#scott bomar

[rich4a1]

Deepstaria Enigmatica The Eternal Now Is the Heart of a New Tomorrow

Version 1.0.0 Deepstaria Enigmatica The Eternal Now Is the Heart of a New Tomorrow  ESP-Disc What do you think of when Scott Bomar of the Bo-Keys and Sam Phillips Recording Studio appear on the jacket of an album? Likely it’s the likes of Bomar’s main band or Al Green, William Bell, Cyndi Lauper, or John Nemeth, a few of the many whose albums he’s engineered and mixed. None of those artists will…

[nonesuchrecords]

Natalie Merchant is the guest on the latest episode of Songcraft, the podcast “about the creators of lyrics and music that stand the test of time.” She joins hosts Scott B. Bomar and Paul Duncan for an extensive conversation about her new album, Keep Your Courage, and music from throughout her career. You can hear their conversation here.

[brokehorrorfan]

Dolemite Is My Name's original motion picture soundtrack is available on vinyl via Mondo. The score is composed by Scott Bomar (Black Snake Moan) and features tracks sung by Eddie Murphy, Craig Robinson, and Da’Vine Joy Randolph.

Scheduled to ship on April 30, the album is pressed on 180-gram vinyl. There are two color variants: "Purple Galaxy" colored vinyl and black vinyl.

[cinesludge]

Movie #24 of 2019: Mississippi Grind

[annotator]

Scott Bomar - My Name is Dolemite (Ep. 106)

Listen

Scott Bomar is a Memphis based musician, Emmy Award-winning Film/TV composer and producer, songwriter and engineer of multiple Grammy winning and nominated recordings. Projects include the films Hustle & Flow, Black Snake Moan, Mississippi Grind and Soul Men.  Bomar produced and engineered Cyndi Lauper’s Grammy nominated album, Memphis Blues, at his Electraphonic Recording Studio and co-wrote the song, “The House Always Wins” on William Bell’s 2016 Grammy winning album, This is Where I Live. His most recent film project is for the Netflix film MY NAME IS DOLEMITE.

Based on the real-life story of Rudy Ray Moore, MY NAME IS DOLEMITE, stars Eddie Murphy and was premiered at the Toronoto Film Festival in September of 2019.  The film centers on Filmmaker Rudy Ray Moore, best known for portraying the character of Dolemite in both his stand-up routine and a series of blaxploitation films, starting with the film "Dolemite" in 1975. The film was released on Netflix on October 25, 2019 and has received critical praise for Eddie Murphy's performance, including a Golden Globe nomination for Best Actor and Best Motion Picture - Comedy or Musical.

In this episode, Scott Bomar discusses his research into and how he paid homage to the blacksploitation genre of the 1970s. Bomar details his inspiration from composers such as Quincy Jones and Lalo Schifrin and the performances of many instrumentalists who played on such famous films such as Shaft, Chuck Turner and Superfly. While revealing some of the musical connection to previous work he did for HUSTLE & FLOW, Scott Bomar shares how an encounter at the recording studio with another huge, musical influence, Isaac Hayes played out.

ANNOTATED  TRACKS 

02:21 - Put Your Weight on It 03:58 - I'm Gonna Kill Dolemite 05:51 - Sell It 07:46 - Scene 3 08:42 - Promote It 10:47 - The Phone Call 11:50 - New House Record 13:42 - Arrived

SOUNDTRACK

The original score for My Name is Dolemite was released by Milan Records on October 4, 2019, on digital and can be purchased at Amazon.com, iTunes, or streaming on Spotify and Apple Music

MORE ABOUT THE COMPOSER

You can hear more music by Scott Bomar at his official site: https://www.electraphonicrecording.com/ or you can follow him on Twitter @electraphonic.

ABOUT THE ANNOTATOR Produced by Christopher Coleman (@ccoleman) and you can find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts. SUBSCRIBE

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[soundtracktracklist]

Scott Bomar - film composer, musician, music producer #composer #score #ost #soundtrack #musician #producer Scott Bomar is a film composer, musician, music producer. He is known as a music composer for many films including Confessions of a Dangerous Mind (2002), Gospel Hill (2008), I am a Man: From Memphis a Lesson in Life (2009), Mississippi Grind (2015), Barnyard: The Original Party Animals (2006), Black Snake Moan (2006).

