Heavy Mojo

Mojo rising

BY MOSI REEVES
Creative Loafing
Published 08.02.06


On stage, Heavy Mojo smashes through genres and generates so many different kinds of musical energy that you're not sure what to call it. Three MCs -- B-Dirty, Priest Shooby and Simon Stone -- thrash out on raps like "Dirty Water" and "Hood Rat" while guitarist R-Dub, keyboardist DD Fingers, drummer Machine Gun and bassist the Foundation deliver hard funk beats. The experience invokes Sly & the Family Stone, Fishbone and '90s-era Public Enemy.

Heavy Mojo's seven members have played together since 2002. The crazy nicknames and explosive live show have attracted lots of local fans and praise from major-label executives. "Warner's showed some interest," says Priest Shooby, whose name is inspired by classic Blaxploitation movie The Mack. "They flew us up to New York and we showcased for them." According to Priest Shooby, labels have been afraid of Heavy Mojo's music because it's too eclectic to pigeonhole.

So for now, Heavy Mojo remains independent. It sold 5,000 copies of its 2005 album, It Is What It Is (following Dirty Water), in conjunction with Southern Music Distribution. A third album, Blow Out the Sound, was completed and mastered in May. Blow Out the Sound is more subdued than Heavy Mojo's live performances, emphasizing groove and rhythm over loud guitars and shouted vocals. One track, "Machine Gun Blues," sounds like a Ninja Tune track circa 1997, and the title track is a pulpy backpack rap led by DD Fingers' keyboard licks. Heavy Mojo calls its style "acid hip-hop," but Blow Out the Sound is admirably all over the place.

The group currently sells copies of the disc at shows through its label, Jank Recordings, but is waiting to set up proper distribution with a different company before offering it through retail and online stores. "We've got about three or four people talking to us right now," says B-Dirty. "We've got this new album, and we just want to make sure that we can get a bigger and better situation to reach more folks." Heavy Mojo hopes to get the disc in retail and online stores by October because, he says, "Everybody's in a good buying mood right before the holiday season."
- Creative Loafing

Heavy Mojo wins the GBOB World Final 2006

12/12/06 Gibson.com


In a sold-out London Astoria, the rock/hip-hop outfit, "Heavy Mojo" from the USA took the honours in the Global Battle of the Bands 2006


It was no walkover for Heavy Mojo. Twenty-five national finalists, all terrific bands in their own right, battled it out for the ultimate international award from 10-12 December before a packed London Astoria music hall. In the end the jury agreed Heavy Mojo had done just about everything right: The band rocked, engaged the audience and blasted the roof off! In short, a band that's ready to take the world by storm.

With a main prize of $100,000.00, a world tour and three exquisite guitars, courtesy of Gibson, there's no reason they shouldn't become an international hit. Second place went to the Spanish indie band 'Sixteenth Solid Spread', whilst third place went to the highly original 'Flare Odds', the 3-piece band from Japan.

The jury was made up of Jim Jones (ex-band member of 'Thee Hypnotics', now 'Black Moses'); Vom Ritchie ('Die Toten Hosen' - the well-known German band); Jez Hindmarsh (ex-band member of 'Swervedriver' and now band manager); Jesus Orodovas (head of programming - Spanish radio) and Matt Walker from GBOB International. The jury was greatly impressed with the high quality of the bands and enjoyed every minute.
- Gibson.com

From the Central Florida Future
The Student Newspaper of UCF
Local acts come in loud and clear downtown
Big 10-4 and other bands steal the spotlight at a dozen venues in the Florida Music Festival
By Ashley Burns
Published: Wednesday, May 25, 2005
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With national major label acts like Everclear and Lit topping off the bill, the 2005 Florida Music Festival promised to be the strongest in the event's four-year run. But the big name acts were only the icing on the cake of a weekend littered with high-energy performances from local acts looking to make big names for themselves as well.

Local bands stole the show last weekend as droves of fans packed the concert series' 12 venues to catch their favorite acts, which made the trip to downtown Orlando from all over the state and the Southeast. Bands and solo acts poured their hearts and talent out on stages from the Wall Street plaza to Scruffy Murphy's in order to hopefully catch the eye of the many record company representatives in attendance from Thursday to Saturday.

Among the local acts putting on impressive shows was UCF favorite Big 10-4. The band has rapidly become a staple of the Orlando music scene, fueled by a hardcore fan base at and around the university. Big 10-4, which includes two UCF alumni in its four-man roster, fired up the stage at Backbooth Friday night to a capacity crowd. A long line of fans waited outside throughout the band's set hoping to catch a glimpse of the up-and-coming band but many never even made it into the bar because of the shoulder-to-shoulder crowd inside.

