by Jane Lambert

Pharaoh’s Dream Rereleases A Cover of “Children of the Night,” A Remembrance of the Life in the LQBTQ+ Community Of the 1970’s

(London, England) November 25, 2021 – Pharaoh’s Dream, the mystical smooth Jazz entity has recently released the ‘regroove’ rendition of The Stylistics’ “Children of the Night.” This magical and mystical song is about being gay in the 1970’s, which Pharaoh’s Dream lead vocalist, David Nathan, has some experience in. David, who’s 73 years young, dedicates this song to those who still walk the shadows of the night, to those who still feel alone, and those who still feel the pain of the AIDS crisis.

He shares what “Children of the Night” means to him. Watch his testimonial here:

This ‘regroove’ came just in time for World AIDS Day on December 1st, an international day dedicated to raising awareness of the AIDS pandemic which began in the early 1980’s as well as mourning those who we lost. “The acceptance and inclusion of the LGBTQ+ community that is much more present today is a far cry from what we experienced back in the ‘70s and ‘80s and beyond. So many of my dear friends died in the first few years of the AIDS pandemic. It was devastating. I cried so many times over the death of people in my life who were persecuted, disowned by their families and work colleagues and who were my own age. I worked actively in the ‘80s and ‘90s with The Minority AIDS Project in Los Angeles to help break the stigma associated with the virus. I am well aware that AIDS is still a reality in many parts of the world so our work is far from done in bringing compassion, love and support to those affected by AIDS ” shares David. As an openly Gay man, and one who experienced the persecutions of gay men in the 1970’s and 1980’s, David hopes to send a message of love and acceptance of everyone, especially those in the LGBTQ+ community.

David’s deep and raspy voice is what carries this smooth jazz/soul version of “Children of the Night.” We get an entrancing flute, courtesy of award-winning musician Najee, and magical chimes that beautifully intertwine with the background vocals from special guest Will Downing.

Listen to “Children of the Night (The 2021 Late at Night Regroove)” here:

David’s aim is to appeal to the generation that loves the music of Sade, Norah Jones, Mose Allison and of course, the iconic Nina Simone. He has created an exciting and soulful jazz/blues show that includes his own recent recordings as well as a personal musical salute to Nina Simone that includes sharing some of his memories of spending time with her. This show started in London initially when David started the first UK fan club for her as a teenager in 1965 and then through the years until her passing in 2003.

Currently, David has been hard at work with some important projects. This past week, he released “Say It Like You Mean It”, by Takim Brown, co-written with Preston Glass and others, on the Philly Soul Select, Compilation. Listen here:

On November 23, 2021, he did an interview project as a video on YouTube called, David Nathan (The British Ambassador Of Soul) with Aretha’s Angels, six publicists who worked with Aretha Franklin between 1985-2018, sharing personal reminiscences with David who first connected with ‘The Queen Of Soul’ as a London teenager in 1966 and celebrating the 2021 release of the career-spanning 4CD Rhino box set, ARETHA. Watch here:

His track, “I’m In My Prime,” co-written with Preston Glass, is on his latest album by the legendary soul group, The Spinners. Listen here:

And Finally, he is completing work on his 1st book of soulful poetry, ‘Like…The First Time You Heard Chaka Khan!’ due out February 2022

About Pharaoh’s Dream

Pharaoh’s Dream, mystical, mysterious…. “Created as an expression for evocative music that soothes the soul, calms the spirit,” says David Nathan, who initially began recording under this banner in 2006 with the album Wistful Elegance, which he produced in Los Angeles with award-winning music man Preston Glass, with tracks featuring special guests such as Kenny Lattimore, Will Downing, Lynne Fiddmont and on the now-rare CD release, liner notes by Roberta Flack. In more recent years, Pharaoh’s Dream recordings have included FEELING GOOD – A PERSONAL TRIBUTE TO NINA SIMONE reflecting David’s early years as the founder of the music legend’s first UK appreciation society.

The name ‘Pharaoh’s Dream’ is a reflection of David Nathan’s deep interest in the 18th Dynasty of Egypt, with such historical figures as Akhenaten, Nefertiti and Tutankhamen, an interest inspired by a conversation on a 1975 flight with Maurice White of Earth, Wind & Fire fame… Pharaoh’s Dream, ancient yet timeless…

David Nathan’s smokey mocha-flavoured vocal style evokes memories of a bygone era, of intimate dimly-lit ’40s and ’50s jazz clubs and yet has the kind of timeless quality associated with the likes of Nina Simone, his primary personal and musical mentor. Born in London, David has loved music for as long as he can remember, Dionne Warwick, Nina Simone and Aretha Franklin as a teenager.

