“There’s nothing like making records,” says San Francisco-based singer-songwriter, keyboard player, recording engineer and producer, Kelly Finnigan. “I feel like that’s my purpose – the reason I was put on this Earth.”

Well, he’s certainly making the most of his time here – in the past few years he’s made two albums with his retro-soul band Monophonics, a mixtape, his 2019 debut solo long-player, The Tales People Tell, and a Christmas album, plus he’s found the time to produce other artists – The Ironsides, Alanna Royale and The Sextones.

Not only that, but this month sees the release of his sophomore solo album, A Lover Was Born, which is easily up there with his previous releases when it comes to classy songwriting and rich, cinematic production, and it’s inspired by the likes of Isaac Hayes and Curtis Mayfield, Chicago soul and Muscle Shoals, as well as Northern Soul and early hip-hop.

To make this album, Finnigan assembled a crack team of musicians, including Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Say She She / Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (J-Zone).

Say It With Garage Flowers spoke to him about the writing and recording of the new album, his love of hip-hop and passion for collecting vinyl, and the darker side of modern American society that he tackles in some of his music. 

Q&A

Congratulations on the new album –  it’s brilliant. How did you approach this one? Did you have a definite idea of what you wanted it to sound like? 

Kelly Finnigan: Thank you very much. It feels great to share it with the world. I approached it with an attitude of patience, first and foremost. I wanted to feel fully focused and not have too busy of a schedule around the process of the recording sessions.

I spent a few days hanging out and writing music with my friend Joe Crispiano (The Dap Kings, Lee Fields) in New York, at his place in Staten Island. We developed ideas and chord structures and arranged parts. I did the same back home in the Bay Area, with my friends The Ramey brothers, from The Ironsides. That covers most of the songs, besides a few that I wrote alone in California and Ohio.

I wanted to make a record that felt like the next natural step after my first solo record in 2019. A lot can happen in four or five years, and that was the case for me. I experienced some big valleys and peaks during the last few years, and I wanted to wear that on my sleeve.

The main goal of all my records is that they have a ‘vibe’ – they have character, and they feel engaging. That’s how I like my music, and I’m always pleasing my ears first and foremost. I want them to feel honest and relatable.

‘All my records, including those with Monophonics, feel personal, and this one is no different. I wanted it to sound raw and emotive’

At the heart of every good album are good songs. I love these songs and the stories they tell. They really speak to who I am. All my records, including those with Monophonics, feel personal, and this one is no different. I wanted it to sound raw and emotive. Performance-driven is maybe the right way to describe it. It has a sense of freedom musically, all while still maintaining a lot of discipline and focus.

Can you tell me about the recording and production?

Kelly Finnigan: Well, once I got to the 10 or 11 song mark, I started to cut some demos of the songs on piano with a scratch vocal. This was beneficial to have on hand to show the musicians who were on the recording session: drums, bass, guitars and keys.

Once all those parts were recorded, I put down the ‘sweeteners’, which are lead and background vocals, as well as horns and strings. I’ve been doing it this way for a long time and it allows me to put all the pieces together in a way that is beneficial to my sound.

Most of the musicians on the album are people I’ve recorded with for years, musicians I have toured with, or people whose sound I admire. This list includes The Ramey Brothers, Austin Bohlman, Sergio Rios, Joe Crispiano, Jimmy James, Jay Mumford, Joey Quinones, Bryan Ponce, Alex Baky, Jason Cressey, Paul Chandler, Eric Johnson and on and on… I’m lucky to have a circle of incredible people who understand what I’m trying to achieve with these recordings.

The album is heavy musically, with a lot thoughtful parts from the musicians, great arrangements and performances from all involved. I wanted it to feel and sound inspired.

Leaning into the sonic aspect of the album, it is really a healthy balance of dirt and character, but in that charming way where it feels like the end of the ’60s before the ’70s hit and the fidelity on recordings changed.

