs I’ve played have been with at least a couple of the guys who played on the record, and sometimes with all of them. When I do a solo show, I think it works pretty well. You have to remember: Basically, I write the songs as solo performances, as complete things with just me playing it. One of the challenges of doing a produced record of those same songs is to find a way to keep the other musicians from stepping on what I’m doing. Basically, their role is one of expansion and framing. They’re not in there digging into the structure of the song at all. They’re creating a showcase for the concept I had in the first place. Basically, when I play the songs myself, they sound a little more stripped down, but the essence is still there. If all you ever heard was the record, you’d still recognize the songs.”

Amanda Palmer, Chicago Theatre

In an interview with her last month, I asked Amanda Palmer how she’s planning on touring her new album There Will Be No Intermission. Here’s how she responded:

“Solo. [laughs] It’s just me, a piano, and a ukulele, and that’s it. There’s no support. No special guests. I’m not fucking around on this tour. I’m just getting on stage and delivering a really meticulous, powerful show.”

Expect her to remain true to her words and the set list to consist of mostly new songs, a few old, and maybe a Dresden Dolls cover or two.

Will Johnson, Living Room Show

We first caught singer-songwriter Will Johnson open for John Moreland a couple years ago. Right now, he’s on a living room tour; as usual, expect to hear from a smattering of his solo albums, Centro-Matic material, and his work with Jason Molina.