Sid Kingsley
Richmond, VA | Established. Jan 01, 2017 | INDIE
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Americana at its finest with deep soulful roots, and a voice with such conviction and depth, RVA singer/songwriter Sid Kingsley is the next musician you need to check out.
The artist first made RVA Mag’s ears perk up when he released his single, “Good Way Home” a few months ago, which is the title of his debut album set to drop via American Paradox Records May 12.
The song’s lyrics are a little heavy and tug at the heart strings, but Kingsley’s voice and piano playing makes it this powerful, feel-good beautiful song. - RVA Magazine
Out on Bandcamp today is one of the finest Americana records Richmond has ever released: Good Way Home by Sid Kingsley. Armed with a towering voice, clear message, expansive tone, and an all-star cast of local musicians, Kingsley has put together an incredible collection of gripping songs that freely and boldly explore the broad umbrella that is Americana.
The record starts off with the title track gloriously introducing you to the world of Sid Kingsley. Soulful ’70s progressions lead way to folk declarations both honest and bare before a delicate and winding chorus floats in, providing a musical contrast of hope to the solemn tone that dominates much of the song. The peppering of horns later in the song provides a bit of flavor for the music, moving it further away from the weighty resonance and into a realm of joyous exuberance that the conclusion takes full advantage of. An ingenious song, the only thing more eye-opening than listening to it is finding out that it’s the first song Kingsley ever wrote.As glorious as the first track is, Kingsley doesn’t stay put, quickly adjusting the pace with “Lady In The Wall,” a song that shimmers with its brass cadence that drives the vocal bluster. The rest of the record follows suit — never settling into one sound or style, always bustling to a new, fresh idea. Helping this along is the decision to incorporate his own songs with immemorial folk songs, from the Scottish standard “Wild Mountain Thyme” to the devastating John Prine song “Sam Stone.” Finding new ways to bring these classics to life invigorates the record to a degree, allowing Kingsley more time to focus on musical ideas, rather than tinkering with the lyrical side of things.
From the title track down to album closer “Postlude,” this record is overflowing with the heart and spirit of its musicians, most notably Kingsley himself who erupts at times with a bellow akin to legendary musician Levon Helm. Such is the case in his rendition of song “Moonshiner,” a roots track that will no doubt leave fans of The Band grinning from ear to ear. This bellow takes on many forms throughout the record, but the result is the same each time: Kingsley left larger-than-life, something the compositions do their very best to support.
Don’t let the generous use of the words “Americana” and “folk” scare you off though. This album contains plenty of moments of pure rock, none more pronounced or impactful as “Duncan,” one of the true stand-outs of the record that demands an immediate listen. - Dustup magazine
We try to explain to artists that we like classic soul. That is to say we want to find the kind of music that would make Sam Cooke smile. Soul is a genre and if you’re putting out music that doesn’t sound like Motown or Stax could spin it, we’re probably not interested. That said, let these three talented artists melt you on this hot summer day.
Sid Kingsley – “Good Way Home”
-The easy vocal comparison here is St Paul and the Broken Bones, but honestly anyone who knows their Muscle Shoals music scene could hear this style in a few others too. But Sid Kingsley’s style is all his own, dripping with authenticity. The production quality on this track is amazing. This is serious, radio-ready pop music that’s sure to find a mass appeal. Give me one good reason why a track like this shouldn’t crack the top 40. ONE. GOOD. REASON. - ear to the ground music
Discography
Still working on that hot first release.
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Bio
"Sid Kingsley is a modest man. He doesn’t think of himself as any more than simply a journeyman musician. After a few false starts, he came to the realization that making music was all he ever wanted to do, and while he doesn’t trumpet his skill and ability, it’s obvious at the outset that the man is easily one of the most talented artists making his bow in recent memory. He’s content to write and record his songs. But the profound talent at work here is evident upon hearing the opening title track of Good Way Home -- talent that boasts a wellspring of honesty and conviction, fresh and formative with a wisdom and authenticity that’s as old as the ages.
That can clearly be heard in the songs -- the driving and dynamic “Lady in the Wall,” the instantly affecting “These Are the Reasons,” the reflective and resonating take on American traditional “Moonshiner,” and the surprisingly sprightly “Rat on a Wheel,” among many. Kingsley clearly has a gift, one that binds melody, a message and a purpose for being. If we were seeking an heir apparent to Townes Van Zandt, Van Morrison and John Prine, Kingsley would be on the short list. Little wonder that a raging version of Prine’s “Sam Stone” and a surprisingly funky take on the timeless traditional classic “Wild Mountain Thyme” are also in his set list.
If all this sounds like the usual hyperbole accorded many newcomers, then all it takes is a listen to the aforementioned Good Way Home to demonstrate otherwise. And Kingsley’s background suggests he’s not prone to exaggerating. Raised in the tiny town (pop. 111) of Branchville, Virginia on the North Carolina border, he spent his younger years immersed in the historical environs of the Old South, in the land of cotton growers, peanut farmers, and indigenous American Indians -- and the place that birthed Nat Turner’s slave insurrection in 1831. Kingsley’s father took him to visit those houses where the violence took place when he was a kid.
“One house in particular still has blood stains on the floor,” Kingsley recalled. “There are plenty of ghosts stories still being shared there.”
Kingsley grew up surrounded with music, watching his grandmother play piano and organ, or listening to his father play drums. Kingsley loved it all -- classical, jazz, r&b, pop and country -- but especially jazz. Drawn to the Glenn Miller Orchestra, he was inspired to pick up saxophone, and by the time he was in fifth grade it had become so much of an obsession, he began begging his parents to buy him one.
“The town I grew up in had very few people and even less children, so I really had no one to hang out with most of my childhood. My friends were the musicians that played on the records in my father’s collection. He would bring me a new jazz record nearly every day. I discovered artists like Joshua Redman and fell in the love with the sound.”
Despite being a soloist in his high school jazz band, he was still shy about his playing: “It was my little secret, something I knew about myself that most others didn't.” He was a serious jazz snob, and intensely insecure about his own growing talent. Despite incessant practice that left his lips bleeding, he avoided auditions and shied from the spotlight.
After high school, Kingsley decided to join the Coast Guard, following the same military path as many members of his family. Even there, his love for music didn’t fade from view: one commanding officer insisted he share his talents with his fellow recruits. “I wasn't in a position to say no, being that I was in boot camp and all,” he says.
Shortly thereafter, the same CO arranged for him to represent his unit performing “The Star Spangled Banner” at the nearby Cape May Jazz Festival. When jazz great Jimmy Heath heard him playing backstage, he was stunned, and quickly assured him that he had what it took to succeed as a musician.
College came next, but after starting in one school and transferring to another, he came to realize that an educational experience wasn’t for him. “I enrolled in a music program, but decided I didn't want to do it,” he admits. “Music school took away all the joy from music. There were just too many rules.”
He meandered for a few years, during which time his music threatened to become just a hobby. He abandoned the saxophone, and began dabbling in piano. He indulged a sudden desire to hitchhike for months to the west coast. Finally, he moved to Richmond, Virginia and found the stability he was seeking. He began playing in other people’s bands, and realized he had the resolve he lacked for so long. The result is Good Way Home, an album that brings those hard-learned experiences full circle.
LEE ZIMMERMAN (POPMATTERS, NO DEPRESSION)
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