Laura Reed & Deep Pocket
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Laura Reed & Deep Pocket


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"Digging Deeper with Laura Reed & Deep Pocket"

For the last four years, singer-songwriter Laura Reed has been in and out of Boone, studying at ASU and playing in various bands around town. After a stint with local band Boot Leg and travels that took her to Central and South America, as well as California, Reed is back and fronting new unit Deep Pocket.

Fast gaining the attention of Boone music fans, Deep Pocket features Reed..s slinky and sexy vocals akin to Eryka Badu and Lauren Hill over pulsing modern r&b and polyrhythmic world grooves.

Driven by the on-point rhythm section of drummer Barret Helms and bassist Ben Didelot, the band also features Ryan Burnz on keyboards and vocals and Miquela Lokilani DeLeon.

If the names seem familiar, the members of Deep Pocket have made the rounds in local venues in such bands as Heavy Bread, Hail Mary & The Burning Bushes and a recent collaboration with hip-hop group N.B.C. as Bigga Fire.

"All the music is just very soul-driven," said Reed.

Originally hailing from the Johannesburg/Natal area of South Africa, Reed saw apartheid first-hand while growing up. Part of her mission as a songwriter and musician is to spread her positive "One Love, One World" message to all within earshot.

"That's a big reason as to why I.'d like to see a little more unity in the world," said Reed. "We're depending on each other and we are all working together. "One World" is kind of our mission statement".

Collectively, the band has been playing together for a short time. A few live shows and a recent trip to the recording studio have helped the members merge such influences as the reggae guru Bob Marley, funk masters Parliament Funkadelic, groundbreaking hip-hop band The Roots, soul queen Aretha Franklin and old blues masters Robert Johnson, Muddy Waters and Son House.

While many singers have tried and failed over the years to tame their voices into instruments that passionately convey their message, Reed..s natural ability and clear creative vision give Deep Pocket an advantage. Using her excellent phrasing, acute sense of timing and tight vibrato, Reed sings her songs as if channeling the spirits of Badu, Billie Holiday and Mary J. Blige in a voice that is uniquely her own.

According to Reed, the band's on-stage persona is that of a tight r&b unit, sticking relatively close to the arrangements of the songs. However, with many of the members spending time in improv-heavy bands prior to Deep Pocket, the ability to go with the flow at a moment..s notice is not a problem.

"There's a lot of communication on stage", said Reed. "There's a basic structure, but within that is a lot of free-form improvisation"

With the planned release of an EP of original material, Reed and Deep Pocket are growing stronger as a band with each show. If the band can retain their current tight line up, they are sure to be turning heads in the High Country and beyond.

"Every show is amazing", said Reed. "Everyone is on point" - High Country News, Boone NC

"URGE Blog"

In my constant quest to find music that not only pleases the ear but also the soul , I stumbled upon Laura Reed and Deep Pocket. The name alone tells you that there is something about this group of soulful musicians that is to be desired. I and a coworker of mine were talking about music and how I was having a hard time finding music that appeals to all of my interests. She then suggested that I listen to their debut album "Soul:Music" for some inspiration. I was more than inspired, I was hooked. From the first track to the last, it seems that Laura Reed takes us through the journey of her roots. What I like about this group is that color is no factor. Laura Reed who grew up in South Africa and the US, who is clearly white, carries the soul of a native African woman and a tone that (to me) is a melodic mixture of Erykah Badu and Billie Holiday. It is apparent that when this "little lady" opens her mouth, that she has plenty to say and uses the natural sounds of African drums, rhythm guitars, and harmonicas to express what she’s feeling. I instantly fell in love with this group and their open mindedness. They are currently on tour and will be headed to my place of residence, Atlanta. They perform as part of the Atlantis Music Conference and Festival at Center Stage on Sept.18th.To check out more on this group and for tour dates and locations go to their site at or for Conference and Festival info! - Personal Review

"Soul:Music Review"

