Kenny Fame

Tangine New York, NY
Web: http://kennyfamemusic.reverbnation.com
The Players: Kenny Fame vocals; Jack Mullin, guitar; Jay Regan, guest percussion.

Material: Performing a combination of original songs and covers, poet-turned-songwriter Kenny Fame bravely jumps into a new arena sharing indelible impressions and experiences. Artistically, Fame is a gentle soul who cherishes humanitarian issues and mutual respect between people which serve to fuel some of his underlying themes. His poetry is a good departure point for songwriting as he already possesses a knack for imagery, metaphor and description. Fame is testing the waters with this group of originals which swing toward an R&B feel and are a nod to artists of the ‘90s, although he does not lock himself exclusively into one style. “Another Man’s Women,” is one of Fame’s more commercially viable songs—less like poetry set to music with more structure and the cohesion that songwriting requires.

Musicianship: Fame’s voice is somewhere between a tenor and a baritone, but sometimes his chosen keys are a bit lower than he can control, especially when they hamper his ability to project. Raising the key in some of the songs would enable him to get more out of his voice while still retaining that lovely reserved vibe he has.

Fame is accompanied by Jack Mullin on guitar who has put together some musically appealing arrangements.

Performance: Fame has an endearing demeanor, soft spoken and understated. In addition to some boosts in the key choices there were other technical issues.The sound system at this venue was marginal and it’s important for an artist to master less than optimal conditions. More experience tackling different rooms and putting himself in front of more audiences will serve him well in overcoming these technical challenges.

Halfway through the set the duo was joined by songwriter Jack Regan (slated to play the following set) who weighed in with some percussion. This lent a nice note of spontaneity to the performance which suited the casual environment of this venue.

Summary: Somewhat new to the singer/songwriter world, Kenny Fame exhibits an enthusiasm and determination, that is necessary for this journey. His sensibilities as a poet are an asset in launching a songwriting career; however, he needs to keep honing his skills as a performer. Once he develops better mic technique and gauges the best key for each song, his voice and persona can shine and build the confidence needed to get his message across completely. Look out for his new single “Beautiful Face” on iTunes available on Oct. 14.

– Ellen Woloshin
Photo by Mark Shiwolich - Music Connection Magazine

Becoming a self-sufficient musician is not an easy task. If you are serious about it you must jump all the way in. Treat it like your sole livelihood right now. Act as if! For any success you must put in work every day whether it be in the studio or out there promoting yourself. An artist that we have witnessed do everything he can everyday is Kenny Fame.

The NYC artist has expanded his repertoire even more with his latest release “Another Man’s Woman”. Here he shows that no style is out of his reach with his own personal take on the country blues genre. Kenny adds his unique voice and phrasing to set the song apart from the commonplace. The wall of sound behind his vocals and acoustic guitar makes the song sound huge and full. - Indie Band Guru

Kenny Fame’s unique style is here in spades on this latest release. Packed full of funk, soul, and a real leaning to classic R&B sounds, this is Fame’s sound through and through. With a funk bass that throbs, pumps, and slaps through the track with relentless abandon, it is all the more emphasises by the thudding percussive beats. What makes Kenny Fame so irresistible is his commitment to releasing music that he really wants to be making. There is never the sense that he has sold out or tried to do something in a certain way because that will get him more attention. Rather, he makes his music and lets it speak for itself. As a result, ‘Hail Mary’ (an ‘unreleased movie score’) is yet again a clear representation of the kind of music he totally intends to be making, and that means that he is continuing to build up a solid catalogue and repertoire of songs that fans new and old will be able to continue to dig into and enjoy. ‘Hail Mary’ seems to look back to and reference an older track ‘Rejoyce’, and it’s clear that he has a certain style and method both in the songwriting and production. Pop music for pop music maker - Crossradar

Harlem-based Indie-Pop artist, Kenny Fame is back with another music release. After his prior reworking of Miley Cyrus’s “Wrecking Ball”, this time around it’s an original, written by Kenny himself. The song was produced and engineered by Jona Carson, who also handled the music and programming, while the song was mastered at Soundclash Studios NYC by Oscar Melendez.