Known initially for his work behind the scenes as a soul music journalist, author and historian, David began recording in 2003 in Los Angeles, his home for 24 years with direct encouragement of such illustrious artists as Roberta Flack and Bonnie Raitt, His 2003 CD debut, “Reinvention” includes a number of pop and jazz classics such as The Beatles’ “Blackbird,” Billie Holiday’s “You Don’t Know What Love Is” and a Brazilian-styled version of “Cry Me A River” (featuring The Sweet Inspirations).

In recent years, David completed sessions in the UK for the album, “I Used To Rule The World” and has worked with Indian violinist/composer/producer Aritra B on original music included on the EP, “A Long Way From Blue” due for re-release in 2022.

Follow Pharaoh’s Dream via:

11.26.21

by Jane Lambert

“Hit and Run” Shares the Message of Growth and Change Within Ourselves

Zack King, the young Minnesota musician, is not afraid to get real in his newest single “Hit and Run.” He isn’t afraid to get personal and vulnerable when it comes to his music, and “Hit and Run” is no different. This song in particular is about growth and the strength and bravery it takes to move forward rather than desperately hold onto the past. Zack shares that “trying to hold on to who you used to be can be toxic, especially when you don’t recognize that person anymore. Looking in the mirror and seeing a new person can be scary, but also rewarding. Why not give the new you a chance and see what good can come from it?” People evolve all the time. Zack asks whether you want to embrace who you become.

Zack just released the music video for “Hit and Run” which is a wonderful visualization of this journey. While this story is based on Zack’s own experience, he uses his knowledge to help others grow. This acoustic style pop meets grunge song is for those who don’t like who they’ve become. Zack, for example, felt lost and alone after graduating college and turned to drugs and alcohol to try and find who he was. On top of that, he treated the people he loves the most poorly. After time, all of these bad habits and behaviors towards himself and others made him realize that he no longer recognized the person staring back at him in the mirror. He became unrecognizable to himself. So, he set out to change for the better.

While he doesn’t like who he was looking back, he accepts it and sees that it wasn’t all bad. It was part of his journey and he was able to learn and grow as a person. “It’s okay to move on from a past life, especially when it will benefit you, and those around you,” Zack shares. “Don’t be afraid to take that leap from who you used to be, to who you want to become.”

Watch “Hit and Run” here:

You can find Zack King via:
Website // Instagram // Facebook // YouTube // Spotify // Apple Music // Bandcamp

If you’re interested in joining his private music community, click here!

If you want to join his general musical community, click here!

11.23.21

by Jane Lambert

The World Appears the Same, But Things Have Changed in “Every Passing Mile”

Christian Parker is a seasoned singer songwriter, recording artist and guitarist from Canton, New York, United States. His new single, taken from the album of the same title, “Every Passing Mile” is a beautiful, emotional song with wistful lyrics and a haunting electric guitar hook.

Parker has been recording music for the last thirty years. Notably, his songs center around themes of the stories of others he knows, as well as the things that we all deal with. Worries, trials, successes, tribulations. The ever-changing ups and downs of life.

“Every Passing Mile” is the story of a relationship now gone. With the passing of time, the feelings for a love gone become more haunting, more memorable in some ways. There is a lovely bridge with the electric guitar, and a lilting chorus that complements Parker’s vocals.

Although melancholic and written with minor chords, this song has an uplifting chorus. There is rhythm, a unique sound to the electric guitar, and an overall musical sound that is profoundly memorable.

Listen to “Every Passing Mile” here:

https://soundcloud.com/moepark/07-every-passing-mile-for/s-59936uuyObq?in=moepark/sets/christian-parker-every-passing-mile/s-HBplasJ6VNO

You will want to listen to this song again and explore more of Parker’s music as you go.

Stay current with Christian Parker on his website: http://www.christianparker.com
Stream “Every Passing Mile” on Soundcloud, Spotify and YouTube music.