Performer Magazine
January 2008
Reviews Recorded
By Shawn M. Haney

Laura Reed & Deep Pocket – soul:music

Laura Reed digs deep into her conscience to deliver a powerful portrait of soul and funk rock music. Soul:Music is the first collection of songs that will most likely pave a bright future for this stunning and highly creative artist.
Reed’s backing foundation of musicians make up Deep Pocket, and their music is stirring and highly infectious. “Well” opens with drive, harnessing the rich, sultry and sonorous vocals of Reed, complimented by gripping dynamics of Ben Didelot (bass), Jimbonk (percussion) and the thick sustain of Ryan Burns on Hammond B3 organs.
“Forces at Play” really pushes the album’s overall atmosphere into high gear, sending energy through the room, most notably because of the brilliant lead guitars of Josh Phillips and dazzling horn section of Greg Hollowell and Derrick Johnson.
The music of this epic work is honest and full of soul, as the album’s title so aptly expresses. Laura Reed takes her international roots and background (born in Johannesburg, South Africa) and succeeds in bringing together a collection of funk, world groove and soul, igniting the listeners with melodies that reflect on social themes and major global issues.
“Rise Up” truly raises the roof off the venue. While “Don’t Go” paints a subtle and beautiful portrait, reflecting the pains and heartaches of relationships coming to an end. The album’s pace is quite well orchestrated, with songs composed in refreshing fashion, full of spunk and spice.
Her voice is captivating, following in the footsteps of great vocalists Billy Holiday, Ella Fitzgerald and contemporaries Amy Winehouse, Jill Scott and Erykah Badu.
Reed and her fellow musicians play with ease, strong in form and chemistry, and impeccable melodic and percussive delivery. (Self-released)
- Performer Magazine

"Honest Tune Journal"

Honest Tune
The Southern Journal of Jam

Written by Brad Hodge

When you look at the childhood of Laura Reed, and the time spent growing up both in South Africa and the rich, cultural American South, there is no wonder that this special young lady has a unique talent. She has a sultry stage presence that's only outdone by her soulful pipes.

Backed by a groove laden band, Deep Pocket, Laura and her boys churn out a great mix of R&B, soul, and straight ahead funk. Ryan Burns knows his way around the keys, offering piano, Hammond and synth to the band's sound. He is joined by Ben Didelot on bass, combining with his rhythm partner, Jimbonk behind the kit, to create a solid foundation for some backbreaking funk.

They have shared the stage with a diverse range of artists - the list includes the Dirty Dozen Brass Band, Sam Bush and Ike Stubblefield - which proves there is certainly more than one dimension to their music. They seem to adapt to the musical space that surrounds them.

Laura and Deep Pocket recently put out their debut album, Soul:Music. It is great representation of the band's sound, but does not serve as a replacement for seeing the songstress and her funky boys in action. They hail from Asheville , North Carolina, but can be found touring the country, especially the Southeast.
- Brad Hodge

"Sweet Soul Music"

Sweet Soul Music
by Robin Tolleson, Bold Life Magazine
October 30, 2007

Laura Reed never heard much American soul music while growing up in South Africa.

She came to love it later in life.

On Reed's new CD with Deep Pocket — Soul Music — it seems that every song has a soulful feel and message.

"If you live in America, you might understand more about South Africa than you realize," Reed says, comparing the segregation she saw there to the Jim Crow laws in the Southern United States in the 1960s. "There were laws trying to keep people apart from each other, but if people want to spend time together, they will.

"In South Africa you didn't get that much American music, you got a lot of stuff coming from England," she adds. "I listened to my mom's music — Pink Floyd and Led Zeppelin — and I listened to my dad's records — James Brown and Bob Dylan. But a lot of what South Africans were listening to was called Township Music — Miriam Makeba, Ladysmith Black Mambazo and Brenda Fassie."

As Reed approached her teenage years her family moved to Chatham County, N.C., to be closer to her father's family.

"It's kind of in the middle of nowhere, so we just go by the county name, Chatham County," she laughs. "I started playing guitar when I was 14. I taught myself guitar and started writing songs and singing in my room when I was a teenager. I was grounded all the time. I'd sit in my room listening to music, and one day I realized that I really loved the guitar and lyrics and music and wanted to create my own."

Reed met her band mates in Boone, where she was earning a degree from Appalachian State University in sustainable development.

"Ryan Burns (Keyboardist) is a big Emerson, Lake and Palmer fan and he grew up on the Jimmy Smith type of organ playing," Reed says. "Barrett Helms (Drummer) likes metal and world grooves, real powerful. And Ben Didelot (bassist) is really into reggae and hip hop.

So it's diverse when we all get together, and our powers combine," she adds. "It's interesting. I've got the South African influence, but I moved to the United States and fell in love with blues and Motown and R&B. The old soul, that's what I listen to all day, and its fun to add that to the mix and see what comes out."

Reed has been collaborating with Burns for Deep Pocket material lately.