When you first look at the cover artwork, you’re struck by its cover; what the heck is this? It begins a mystery. You put the media into your player, expecting something, and almost immediately, the dark and funky resonating beat of the track “Rejoyce” hits you in the face. It sonically rolls over you hypnotically. The heavy bass and dismembered guitars give it a deep, heavy apocalyptic feel. And that’s only the beginning.

Here comes Kenny Fame, straight from the trip-hop hedonism of his latest release. Armed with a funk-driven beat, a slapping snare drum, some lyrical angst, and his sullen, offbeat voice, Kenny gives you a single that refuses to leave you at the end.
Harlem-based Indie-Pop artist, Kenny Fame is back with another music release. After his prior reworking of Miley Cyrus’s “Wrecking Ball”, this time around it’s an original, written by Kenny himself. The song was produced and engineered by Jona Carson, who also handled the music and programming, while the song was mastered at Soundclash Studios NYC by Oscar Melendez.

When you first look at the cover artwork, you’re struck by its cover; what the heck is this? It begins a mystery. You put the media into your player, expecting something, and almost immediately, the dark and funky resonating beat of the track “Rejoyce” hits you in the face. It sonically rolls over you hypnotically. The heavy bass and dismembered guitars give it a deep, heavy apocalyptic feel. And that’s only the beginning.

Here comes Kenny Fame, straight from the trip-hop hedonism of his latest release. Armed with a funk-driven beat, a slapping snare drum, some lyrical angst, and his sullen, offbeat voice, Kenny gives you a single that refuses to leave you at the end. - Jamsphere

I cannot tell you any lies dear readers…when I saw the name Kenny Fame pop up into my inbox…I was honestly a little surprised! In retrospect, maybe I shouldn’t have been; the number one attribute in Kenny Fame is his willingness to develop, refine and better this talents and learn every aspect of the craft he truly loves. Our last review on his album Fame Whore doled out a little harshness in a memorable way for me…and I’ve not forgotten the name ever since. To say it’s brave to come back to our pages is both a true statement and a commendable choice…Fame has displayed a fearlessness in the past in his approach to put his music out there and it seems that same heart is beating loud & proud inside him today as I’ve now got my hands on his latest EP, Soul Of A Man.

In my humble opinion…I think the improvement in Kenny Fame is completely noticeable! I wasn’t sure that I’d be in for that to be truthful…but right away you can hear that Fame is concentrated on his tone and melodies from the moment that I got into “Broken Valentine,” the first track I got myself into. You’ll have to forgive me…I think I’ve got myself a pre-release here and I might not have the finalized track-order right…you’re getting this all in the order it comes out of my playlist today. Excellent vibe in the music that Fame inserts himself into smartly…it’s still not perfect, but man he is SO MUCH closer to it than I’ve heard in the past or could have been expecting this time around. Gradual steps are normal…Fame has jumped, hopped and skipped right to the edge of success. “Broken Valentine,” is the toughest on I found on the EP as far as his vocals are concerned…but much like on Fame Whore on his album prior, it’s those lower notes that he has a tougher time putting the power into. Again, that being said, it might lack a little power but the tone is much, much more solid.

“On The Subway” came at me next; musically-smooth like your favourite drink in the summer, the sweetly-toned guitars and their gentle melodies set the stage for yet another good flow from Fame. Up in the higher end of his vocal range sees Kenny achieving the sounds that match the music nearly perfectly all the way through – but this is truly the style/sound that works for him best on full display in “On The Subway.”