"The attendance from Thursday to Saturday broke all our estimates, with bars like Kate O'Brien's doing 1,000 people on Friday night for their three venues, while Big 10-4 had more than 250 standing outside, due to the Backbooth being sold out," event organizer Sean Perry wrote in an e-mail. "Even the brand new Church Street Station venue had near-capacity during the Natural showcase on Saturday night. Overall from selling out the Marriott's 350 rooms, to selling out nearly a dozen venues in downtown, it was a huge success on many levels."

"The energy in the crowd was probably the most amazing thing," Big 10-4 lead singer Dan Verduin said. "We usually play longer sets, but knowing that we had a shorter set definitely made us a lot more energetic and more intense. Knowing that the room was filled with industry and other artists, we're trying to get respect out of these people. Our set was one of the tightest we've played. The response we got was overwhelming."

Led by frontman Verduin, a UCF alumnus, the band played what members called its strongest set in many months. Big 10-4 played its radio-friendly assortment of songs from its first LP Bumper Sticker Philosophies as the crowd sang along to every song and waved drinks and lighters in the air.

"Plan on Big 10-4 doing something real soon," Perry wrote. "They had almost 250 people out the door of Backbooth on Friday night with the building sold out [and] had a dozen record labels in the back of the room buzzing, including Matt Pinfield (Columbia/MTV), Danny Wimmer (Puddle of Mudd A&R) and more."

Verduin, who plays guitar and piano on most of the tracks, said the reception at Backbooth was surprising and flattering despite the band's growing reputation throughout Florida. Verduin attributes the band's success not only to its fans but also to the other local bands that he says are helping each other grow through all of the shows they play together.

He said the purpose of the festival was not only to showcase talented music acts, but also to celebrate the artistic brotherhood that has grown out of the local music scene.

"You're competing for attention but you're not really competing musically," Verduin said. "We have a lot of friends in other bands and we definitely pushed our time slot, but we also pushed their time slots. We pushed the weekend. It was nerve-racking because you're trying to have your moment. It's a competitive spirit, but as quickly as we can play, we can pack up and go watch those bands play and support them. There was a lot of music going on in this town that weekend and there was a lot of time for everybody to shine."

"There's a lot of hometown camaraderie," he said, "but it's more competitive on other weekends because we're all downtown to listen to music on this weekend."

Many of the bands that Verduin considers to be part of the brotherhood were in attendance at the festival. Among the bands with close ties to Big 10-4 and UCF were Atomic Tangerine and Clayton Hall, which both put on strong shows in front of big crowds at their respective venues Saturday night.

But one of the weekend's biggest surprises came as Lit was preparing to take the main stage outside Slingapour's to close out Friday night's festivities. Fans were collectively drawn in by Atlanta act Heavy Mojo on the adjacent stage outside Wall Street Cantina.

A - The Student Newspaper of UCF

Heavy Mojo - It Is What It Is CD Review
Thursday, August 04, 2005 -







Heavy Mojo - It Is What It Is
Tank Records




The debut album from this six member group hailing from Georgia is generating quite the buzz across the south. They certainly have a unique view on music combining funk, rock, pop and some rap. While some stores may categorize them in one specific genre, I think they could possibly fit in a few. Overall the album takes a hip-hop funk with live instrumentation approach, yet they get pretty rocking on a couple tracks. "Radio" touches an array of aspects regarding getting airplay. it offers a hot southern beat with a flurry of rhymes and some DJ scratching incorporated in. "Blockin It Out" is drum by drums, keyboards and hardcore rap, yet tosses in smooth vocals in the chorus to keep things mixed up. By far the heart stopper on the album is "Dirty Water" which is an up tempo, energetic rock track which lyrically shines.
Review by -Geoff Dellinger
- Entertainment World

Greensboro's "Get Downtown"
A writer gives his first-hand experience of the city's welcome back to students
By Charles Wood
Published: Tuesday, September 6, 2005
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Media Credit: LOGAN YORK/THE CAROLINIAN
Heavy Mojo performs at Greensboro´s Get Downtown, Saturday August 27.
We tried to get into Heaven, but it was closed. But I'm getting a little ahead of myself. The trip to the "Get Downtown" festival, "a free event for Greensboro college students on August 27 that featured live entertainment on two stages, free giveaways, and specials at downtown restaurants and merchants" started at the cul-de-sac by the EUC at 7:30.