[johnpaulkeith]

Alright, this will be the final post today about the making of The Rhythm of the City in 2019. Just a few random behind-the-scenes clips I found on an hard drive I thought I’d share today, now that the album is two years old. This was my first time in the studio with @dannybanksdrummer and @thewilsonmc together, but happily it would not be the last. And this was my fourth album to be graced by @algamble1 on the keys. The entire record was a mixture of analog and digital technology, back and forth from one to the other. We tracked the basics live on @electraphonic’s 8-track Scully, with drums on two tracks, including my live vocal and lead guitar. We then transferred those 8 tracks to digital where we added bgvs, percussion, and yes, ELECTRIC SITAR! (Thank you, @highlowrecording!). Although we mixed digitally, we used much analog gear in the process of course, including Scott’s Ampex tape machine for slapback echo, just like Sam Phillips did at Sun Studio in 1954. Then the mix was digitized and mastered, uploaded to the streaming servers, and sent off to the pressing plant, where it became analog again and went on to become 7 different colors of vinyl over the next two years thanks to @wildhoneyrecords___. Thank you Scott Bomar and @adamemphis1457 for making everything sound awesome. I’m gonna miss that little studio on South Main. And a special note of thanks to @ronnymon6149 for his invaluable help making this all happen. #therhythmofthecity🎶🌃 #johnpaulkeith #studio #recordingstudio #recordingstudios #analogrecording #memphismusic #memphisstudios https://www.instagram.com/p/CpOjD6xALpw/?igshid=NGJjMDIxMWI=

[sugaredge]

Frances Bean's Belletrist Stack

Cooking Price-Wise: A Culinary Legacy - Vincent Price

Twenty Thousand Roads: The Ballad of Gram Parsons and His Cosmic American Music - David Meyer

Every Night Is Saturday Night: A Country Girl's Journey to the Rock & Roll Hall of Fame - Wanda Jackson, with Scott B. Bomar

Practical Ethics - Peter Singer

'Salem's Lot - Stephen King

Geek Love - Katherine Dunn

Party Monster: A Fabulous But True Tale of Murder In Clubland - James St. James

Young Frankenstein: A Mel Brooks Book: The Story of the Making of the Film - Mel Brooks

Chinese Label Art: 1900 - 1976 - Andrew S. Cahan

Black Hole - Charles Burns

A Confederacy Of Dunces - John Kennedy Toole

I'm Your Man: The Life of Leonard Cohen - Sylvie Simmons

Consider The Lobster and Other Essays - David Foster Wallace

A Supposedly Fun Thing I'll Never Do Again: Essays and Arguments - David Foster Wallace

Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong - James W. Loewen

Chocolates For Breakfast - Pamela Moore

Paper Engineering and Pop-Ups For Dummies - Rob Ives

Suck Less: Where There's a Willam, There's A Way - Willam Belli

Vampirella Archives Volume 1 - Various

[realeyesrealizereallies4036]

Jmo. But if Jared leaves Gen, I think he will be single/closeted. Or will come out. He has a solid fan base and other actor-friends that would support - Colton, Amell, Bomar, Berlanti, and Scott Evans. And so many other out LGBTQ Hollywooders would support him. I just don’t see him getting another beard. I think he’s tired of hiding and is ready to be open.

[manitat]

Don Bryant

You Make Me Feel

(Fat Possum Records, 2020)

Don Bryant’s second secular album in decades is like a lost Memphis soul treasure. Everything on You Make Me Feel, from the songs to the sounds to Bryant’s still-astonishing voice, confirms that his 2017 comeback, Don’t Give Up On Love, was no fluke. Bryant, whose early singing days at Hi Records gradually morphed into a songwriting career, helped create hits like I Can’t Stand The Rain for his wife, Ann Peebles, while also supplying tunes for Otis Clay and others. Still an impassioned and convincing vocalist as he approaches 80, Bryant is backed by members of the glorious Hi Rhythm Section, like drummer Howard Grimes and organist Charles Hodges, as well as other fine musicians like guitarist Joe Restivo and keyboardist Al Gamble. Four of the album’s 10 songs are of recent vintage, written by Bryant and bassist/producer Scott Bomar. They also arranged the gospel standard Walk All Over God’s Heaven which closes the album on a joyous note. In his youth, Bryant and his brothers formed a gospel quintet. He released gospel music in the 1980s. The album’s two halves open with new songs about aspects of romance: the exultant Your Love Is To Blame, inspired by Peebles and graced with a punchy horn arrangement, and the swampy, dismissive Your Love Is Too Late. Written for his wife, who sang 99 Pounds in the first person on a 1972 album, Bryant now sings it about Peebles and the fact that “good things come in small packages.” Two ballads, Don’t Turn Your Back On Me and I’ll Go Crazy, reprise Bryant singles from the ’60s. Both versions are slower and longer than the originals and about as good as soul gets, while Cracked Up Over You is a lean and mean amalgam of the Hi and Stax sounds. The mix of Bryant classics, new songs and the ace backing band make You Make Me Feel a celebration of great American music and of a singer-songwriter again demonstrating his skills.

