the Roy Jay Band
Orlando, Florida, United States | INDIE
Music
Press
The instrumental tracks for Florida-based singer/songwriter Roy Jay's second album, Fairfax Avenue, were recorded at Phantom Vox Studios in Hollywood, CA, and the vocal tracks were recorded at the Tin Ear in Nashville, TN. It seems useful to point this out because, depending on the song, the album sometimes seems to have been recorded at any one of a number of legendary studios, some of which no longer exist. For example, the funky "Love Seed Mama Jump" has the feel of the old Stax Records studio in Memphis, with its Booker T. & the MG's rhythm and punchy horns. "Movin' On," with its deep soul sound, suggests the old Muscle Shoals, AL, studio known for that style. Sometimes, Jay lets his instrumentalists stretch out, suggesting his group has jam band aspirations, so it's not surprising that on "Lose or Win" and "Wrinkle," the musicians sound like they are in San Rafael, CA, in the Grateful Dead's old rehearsal space. And then there's "Coconut Bay," which returns Jay to Florida and sounds like it might have been cut in Key West, with Jimmy Buffett looking on while sipping a margarita. None of this is to suggest that Jay lacks originality. He writes good songs and sings them in a clear light baritone with something of the feel of his fellow Floridian, the late Fred Neil (even if Neil was more of a low baritone). And his backup musicians sound like they've been playing together in bars for years. But they also sound like they've been playing covers for years in bars, and for these original songs, they've only adjusted slightly. So, Fairfax Avenue sounds like an album full of songs you've heard before, even the first time you listen to it. - by William Ruhlmann
The instrumental tracks for Florida-based singer/songwriter Roy Jay's second album, Fairfax Avenue, were recorded at Phantom Vox Studios in Hollywood, CA, and the vocal tracks were recorded at the Tin Ear in Nashville, TN. It seems useful to point this out because, depending on the song, the album sometimes seems to have been recorded at any one of a number of legendary studios, some of which no longer exist. For example, the funky "Love Seed Mama Jump" has the feel of the old Stax Records studio in Memphis, with its Booker T. & the MG's rhythm and punchy horns. "Movin' On," with its deep soul sound, suggests the old Muscle Shoals, AL, studio known for that style. Sometimes, Jay lets his instrumentalists stretch out, suggesting his group has jam band aspirations, so it's not surprising that on "Lose or Win" and "Wrinkle," the musicians sound like they are in San Rafael, CA, in the Grateful Dead's old rehearsal space. And then there's "Coconut Bay," which returns Jay to Florida and sounds like it might have been cut in Key West, with Jimmy Buffett looking on while sipping a margarita. None of this is to suggest that Jay lacks originality. He writes good songs and sings them in a clear light baritone with something of the feel of his fellow Floridian, the late Fred Neil (even if Neil was more of a low baritone). And his backup musicians sound like they've been playing together in bars for years. But they also sound like they've been playing covers for years in bars, and for these original songs, they've only adjusted slightly. So, Fairfax Avenue sounds like an album full of songs you've heard before, even the first time you listen to it. - by William Ruhlmann
The instrumental tracks for Florida-based singer/songwriter Roy Jay's second album, Fairfax Avenue, were recorded at Phantom Vox Studios in Hollywood, CA, and the vocal tracks were recorded at the Tin Ear in Nashville, TN. It seems useful to point this out because, depending on the song, the album sometimes seems to have been recorded at any one of a number of legendary studios, some of which no longer exist. For example, the funky "Love Seed Mama Jump" has the feel of the old Stax Records studio in Memphis, with its Booker T. & the MG's rhythm and punchy horns. "Movin' On," with its deep soul sound, suggests the old Muscle Shoals, AL, studio known for that style. Sometimes, Jay lets his instrumentalists stretch out, suggesting his group has jam band aspirations, so it's not surprising that on "Lose or Win" and "Wrinkle," the musicians sound like they are in San Rafael, CA, in the Grateful Dead's old rehearsal space. And then there's "Coconut Bay," which returns Jay to Florida and sounds like it might have been cut in Key West, with Jimmy Buffett looking on while sipping a margarita. None of this is to suggest that Jay lacks originality. He writes good songs and sings them in a clear light baritone with something of the feel of his fellow Floridian, the late Fred Neil (even if Neil was more of a low baritone). And his backup musicians sound like they've been playing together in bars for years. But they also sound like they've been playing covers for years in bars, and for these original songs, they've only adjusted slightly. So, Fairfax Avenue sounds like an album full of songs you've heard before, even the first time you listen to it. - by William Ruhlmann
http://radioindylocal2818.blogspot.com/2009/05/lucky-guy-by-roy-jay-folk-artist-from.html
Who said you can't judge a book or CD by its cover? Roy Jay's debut album "Lucky Guy" embodies the relaxed beach tone feeling depicted in his cover artwork. There are twists on this traditional upbeat folk music throughout this disc with tracks like "In and Out of Dreams" where hand-percussion and acoustic guitar are complimented by harmonious background vocals with sing along style. Although mostly leaning towards lighter atmospheres, "Time's Page," takes a ballad approach where subtlety and style come into play nicely. The musicianship is sophisticated and mature, but Jay doesn't take himself too seriously during "Prettiest Girl in Wal-Mart" with a comical trip to the super-store. Get out your sun block as "Lucky Guy" is Americana wrapped up in a beach towel and ready to hit the sand.