Once there, 35 of my fellow UNCG students and I were crammed onto a shuttle fitted to sit only 20. Half of us had to stand in the middle and hold on to the poles overhead, one of which was lose and would slide out of its hole at especially rough points during the trip downtown. There's nothing like holding on to dear life with a less than secure pole to make someone find religionreal quick.

When the death-trap on wheels finally got to its destination, Sam Thacker was performing on the "My South Rocks" stage. A huge inflatable statue of a green reptile devouring some unfortunate soul was swaying from the wind in the middle of the street and bellowing smoke out of its ass.

Once on Elm Street, college students were besieged by a venerable army of venders trying desperately to fool somebody into signing a piece of paper promising a small fortune but delivering millions of useless letters that would rape their mail-boxes.

Hordes of students started to flood the streets, creating an ocean of sweaty, drunken kids with nothing better to do than waste their parent's money and listen to loud music. My friends and I soon escaped the crowds by heading to M'Couls'. We had some food and drinks from the roof. The view of the architecture and lights of Down Town, as well as the massive crowd, from the rooftop was absolutely magnificent.
After M'Couls' we headed to Heaven, where despite being mentioned in the brochure, the bouncer had no clue of the event and wouldn't allow this lowly reporter through it's doors.

We waded through the streets and came upon a cowboy convention. After a little debate, a good ol' fashion hoe down didn't seem like that bad of idea. Unfortunately, the security guard didn't agree and wouldn't let us enter the party, a continuing trend among the night's festivities.

Soon after this, Heavy Mojo took the stage. Heavy Mojo was fronted by 3 rappers/singers with hardcore/metal band. A mosh pit soonformed and this reporter couldn't resist getting in the middle of it. By the way, to the skinny white girl who was foolish enough to be in the front of a metal show, I'm almost sorry I pushed that guy into and caused you to fall.
After Heavy Mojo, I decided to try my luck at the rock wall that was erected for the evening. Unfortunately, the wall was too expensive for my budget, and the crowds were getting unbearably thick, so we decided to head on back. On the way to campus, we decided to hit up Green St Bar. However, the ridiculous entry required you to wear a collard shirt for some ungodly reason, and so we continued on our trek home.

Get Downtown also featured the likes of musician Michael Tolcher, Blue Whiskey, a fashion show by Couture and Cliché, a step show and The H.O.O.D. Band Trey Songz. Despite being obnoxiously loud, so packed one couldn't breathe, and overly expensive, Get Downtown was surprisingly entertaining.


