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FLYJACK’s fourth album “Soul Catcher” confirms the group’s obsessio...n with 70’s underground funk and soul, while making their most convincing statement to date that they aren’t simply paying tribute. Featuring nine originals and two rare-groove covers, the album opens with title track “Soul Catcher” – a horn driven instrumental that culminates in a mind-bending percussion breakdown behind a scorching saxophone solo that sounds like Ornette Coleman blowing over hot lava. Second track “Phrygian Phunk” – with its Middle Eastern vibe and hypnotic rhythm – settles into an exotic, trance-like groove somewhere between the Budos Band and Miles Davis’ “Sketches in Spain.” The southern soul of “Eyes on You” channels Stax, with its unison horn lines and raspy vocals. Other standouts include an in-your-face, extended remake of 70’s funk-rock masterpiece “Funky to the Bone” (originally released by Freddi Henchi & the Soul Setters), and the Maceo Parker/James Brown workout “Damn Right I Am Somebody.” FLYJACK criss-crosses a dizzying array of styles and genres, but several threads run through it all – tight arrangements, a deep pocket, and room to groove.
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Greyhounds are the Austin trio of Anthony Farrell (vocals, keyboards), Andr...ew Trube (vocals and guitar) and Ed Miles (drums). Many music fans remember Farrell and Trube as key members of JJ Grey's band MOFRO for many years. After parting with Grey in 2016 to focus full-time on Greyhounds, the band has only left the road to record and release two full-length records.’
In 2016, while recording at Sun Studios for the PBS series "Sun Studio Sessions", Greyhounds met Memphis native and acclaimed engineer, Matt Ross-Spang. Soon afterwards, Matt moved his operation to the newly refurbished Sam Phillips Recording studio. Greyhounds were familiar with the studio, and its deep history, and had always wanted to record there. It is the type of space that transports you to another era; the perfect place to make the type of record Greyhounds were interested in making: a less produced, and more spontaneous style of recording, all straight to tape like many of the classic music that was made there in its heyday. And Ross-Spang, is the perfect engineer, steeped as he is in the old school style of making records.
Pulling from 17 years of songwriting, Trube and Farrell had plenty of material to cho