[rich4a1]

Emma Wilson Memphis Calling

Emma Wilson Memphis Calling Emma Wilson was the “Emerging Blues Artist of The Year” at the UK Blues Awards in 2022. As a result Wilson returned to Memphis to record this new album. Emmy Award winning Producer Scott Bomar brought in legendary Memphian musicians including organist Charles Hodges, bassist Leroy Hodges, and Booker T. and the MGs drummer Steve Potts. From Steve Bomar’s Bo Keys came…

[thedeltareview]

Memphis Soul Legend Don Bryant Performs With The Bo-Keys at Loflin Yard Once in a while, a local music show gets announced which I just cannot miss, and the announcement of a Don Bryant show with soul revivalists…

[newmemphisbeatblog]

New Album From Memphis Soul Legend Don Bryant

New Album From Memphis Soul Legend Don Bryant

Memphis soul legend Don Bryant has a new coming album out May 12 on Fat Possum, Don’t Give Up On Love. It was recorded at Electraphonic Recording by Scott Bomar, and features a song that I co-wrote with Scott especially for the project called “One Ain’t Enough (And Two’s Too Many)”. I also got to play a little guitar on that track, along with The Bo-Keys. It was an honor and a thrill. Read more…

[dreamusicir-blog]

در این لحظه از وب سایت موسیقی متن فیلم دریم موزیک موسیقی فیلم دولمایت اسم من است (Dolemite Is My Name) اثری از اسکات بومار (Scott Bomar) را آماده دانلود کرده ایم. در این فیلم یکی از محبوبترین بازیگران هالیوودی سیاه پوست هنرنمایی می کنند که بازی بسیار عالی را از خود ارائه می دهند. امید است از گوش دادن به اهنگ های فیلم دولمایت اسم من است نهایت لذت را ببرید.

[dustedmagazine]

Howdy Glenn — I Can Almost See Houston: The Complete Howdy Glenn (Omnivore)

In retrospect, you could have blinked and missed Howdy Glenn's career. During the late 1970s, though, he appeared to be a burgeoning star, singing with Warner Brothers, getting a couple singles to chart and receiving an Academy of Country Music nomination for Top New Male Vocalist. By the early 1980s, he was essentially gone from the music industry. Like any musical what-if story, the factors hindering Glenn's career remain deeply entangled in timing, label decisions, personal issues, and more. Glenn faced one extra issue: he was black. Mainstream country music, even as it advances, has a long tradition of blocking black artists, and Glenn faced that resistance throughout his attempt to breakthrough. The whole complicated story gets a proper treatment in Omnivore's new collection I Can Almost See Houston: The Complete Howdy Glenn, compiling nearly all the relevant material (minus a couple instrumentals recorded to avoid label restrictions) and including a compelling essay on Glenn's career.

The liner notes by Scott B. Bomar are essential. Given that most listeners likely haven't heard of or have forgotten Glenn, Bomar takes care to contextualize the music while providing a readable biography. Glenn faced a perpetual uphill climb, and it reached a peak with a catch-22. He didn't have the stability in music to quit his full-time job (fighting fires in Inglewood, CA), but he couldn't find the stability or label support without quitting his full-time job. Against a mix of racism, bad timing and, probably, some hesitancy by multiple parties, Glenn's career did the only thing it could: it stalled. Afterward, he fell into obscurity. 

The story wouldn't matter if the music didn't hold up. This set collects a mix of singles, album cuts and unreleased material, and it tells its own story. For the most part, Glenn sticks to the pop-country sounds of the era. His polished sound comes through, working best when it simply supports his big voice. “The singing fireman” might not have broken new ground, but he had the skill to cover familiar terrain well, and the short set of recordings suggest he was just growing into himself. As it was, he should have had a solid career, with the potential to find his own niche. Early release “I Can Almost See Houston” shows him at his finest, blending a few emotions into an accessible and warm midtempo number. It could have been a standard. 

His cover of Willie Nelson's “Touch Me” was his first hit, such as it was. As a slightly dated cover, it probably wasn't the choice to propel him to stardom; as a way to get his name around a familiar tune, it must have done its job. Bomar mentions the strength of Glenn's live performances and suggests that this version of “Mule Skinner Blues” was recorded to capture that style. If so, it's a route that Glenn would have been benefited from pursuing. It also suggests that his way to fully break through would have come on the road. Of course, he couldn't have done that while fighting fires. And he could stop fighting fires because he didn't know if he could prosper as a musician. 

By the end of the compilation, it's clear that Glenn could have had a far more prominent career, even if it's uncertain exactly why he didn't (but, yes, probably that big, glaring issue is the main reason). For music historians, the set provides a persistent level of intrigue. For more casual fans, it simply provides consistently entertaining music. Combining the two elements makes I Can Almost See Houston a memorable tribute to a forgotten musician.  

Justin Cober-Lake