French HipHop/Blues Band Scarecrow Put On a Roaring Performance at Drom NYC

Very rarely do we get the chance to witness a group of music who can grasp the sounds of different cultures so effortlessly and harness them as their own. With the power of a roaring bluesy vocal, a groovy baseline and a smoking late 80’s/early 90’s sound, Scarecrow - The Blues Hip Hop showed us how artists can successfully master that calling. 

With much thanks to the combined efforts of The French Embassy and Bureau Export, Scarecrow showcased their talents for the France Rocks SummerFest in New York for the first time in over two years last Friday. We caught their performance at the mysteriously intimate and gypsy-esque Drom NYC amongst a group of music enthusiasts excited to take part in the French quartet’s latest act as they prepared for their second album, The Last, releasing this coming Friday.

Scarecrow’s featured performance was a spine chilling and aggressive piece that spoke of the band’s ingenuity and aesthetic appeal. Ahead of a thunderous and enticing intro, lead vocalist and bluesman, Slim Paul, let out a roaring vocal that channeled across the shadowy halls of Drom, crawling up its back-stage curtains and hurling towards us. It was a unique sound that truly blew us away: A kick-ass note that personified beautifully through Paul’s affirmed lyrical and edgy voice, labeling its mark at any New Orleans jazz club or Memphis BBQ joint.

What followed was a genre binding and sound twisting bar from French emcee, Antibiotik Daw, who also masterfully scratched the turntables with late 80’s/early 90’s urban adlibs, screeching hints of Chuck D, Run DMC and The Wu Tang Clan. Although we unfortunately couldn’t understand the fast hitting French lyrics, it was Antibiotik’s confidence, swag and all-out vibe that helped get our heads bopping, while the bluesy bass lines from Jamo and funky drum set from Le Pap, helped solidify Scarecrow’s urban and bluesy musical arrangements.

What really struck us was Scarecrow’s consistency. Whether their song was predominately hip-hop, blues, funk or a bit of both, the quartet meshed the sounds together flawlessly. When Antibiotik viciously spit on the mic, Slim Paul's raw vocals and Jamo's gripping guitar play brought Scarecrow's performance from the sounds of classic hop-hop into the essence of rock. Accompanied by Antibiotik’s scratches, we were constantly taken for a musical ride that stopped along 80’s hip-hop, 70’s funk and good old fashion dirt-road blues.

Scarecrow’s hip-hop elements, raw rural bluesy notes and urban-esque vibe provided the finishing touches on an already bubbling melting pot that billowed a steam enriched with generations of musical influences, cultures and instrumentation. Scarecrow’s continuous efforts to bridge together American and French music are groundbreaking. With sounds reminiscent of both Screamin' Jay Hawkins and 90's Hip-Hop, the group truly is deserving of their international praise. Their ability to embrace these different sounds allows them to conquer audiences in not only the U.S. or Europe, but throughout the world as they've performed over 400 shows in 10 countries and have a tenacity to produce even more.

This group can truly be an inspiration to aspiring artists and bands across the globe not only for their incredible showcases, gritty music, and cool vibes but for how they can bring cultures together. Somehow we seemed to have lost that in both the mainstream and independent music scenes, but Scarecrow tackles it head on. Truly, they are one of the best bands we’ve seen this year. Can’t wait to catch these guys again. Their new album, The Last, will be available for streaming and digital download this Friday, June 24, 2016. Make sure to catch Scarecrow the next time they’re in your city!

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The Zombies Reclaim their Status Amongst The Pillars of Rock & Roll In NYC

Rod Argent and Colin Blunstone - founding members of legendary British invasion band the Zombies - played an impressive set at Rough Trade NYC last month in front of a packed-house filled with generations of inspired fans. Argent and Blunstone showcased an incredible set that was indicative of the Zombies harmonious sound and psychedelic expressions. Their performance highlighted how the band has reclaimed their relevancy in the rock & roll genre; while also making a substantial impact on both older and younger audiences bridging the gap between classic and modern rock.

As with most British Invasion bands that spread through the airwaves throughout the early to mid-1960s, the Zombies began touring the United States in 1964 behind their hit single, “She’s Not There,” which peaked to No. 2 on the Billboard Hot 100. the Zombies performed at various venues across the U.S. while on tour and made their first U.S. television appearance in 1965. Their subsequent hit single, “Tell Her No” peaked at No. 6 on the Billboard Hot 100 in March of 1965 and had become one of their biggest U.S. releases.

After signing with CBS Records from Decca Music Group, the Zombies released their classic studio album, Odessey and Oracle, in 1968. Over the past several decades, the album has since received international acclaim as one of the staples of 1960s expressionism with the Zombies hit song, “Time of The Season,” “This Will Be Our Year” and “Care of Cell 44.”

On that Thursday evening in Brooklyn, we were honored to witness Argent and Blunstone perform some of the Zombies' hit songs that triumphed during their 1960's debut. With open arms, Blunstone’s entrancing voice embraced audiences as they were drawn closer to the intriguing harmonies and melancholy hooks. The duo opened the show with the charming “Tell Her No” followed by the Zombies' debut hit “She’s Not There.” We stood together with the crowd and sang along with Blunstone’s cadent voice, echoing graciously across the stage. He helped the crowd follow his lead, providing comfort for both those reviving their youth and for the new generation reaffirming their appreciation for the Zombies' pioneering sound.

