MARTIN LUTHER McCOY – AN ARTIST SPOTLIGHT AND INTERVIEW
By Ralph Beauchamp
Martin Luther McCoy creates music that feels equally rooted in dynamic soul, modern R&B, forceful gospel and contemporary rock. His voice carries an impressive strength and his songwriting excels with inventive arrangements. Martin Luther McCoy has just released his first album in fourteen years entitled Welcome Back Love. The full length delivers music that feels both personal and universal in scope. The record weaves together rock guitar, soulful inflections, gospel emotions and compelling vocals into a tapestry of sonic elegance.
One of the highlights Martin Luther McCoy‘s artistry is the rapport he has between his vocals and stellar instrumentation. Besides owning an incredible voice, McCoy‘s guitar play excels. His songs contain singular riffs and creative textures which in turn makes his compositions feel organic. What distinguishes Martin Luther McCoy is his ability to write songs that feel lived in and comfortable while still offering something original and new.
Martin’s career has never fit neatly into one lane. An essential catalyst in the Bay Area’s 1990s neo-soul scene, he has long served as a conduit for socially conscious music rooted in soul, funk, gospel, and the broader inheritance of Black American culture. In some circles, he’s best known for his work with The Roots, while many others discovered him as Jojo in Julie Taymor’s Across the Universe. He has also collaborated with artists including Erykah Badu and Saul Williams, appeared in Dave Chappelle’s Block Party, performed with SFJAZZ Collective, and co-founded the multidisciplinary performance project Moon Medicin.
Martin Luther McCoy was kind enough to sit with AMP for this interview.
AMP: After fourteen years between albums, why is Welcome Back Love the story you felt ready to tell now?
MARTIN: I’ve been meaning to release new music for years but there were interruptions that constantly occurred. That primary one being the pandemic including the post-Covid global impact. If that worldwide disaster hadn’t happened I would have already released two new projects. Before the shutdown, I did a stint in a play called Father Comes Home From The Wars by Suzan-Lori Parks. It played at both the Yale Repertory Theater in New Haven and ATC in San Fran.
In addition, I was doing a lot of work with the SF Jazz Collective. We had already mapped out an album and subsequent tour. Then, boom, the pandemic hit and everything got shelved. It has taken time to get back into the stream of things. So, the entire time I continued to write music. I realized that I needed a strategic plan to get my music back in focus.
After all the changes to present day society, I truly felt there was an absence of love focused songs. That is something I feel is important. The world needs an uplift. So, either I can talk shit or I can be productive. I decided on making a difference.
AMP: Your single, “Peace Of Mind” has become an anthem about perseverance. What inspired that song, and why did it lead the album?
MARTIN: While I was performing in the play in New Haven, I would hang in my hotel room making music. I’m always creating on my downtime. One night I was working on a cool groove I just felt and I pulled out my guitar to further enhance the moment. All of a sudden there was a knock on the wall asking me to turn down the music. The sound was barely up at all! I couldn’t fathom what the angst was that these white girls in the next room were experiencing. It was okay when they wanted to be loud at all times of the day and night.
I then thought to myself “I can’t get any peace of mind at all,” As I was laying down the beats, this feeling began creeping in and the song just seemed to write itself (singing a couple of bars). In the meantime, the song morphed from being about something definitive to having a more universal theme. The song has become more of a mantra and prayer for those that feel marginalized and intruded upon.
As to why it was the lead-in, an ally of mine told me about the Gospel Choice Music Awards and mentioned that “Peace Of Mind” may qualify. He submitted it and the song got accepted. The track made it through all the rounds and eventually won in the Gospel Afrobeats category.
AMP: Many artists chase trends. Your music seems to chase truth instead. Has that always been your compass?
MARTIN: I’m not chasing truth. I’m just presenting it. Trends have not been able to penetrate my inner sanctum of direction. New production trends are something different. As a producer, I understand there is always something new to facilitate you in the studio. Outside of that, I am not forcing myself to follow any musical roads just to be hip. As a creative, I need my music to flow naturally.
AMP: When you walk into the studio, do you think like a singer, guitarist or producer first?
MARTIN: Producer because most of the time I am walking in to record my own music. I’m looking at the gear that is available. If you know how to use it, you will know what miking and tools you will need. Therefore, the recording and engineering goes much smoother. If you know what you are doing, you can have a produced finished recording in one session versus having to go back to remix and edit which is costly.
