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PRESLEY DAVIS JR SHARES THREE TRACKS FROM THREE DIFFERENT GENRES RELEASES SINGLES HEART OF MY HEART, SHOWDOWN + CONVINCING ME TAKEN FROM NEW PROJECT ECLECTA TRIFECTA DUE OUT JULY 23 COMPRISING THREE ALBUMS ROADSIDE MAGNOLIA, TORANA AMERICANA + BIRDLIFE

A sentimental jazz song, a country ode to heartache and a sultry soul gem collide today in another trifecta single release from singer-songwriter, actor and creative cauldron Presley Davis Jr. Balancing various genres across his brand new tracks, Heart of My Heart, Showdown and Convincing Me, all out today, Presley’s eclectic prowess grows to new heights as he steps ever-closer to the upcoming release of three simultaneous albums; Roadside Magnolia, Torana Americana and Birdlife, with these albums forming into the amalgamated Eclecta Trifecta collective, due out on July 23.

Kicking off in swoon city, Presley’s first new single out today, Heart of My Heart, doles out the charm with ambling brass and tinkling keys as Presleyeffortlessly channels classic jazz with hints of barbershop charm throughout. A time-travelling delight that hastens you back to the golden age of Bing Crosby and poetic lyricism, Heart of My Heart also beckons another snapshot into Presley’s upcoming full length album Roadside Magnoliadropping this July as part of the Eclecta Trifecta project. “Heart of My Heart is a classic old jazz number,” shares Presley. “I love this song because of the beautiful sentiment in it. Modern pop music lyrics don’t have phrases like “I know a tear would glisten, if once more I could listen”. This was a pop song back in the day, just think about that for a moment. It’s definitely influenced by classic singers like Frank Sinatra, Bing Crosby and Dean Martin. I used to sing a lot of barbershop music when I was young and if you’re at my favourite pizza bar on a Tuesday you might hear the local barbershop group rehearsing at the next table.”

Next up, throwback country meets modern bliss via Showdown; the latest single from Presley’s forthcoming Torana Americana album as part of Eclecta Trifecta. With its crooning lyrics and sunny twang, Showdown bustles with warm instrumentals and poignant vocals, tapping into the past and the future simultaneously, as Presley explains, “I really like older country music like Willie Nelson and Hank Williams. I also like alternative country and roots artists like Gillian Welch and Anders Osborne. In this song you can hear the old with a bit of the new mixed in. This song was inspired by some of my past relationships. Sometimes you break up because it isn’t working, but then you get lonely, so you go back. Wash, rinse, repeat. We’ve all been there, haven’t we?”

And completing today’s simultaneous single release from Presley Davis Jr. is Convincing Me; a sumptuous and sleek concoction of funk and soul that could easily find itself at home soundtracking a salacious piece of cinema with its swaggering bassline and lush sonic backdrop. “I often write songs by playing a different instrument for a while,” shares Presley of conjuring Convincing Me. “Toying around with bass guitar often results in a song for me and that is what happened here. The original “scratch” lyrics for this were about going outside of your normal parameters for who you would sleep with – “you’re not my type, but…you’re convincing me.” When I revisited it, I thought that was a tad offensive so I rephrased it as “we shouldn’t go there, but you’re convincing me”. I can see this being included on a soundtrack because there is so much cheating and shagging going on in TV and movies these days. I love listening to Prince, Stevie Wonder, James Brown and I think you can definitely hear some of those influences on this track.”

The task of simultaneously creating three full-bodied and stylistically diverse albums saw Presley dive into a horde of personally meaningful genres, with the Eclecta Trifecta project also evolving from his experience during the pandemic years. Evaluating himself both personally and professionally at the time, Presley’s soul searching ultimately led to him settling on the idea to release a three-album project, with all three albums in three different styles set to release on the same day. Consisting of Roadside Magnolia, Torana Americana and Birdlife, Eclecta Trifecta spans everything from old-timey jazz to country, bluegrass, funk and soul, with all three diverse but focused albums beating at their core with Presley’s passion and deep understanding for each musical realm. Of his upcoming three albums, Presley shares, “Roadside Magnolia is a tip of the hat to my father and his lifelong dedication to performing that style of music. Torana Americana is me celebrating my love of playing and singing the music I grew up playing. Birdlife continues my obsession with all things soulful and funky. Funk has a history of including comedic tracks and there are certainly a few of those on there as well.”