-Max B. and the RadioIndy.com Reviewer Team
- RadioIndy.com
Discography
Waves of the Moon LP with 10 original songs to be released in 2011
Fairfax Ave LP with 10 original songs released in 2010
Lucky Guy LP with 10 original songs released in 2009
Photos
Bio
On his new album, “Fairfax Avenue,” Roy Jay has found his groove, a gritty and bluesy groove that’s simultaneously easy-going and laid back, perfectly reflecting the life of the man within. It’s an album of self-assured focus, where Roy moves past various influences to become the artist he’s always wanted to be.
Where Roy’s debut, “Lucky Guy,” had a softer acoustic feel, earning comparisons to Jimmy Buffett, Paul Simon and Dylan, “Fairfax Avenue” features a harder edged and driving sound that’s perfect as a springboard for jamming, but is mercifully free of jam band noodling. Produced by Chris Seefried (Roseanne Cash, Quincy Jones), Roy is clearly pleased with the results. He says, “‘Fairfax Avenue’ is much more the real me. My first album, ‘Lucky Guy,’ felt like it had sort of a split personality.”
The split personality continued as Roy, based in Florida, was conceiving how to follow up “Lucky Guy.” Roy’s extensive acoustic based touring with artists such as the Benjy Davis Project, Jay Nash, Tony Lucca, and Tyrone Wells had Roy considering what he wanted his sound to be, and led him to consider delaying the follow up. “I had just come off touring extensively for the first time,” he recalls. “I wasn’t quite sure what direction I wanted to go in musically – I was going to put recording the album on hold.” But a trip to L.A. and a visit with his friend and fellow musician Tony Lucca set Roy on the right path. Roy remembers, “Tony was really simple and straight with me. He said that the only kind of music I can make is the music that reflects my life. So that’s what we did.”
The sound that reflects Roy’s life is one of pure, but hard-earned pleasure and fun; of kicking off your shoes, cracking open several drinks, getting your ass out of your seat and boogieing. It’s there in the infectious blues/rock mix of “Love Seed Mama Jump,” portraying a life of carefree good times: “Tuesday’s at the Rudder/Wednesday’s for the hump/Thursday’s in the Starboard/Friday's love seed mama jump.” The horns sing joyously, the organ darts in and out and the background vocals are contagious, all of it carried by Roy’s guitar and infectious vocals.
“Fatal Mistake,” co-written with Tony Lucca, typifies the roots rock feel of the album. With its snarling guitar and low down feel, it conjures the image of the Femme Fatale at the heart of the song. And “Movin’ On” tells the story of Roy’s personal journey of musical discovery, becoming a musician after 20 years of putting his guitar down and working: “In my head there was a picture/Of a place that I should see/Not sittin on the side/Of who I wanna be.”
“Fairfax Avenue” gets by with a little help from Roy’s friends. The album features David Immergluck of the Counting Crows on guitar, and legendary bassist Rob Wasserman (Neil Young, Bob Weir, Lou Reed), who Roy met while in Jamaica. The quality of the playing shines through on every note, laying down the juke joint feel of Roy’s vision. And the album’s title is reflective of Roy finding a place to make a stand with his music. He says, “Fairfax Avenue isn’t just where I recorded. It’s where I grew up musically.” “Movin’ On” says it all: “So I parked my car/By a door painted blue/Above it read a sign/Fairfax Avenue/Maybe here's a place/Where I can sing and play/If everything is cool/I may decide to stay”
Roy is currently touring with Little Feat and Donna the Buffalo and later this year with the Radiators. He’s more excited than ever about reaching people with his music. He concludes, “My music is for people who come to a show to have fun and a great time – to sing, dance, party and shake their ass.” “Fairfax Avenue” is the album to provide that great time, as Roy Jay has laid down that rootsy and bluesy groove to conjure with, sing along to and have the time of your life.
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