I mean…Kenny…if I didn’t know any better I’d accuse you of really singing it out here on this EP…quite successfully I might add. I like the approach you took on “She’s A Runner,” the verse is a bit tougher than the chorus…especially the second verse…but LISTEN to the way that you’re hitting the chorus my friend…you’re right on your tone there. If I had one other criticism that reflects more of a personal-taste than a flaw in the music…it’s that the chorus structures of these four songs when placed together are noticeably similar. As in…I’m saying get out your pad of paper and pen & grab thesaurus and get some more words in there Kenny! The simplified hooks work well…and they’ll assuredly pull more people in this time around through Fame’s more confident execution in his performance…but in my opinion you gotta put some meat on that bone or we get what we need too quickly and start looking for the next – know what I mean? I simply cannot stress enough just how improved the music, the vocal-tone, the performances…it’s all soooooo much better now; but that risk with simple, good-time pop is that our ears eat it like candy – a little more dimension to the lyrics in the hooks might add more than he’s expecting.

Now…my guess is that the final track I’m reviewing could quite possibly be the first…this sounds like a single immediately. “We Came To Play” is either the perfect opening or the epic ending that this EP deserves…I’d be surprised to find it in the middle… Anyhow, whatever order it comes in doesn’t help me here at the moment.

What DOES help me…is that the order I’ve popped it open in here on this particular playlist has got Fame absolutely jamming out this last track in a perfectly-pop style. I’d in fact be altogether shocked if this wasn’t the intended single – he’s got this final song I’m listening to nailed 100%; what a great way to end my second experience with this artist who has definitely shown massive growth through pure intentions. Up-tempo and laced with R&B and funk – “We Came To Play” is a real statement from Fame…he’s hungrier and more determined than most artists you’ll be lucky enough to meet.

And when you put the hard-work & determination into what you truly love to do…you get fantastic results like Kenny Fame has on his Soul Of A Man EP. - Sleeping Bag Studios

Kenny Fame is an award winning singer-songwriter out of NYC but currently based in London. Fame’s career began back in 2010 after he won the 10th Annual National Black Writers Conference’s Writing Contest 2010 for (Poetry). In the spring of 2014 Fame was selected as Indie Bands Guru’s “Artist on the Verge” at last year’s New Music Seminar 2014. In 2014 he won Gashouse Radio’s “Radar” competition with his song “Rejoyce”, which later reached #1.

Fame was a recent semi-finalist in the Bands4Good Challenge and he currently is part of Hard Rock Cafe’s “Hard Rock Rising” competition. Kenny has written for everybody from One Direction to Rihanna and has had five #1 songs on Internet Radio; including the runaway smash hit “Julie”.

Kenny Fame’s great strength is in singable songs with worthwhile lyrics, which he performs with a personal touch and real feeling, and he does just that on his latest album, “Soul of a Man (Volume 1)” . His voice is distinctive, in that Kenny sounds like he is hanging onto each note by the thread of his vocal chords. The just on/just off the note delivery, gives Kenny’s voice an eclectic fragile attractive

It is clear that Kenny is very passionate about what he does and, fortunately, a little stubborn. If that wasn’t the case this album would just be another drop in the bucket but his writing and unusual melodic sense and lyrical ability still manages to creep through the production.

This album is edgy and feels unbridled by the music industry’s influence, as Kenny continues to show that his internal vault of creativity is as deep as the ocean and he has the talent and authenticity to bring it all out in beautiful form. Especially on deep tracks like the reggae-influenced “Broken Valentine” and “On The Subway”. However the best song on the album, for me, is without a doubt the funky, Daft Punk-Pharrell influenced, “We Came To Play”.
from start to finish, shows several genuine musical qualities. Catchy hooks and melodies, deep yet playful lyrics, unusual vocal delivery, and all topped off with unflinching emotion that shows no sign of trepidation. With the release of this album Kenny Fame has positioned himself perfectly to evolve with grace and style. - Jamsphere

That it has always been very hard to categorize indie-pop artist Kenny Fame, is no secret. This poet, singer-songwriter out of Harlem, NY, but now based in the UK, debuted with the CD “Kenny Fame: The First Album”, which was a mix of Indie-Folk, Urban-Funk, Country, Electronic and Dance-Pop. Fame has always had the unique ability, to blend indie and pop music into a mix of bold soundscapes, top 40 hooks, and metaphoric lyrics.

