Busty And The Bass Bandcamp
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Busty And The Bass Bandcamp
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Busty and the Bass 2018
Busty and the Bass - Dead Poet
Busty and the Bass 2018
Busty and the Bass - Things Change (YouTube Session)
Busty and the Bass 2018
Busty and the Bass - Common Ground (Amsterdam Boat Session)
Busty and the Bass 2017
Busty and the Bass - Things Change (Lighthouse session)
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Memories And Melodies
Busty And The Bass
''Now, one year after releasing their critically acclaimed full-length album Uncommon Good (Indica Records), Busty and the Bass are rising stars as a groove band, with nearly 340 performances behind them and an itinerary that takes them all over the continent.''
Busty and the Bass have come a long way in a short time. The nine members of the band connected in their first week at McGill University’s jazz school in Montreal and started jamming. Casual house party gigs soon led to scorching live performances in front of thousands on stages across the U.S., Europe, and their home country of Canada. The group’s natural chemistry and an ability to create a sound that Complex says is “best described as a lovechild between jazz, hip-hop, and electro-soul" has been a major hit with audiences, bouncing along and chanting “Bus-ty!” in unified delight. Even R&B legend Macy Gray is a fan of Busty and the Bass, praising their soulful living room session cover of her hit song “I Try” as “beeyooteefoh”.
The band is gearing up to release their debut full-length album. Compared to their previous three EPs, the album finds them focused on the project as a whole, rather than just a collection of songs. It is also a continuation of their infectious brand of danceable electro-soul, hip-hop and funk.
On previous efforts the group recorded in the “busty basement”, a place that guitarist Louis Stein says allowed for “experimentation and fun”. This time around they decided to step up their game, enlisting the skills of Grammy award winning producer/mixer Neal Pogue, best known for his work with acts like Outkast, Snoop Dogg, Earth Wind and Fire, MIA, Nikki Minaj, Aretha Franklin, and Lil Wayne.
“Neal was the nucleus around which the entire project came together, bringing together all the diverse voices that make up the band and helping us create a cohesive body of work,” says bassist Milo Johnson.
Pogue encouraged the band to listen to classic albums by Parliament, Earth, Wind and Fire, and Michael Jackson. Inspiration was also found in contemporary artists like Kendrick Lamar, D’Angelo, and James Blake. All of these influences can be heard on the album, but the way the band incorporates them into their own sound shows a sharp and original progression.
“The new songs represent a much more developed and mature version of our sound. It saw us moving away from the home-basement tracking that we did ourselves to a more encompassing studio environment,” says vocalist and synth player Evan Crofton.
"Exceptional musicianship, wild creativity, and pure fun" (CBC) are difficult to achieve all together, but Busty and the Bass have proven it to be their forte. 2017 is poised to be the biggest year yet for the group as they embark on their first full tours of the U.S. and Europe. With a new album to share with the world, Busty and the Bass are just getting the party started.
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Photo: Courtesy of the artist via Bandcamp
Macy Gray and George Clinton contribute to Montreal-based soul collective Busty and the Bass' smooth R&B based sounds on new album Eddie .
There’s something undeniably sexy about the Montreal-based eight-piece collective Busty and the Bass ‘ latest release, Eddie . The overall vibe is that of a basement make-out party with dim lights, smoke-filled air, and a pile of R&B based rock, funk and soul 45s endlessly dropping down on the automatic record changer. The album should be played at a lower volume than most.
There’s also something purposely retro about the sound as the album’s stated purpose is “to answer the questions ‘What advice would you impart on that younger self? And if you could pass your younger self a mixtape, what would it sound like?'” To successfully reach one’s past self, one would need to use the music of one’s youth, and to be convincing, one would have to balance that with the imprint of the present. The trade-off between these two elements keeps things fresh.
Eddie doesn’t quite work as a concept album. The connections between the songs and their thematic developments are too diffuse. Instead, the record works best as a collection of singles that bear a similar sound that overrides their distinctive tropes. Or as vocalist/saxman Nick Ferraro explains, “Think of it as a mixtape.” Some cuts, such as the sultry “Time Don’t Make Me a Stranger” , evoke the urban contemporary music of the 1970s and 1980s. Other tracks, like the gospel-tinged “Summer” , utilize more spiritual trappings such as a solo piano and a clapping of hands to suggest a connection to something higher than the flesh-based pleasures.
Part of the reason for the diverse sounds on the album has to do with the sheer size of the band, who originally met at as students in the jazz program at McGill University. Busty and the Bass are Nick Ferraro (vocals, alto sax), Evan Crofton aka Alistair Blu (vocals, keys, synths), Scott Bevins (trumpet), Chris Vincent (trombone), Louis Stein (guitar), Milo Johnson (bass), Eric Haynes (keys, piano), Julian Trivers (drums). Neal Pogue produced the album (Tyler The Creator, Outkast, Anderson .Paak) with executive producer by Earth, Wind & Fire’s bassist Verdine White. In fact, in many ways, Eddie sounds like a lost Earth, Wind & Fire album in terms of how the horns contribute to the lush arrangements and the vocals layered softly across each other, especially on the more atmospheric tunes such as “Clouds”.
Two tracks feature notable guest vocalists whose musical influence on Busty and the Bass rings clear. The album beings with “Out of Love” , featuring the raspy voice of Macy Gray soulfully rapping hook-laden declarations of independence and strength laced with the pain of a love lost. Parliament/Funkadelic founder George Clinton lays down a funky contribution praising the pusher on “Baggy-Eyed Dope Man” . The band allow these artists with long histories and distinctive styles to fit right in the larger mix without distracting from the album as a whole by providing solid foundations for their intonations.
That said, the best songs such as the bouncy “Kids” work because they are most uplifting. The chorus of “the kids will be alright” optimistically suggests that things have a way of working out. The same is true for the horn-laden “Figure It Out” that declares the positive benefits of taking control of one’s destiny. The theme of the title song is “life gets better”. As a whole, the dozen songs are more hopeful than sad, but the album’s contents are full of mixed emotions, presumably like the title character himself. As Eddie learns, life goes on.
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