Media Credit: LOGAN YORK/THE CAROLINIAN
A fashion show at Get DOWNtown



- The Carolinian

THE 99X DOWNTOWN ROCKS
@ UNDERGROUND
Presented By

The "We Can Be Happy Underground" DTR@U Review Blog
WEEK 3: Switchfoot, Spoon, Rehab and Heavy Mojo
I go into the third week of Downtown Rocks not as a music fan, but rather an unbiased purveyor of a social music experiment. As I am only excited about one of the acts on the lineup, I am able to objectively witness how the crowd reacts to the eclectic lineup. How will the audience transition from the rap/rock of Rehab to the indie power of Spoon? Will the rowdy crowd sooth their inner demons during the hopeful, uplifting tunes of Switchfoot? But for any experiment to take off, you must throw in a few variables.
Variable #1 - The Weather
Possibly the most important variable of the day since it has rained here in Atlanta (or, as I like to call it, Seattle East) everyday for the last three weeks. I checked the forecast early Saturday morning and it predicted a 0% chance of rain. How does that happen? 0%?!? There's gotta be at least a SLIGHT chance. Who do these meteorologists think they are anyway? Nobody, and I mean nobody, is gonna tell me that I don't have a chance of doing something. I pray for rain to spite them. But alas, it doesn't rain and this variable becomes infinitely crucial to my experiment because of the huge effect it has on the crowd. It seems that the people of this city have grown unaccustomed to the sunshine, and its rays cause the audience to lose their minds. But more on that later…
Variable #2 - Security Precautions
In the wake of last week's "riotous" DTR with the always incendiary Weezer, several precautions were added to ensure everyone's safety. Low-hanging pole banner were removed to detour climbing. And those same poles where then greased to make them nearly impossible to scale. Not just any grease, mind you, but they used plumber's grease. Ask anyone who's ever done pipe work before, that stuff is impossible to wash off. Pity the first idiot that tried to be a copycat of last week's pole diver; he/she won't be able to rest easy until they've taken something like 815 showers. I'm convinced that this action was taken less as a precaution and more as a sadistic recipe for comedy gold. With these safety measures in position, we were ready to get the party started.
Up first was Heavy Mojo. Last year these guys were the winners of an epic Battle of the Bands competition we had at various local venues, and they didn't disappoint the DTR Happy Hour crowd. If you've never seen this band before, they combine smart rhymes with a great backing band to put on a rollicking live set. If you missed them at DTR, don't fret it one more minute. They'll be playing our Unplugged in the Park series at Park Tavern later this summer. So far my experiment has yielded average results - people came and they rocked out. Nothing new… variables have little effect.
On next was Rehab. Rehab rode the rap/rock tide in from Warner Robins, GA a few years ago to a modest success. But then the band broke and later reformed without their MC Brooks, who is now a hosting a TV show about pimping peoples trailer or something. The crowd made a nice transition from Heavy Mojo into the Rehab set, thanks to both acts similar basis in hip hop. My only major observation during this set came during the band's cover of the Trick Daddy/Lil Jon tune "Let's Go," when Rehab's front man Danny looked as if his head was primed to explode. His face was the color of a stop light and the veins in his forehead and neck were throbbing out of control. Now I don't wish anyone any harm, but how badass would it be to see some flesh and blood pyrotechnics at a rock show? The audience seemed to enjoy the Rehab, but now came the true test…
… And then I lost a lot of respect for some of the DTR crowd during the Spoon set. Now coming from a Rehab set into Spoon is a delicate transition, and I didn't know what to expect. Would Rehab fans enjoy Spoon's brand of indie rock? Probably not. Should they? Most assuredly. But when Spoon took the stage, that's when I think the variables (the aforementioned "Sunshine Theory") took effect. Perhaps it was the heat or the frustration from all the pole grease, but I could not enjoy the Spoon show because of all the bottles being thrown. The bottles were plastic, but c'mon people, have some respect. If the bands not your cup of tea, take a break and walk around. Get a drink of water. Talk to your friends about how "awesome" Rehab was. Britt, Spoon's front man, seemed to realize that this wasn't the average Spoon crowd, but that didn't stop them from delivering a solid performance. Their set spanned all of their albums, including tunes from their latest album (the great "Gimme Fiction"). Good show, crappy crowd. If you enjoyed their set at DTR, be sure to catch them next time in an indie-friendly venue, like their recent stint at Variety Playhouse.
Now that the crowd is whipped into a bottle-tossing frenzy, we cart out Cali-based Switchfoot. How - 99X

Heavy Mojo — It is What it is

Produced by Heavy Mojo, Engineered by Danny Silvestri and Marlon Patton


Mesmerizing and captivating, Heavy Mojo blends the passion and power of classic rock with witty, thought provoking hip-hop and rap passages. This combination has proved genuinely compelling to their listeners and audiences live. Currently thriving as one of the best live acts in the Atlanta area, Heavy Mojo has brought innovation and integrity back to their respective local scene. The band has kept the city captivated with their creative brand of composition and attention to instrumental detail.

The Atlanta music scene has recently been mired in a creative dry spell, yet this group is well on the way to bringing the noise back. “Radio” opens with a rocking, sensational scream of dynamics, and the record maintains this level with one simply ravishing tune after another. The listener is dropped into the dizzying free fall of “Just Go,” only to be graciously swept up and hurled into the rumble of “So You Say,“ followed by the irresistible “Blockin’ It Out.” Heavy Mojo’s just as versatile with the material of other artists, as showcased by their delightful take on Nirvana’s “Polly” and “Summertime” from Porgy and Bess.

Heavy Mojo’s music is best described as raucous rock ‘n roll with a zesty twist of crafty and brainy hip-hop. Line after line of each verse has each of the emcee’s delivering well written poetics dealing with contemporary world issues and themes with startling ease and a complete lack of pretension. Heavy Mojo also show an uncanny awareness of how to construct the perfect bridge, focusing on their now-trademark keyboard textures to further raise each songs’ dynamic quality. Heavy Mojo is the kind of band that can invigorate the crowd and keep them talking their heads off about the show. If you get a chance, don’t miss the fun and energy of seeing Heavy Mojo live. However, It Is What It Is , and what this album is makes for a rewarding and thoroughly refreshing listen. (Jank Records)

Contact: www.heavymojomusic.com
- Performermag.com

Heavy Mojo
Heart and Soul

words by Shawn M. Haney
photo by Bryan Bazarte

Quickly surging ahead to the forefront of the local music scene in Atlanta is an eclectic group of seven who call themselves Heavy Mojo. Their music can be likened to a strong drink, with a zesty mix of hip-hop, funk, rap and rock to satisfy listeners who have felt something’s been missing in the local scene for far too long.