"Ryan will come up with music, something that's really inspired," she says. "He'll play it, and I only have to hear a couple measures and a lot of songs have just fallen out. "A lot of times recently it's been very inspired. I guess that's what everyone's looking for in their band mates, people that are inspiring the music. You're not having to put much effort into it — it's kind of flowing out of everybody."

After traveling throughout South and Central America, the Caribbean and Europe with her family several years ago, Reed decided to pursue music seriously.

"I realized that music is the best way to communicate anything worthwhile to people, because it is so universal," she says. "Behind all of our stuff is the concept of trying to be connected...One love."
- Bold Life Magazine


Laura Reed & Deep Pocket's inspired voice continues to grow

By Christine McDermott
Charleston City Paper
Charleston, SC
December 19, 2007

When a Laura Reed & Deep Pocket show begins, the uninitiated in the audience are often surprised by the tiny frame of the singer when she steps on stage. As her voice and the warm tone of the band's vintage equipment start to mingle, the group's soulful presence quickly consumes the listener.
In their new debut album, Soul:Music, Reed and the band — keyboardist Ryan Burns, drummer Barret Helms, and bassist Ben Didelot — take listeners on a lyrical and musical voyage through various cultural traditions, especially through that of Reed's native land, South Africa. The collection is a work of art to be respected and cherished, filled with rich harmonies, conscious lyrics, and a beautifully blended rhythm section.
Songs like "Don't Go" demonstrate much more than a typical "one love" collaboration. They have a willingness to share personal experiences and to delve deep into the ups and downs of human nature. "Don't Go" has a unique story. Burns arrived at practice one day with a unique, emotional progression he had been fiddling around with on his organ. Immediately upon hearing the chords, Reed admits, "It made me feel like I was begging for forgiveness from somebody." A whole scenario unfolded as she sat and wrote the lyrics.
The song tells the story of someone in a relationship who wronged the person they care about most. It contemplates why people manage to hurt those closest to them, and simply asks for forgiveness. In a fateful twist, "Don't Go" ultimately foreshadowed a personal experience Reed had in the months following the song's completion. "When I play that song live, I definitely am reliving that situation. It's kind of almost spooky," she admits. "The scenario was very true to the image that I had when I first heard the chords he played."
The music on the new album resonates with listeners, reinforcing the human connection that Reed strives for. "That's the beauty of music — hearing me pour my heart out and talk about vulnerability, and how a lesson learned makes people understand that circumstance better," she says. "Music is powerful in that way. It heals."
News of Deep Pocket's "healing power" is spreading quickly throughout the Southeast, after only a year together as a band. They've already shared bills with Sam Bush, the Dirty Dozen Brass Band, Sydney Barnes of Parliament, Yo Mama's Big Fat Booty Band, and the Asheville Horns.
The band hopes to expand their worldly sound even further by working with more international artists.
Reed's South African background opened her eyes to the beauty of all cultures. Growing up, her family made sure to counteract the negativity surrounding them in the volatile country by stressing the importance of family and acceptance. They taught her to view the world as "one happy, big, human family because that's what it is, in essence."
"I lived in some intense segregation in South Africa, and when I came to the South, I saw that they're on a similar path," Reed says. "The only reason that kind of segregation can come about and be allowed is if people don't feel connected with each other. They can have this kind of paradigm of 'I'm separate, I'm better, I'm worse, etc.' Something that comes through in our music that I feel in a big way is this appreciation and not seeing the world in that way."

- Charleston City Paper

"From Johannesburg to Carolina"

From Johannesburg to Carolina
Laura Reed & Deep Pocket drops just a pinch of Africa into its Southern soul

Broward-Palm Beach New Times
By Justin F. Farrar
Published on July 03, 2008

Neo soul, indie soul, retro soul, or whatever you call it comes 'n' goes in waves. And these days, the waves are definitely cresting. There's Sharon Jones & the Dap-Kings, Erykah Badu's dazzling return, Quantic Soul Orchestra, the wah-wah grit of Philly's Blue Method, and even them smooth, blue-eyed Brits: Duffy, Lidell, and Winehouse.

Then there's Laura Reed & Deep Pocket, a quartet from Asheville, North Carolina, that falls somewhere in the middle of all this good stuff. "As far as tags go, I consider myself a rhythm-and-blues artist," Reed says, phoning from her Deep Pocket tour van, which weaves its way through Middle America. "We do some retro soul stuff, but we also do stuff that's very contemporary. We're definitely drawing from Stax and Motown, which we fuse with hip-hop, Afrobeat, and all that."