Opening with the jangly Shine On Harvest Moon, Roadside Magnolia bustles with timeless whimsy and a sharp understanding of the traditional jazz genre, steadily doling out arrangements and lyrical delivery that would happily sit alongside the likes of Cole Porter (Nevertheless), alongside upbeat speakeasy vibes (Five Foot Two, Eyes Of Blue – In A Shanty, In Old Shanty Town and Sin To Tell A Lie), a stellartwist on a classic made famous by Willie Nelson and Patsy Cline (Crazy), a velvet-clad jazz take on a classic love song (It Had To Be You), and a standout adaptation of a longtime jazz staple (Lazy River).

Switching gears to an album made to be consumed on road trips or accompanied by a shot of whiskey, Torana Americana hurls a jubilant spotlight on all things country, from the toe-tappin’, string-fuelled opener Petunia through to a countrified version of a 1996 hit from The Monkees (Last Train to Clarksville), a cosy twist on a country and gospel favourite (Seven Spanish Angels), energetic bluegrass (Friend of the Devil – Blue Moon of Kentucky and A Full Time Job) as well as a stirring love song fuelled by glistening banjos (Sugarcane), and a modern alt country closer in the form of Bigger the Debt.

And from classic jazz and country licks to sleek scintillation, the third album from the Eclecta Trifecta series finds Presley embracing rhythm and blues with soul through a simultaneous vintage and contemporary lens, with seven songs lying in wait on Birdlife. From the tempered sensuality of its opening number How Can I, Presley effortlessly oozes through steamy funk (My Escape), upbeat gloss (Where You Be At), disco-ready beats (Cause I’m Rich), undulating soul (10 Shades of Blue), and an effusive celebration of tongue-in-cheek lyricism alongside breathy flutes and catchy hooks (YASWOM).

With Roadside Magnolia, Torana Americana and Birdlife all self-produced by Presley, the end result for all three full-lenghths was also cemented alongside mixing and mastering by Presley’s long-time collaborator and great friend Jason Torrens for Birdlife and Torana Americana, with Roadside Magnolia mixed in Argentina by Alejandro Rosenblat and mastered by Lucas Gomez. “I produce everything myself and can be pretty insistent on what I want based on what I hear in my head,” shares Presley. “Birdlife and Torana Americana were mixed and mastered by Jason Torrens, he owns Debasement Studios in Ferntree Gully, Victoria and has worked with Bodyjar, You Am I, Slipknot, as well as being Senior Program Leader at Collarts (Australian College of the Arts). I ended up getting Roadside Magnolia mixed in Argentina by Alejandro Rosenblat and mastered by Lucas Gomez. It is hard to find someone to mix jazz as it’s pretty niche and these guys did a great job. Be wary of mixers who say they can mix jazz without hearing an example of what they did first.”

A jack of all musical trades and adopting his stage name to honour Sammy Davis Jr., it seemed predestined that Presley Davis Jr would find himself immersed in the arts. Receiving his first guitar and tenor banjo at the age of eight from his father, a member of the Nicky Capodice Banjo Band, Presley was contracted to sing old jazz favourites six nights a week by the age of 17 and was touring North America by the age of 25, performing with different bands in different styles spanning bluegrass, blues, soul and rock. Eventually moving to his wife’s hometown of Melbourne, Presleywould find himself hemmed in by the world’s longest lockdown during the pandemic years; but rather than dull his creativity, Presley turned to his work and aspired to conjure something entirely for himself. And it’s via his upcoming trifecta album release and the independent process that Presley Jr has found the long-awaited return of full and unbridled creative fulfillment, as he explains, “This has been a real learning experience for me. I am feeling fulfilled for the first time in a long time. A lot of musicians have these dreams of doing new projects but get overwhelmed by the work involved that isn’t music related like admin and promo. Doing it yourself is genuinely hard but once you get through the first time it becomes easier. My current working theory is to record what you want, have fun and explore your creativity wherever it takes you. The music “industry” is in shambles so why not set your own goals?” 

And after successfully mastering multiple genres across the space of three insatiable albums all at once, just where will Presley Davis Jr. turn his creative gaze to next? “A blues record is in the pipeline,” Presley concludes. “I am toying with a hip-hop-ish record, or at least a beats-based record followed by a rock record. Then I might retire and take up lawn bowls full time – I’m actually pretty good on the green already.”