This seven-piece is here to stay. With the release of their debut album, It is What it Is on their own Jank label, Heavy Mojo has made a big splash on national college music charts. Heavy Mojo is no longer Atlanta’s best kept secret. Filling up venues here, there and everywhere, to paraphrase one Paul McCartney, Heavy Mojo appeals to a diverse group of music fans hungry for the taste of their compelling concoction of classic rock infused with the hyperkinetic energy of rap and hip-hop.

Heavy Mojo, formerly dubbed Mojo 99, was originally formed as a side project for B-Easy, Simon Temple and Priest Shooby. At the time, their respective projects were where their main priorities resided. Through a process of growth and maturity, the members of the re-christened Heavy Mojo decided to take this band as far as it could go, and have been active in their current incarnation for close to two-and-a-half years.

“I don’t think we came up with the music [or] the Heavy Mojo sound,” claims B-Easy. “I think Heavy Mojo came up with us. Our style is part of the acid hip-hop culture. And whenever we get together in a room-studio or on stage, to play and create-the sound takes over and we just follow. We’re just seeing how Heavy Mojo moves people. We know that this sound-this group, this music-could somehow change or inspire the world.”

“The whole ‘hip rock’ genre has put a bad taste in people’s mouths,” Simon interjects. “So for people who have not seen us, when they read ‘hip hop/rock’ they tend to shy away. But once they see us, we got ‘em! I like when we mix other styles like bossa nova, jungle or even create altogether new forms of music. It is time for something new and I think we will be it.”

Celebrating the release of It Is What It Is with an intimate performance at Criminal records in early August, Heavy Mojo kicked off a series of late-Summer shows, including a spot at the Atlantis Music Conference and shows at the Park Tavern and the Georgia Theatre in Athens.

Comprised of a group of true innovators, Heavy Mojo has proven their unique ability to create emotionally gripping material complete with dramatic hooks. Additionally, their lyrics burst with the band’s signature wit and wisdom. A typical live show has B. Easy, Shooby, and Temple at the front of the stage, trading off mesmerizing rhymes with remarkable consistency and flair.

“Most of the musical direction comes from Priest Shooby,” admits B. Easy. “Every group needs their resident musical genius, and for Heavy Mojo he’s the one. With the vibe he brings to the tables musically, it allows everybody in the band the freedom to experiment and create within that vibe.”

These three emcees provide the rap side of this captivating musical formula, but it would be foolish to ignore the instrumental side of their music. Damien Goodpastor plays the keyboards while Danny Silvestri roars through the tunes with gripping, pulsating bass lines. Marlon Patton lays down riveting percussion rolls, and Ryan Waters rounds out the group, adding color to Mojo’s sound with catchy guitar riffs and passionate, distortion-laden power chords.

“It’s almost like some type of stream of consciousness thing,” observes B. Easy. “Once the mood is set, the music takes over. Not to mention everybody is a seasoned musician and song writer in their own right. The creative process is always fun. You never know what might happen, because it’s all about the Heavy Mojo sound, and we’re still discovering that sound.”

It is What it Is captures Heavy Mojo’s sound in all its intricately detailed and fully realized glory. The fabric of their style is genuine, uniquely placed in a category of its own, apart from other so-called hip-hop/rock groups. Still, Heavy Mojo has similarities to other fine groups in rock and rap history, with influences ranging from Led Zepplin, Funkadelic and the Beatles to Public Enemy, Prince, the Roots and the Beastie Boys. “All the great super groups and artists understood melody, and big hooks, and a back-beat or groove that would make you want to move,” says B-Easy. “Music is about provoking some type of response. So mixing the melody with the beat, and holding it together with a big riff, be it guitar, bass, or keys, makes you want to move and can convey the emotion in a song. That’s communication!”

Just open your ears into the heavy, distortion laden riffs of “Radio,” and be swept away by the dreamy hook in “Blockin it Out.” More intense songwriting finds its way in the Police-like, haunting riffs of “Head Trip,” a song about searchin - South East Performer - Oct 2005