Everybody has a favorite Neville Brother, and those who like funkified blues generally gravitate toward Cyril, the youngest of the New Orleans musical torchbearers. With Brand New Blues, his first solo disc since 2000, the percussionist-vocalist and founding member of the Meters brings his perspective as a human-rights advocate and wetlands preservationist to the original material and a few well-chosen covers.It's a postmodern blues sound, with plenty of soul and funk, plus world music influences. While this might be seen as an infringement on the blues trademark by purists, it's a refreshingly original approach to the music that should resonate with a non-blues audience, as well. Try the suggestive Cream Them Beans the Benoit guitar raveup on & Mean Boss Blues, the gritty version of the Bobby Blue Bland hit I'll Take Care of You and a version of Bob Marley's Slave Driver that seems redesigned for the post-Katrina years. Jeff Johnson –Chicago Sun-Times
New Orleans' favorite sons, the Neville Brothers, pool their talents again on this CD. Family Groove is a clever reference not only to the musical abilities of the four brothers, but to the shared interests and concerns of the brothers and their families. All the usual Neville elements are here: Charles Neville on the saxophone, Cyril Neville on the drums, Art Neville on piano, and the inimitable voice of Aaron Neville.This is vintage Neville Brothers philosophy delivered as always with the funky beat and unique Neville sound that has captivated fans all over the world.
The Neville Brothers, an American R&B and Soul group, was formed in 1977 in New Orleans, Louisiana.The differences between the four Neville Brothers are as dramatic as the similarities that unite them. The source of the similarities is passionate funk, a feeling for blues-soaked deep pocket grooves that is the basis of their greatness and exalted place in our cultural history.Art is the oldest. They call him Poppa Funk for a reason. He formed the first band. As both inspired singer and blistering keyboardist, his role models were Fats Domino and Bill Doggett. Art is the Founding Father. He still lives in the same Thirteenth Ward block of Valence Street where he and his siblings were raised in New Orleans.
Royal Southern Brotherhood is an American blues and blues rock supergroup, consisting of singer and percussionist Cyril Neville, vocalist and guitarist Devon Allman, vocalist and guitarist Mike Zito, drummer Yonrico Scott, and bassist Charlie Wooton. New blood. New beginnings. For Royal Southern Brotherhood, Don’t Look Back isn’t just an album title, but the attitude that drove the award-winning US band’s third release. Tracked at the iconic Fame Studios in Muscle Shoals, Alabama, with an all-guns-blazing new guitar lineup and production team, this is the sound of a band rolling with the punches and turning the page. The past year has seen seismic change for RSB. If you’ve read the rock press headlines, you’ll know that founder members Devon Allman and Mike Zito have now amicably departed to pursue their solo careers, following stellar contributions to 2012’s self-titled debut album, 2014’s HeartSoulBlood, and the tours that rocked twenty-plus countries across the planet…
In which Mac "Dr. John" Rebbenack puts the lie to the notion that duet albums are just artless, opportunistic photo-ops. For one thing, there's a theme at work here: Dr. John's New Orleans musical roots. For another, most of the guests, appropriately are New Orleans-born musicians–Eddie Bo, Cyril Neville, Dave Bartholomew, Randy Newman (he may love L.A., but he wasn't born there). And despite the considerable star power, there's no overt stab at commerciality here; most of the tracks are full of the murky, moody, swamp atmosphere familiar from Rebennack's spooky early albums.
This is an attractive programme of comparatively rare vocal repertoire. Airs de cour by Charpentier (including verses from Corneille’s Le Cid) and Lambert are interpersed with instrumental movements from Couperin’s Les Nations. Cyril Auvity is an experienced advocate of the haute-contre repertoire and draws on all that experience to engage fully with the texts of these miniature dramas. His tone in the higher register can verge on the harsh, though this is a rare event.