‘I love a burning record that you can throw on, knowing it’s gonna hit everyone in the room hard, while I also love a good, slow sad song that hits you in a different way’

 

Trusting your gut and ears are important as well, if you want to get good at the art of making records. Relying on over-miking instruments for safety reasons, fixing mistakes in the box later and not allowing happy accidents or magic to happen because everything is preciously pre-planned in a way that doesn’t feel collaborative, is just not attractive to me as a creative.

It’s a very diverse record – musically and mood-wise: there are a lot of different vibes, from tender soul to funky and upbeat Northern Soul and some darker and moodier moments. Was it important for you to make a record that had a lot of different moods on it?

Kelly Finnigan: Yeah, as an artist and as a music listener.  I’m very much influenced by so much different music – old and new. I have an eclectic taste. I try and allow some of that into the music without clouding the vision or statement I’m making.

I was doing a lot of record shopping, particularly 45s, during the making of the album, which was putting a lot of different music and moods in my ears. It is important that I let the music reflect how I’m feeling and what I want to create mood-wise.

I love a burning record that you can throw on, knowing it’s gonna hit everyone in the room hard, while I also love a good, slow sad song that hits you in a different way.

His Love Ain’t Real is one of my favourite songs on the record – it has this big, dramatic, lushly-orchestrated sound. What can you tell me about that track? It’s one of the darker moments…

Kelly Finnigan: That is one of the ones I wrote on my own and is very much right in my wheelhouse. I love tough, dramatic and hard-hitting soul music, so I had a great time putting that one together. It’s very much inspired by the productions by Jerry Ragovoy and Thom Bell. Vocally, I was inspired by Syl Johnson, Carl Hall and Lee Moses on that song. It’s a track full of emotion, so I really tried to bring all the soul, fire and brimstone to the performance.

Cold World is another moody moment on the record – and it’s the most political song: it’s a social commentary. What inspired that track? It has echoes of Curtis Mayfield and Marvin Gaye circa What’s Going On for me… 

Kelly Finnigan: It’s definitely a social commentary and a sentiment a lot of folks will feel connected to. The main inspiration behind the song is this ever-evolving way of life in the 21st century that has become all too common. Greed and power is at an all-time high.

For most of us here in America, when you turn on the news or read what’s going on here and abroad, it’s hard to not feel affected mentally and emotionally. There is a lot of negativity being propped up and given a platform.

‘The main inspiration behind the song is this ever-evolving way of life in the 21st century that has become all too common. Greed and power is at an all-time high’

I think as a country, and as a society, we’re really struggling, with our character, our morals, our values and our willingness to accept others’ differences. We have all become very callous and cold towards each other, and I think unfortunately decency is lost on a lot of people.

Most of that song was written in Long Island with Joe, but I finished the chorus and put it together in California. I remember that this one came together pretty fast and it was an early take at the session. I got a beautiful string and horn arrangement from J.B. Flatt, who I have worked with before. I really dig the mood on this one.

Was Isaac Hayes an influence on lush and cinematic tracks like (Love) Your Pain Goes Deep and Be Your Own Shelter? 

Kelly Finnigan: I love that you took that away from those tracks. Isaac Hayes is most likely who I’m influenced by the most. It’s always hard to say, ‘cos there are a few people out there that I get so much inspiration from, but Isaac was truly one of a kind.

As a musician, songwriter, arranger, band leader, producer and visionary, he is one of the greatest ever. I don’t think people truly understand his contribution. While his records were grandiose and cinematic, I think at the core of that is this really soulful musician.

Me being such a huge fan of hip-hop music and discovering so much about the culture and genre, Isaac Hayes is a major part of the foundation to so many of the greatest samples of all time. I always say Isaac Hayes was hip-hop just like James Brown, Bob James, and Kool & The Gang.

Chosen Few has almost a hip-hop feel when it comes to the beats, the bass and the horns. Has the splicing and sampling culture of hip-hop always been an influence on you?

Kelly Finnigan: Yes, I always loved hip-hop as a kid, but really fell in love with it when I was around 12 or 13 years old. I was obsessed. I started DJing around that time and spent all my money and time on it. DJ culture, beat-making and crate digging was my passion.