Heart of My Heart, Showdown and Convincing Me are out today, Tuesday June 25

Roadside Magnolia, Torana Americana and Birdlife, aka the Eclecta Trifecta, are due out on Friday July 23 exclusively on Bandcamp.

JOIN THE WORLDWIDE CELEBRATION OF MUSIC-MAKING THIS WEEK ‘MAKE MUSIC DAY’ RETURNS THIS FRIDAY JUNE 21

All the world is a stage, and this week the joy of music-making is stepping into the spotlight at home and abroad. Come and join the worldwide celebration of music this Friday June 21 with the return of Make Music Day, a global day dedicated to celebrating all things music-making.  Make Music Day is a chance for musicians and artists to come together to perform and showcase creativity with their peers and communities, with free public concerts set to take place both live and online worldwide.

Presented in Australia by the Australian Music Association and the NAMM Foundation, Make Music Day originated in 1982 as Fête de la Musique in France before evolving into a global event that encapsulates over a thousand cities and places across 120 countries. A day long musical free-for-all celebrating music in all its forms, all ages and levels of skills are welcome, with communities also encouraged to get involved and support their local artists. A full list of events and information is available at https://makemusicaustralia.org.au/.

Proudly heading up Australia’s Make Music Day endeavours in 2024, Australian Music Association CEO and ARIA Award-winning musician Alex Masso shares, “Music making is something that resonates with people from all walks of life, all over the world. We think there should be a day to celebrate the way music making brings us together and gives us an outlet for expression, connection and so much else.”

“We know that professional musicians left the industry due to the challenges of the pandemic,” Masso adds, “but the interest in making music remains strong in the community at about 17% of the population. We saw a spike in sales of instruments such as guitars during the pandemic, it’s something that people turn to for fun, for a challenge and for creative expression and there are endless opportunities for musical expression from creating something by yourself at home to playing with a band or orchestra, singing in a choir, or going along to a jam session.”

Following the pandemic years, a recent report from Creative Australia found that in 2022 the number of professional musicians almost halved as proportion of the labour force since 2015, but a separate study of participation in the arts found that the proportion of people playing music has remained stable during the same period.

In a stunning display of solidarity and celebration, rock bands, songwriters, ukuleles, community bands and choirs, even flowerpots will be part of the musical offerings at Make Music Day Australian events in 2024. As part of the upcoming festivities, Billilla Gardens in Victoria will come to life this week with the ringing sound of flowerpots. Composed by Elliot Cole, Flowerpot music is a composition celebrating the unlikely beauty of the humble flowerpot played with mallets.

Elsewhere, South Regional TAFE Margaret River and Arts Margaret River have taken the opportunity to combine musical performance with technical training, with TAFE students learning the inner workings of the world class sound system at Main Theatre then performing their original works on stage.

Suburban and regional centres will also come alive with music this week, including Parramatta’s ‘Best of the West’ battle of the bands, a musical picnic in Grafton (NSW), and a travelling Impromptu Choir in Clare, SA, moving from a park to the library and a café.

Additionally, Make Music Make Friends is a project bringing together schools from Australia and nine other countries, who will collectively share songs and introduce themselves to each other through music. And breaking global barriers, My Song Is Your Song connects songwriters from different countries to perform a version of each other’s songs, with prizes on offer for the global music song swap spanning a ukulele from famed Slovenian-based company Flight, a Scarlett 2i2 4^th gen audio interface from Focusrite, and a Novation Launchkey 37.

At the Curious Rabbit in Wagga Wagga (NSW) there will be a series of ukulele workshops and a jam that is open to everyone keen to participate, with ukuleles also on the menu at Merewether Ocean Bath in Newcastle (NSW) for hours of singing and strumming, and as part of a flash mob event called The Other ‘Lithgow Flash’ (Mob), a reference to Olympic legend Marjorie Jackson-Nelson who set six world athletics records and won multiple gold medals in the 1950s.

Make Music Day is presented in Australia by the Australian Music Association and the NAMM Foundation and takes place this Friday June 21.

For information further information on events, visit https://makemusicaustralia.org.au/.