Deep Pocket, as the singer points out, balances the old with the new. But it also tempers the rural with the urban. Like so many bands from hippie mountain towns, Reed and company dig into rich, earthy grooves shaded with world-music undertones and lyrics expounding love and consciousness. Beyond that, however, they have little in common with the average trustafarian funk project. Soul : Music, Deep Pocket's debut album, released in March 2007, documents a band more dedicated to tight, organ-based songcraft than jam-band wankery. "We like a lot of low end instead of guitar solos and all that kind of stuff," says Reed, whose acoustic guitar is the band's only ax.

Reed and company don't explore African rhythms as vigorously as, say, NOMO or the Budos Band, a Dap-Kings spin off. But when they do, the band wisely exercises restraint and subtlety, careful to avoid the clumsy, mash-up quality of so much global fusion post-Peter Gabriel's Real World endeavor.

The singer's upbringing, in particular her Zulu nanny, deserves some credit for this. "She tied me to her back so she could do the things she had to do for her day," explains Reed, who was born and raised in Johannesburg, South Africa. "Being really close to the [Zulu] villages, you would hear the township music. People singing is just a feature of everyday life."

She also draws inspiration from modern South African pop, artists like Simphiwe Dana. "She fuses jazz, R&B, and African rhythms," Reed says. "There's a movement in the country right now fusing neo-soul and jazz. It's real fresh."

Yet too much shouldn't be made of Reed's exotic heritage. After her family relocated to North Carolina in the early '90s, she did what so many do when moving "down South." She fell in love with classic Southern soul: slow, gritty, and stripped like a Lexus abandoned on a Memphis highway.
And that's what Deep Pocket is all about.
- Broward-Palm Beach New Times

"In The Pocket"

Connect Savannah
Savannah, GA
By Jim Reed

Laura Reed & Deep Pocket
In musician’s parlance, playing “deep in the pocket” intimates that a rhythm player such as a bassist or percussionist is so intensely into the groove of whatever type of tune they’re performing—especially funk or rock—that they’re locked onto the pulse of the song and riding it for all it’s worth. When more than one musician feels that pulse and can fall in step with the others, a magical sort of interaction occurs that is the foundation of R&B, and—for that matter—dance music of most any type.
This Asheville-based neo-soul combo has groove to spare, as well they should if they have the nerve to claim that moniker. Led by the stone to the bone vocals of Reed—who was born in Johannesburg, South Africa but moved to rural N.C. in the early 90s—their latest album offers up a decidedly reverent, yet intoxicatingly contemporary take on vintage Southern R&B of the kind developed and typified by the likes of Aretha Franklin, James Carr, Howard Tate and Bettye LaVette.
Reed and her trio (which features bass, drums and a vintage 1936 Hammond organ, but surprisingly no electric guitar) admit a fondness for those kinds of records, but are just as apt to cite Bob Marley, Erykah Badu and Fiona Apple as key influences on their own sound. Make no mistake, this band is about songs, but its members have spent enough time in jam-oriented bands to stretch out and improvise on point when they feel like it. They’re eying a tour of Japan, as well as Europe, Australia and South Africa in the near future. If the group’s studio recordings are any indication of the power and subtlety of their live shows, this may prove one of the most exciting local debuts of the year.
- Connect Savannah

"Laura Reed Interview"

Laura Reed &Deep Pocket

Born in South Africa and later settling in the American South, Laura Reed's sound is a reflection of the diverse cultures surrounding her.

After attending an excellent recent live show at Smith's Olde bar featuring Laura Reed and the ultra talented Deep Pocket, I was anxious to hear some of her thoughts on music, life and the creative process in general.

GIG VAULT: What are some of your early influences?

Laura: Ray Charles, James Brown and all of that. Soul Music you know what I’m saying? I listened to a lot of OJays, Delfonics, Stylistics, Shirley Brown.

GIG VAULT: So a lot of old soul?