My love for hip-hop carved the path for who I am today, and is a major part of my fabric as a producer and audio engineer. You can hear it in my records and it’s ingrained in my sound. The early sounds of hip-hop were mainly breakbeats or breakdowns of certain sections in soul and funk songs, so it only makes sense that they feel so connected.

You’re a crate-digger, aren’t you? Bought anything good recently? What are some of your favourite record shops?

Kelly Finnigan: Yes, I am. Vinyl is so important to me and has been since I was a kid. I definitely loved tapes and CDs growing up, but I always kept buying vinyl. I’ve been collecting a long time. I sold off a lot to buy recording gear at one point, but I have been back at it hard the past few years.

‘My love for hip-hop carved the path for who I am today, and is a major part of my fabric as a producer and audio engineer’

The last great record I found in the wild was an original pressing of Chicago Blues by Johnny Young & Big Walter on Arhoolie Records. It is an incredible blues album from the late ’60s.

I’d say some of my top shops are Shangri-La in Memphis, Rooky Ricardo’s Records in San Francisco, Plaid Room Records in Cincinnati, Fingerprints Music in Long Beach, Dusty Groove in Chicago and Amoeba in L.A.

All That’s Left is one of the album’s slower and more reflective moments – it’s sad and emotional: it sounds like a classic soul ballad. Where did that song come from? It has a wonderful string arrangement…

Kelly Finnigan: That song was written by myself and the Ramey Brothers, and it’s absolutely the most personal record I’ve made to date. I lost my father in 2021 and dealing with the loss of such a big figure in my life has been difficult.

My father was and will always be my biggest inspiration and hero. Some people don’t know, but he was a fantastic musician and singer who worked in the music business for over 50 years. He recorded and toured with an A-list of who’s who in the business and was universally respected my his peers.

I learned immensely from him and it only makes sense that there is a piece of him on this record. While the pain of losing him has been tough, I know it’s really been really hard on my mom.

‘My father was and will always be my biggest inspiration and hero. I learned immensely from him and it only makes sense that there is a piece of him on this record’

My parents were married for over 50 years and knew each other for almost 60 years. I could only imagine the pain she was dealing with and still deals with today. I wanted to write something from her perspective – to give her a voice. I wanted to honour my parents’ love and talk about what it was like for her to lose my father, who is so deeply ingrained in her heart and mind.

Vibe-wise, I wanted to keep it open and stripped-down – to not hide behind a big production. My friend, Louis King, who has worked on a lot of my music, wrote a beautiful string arrangement that really lends itself to the mood and emotion in the song. I’m really proud of that one on the album – it means a lot to me. 

You’ve been so busy over the past few years: three solo albums, including a Christmas one, a mixtape, and two Monophonics albums, as well as production duties for other people. Where do you get all your energy and creativity from? What keeps you going?

Kelly Finnigan: I know it sounds a cliché, but it’s as simple as I really love what I do and I feel extremely lucky to be in a position where I get to wake up every day and create music that brings people joy.

Since I was a teenager, I have wanted to make records and make music, so the fact that I’m able to live that dream and make a living doing it is such a privilege. No matter how far I’ve come or how far I go, I will never take that for granted. The music gives me the energy, the collaborations and the potential for something to be bigger and greater.

I’m always listening to music and that really does fuel a lot, plus I try and make sure there’s balance, and I’m finding inspiration in other areas of life.

Making a record really does feel like emptying a part of your soul that has been filling up since the last time you emptied it. Now, I have obviously emptied my soul a lot in the past five years, but, luckily, I’ve got a big tank and it continues to be filled with ideas, inspiration, life lessons and a true passion for music.

So, what’s next? Any more projects in the pipeline?

Kelly Finnigan: Well, besides promoting my current album, I have a record that I worked on for soul singer Mike James Kirkland. That should probably come out sometime next year and I’m gonna get going on a new Monophonics record very soon. There are some other artists and bands that I’m talking with in terms of collaborations and a couple of other side-projects, but it’s a little early to start naming names.

A Lover Was Born is released on October 18 (Colemine Records). Click here for Kelly Finnigan’s tour dates. 

https://www.kellyfinniganmusic.com/

https://www.coleminerecords.com/