With a stomp and a
wink, Atlanta-based soulsters Ruby Velle & TheSoulphonics serve up a sweet sound with maximum shake
appeal and an undeniable throb. It’ll hit you where you move. Velle’s pipes lead the seduction, as the band lays down a deep shag where she can wiggle her toes and wail.
Sure, it’s
nouveau-soul, in that it’s recorded and performed now, and the band makes damn
sure it’s both lyrically relevant and musically reverent. They don’t pretend to
be something they ain’t. There are no histrionics or
emotional lampoons. Simply put, Ruby Velle & The Soulphonics play music that
soothes and “sassifies,” comforts and cajoles. It’s a
powerful message, and it’s something fun to do with your feet while Velle gives you the news.
The band has a new
record in tow called “The State of All Things,” which plays on like it was
recorded back in the original soul days. If the band keeps on slingin’ and singin’ soul this
way, those days are gonna be now.
We shot Miss Velle some questions and she fired back some answers. An
edited transcript follows.
CITY:
You write in a lot of odd time signatures. Why?
RUBY VELLE:I wouldn’t say
there are a lot of odd time signatures, but we certainly have our share of
minor key songs. Our timing approach is sometimes as analog as our recording
process, so there are certain parts written-to-feel and certain parts that are
straight ahead. There is always the need to provide variety to a band’s musical
landscape, especially after being together for over a decade, so perhaps we just
like to mix things up.
You strike me as
a soul band more than a soul revival band. What’s the difference to you?
Thank you. The
difference to us has always been the authenticity behind the music. Is there an
understanding from the artists that they are made better by those who have come
before? Can you not just mimic but become part of the fabric of that genre?
That is the journey
and experiment we’ve taken with The Soulphonics, and it’s been one of great exploration; lots of mistakes,
and tons of chill bump moments. We are proud to be considered a band that
carries the sound forward while regarding the roots of the entire, undying
movement of making music that moves the mind, body and soul.
What are the
restrictions in playing this music period correctly?
A challenge has been
to fully include horns and background singers. Ideally, we would always love to
incorporate the lushness of the horns and background vocals, but it’s not
always in the cards for us, budget-wise. That is a challenge that we face all
too often, and I’ve grown very attached to having a
horn section for the live shows.
Another common
challenge with soul bands is the amount of time it takes to record and
co-produce the tracks. Due to schedules and upwards of 13 people on one track, just
getting overdubs done could take weeks. It’s that much more rewarding, however,
to listen back to all the tracks on “State of All Things” now that they are
finally on wax.
How do you break
out of the cookie cutter?
I’ve always said, “Be
your own legend.” So in that respect I look to the artists of the past who
blazed trails, as we look to blaze a few of our own. The diversity we bring as
a band is making its own statement, and I know that my strong voice for
intersectional feminism in this space has made us a soul band that truly cares
and wants to better the environment around us. Maybe the new music artist has
this responsibility from the jump, or maybe I’m just tired of being silent when
there is so much marginalization happening.
Our songs certainly
don’t hold back from expressing these frustrating truths of society, and I
would say that has given us an edge, but the tone of it all actually pulls from
the roots of the genre, and it’s nothing new. We are just making the music we
love in a very independent way and hoping that our fans enjoy it as well.
How does your
latest release compare to your debut?
We are thrilled that
the two records can build on one another. With the newer album, “State of All
Things,” we really tried to expand our foundation in the roots genre and take
risks on the parallel sounds the era of classic music has provided. While the
debut album, “It’s About Time,” focuses sonically on
blends of artistry from Motown to The Daptones, the
new album is far more an exploration of what was possible when we took our time
to create a landscape we could truly be proud of.
I am enamored with
the stories told on both albums, and amazed with how our music has remained a
reflection of the sentiments of the time. The albums tell their snapshots of
time in different ways, but the timing of “State of All Things,” and its bold
call for unity and love right now, has certainly seen the best timing of any records release we’ve done to
date. The title track caught the ear of the Smithsonian Museum, and we were
able to sing it live for a healing nation at the courtyard of the National
Portrait Gallery.
What is something
your fans get wrong about the group?
Well, recently some
fans and publications have been listing me as “formerly” of The Soulphonics, but that’s not accurate. While I recently
launched some new sounds as a solo artist and writer, I’m very much still
fronting The Soulphonics and planning future tour
dates in promotion of “State of All Things,” proving that strong women can add careers
at a moment’s notice. Ya dig?
This article appears in Nov 14-20, 2018.