Laura: Old Soul! I love that, I mean that is definitely my heart. I can listen to that and Reggae. Reggae music as I started getting older. Bob Marley is probably who inspired me to play my music out. You know, take it out of my bedroom. And just because I had seen the impact he was able to make with his music. I was trying to put a positive message out there. You know, one love stuff music, healing kind of stuff that people could empathize with. That’s what had saved me, music that I was able to relate to and all of a sudden be able to connect on a human level. It takes you out to a different place. It takes you from this kind of realm of reality to this other world where you can see your situations more clearly because it’s in this realm of art. I definitely wanted to share my songs because of that. And there’s definitely a lots of cats that will hear something in my live shows or they hear the CD. I get messages all the time like yes, I went through something similar or your words helped me understand my situation better.


GIG VAULT: That’s what it’s all about, connecting with people.

Laura: That’s what it’s ALL about! There’s enough apathy in the world. I’m all about some empathy. That’s my trip right now.

GIG VAULT: What are some of the influences of the other band members?

Laura: Our drummer mainly listens to World Grooves and Metal! You know like he throws in a double bass pedal with R&B! (laughs) Our bassist listens to Hip-Hop and Funk all day and my organ player listens to Jazz and some of the more progressive stuff like Emerson, Lake and Palmer. So it is interesting when we put our heads together, what we come up with.

GIG VAULT: So what are you currently listening to?

Laura: Currently well, I can’t wait to listen to Erika Badu’s new album. I listen to a lot of Zap Mamma. I listen to a lot of Simphewe Dana. She’s a Xhosa singer from South Africa. You should definitely look her up, she’s an amazing, amazing vocalist doing like a South African R&B/Jazz thing. I listen to a lot of Marvin Gaye. I listen to like a lot of underground hip-hop.

GIG VAULT: Like whom?

Laura: Like a lot of the stuff that Peanut Butter Wolf’s been coming out with. All that kind of shit. A little bit of everything I listen to old blues a lot of times. You know like Muddy Waters, Robert Petway.

GIG VAULT: Oh you’re a Muddy Waters fan?

Laura: Of course! I play harp you know so definitely you feel that. A lotta funk, I’ve always listened to Parliament you know, Earth Wind and Fire, a lot of Fiona Apple. I’ve really been feeling Regina Spektor lately. I really can’t think of anything I don’t specifically like. I’ve been turned on to some music from the UK recently, this band called The Gossip. It’s kind of like this soul punk kind of thing.


Laura: Yeah so a little bit of everything. You know if it’s got feeling behind it and I can groove to it, I’m listening!

GIG VAULT: That’s my criteria as well. Basically if it is sincere and the artist was feeling it when they created it, I will always appreciate it on that level even if it is a style that I don’t usually listen to.

Laura: Yeah definitely.

GIG VAULT: What are some of your sources of inspiration for writing songs?

Laura: A lot of it is storytelling based on experiences. Most recently, I just got out of a crazy breakup where I was supposed to get married last summer and I wrote like six songs in the last month based on all that wild shit that went down. You want to know what’s going on in my life? Come to my show! The album “Soul Music” is pretty much the last four years of my life.

A lot of songs are based off the travels that I did. I traveled around Mexico, Guatemala, and Belize for about six months. I wrote a lot about it. The song “One World” I wrote there. “Omm Lei Lei” I wrote on the road when I was in LA for a while. I was living in California for a little bit. A lot of these things made their way to the album.

Some of them kind of fall out of the air. Ryan Burns who plays keys and organ with me will play a progression. I’ll hear it and they will conjure this whole story. The whole song will drop pretty much.

Songs on the album like “Forces at Play”, “Chains of Temptation” are songs that I don’t even know where they came from! You know I heard this progression and this whole concept came to me. Sometimes I feel like I ‘m just a hollow bone and it just comes through to me. Sometimes I’m actually putting together a song, I want to say something.

I can only take so much credit for the music that is coming out of us with the intention being to serve. I feel like if you’re not serving, like your music doesn’t have a higher purpose like trying to connect with other human beings, you’re not an artist. You’re just a creative cat that’s real confused or something.(laughs) You got to have some kind of higher purpose to it in my opinion. Our music is trying to connect.

GIG VAULT: Where are you originally from?

Laura: Originally from Johannesburg, South Africa then I moved to Chatham County North Carolina in the early nineties.

GIG VAULT: Right now you are in Asheville, NC?

Laura: Asheville, NC. West Asheville.

GIG VAULT: How is the scene in Asheville?

Laura: I love it. I think it's very progressive. It still is underrated. There is a lot of good stuff coming out of it.

GIG VAULT: It is an artist community isn’t it?