11.12.21

by Jane Lambert

Video Voyager: 3Q’s with Goose Bolton

Goose Bolton is a mysterious figure, who we are told came from outer space and crash landed here on earth in early AD 2021 after an intergalactic heist went awry. He has been releasing experimental music for a while, and his latest single/video “Lunatic” is one of them.

We spoke with Goose about this strange, yet powerful video:

Tell us the story of this song, why did you choose to visualize this song specifically?

The song originated as a sonic accompaniment to a story about someone who starts hallucinating that inanimate objects can speak to them. When conceiving of a music video, I chose to visualize this song because it’s one of my favorites on my upcoming record and because, thematically, it felt like the most appropriate starting point to accompany the strange images and narratives that swirl around in my head. I didn’t feel locked into any single specific narrative with this song, and so the Tiger Ji (the director) and I could really let our minds run free during the brainstorming process.

What was the inspiration behind this video(visuals, storyline, etc.)?

The initial inspiration for this video began a dream that Tiger had, which contained the specific image of men in business suits wriggling down a city street while wrapped in plastic. This was the springboard for us deciding that the video should be about a person who is seeing something crazy in the city (that only they can see) and their response to that. Initially, we were going to have the video’s main character be chased by fish people, but then we decided that lizard people would be more relevant to contemporary conspiracy theory as well as more thematically interesting, as it lets our main character wrestle with her own reptilian identity by the end of the film. We were aiming for a very specific mood that mingled elements of the absurd, science-fiction, horror, and comedy. I decided it made sense for the main character to be wearing a hospital gown after having escaped an asylum because the word “Lunatic” to me always seems like it’s a title assigned by society to an individual, rather than a subjective state that the individual feels (“crazy” for instance feels more like it can be either an assigned title or a subjective identity), so the hospital gown was the most efficient way to convey that this person is The Lunatic. The version of lunacy we wanted to explore in this music video is not mental illness. Rather, it is a label thrust upon a person by others in response to that person’s reaction to outside factors or new knowledge. This is important because the main character is not insane—she’s just the only person who can see the lizard people.

What was the process of making this video?

We filmed the video over 2 days across different areas of New York City in both Manhattan and Brooklyn. The final climactic scene with (spoilers) all of the dancing lizard people is the rooftop of a parking garage on the Lower East Side of Manhattan, most of the street pursuit scenes were shot in Bushwick, and we filmed the subway scene at the 2nd Ave subway stop in Manhattan as well. The shoot was incredibly smooth with zero hiccups. Tiger is the kind of director that has every single shot meticulously planned and storyboarded weeks ahead of the shoot, which led to a fun and efficient filming experience where we could focus primarily on the emotions and physicality of the actors in each scene.

Watch “Lunatic” here:

10.21.11

by Sedera Ranaivoarinosy

CMJ Diary: Wednesday October 20th

By Sedera Ranaivoarinosy

Not to going to go into detail, but my life has never been busier. Still, I decided this year I would let it affect my CMJ time as little as possible. Sure, for these first few days, that means no day parties for me, but hey, there’s plenty for me to see at night. So here’s a little run through of last night:

1. Pujol at Santos Party House

Pujol @ Santos, Oct. 20th, 2011

After almost going in the wrong entrance–two shows were happening at the same time–I make it inside Santos while the members of the band are finishing up their mic checks. Not to be stereotypical but Pujol‘s garage rock is not necessarily the type of music you’d necessarily expect to hear out of Nashville, TN. The club was at that point where there are quite a few people around but it’s not so full that you are squished into everyone so the vibe was welcoming but it was maybe still a bit early for a rager. Nonetheless, Pujol brought it: the bass made the ground under my feet shake and I caught myself checking if someone was texting me because the waves of sound were making my jacket vibrate. Cute note: Daniel Pujol ended the set mentioning that it was his sister’s birthday. It didn’t seem like she was in the audience but if I had had that set dedicated to me, I’d be pretty happy.

Next stop was Pianos. On the train over, I saw a contestant from the dance competition So You Think You Can Dance. It felt like an odd intrusion of the mainstream into my evening of indie takeover.