Last year Kenny dropped a reworking of Miley Cyrus’s “Wrecking Ball”, then he went on to do an original funky single, entitled “Rejoyce”, which was produced and engineered by Jona Carson. From there Kenny Fame released a brand new album, “Fame Whore”, where he collaborated with various producers and writers, including Jona Carson, Roy Horan, Craig Levy and Roderick Derkson. Not satisfied, Kenny Fame’s went back to his great strength, which is performing heartfelt songs with worthwhile lyrics, which he promptly did on “Soul of a Man (Volume 1)”.

But the man is always on the move, musically, and with not so many places left for him to go to, he went to the one stone he has left unturned – rock n’ roll! So grab your jeans and T-shirt, check your hair and get ready to rock, Kenny Fame is fixing to take you back to the early days of rock n’ roll with the track, “City Lights”. To be fair, the song has a medium paced bounce, as well as traces of a slight Country influence, which is mostly due to the twangy electric guitar lines. This puts the track squarely in Buddy Holly territory.

Except this is the sound of rockabilly Buddy Holly minus the pops and whirrs of old tapes and old records. And just like Buddy’s songs, the way Kenny constructs and performs his tracks are sensational. You can play the song over and over and never get sick of it. That’s because in amidst all the rhythm and rhyme, there is plenty of melody popping around. “City Lights” is a fine example of no computerized polishing of the rhythms. You can hear the strumming of the guitar, and there is nothing better than hearing that human side to a song. Add that’s what Kenny Fame achieves here with “City Lights”. - Jamsphere

Kenny Fame’s “Stay (For Jazz)” embodies the spirit of the late night vibe. Tasteful and elegant, the arrangement is impeccable. From the crispness of the jazz guitar to the careful precise percussion the entirety of the piece is pitch perfect. Atmospheric in tone the piece rests deeply in the shadows. With careful lyrics Kenny Fame’s vocals are uniquely suited to the song. Embodying both the hope for the future along with the disappointment of the past, there is a certain sense of pleading that permeates throughout the song. By asking them to stay Kenny Fame comes to realize that they help to give his life definition and meaning.

A warm gentle guitar introduces the piece, solitary. From there the rest of the band settles into the careful groove. Expansive in nature the piece lingers over every note letting the decay of each serve as further proof of the dissolution of confidence. As the lyrics state the narrative is one of the worry about their own appearance in comparison to the lovely creature they adore. The chorus serves as important punctuation, bringing home the message that their affection is true. Guitar work nicely meshes with the lyrical content, serving as a second singer due to its expressiveness. For its final moments it merely lingers as Kenny Fame urges once more for them to make his life complete.


By stripping the sound to the absolute essentials Kenny Fame is able to show the power that minimalism possesses on “Stay (For Jazz)”. - Beach Sloth

Born in Philly P.A.and busting out of Harlem, Kenny Fame is bringing new ideas and a fresh approach to the hip hop / pop / poet / jazz scene.

Kenny Fame is the stage name of musician Levi Wise Kenneth Catoe Jr. In the NYC area , Fame has built an impressive resume as both a: spoken word artist and a sought-after poet / lyricist in less than three years.

On the track " Stay ", Brotha Fame has decided to do a spoken word leap across the grand canyon of the jazz / hip hop chasm , while attempting a vulcan mind meld with Miles Davis / Nat Cole era superstar Chet Baker.

"Stay" (For Jazz) - Remix
https://soundcloud.com/ken-catoe/stay-remix

As someone who was raised on big band and be bop,I found this neapolitan excursion somewhat off putting at first listen.