Laura: It is a huge artist community, not just music huge artist collectives and they run that town. We have huge art festivals that are really well received. It is a saturated market in terms of musicians for such a small city. Everyone’s a musician you know, it’s great. Cool projects happening every day of the week.

GIG VAULT: You primarily focused on the east coast during your last tour. Where do you plan to tour next?

Laura: Europe, South Africa, Australia, South America. We’re selling records in Japan so I’m like shit, lets go to Japan! The west coast, we’re looking for regional promoters to work with when we do set off on these tours. Going up north, definitely trying to hit Philly, DC, NY and everything. Creating a buzz and trying to create a name for ourselves.

It’s a big world out there and so we’re definitely trying to spread it. I’m trying to sing to as many people willing to listen.
- Gig Vault

"Amplifier Magazine"

Amplifier Magazine
Laura Reed & Deep Pocket – Soul:Music

Laura Reed calls her CD -- appropriately enough - Soul:Music. That’s because these 11 songs cover extensive territory across a loosely defined soul music spectrum. For example, “What’s Going On” (which has a Marvin Gaye song title, but isn’t that song), grooves to a loping Bob Marley reggae beat and is colored by honking sax. And when Reed isn’t surrounding herself musically with nearly the whole box of Crayolas, she’s altering her singing style like some diva Zelig -- just dig the Billie Holiday vocal tones on “Forces at Play.” Although Reed draws from gospel roots, as do all honest proponents of the soul genre, she is clearly a lyrical secularist. For example, the song title “Praise You” appears to peg it as an obvious worship track. But Reed leaves it wide open for interpretation, allowing listeners to sing it to their man/woman or god. As she’s performing “Praise You,” Reed also leaves a lot of glorious space in the mix, which makes it beautifully similar to many of Van Morrison’s equally cryptic spirituals. With Soul:Music, Reed combines Ani DiFranco’s independent spirit with the powerful pipes of a spirit-filled church choir soloist. And tell me, how can you go wrong with that?

-- Dan MacIntosh
- Dan MacIntosh


Soul:Music album,
Happy Single,
Live @ Tree Sound Studios album/DVD



Laura Reed & Deep Pocket fill the stage with captivating, soul shaking, conscious music. The crowd is emerged with lyrics of truth and a voice of intensity backed by bass, organ, and drums, horns, and harmonies reminiscent of the past days of motown and funk.

The roots of their sound and message stem from Laura’s diverse experience of growing up in South Africa and the American South. Formed in the summer of 2006, the band switches up the music between funk, progressive R&B, and pure SOUL behind Laura Reed’s captivating stage presence.

Laura Reed’s tasteful rhythm section, Deep Pocket, consists of Ryan Burns on piano, synth, and organ, Ben Didelot on bass, Jimbonk on drums and Debrissa McKinney AKA "masta harmoniza” on vocals and Saxophone. You will also catch Deep Pocket with the addition of tasteful guitar by Silas Durocher, the funky Asheville Horns, Craig Sorrell on funky trumpet, Soul Revolutionary Sidney Barnes, music master Josh Phillips, and visionary DJ well as other surprise guests.

Throughout their career Laura Reed & Deep Pocket have shared the stage with/recorded with: The Dirty Dozen Brass Band, George Clinton, AKIL and Quan Star (Jurassic 5), Peter Rowan, Belita Woods (PFUNK), Gary "Star Child" Shider (PFUNK), Rob Mercurio (Galactic), Larry Jackson (Earth Wind and Fire), Ike Stubblefield, Peter Keys, Danny Bendrosian (PFUNK), Kendra Foster (PFUNK), Bobby Lee Rogers, Damien Horn, Darnell Levin, Peter Keys, Sam Bush, The Blue Rags, The Overtakers, Natti Love Joys, The Lee Boys, Dan Adams (Chaka Khan), Blueground Undergrass, D.C. (Dr. Dre/Erykah Badu), and Pato Banton.

Laura Reed and Deep Pocket have recently released their debut album Soul:Music in the fall of 2007. The album was recorded at Asheville's own Echo Mountain Studios, and engineered by Bill Reynolds (Band of Horses).

This music is visionary in it's strive to spread a message of empathy and love for humanity in the unconditional form of One Love music, and the raw reflection of the human condition. Laura states music as the most honest and pure expression in her life, a language that allows her to release "what I could never even admit to myself or say out loud, but can sing.” When she sings you can feel her soul coming through, whether it’s smooth R&B, funk, Reggae, just straight up SOUL MUSIC.