Now Playing: Deltaphonic’s ‘The Funk, The Soul & The Holy Groove’

Image courtesy of Doug Deutsch Publicity Services

Louisiana-born band Deltaphonic is prepping for the release of their third platter The Funk, The Soul & The Holy Groove. The disc is set to drop on April 10th. But first, for those not yet familiar with the artist in question, a bit o’ background.


Image courtesy of Doug Deutsch Publicity Services

Deltaphonic is a New Orleans-based band. According to a recent press release, the current line-up includes Andrew T. Weekes (guitar and vocals), Paul Provosty (lead guitar) and alternating drummers Trenton O’Neal and Ciaran Brennan. While there is not a lot of specifics about the group on the act’s official website, they have two previous platters and are veterans of the live circuit.

Signature sound

Deltaphonic’s signature sound is a musical mix of multiple genres. It includes “hill country blues-influenced rock n’ roll,” New Orleans funk, and soul.

The Funk, The Soul & The Holy Groove

On this 10-track disc, the band is backed by such other artists as Andru Yanovski (keyboards), The Revivalists’ Josh Kagler (background vocals), and bassist Jerry “Jblakk” Henderson from Big Sam’s Funky Nation. All songs are written by Weekes.

Track by Track

The album opener is titled “Liars.” It is the first single and music video off the album. This satirical song is inspired by the industry’s status quo. The lyrics are interestingly contrasted with such unlikely audio ingredients as gospel-like backing vocals and New Orleans p-funk.

The second song is “Ghosts” solidly sets the band’s signature sound in stone . . . and the music is solid. The same can be said for “Bad People” which is another example of their cohesiveness.  Yet both are perhaps slightly overshadowed by what follows.

“Starlit” is the second single and music video off the CD. The general performance here continues to flow and yet the obvious, key elements remain consistent. It’s certainly a stand out track. Whether it is the lyrics or the musical twist is uncertain but it works.

The next number is “New Mexican Rockstar.” This somehow has an almost 1950s feel to it. Yet it contains a world music tinge to it too. It certainly has its own sound, at any rate.

“If It Don’t Bleed” has its own groove to it and admittedly offers an initial misconception in terms of the actual song-story.  “Don’t Have To Be Good” is a harder-rockin’ track that grabs the listener’s attention without quite insisting on itself.

Also included here is “Mississippi.” While perhaps overlooked by some early online critics, it serves well as yet another example of both Weekes’ songwriting abilities and the band’s performance consistency.  Appropriately enough, things slow down a little bit on “The Denouement.”

The closing cut is the song “See Red.” Here they offer a slightly polished studio version of a live fan favorite.

Overall . . .

Overall, this album is full of lyrics reflective of their lives and career. They draw on various genres of American music to tell their tuneful tales. Musically, they are rife with retro elements and lesser-known yet somehow familiar 1970s vibes, and other clever, compositional condiments that result in what some call a “gritty sound” that often makes the music sound both old and new alike.

So check out Deltaphonic’s The Funk, The Soul & The Holy Groove because it “Don’t Have To Be Good” for you to love it!  Seriously, it’s not “Bad People.”