Then I realised, after having lunch with Leary, that I had turned off and dropped out. I needed to tune in!

I just was'nt ready to pick up on what Kenny Fame was putting down.

Kenny's multi leveled and layered concept of post apocalyptic Gil Scott Heron spoken word elegance and sensitivity, reached out with love and assurance.

Like a sad black bouquet, left on the doorstep of an abandoned building where life, joy and promise once thrived.

I will not be surprised to hear the music of Kenny Fame in the background of a major motion picture.

Kenny Fame is heavy! - Doug Cash

Kenny Flame is an American alternative R&B musician from Harlem, New York. He is known for his eclectic sound mixing soul, spoken and folk. His career began in 2010 when he won the 10th Annual National Black Writers Conference Writing Contest for poetry. Since then, he has won various awards for his music and had five number ones on internet radio, including the smash hit Julie.

This five track EP was inspired by the 1950’s era and this is reflected in the music and such artists as Elvis Presley, Johnny Cash, Chet Baker and Jackie Wilson, amongst others. There is a soul/jazz element to all the songs here which he wrote himself, except for a cover of Adele’s Hometown Glory.

Opening track Oh What A Night is built around a skeletal guitar lick that brought to mind Michael Jackson’s Black or White, though the musical similarities end there.
Kenny has a fine voice for this kind of material and this mellow song has a distinct charm and emotional warmth missing from much of modern music.

City Lights is more upbeat, a 50’s style rock n roll song with a swinging beat and a real feel good vibe. There is also a country element to the guitar lines that weave in and out throughout, and played in the way you’d hear on early Elvis records. The vocal melody is very catchy and makes for a very enjoyable listen.

Friends is absolutely lovely; just vocals, dreamy reverb drenched guitar and vibraphone, though my only slight criticism would be his voice is a little low in the mix on this one. He maintains a similar style for a nice reinterpretation of Adele’s Hometown Glory but the closing Stay (For Jazz) is a real highlight and perhaps the best song here. The lyrics are emotional and fiercely honest (“My awkwardness leaves me insecure…”) which adds to the touching poignancy, sung over a beautiful jazzy chord progression.

Overall, a very accomplished EP that showcases Kenny Fame’s versatile talents as a singer and songwriter and should enhance his reputation and fanbase further. -

Kenny Fame is back with his sophomore release titled Fame Whore. The Brooklyn, NY based musician takes a blues-jazz sound and puts a solid beat with each track. The title track Fame Whore builds like a modern jazz-pop tune, with bright horns, a groovy bass line and a fun beat. Whether the song is a reference to an actual popularity-seeking individual from pop culture (Kim Kardashian, Miley Cyrus, etc?) or not remains to be seen.

The feel of the tune is similar to some of Prince’s work. Currently the single is unavailable on Kenny Fame’s Reverbnation page. Fame Whore the album is set to be released in a few months. Check on his site for details on the release and future music details. - D. Grant Smith

Recalling a sound that made Tracy Chapman a songwriting icon, emerging indie songwriter Kenny Fame uses a folk-rock style to paint elaborate musical pictures. Hailing from Philadelphia but stationed currently in Harlem, NY, Fame (aka K*Fame) has achieved some significant attention in 2014 including spending a month on the top request charts for many Philly radio stations. His Reverbnation page has many of his new and older tracks, including a cover of Miley Cyrus’ Wrecking Ball (just in time for our cover series this week).

Check out this great song: A Different Day - D. Grant Smith

Powerful and tender, Kenny Fame’s “Goodbye…” is a pop perfection. Deep with meaning the song simply stuns. From the elegant piano that serves as the song’s backbone to the emotive sensitive vocals, everything comes together to create a sense of warm. Lyrically the song emphasizes a constant search for the light. By letting the song simply build up ever so delicately the piece begins to bloom. With additional textures added into the mix the sound grows ever larger and ever more encompassing, serving as a swirl of color.