AMP: Your music feels cinematic. Do your experiences as an actor influence how you build songs?
MARTIN: It’s my influences as being a human being that comes first. Something I read or seen in a movie can spark my creativity. There are songs that start with only a couple of stripped down guitar chords. Then the track seems to write itself. For me, there isn’t a specific direction I’m striving for. It’s always a process of discovery.
AMP: Touring with The Roots is known to challenge musicians in the best way. What did experience teach you about performing live?
MARTIN: Everything! Before I joined The Roots, I hadn’t performed all that much. Within thirty days I probably did more shows than my entire prior career. We performed almost everyday. Each day was a new city or country. We get off the plane, go straight to the hotel or venue and then hit the stage. After the show it was back to the hotel or airport.
What it taught me was the fact that I knew nothing about touring and performing live. With my own band, we would rehearse for weeks before a gig or short tour. Then it was over. My first show with The Roots was eye opening. There was no rehearsal at all. Questlove spit out the idea of the entire show the day of. Both me and Vernon Reid just looked at each other. I asked Vernon if this is how his band {Living Colour) functioned and immediately answered no, “we rehearse for weeks.”
Questlove had us on stage with no prior warm-up and explained how the show would go. Vernon and I tried to take notes but Questlove said not to bother. “Things may change mid-set. So you just kind of have to hang in there.” This was our trial by fire. After that first show, we were dripping with sweat, nervous and sure we were fired but Questlove just said “good job. It will be better tomorrow.” You have to have a certain amount of inner confidence and talent to be able to withstand such a stressful situation. Questlove believed in me and my ability.
AMP: You’ve collaborated with artist across many genres. What have those collaborations taught you about listening?
MARTIN: What truly taught me to listen is working with producers. On the other hand, working with other artists has been an exercise in tolerance and patience. For me as a writer, the best idea should take the lead. Whoever has it should set the pace. So, I totally have the image of how a track should play out beforehand and in plain terms, your idea has to defeat mine because my vision is clear.
As a collaborator, if you feel that your ides is the best way to present your work, that’s fine. But as a producer, I’m dictating the direction unless you can prove me wrong. So to me, the collaboration process is one of “gamesmanship”, “oneupmeship” and sometimes “shutthefuckship”. Only being honest.
AMP: Your music spans music, film, visual arts and fashion. How do all those creative worlds feed one another?
MARTIN: It’s pretty obvious. What’s a runway without a beat. What’s a stage show without costuming. All the aspects fit into a single perspective. I’m not looking at the track, video, stage performance or apparel as a single space. I’m imagining every part of the project as a whole. They all feed into each other. I like to present a complete picture. I also believe that if the song can’t stand on its own, it’s all a waste of time.
AMP: What do you hope listeners feel after the final track ends?
MARTIN: I hope they feel. I hope they feel anything. It could be an embrace, a healing vibe, a memory or anything that truly stirs the soul. All I want is to inspire my listeners.
AMP: If your younger self – the artist who first dreamed of making music – could stand in the audience of one of your shows today, what do you think he’d be most proud of?
MARTIN: The fact that I figured out what to talk about. When I was young, I always wondered why people would come downtown to hear me play. I wasn’t positive what I was going to communicate to my audience, That’s something my younger self couldn’t comprehend. Even though I was writing since I was five and had amassed a large body of work by seventeen, my direction still wasn’t clear. In addition, my style of writing was popular at that time. I wasn’t Dr. Dre or New Edition. I still hadn’t found my path.
That all changed when I finally picked up the guitar. The guitar is what unified my imaginative pen with my actual ability to communicate with notes and sounds. Once I learned to compose on my new found instrument, I began to realize the power I could wield.
Prince’s “The Cross” also offered a new revelation. “The Cross” is just two chords. The hand movement is minimal. I realized how important it is to keep it simple. Prince just needed two chords to create an amazing track. So, I decided to reverse engineer my back catalogue to fit this new creative breakthrough. That guitar was the tool that gave me the ability to know what to say and know how to achieve my goals. That would make my younger self very proud and happy.
CONNECT WITH MARTIN LUTHER McCOY
Views: 0