2. Cloud Nothings and Exitmusic at Pianos

Cloud Nothings @ Pianos, Oct. 20th, 2011

Going from Pujol to Cloud Nothings (if you subtract the subway ride from Santos to Pianos) made for a fairly seamless transition, although the Cleveland outfit could have used the clarity of sound Pujol enjoyed at Santos. Needless to say, my ears might not really ever function the same again but that didn’t ruin their performance per se. In fact, there was something kind of pleasant in the way the songs sounded and the flow of the band’s set. From one track to the next, I felt like I was going back through all the various stages of adolescence: the pop-punk “rebel” phase, followed by the angsty, more “hard rock” one and the more exploratory one, represented by more experimental and noisy sounds. Since these days I live running from place to place without much breathing time, that little bit of nostalgic energy was pretty comforting. But next time, I’ll be careful not to stay as close to the speakers.

Exitmusic @ Pianos, Oct. 20th, 2011

The second Exitmusic started playing, the pace changed immediately. While the music I’d heard until then was immediate and very raw, this was carefully calculated and orchestrated. It was obvious from the moment the band stepped on stage; their polished appearance was a long way away from the torn t-shirts and plain old jeans of the previous bands. In some way, it was almost a little intimidating to see how attractive everyone was in the band but bit by bit, that feeling faded away as the music and Aleksa Palladino’s haunting vocals shrouded the room. As the set built up, it was like we were all suspended mid-air, as if carried by the lofty guitars. And then Cold War Kids’ “Hang Me Up To Dry” started playing as they took off their instruments and it was back to reality where class the next day meant no more shows for that night.

10.20.11

by Sedera Ranaivoarinosy

Catch-up With Casiokids

The beauty of CMJ is just the astounding amount of bands that end up playing there. The Norwegians from Casiokids were not about to miss the party and we were not about to miss out on the chance of chatting with them while they were here, especially since their newest album, Aabenbaringen Over Aaskammen, just came out on Polyvinyl! We spoke to two members of the band, Ketil Kinden Endresen and Omar Johnsen, in a hallway at Pianos last night and here’s how it went!

Modern Mystery: How many times have you been part of the CMJ line-up? How do you like it?

Ketil Kinden Endresen: This is our second time here, we last came in 2008. It was also our first show in New York, at Cake Shop. But we’ve been in New York many times since then. I think this is our 10th mini tour in the U.S. Playing in New York is definitely one of my favourites.

Omar Johnsen: It’s nice when we’re playing things like CMJ or South by South West, you can stay in one town too. It’s so much easier.

KKE: It gives you time to enjoy the city as well.

MM: So where do you like to hang out in New York?

KKE: We spend a lot of time in Williamsburg. We try to go see museums, go to Central Park and roam around Manhattan.

MM: So your songs are in Norwegian, which can’t be easy for everyone to pronounce. Which place had the oddest pronunciation of Norwegian?

KKE: Probably Russia.

OJ: In a way it was the best and the worst [laughs]. They were very into it but it did not sound like Norwegian!

KKE: Still it was pretty special, they were very passionate. But mostly outside of Scandinavia, there is more dancing than singing along. In Scandinavia, they sing more.

MM: What is your biggest musical influence?

OJ: It’s hard to pin down because everyone is from different places. There is some overlap but I think it comes out through our music. It’s like a pot of stew.

KKE: Well, there is this Swedish band called Bobhund that we all like. There’s also electronic pop like New Order, Kraftwerk, Cornelius…

OJ: I guess also krautrock like Neu… Everyone likes these bands at least [laughs].

MM: Anyone you’re excited to see here at CMJ this year?

KKE: I haven’t really looked at the program to be honest but generally I like to rely on luck. Like tonight we got here and then went upstairs and realized our friend was playing!

MM: So your new album, Aabenbaringen Over Aaskammen, just came out. How would you describe to someone who’s never heard your music?

KKE: It was inspired by the story of Dr. Tarzan Monsoon and his discovery of a secret rainforest. It’s quite varied and with electro and dance rhythms. Our stories are in Norwegian and we use a lot of harmonies in our vocals.

OJ: It was also made differently from our past albums. Before, the albums were more like compilations of singles. It’s quite diverse but it’s still a sound that sounds like us. It’s also better produced; we have our own studio so over the years, we’ve learned more and got better.

MM: I hear you’re going to Japan next month! What are you most excited about?

KKE: Yes, on November 6th! I’m excited about the food. Japanese food has to be my favourite food in the world.

OJ: I want to discover the culture, I find it very inspiring. Maybe it’s because I’m half-asian so I have a special attraction.

MM: Do you know when you’ll be back in New York after CMJ?

KKE: Not yet. But we’ll definitely be back sometime in the spring.