We were ultimately blown away when the Zombies performed their hit song, “Time of The Season,” when the crowd, no matter the generation, sung along to the classic record. Blunstone and Argent’s breezy acapella smoothed our ears with the songs expressive harmonies and relaxed melodies that were able to make us feel as one. They also performed songs from Still Got That Hunger, which provided audiences with a fresh taste of the Zombies latest works such as, “Moving On” and “Edge of the Rainbow,” that exemplified the band’s historic versatility and dynamic reach within their music.

Our experience of the Zombies performance that evening was intangible. The ability to witness these two pioneers of rock & roll brought upon a rare treat that reinforced our appreciation for musicians from that classic area and illustrated how powerful their impact has been and will be on current and future musicians. Although their music careers have had twists and turns – make no mistake – the Zombies are here to stay. As one of many 60’s and 70’s rock bands re-defining their legendary status through new albums and sold-out tours around the world, the Zombies have come off the bench and into the starting line-up.

Their new album is filled with vividly expressive lyrics, powerful instrumental talent, and a puff of smoky vocals that's rare to find these days. The Zombies showcased those talents effortlessly at Rough Trade, and most importantly, they did so by collectively bringing back the classic hits that continue to draw appreciation from fans and musicians across the world. They have continued their musical journey that aims to break barriers and surpass preconceived notions of rock: we couldn't be any more thrilled to hop along for the ride.

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Kapali Long woos crowds on the East Coast leg of “The Different Tour 2016”

With nothing but two guitars and a backpack, Hawaii’s very own Kapali Long, met with The Fox and King in February to kick off the east coast leg of “The Different Tour 2016” in an effort to promote his brand new EP, “The Different.”

Stemming from a beautiful family heritage of Hawaiian folk musicians, Kapali Long started playing acoustic singer-songwriter music at a young age. The aspiring guitarist began playing music at the age of three where he first learned to play piano. He would eventually go on to master the guitar and adopt an early 90’s alternative style that combined captivating lyrics, with vivid storytelling and features derived from traditional Hawaiian folk music.

“I’ve always played acoustic singer-songwriter music ever since I was 14, playing four-hour gigs in coffee shops - covering Van Morrison; to Led Zeppelin; to Brand New; to Taking Back Sunday – it was everything,” Kapali says. “Now I’m back again, 10 years later, playing acoustic singer-songwriter, bluesy, folk, rock-stuff with Hawaiian influences.”

Kapali Long arrived from Los Angeles to New York after performing at the Nissan® Grand Plaza stage at NAMM 2016 (National Association of Music Merchants) where he performed for 20,000 people on the KIA Soul Main Stage. In his first New York performance in over two years, the multi-instrumentalist performed at the lower east side’s very own, Pianos, sharing the bill with other talented emerging artists. Kapali rocked the two-story venue on the first stop of “The Different Tour 2016,” crooning the intimate crowd with a commanding, yet mellow; vocal that illustrated the sounds of blues and hints of Kapali’s traditional folk influences. He transitioned his raw and invigorating performance to another equally legendary venue, Arlene’s Grocery, wooing a hushed crowd on a frigid Valentines Day weekend.

Kapali Long performing at Pianos

During the second week on the NYC tour, Kapali took part in an open mic session at Black Rose, playing along side fantastic local musicians and performers. He also performed at the industry renowned Rockwood Music Hall, Stage 1, in front of a full room of fans. His passion for music and sensuous voice lit up the Lower East Side, drawing the audience to a tentative and tranquil state. You could feel the joy and soul of Kapali’s performance radiating off the stage.

“It’s cool to do that at least one time in your set, but for every song the crowd pretty much stopped,” Kapali says. “Those people were there for the lyrics. Getting to share my stories is what fuels me to keep going and keep doing this.”

Kapali plays Rockwood Music Hall

Alongside The Fox and King and production company, For The Xperience, Kapali filmed his first featured music video for the track, “Between Then & Now." Coincidentally, it's a song Kapali wrote just two years earlier when he first came to New York. One day removed from his stellar performance at Rockwood, the TFAK and For the Xperience crew drove Kapali out to the Bushwick and Williamsburg sections of Brooklyn. This grassroots production featured Kapali on location, capturing shots of concrete murals, art, historical landmarks, open parks and the Manhattan skyline itself.

Kapali also interviewed with TFAK’s very own, Kevin Vallejos, to provide fans and audiences a clean and more insightful look at where he's been, where the journey as a musician has taking him, what’s next for his music and what to expect from his upcoming album. The interview and video will be featured in a soon-to-be-released mini-documentary about Kapali’s east coast tour in New York.

Behind the scenes with Kapali for his first official music video "Between Then and Now"

Kapali Long’s time in New York has illustrated how far he has come from being the young talented guitarist that soothed coffee enthusiasts in his native hometown of Honolulu. In what has taken him years to forge, Kapali Long is a versatile force in the independent acoustic music scene that has adopted the ability to persuade us with a sense of empathy and compassion. Through the kindness of his music, Kapali continues to share his harmonious lyrics through the spirit of aloha and persuade his fans to cherish how music can bring people together.

“What I’m trying to do is spread the awareness of aloha and just passing it forward,” Kapali revealed. “That’s just the message that I’ve embodied in my music: pass that love forward.”