VIEW: MAKE MUSIC DAY PROMOTIONAL VIDEO

MAKE MUSIC DAY AUSTRALIA 2024

SELECTED EVENTS – FRI 21 JUNE

CITY CONCERTS
Challis Singers at Gordon Library  (Gordon, NSW)
Make Music Day Celebration at Bernie’s Music Land (Ringwood, VIC)
Jazzscape Trio at Paddington Library and Woollahra Library
Winter Concert – Music for Canberra Orchestras (Canberra, ACT)

CITY – OUTDOORS
Canada Bay
Make Music Day Parramatta – Best of the West (Parramatta, NSW)

CITY – PARTICIPATE
Sing Australia Gordon (Gordon, NSW)

REGIONAL – CONCERTS
Make Music Day ORC (Orange, NSW)
Groove is in the Heart (Margaret River, WA)
WollCon Voices Sing! (Wollongong, NSW)

REGIONAL – PARTICIPATE
Cobar Seniors’ Singalong (Cobar, NSW)
Make Music Day at Kitten Vintage (Mackay, QLD)
Music Mayhem (Dalyston, VIC)
Make Curious Music (Wagga Wagga, NSW)
Open Floor Jam with Two Up Music Show (Shorncliffe, QLD)

REGIONAL – OUTDOORS
Make Music Day Clarence Valley (Grafton, NSW)
Impromptu Singing (Clare, SA)
Uke by the Beach (Newcastle, NSW)
The Other “Lithgow Flash” Mob (Lithgow, NSW)

SCHOOLS
Grovedale College
NBSC Cromer Campus
St Xavier’s Gunnedah

CREATIVE AUSTRALIA STATISTICS:

In the Creative Australia report ‘Creating Value: Results of the National Arts Participation Survey’, the proportion of the Australian population actively participating in music (playing, singing, composing) was 17% in 2022. The previous comparable reports showed 18% in 2019,15% in 2016, 20% in 2013, 15% in 2009. Source: https://creative.gov.au/advocacy-and-research/creating-value/.

In the Creative Australia report ‘Artists as Workers: An Economic Study of Professional Artists in Australia’, the proportion of professional musicians in the Australian Labour Force was 0.07% in 2022. The previous comparable reports showed 0.12% in 2015, 0.11% in 2008, 0.13% in 2001, 0.13% in 1993, and 0.17% in 1987. Source: https://creative.gov.au/advocacy-and-research/artists-as-workers-an-economic-study-of-professional-artists-in-australia/.

The Australian Music Association’s Annual Market Report, which tracks imports of music products using data from the Australian Bureau of Statistics, found that 2021 had the highest number of guitar products of the past 10 years, followed by 2020. For pianos and keyboards 2020 was the strongest year, followed by 2021. Source: https://australianmusic.asn.au/market-report/

RADICAL SON SHARES NEW SINGLE YULUWIRRI WANDABAA (THE RAINBOW DREAMING) FEATURING EMMA DONOVAN AND FRANK YAMMA NEW ALBUM BILAMBIYAL (THE LEARNING) DUE OUT JULY 11

A celebration of ceremony and culture, the brand new single Yuluwirri Wandabaa (The Rainbow Dreaming) out today from Kamilaroi and Tongan artist Radical Son combines powerful storytelling with driving delivery, with Radical Son also joined on this magnetic track by revered Indigenous Australian singer-songwriter Emma Donovan and Pitjantjatjara singer-songwriter Frank Yamma. Also set to feature on Radical Son’s upcoming sophomore album Bilambiyal (The Learning), due out next month, Yuluwirri Wandabaa (The Rainbow Dreaming) once again finds Radical Son delivering artistry that is equal parts dynamic and meaningful.

Bringing together three eminent artists from the Wantok Musik stable, Yuluwirri Wandabaa (The Rainbow Dreaming) opens with Radical Son, aka David Leha’s, inescapably gripping vocals, declaring “Spirit Dreaming / Serpent Dreaming / The Rainbow Dreaming” before the track instrumentally swells to match its emphatic thematics. Firmly driven alongside Radical Son’s delivery by effusive percussion and colourful yet urgent ambience, Yuluwirri Wandabaa (The Rainbow Dreaming) takes further flight courtesy of the powerhouse guest vocals provided from Emma Donovan and Frank Yamma, with the single building to interplay all three artists in an unforgettable climax. “Emma, Frank and I recorded separately,” shares Radical Son of bringing Yuluwirri Wandabaa (The Rainbow Dreaming) to life alongside Donovan and Yamma. “I was really sick the week I had flown to Melbourne to record. The recording sessions were long days and one of the guys had to pump me up full of medicines to get me through the those days. I don’t know how we did it – but it came out sounding pretty good.”