The piano introduces the song powerful in its stark beauty. From there Kenny Fame’s vocals enter into the mix accompanied by synthesizer work. Drums come in with great strength offering further emphasis on the drama that permeates the song. Hovering above the rest of the song is the ambience of the synthesizers which come to eventually overtake the piece. From there strings are brought into the mix as the song takes on a more orchestral approach. Percussion becomes of greater and greater importance in the song. Structure within the song becomes ever and ever more powerful. Out of nowhere the entire song simply drops out for dramatic effect. Kenny Fame lets this pause serve as a way to rebuild the song, letting his breathing give the song an intimate feeling as the entire piece starts to sweep up. The song grows with intensity reaching a cinematic climax for its well-earned finale.


Kenny Fame’s “Goodbye…” is a triumph. - Beach Sloth

Kenny Fame delivers chilling lyrics in his ballad Goodbye he talks about how there is no “good” in saying goodbye. This track can be seen as somewhat of a tribute to those that lost their lives in the recent terrorist attack against Paris. It is amazing what music can do, it can be there to bring comfort, support, and shed light on current events. This is a very meaningful track, although I feel as though it could have sent a stronger message if it was better produced.

Audio:
https://soundcloud.com/ken-catoe/goodbye-prayers4paris

Some of the phrases and transitions in the song were a little bit strange. But all in all Fame brings a heartwarming piece to life to commemorate the innocent people that lost their life, showing that even when we are miles away we can still show our overwhelming support for our fellow human beings. - Jake St. Jean

New tune from Harlem R&B artist, Kenny Fame. He sent us over his latest single “Goodbye” which is definitely something different, but in a good way. Taking the path less ridden, his sound is eclectic mixing soul, spoken word, folk & country to create something new and unique.

Peep the track below and leave your thoughts in the comments.

enjoY! - Boom Boom Chik

Kenny Fame — the stage name of Levi Wise Kenneth Catoe, Jr. — is a Paterson NJ native who moved to NYC the day after graduating high school. He has since become a fixture on the city’s spoken-word poetry scene. These poetic pursuits led to him writing lyrics, which in turn led to the composition of songs. Having upped his instrumental I.Q., the young talent now releases his debut The First Album, a mix of “Indie-Folk / Urban-Funk / Dance-Pop.”

The track “Rejoicing” kicks off with this spunky little guitar riff. It well complements Fame’s vocals. The lyrics are a bit trippy: “I’m traveling through space / I’ve lost my arms / I’ve lost my face.” Despite losing these vital body parts, the speaker is in the mood for ‘rejoicing.’ On a separate note, a rather interesting change of pace occurs at 1:55.

The track “Hometown Glory” (an Adele cover) immediately establishes a contemplative feel. For the first minute, it’s just Fame’s voice and a few acoustic guitar chords. Then, we get a bit of percussion. With the way Fame sings about being “united,” I get a sense that he intends this cover to convey a social consciousness. I also wonder: is he thinking of Paterson NJ here? Either way, there is a display of considerable vocal range on this track. There is also a certain spontaneity to Fame’s delivery. It’s almost like vocal improv. Perhaps his background in spoken-word poetry has factored in here.

“Another Man’s Woman” MP3:

SKOPE IT HERE!

Oh my. Now we get a cover of Miley’s infamous “Wrecking Ball.” And, you know what, I dig Fame’s rendition. He’s got some guts as well: covering a song of such notoriety, you really risk striking out badly. But Fame’s cover here is engagingly raw. He conveys a real sense of sincerity. I think this cover would thrive at a live venue.

On a more chilled out note, we have Fame’s rendition of “Will You Still Love Me Tomorrow.” I don’t dig it quite as much as the Miley cover, but it still has its soulful moments (and some nice bass notes). - Ray Cavanaugh