Along with the mesmerising addition of Donovan and Yamma on Yuluwirri Wandabaa (The Rainbow Dreaming), Radical Son also worked alongside Marcus Longfoot and David Bridie to pen the track, with Mitch McGregor on percussion, Phil Wales on guitar, and programming courtesy of Longfoot and Andrew Robinson. And, as with much of Radical Son’s creative endeavours, the beating heart behind his incredible new track is one of passion and advocacy for culture and for connection in the modern age, as he elaborates, “I absolutely love this song. A song about ceremony and culture. There is so much depth in our Culture and Country. Country provides us a way of living and sustenance both physically and mentally. It provides the story and the way. It is there for us. Right in front of us. The only thing is we don’t see it as we are looking at the screens that stand between us.”

Joining recent singles Until You Call My Name and Elder, Yuluwirri Wandabaa (The Rainbow Dreaming) offers yet another spellbinding glimpse into Radical Son’s upcoming new album Bilambiyal (The Learning), with the hotly anticipated full length set to further showcase Leha’s cultural connection, innate integrity and powerful perception across its 12 tracks. Releasing via Leha’s own label, Wantok Musik, and following on from his debut release Cause ‘N Affect, Bilambiyal (The Learning) was also crafted alongside a powerhouse team, including Full Circle Audio, Marcus Longfoot, Andy Robinson, David Bridie, Frank Yamma, Emma Donovan and many more. Opening with the starkly intimate Elder Reprise, Radical Son instantly conjures goosebumps as his almighty vocals soar, akin to standing on a mountaintop proclaiming: “I wish to be an Elder”, before seamlessly oscillating between warm and soul-hued beauty (How Long Must I Wait), contemporary glow (All My Life) and the utterly calming balm of Until You Call My Name, with the latter straddling raw ambience and rousing vocals. And between shifting between reggae hues (Only One Life), glossy soul (A Golden Age) and rousing, iron-willed ballads (The Fall), Bilambiyal (The Learning) also fervently reflects Radical Son’s powerful devotion to his country and his soul, displayed with gusto via the stunning might of Elder, the album’s various spoken word interludes, and the vulnerable and unforgettable punch of Bilambiyal (The Learning)’s title track.

One of the most compelling artists in the Australian cultural scene, Radical Son, the son of an Aboriginal woman and Tongan man, channels his experiences from his past into immense power and resolve, with his trademark sound pulsing with the urgency of hip hop and emotionally-charged soul. A festival favourite, cemented by his show-stopping cover of his mentor Uncle Archie Roach’s Walking Into Doors in 2022, Radical Son has performed to standing ovations at Bluesfest, St Kilda Festival, VIVID, the AFL Dreamtime 2032 game, and the official Uncle Archie Roach memorial in Melbourne and Sydney.

A highly skilled concert artist, with performances alongside classical ensembles and high-profile collaborations under his belt, Radical Son’s artistry also expands to film and TV, with credits including Defining Moments, a six-part NITV documentary exploring life-defining experiences, and theatre work, including the lead role of Pemulwuy in I am Eora at the 2012 Sydney Festival.

Studying as a musician at The Eora Centre for Visual and Performing Arts in Redfern, as well completing a Bachelor of Music from Newcastle Conservatorium, Radical Son’s creative prowess and steadfast substance is only matched by his otherworldly stage presence that repeatedly transfixes; and this fact is only set to heighten with the upcoming release of Bilambiyal (The Learning), and an upcoming performance in July as part of QPAC’s Warriors Concert for 2024’s Clancestry Festival in Brisbane.

“I have put the work in to improve as a vocalist, and I think that will show,” shares Radical Son of what fans can expect from his upcoming performance. “I think it’s important to stand up as an Indigenous man and share what is important to me. I’m grateful that I have the ability and the option to do so.”

“I am excited to be releasing our album Bilambiyal (The Learning),” Radical Son concludes. “I am very proud of this work and grateful to those who have collaborated with me to bring it to life.”

Yuluwirri Wandabaa (The Rainbow Dreaming) is out today via Wantok Musik.

Bilambiyal (The Learning) is due out on Thursday July 11.

RADICAL SON – UPCOMING SHOWS:

WED 31 JULY | QPAC, BRISBANE QLD| ALL AGES
Tickets available from https://www.qpac.com.au/whats-on/2024/clancestry-warriors

Listen: YULUWIRRI WANDABAA (THE RAINBOW DREAMING)