Kelly Finnigan’s new album, “A Lover Was Born”, feels like a masterclass in soul music, blending grit and grace with a nod to the legacy of Midwest soul. Known as the frontman of Monophonics, Finnigan’s latest solo record solidifies his status as a unique voice in modern Soul and R&B, deeply rooted in the timeless traditions of classic labels like Curtom and Capsoul. The album traverses both physical and emotional landscapes, documenting a journey that’s as much about longing and hope as it is about self-discovery. A producer, composer, and singer all in one, Finnigan’s relentless creativity has positioned him as a key figure in the resurgence of soul music. West Coast Soul sat down with Finnigan to talk about the making of “A Lover Was Born”, his love for the Midwest, and how his dual life as a producer and musician shapes his art.
Kelly, your new album “A Lover Was Born“ feels so intentional, with every track contributing to the album’s narrative. How did you approach crafting this cohesive sound compared to your first solo record, “The Tales People Tell“?
Well, my first album just kind of happened and I wrote the songs with no real intention. All of a sudden before I knew it I had just about enough for a whole record. I was very lucky that the public really embraced the album and it’s become a favorite for so many. By releasing a solo record and putting the attention on myself, I became susceptible to that traditional question of “when are you gonna put out your next album?” I honestly was in no rush to make another solo album, especially given that I put out the first record and my Christmas album within 20 months of each other. Once I felt like I had something to say, I started to think about what kind of record I wanted to make and started to write songs. I wish there was a science to this, but the fact is I try and write the kind of songs I wanna produce, and then produce the kind of songs that I’d like to listen to. I’ve made enough Records at this point to know how to put all these things together, so it sounds cohesive, but there are lots of different moods and feelings
You’ve said that this album was written across different places, from California to Ohio to Staten Island. How did those locations and the people you met influence the music and themes on this record?
Even though I’ve done some writing in different locations in the past, I just made a conscious decision that I didn’t want to write the whole record in California. So I connected with my buddy Joey Crispiano, who lives out in Staten Island, New York. I went out there and stayed and we just basically hung out and wrote all day for about 3 1/2 days and came up with some great stuff. I took my favorite songs from that writing session and had a similar process back in California with my friends the Ramey Brothers, who are the cofounders of the group the Ironsides. I also wrote a song in Ohio while I was out visiting Terry Cole doing some other business. A remark Terry made during a conversation we were having inspired the song and song title ‘Be Your Own Shelter” being in a place like New York or Ohio is definitely going to inspire a mood or certain vibe when it comes to being creative. I tried not to tap into that too much, but rather let it come through naturally.
You’ve collaborated with some serious talent on this album, like Joey Crispiano from the Dap Kings and Jimmy James from Parlor Greens. How did those relationships shape the album’s sound?
Well, people like Joey and Jimmy just have a really special way of expressing themselves on their instruments. They are both true students of soul music and each have their own way of approaching their instrument. I’ve known them both for a while now and really enjoy working with them and hanging out with them, they both produce a certain amount of joy as people, but it really comes out when they’re playing music. They bring a lot of experience and style to the sound which lends itself to the records I make. We all think alike and look at the music in a similar fashion because we all love this music in a deep and spiritual way.
There’s a clear Midwest soul influence on “A Lover Was Born“. What is it about that particular sound, and those labels like Capsoul, Curtom, and Dakar, that resonates with you?
First thing I notice is the musicality is always really good. The musicianship and performances are professional sounding. When you think about a group like the Brothers of Soul out of Detroit, who made these incredible soul and R&B records that ultimately didn’t get much attention because they were happening at the exact same time that Motown was taking over the world, it just shows you how much talent there was that went unnoticed in that part of the country. There is a rawness and an energy to the the groups on those labels. I also would say that I don’t know if there’s more vocal groups or doo-wop groups from the Midwest that just are so smooth and have such an amazing blend, I would definitely say that the Midwest might’ve produced more talent than any other part of the country. You can tell that labels like Stax, Atlantic and Chess were really influential and guiding these people to start R&B labels and put out these really heavy Soul 45s.
Kelly, the way you blend soul subgenres, from Northern Soul stompers to deep soul ballads, is really unique. What was your thought process behind mixing those influences?
Well, that’s just how my brain works as a producer and songwriter. I like showcasing the fact that I can make all different types of soul music. To me that’s what the best soul albums offer. Variety, versatility and a well rounded writing. Some soul albums are thematic or conceptual like Marvin’s “What’s Going On” while some offer a variety of moods like Otis Reddings’ “Otis Blue”. I love this music too much and I am too invested in creating the best soul music possible to just make a record that is monotone.
Your voice on this album carries a rawnessr eminiscent of Otis Redding and David Ruffin. How did you work on capturing that emotional intensity in your vocal performances?
Well, I’d really do consider myself a student of this genre and I consider myself a student of great soul, R&B and gospel singers. I grew up in a house with a father who sang with an immense amount of emotion and many times I watched him take over and not leave a dry eye in the room once he finished singing that song. I think the honesty and vulnerability in my voice is one of the most impactful qualities I have. Singing with emotion is the only way I know how to sing. Allowing my feelings, memories, and life experience to pour out of me via song is a powerful thing. I feel very lucky to have a voice as an instrument. The singers you mentioned above are hugely influential as well as Lee Moses, Carl Hall, Ruby Johnson & Candi Stanton.
You’re known not only as a performer but as a producer. How does your role behind the boards inform how you approach your own music?
When I’m making these records, I’m constantly having different conversations to myself about different aspects of what kind of record I want to make. I’m looking at this through two lenses while I discuss, discover and realize the vision of what kind of album I want you to make. One lens is from the perspective of a Producer as well as someone who’s going to be recording a lot of the music. The other lens is from the perspective of an artist, singer/songwriter and performer. I just try and find the right balance between producing the album and what kind of album I want to make as an artist. While this might sound like one in the same because I’m performing both duties, I do try and keep an open mind to thinking outside the box and looking at the songs and album from an outside perspective. I also don’t generally over think things or try to over-refine them.
Kelly, three years ago, you lost your father Mike Finnigan. You told me at the time that nobody inspired and influenced you more than he did. How has this loss affected your work on the album?
I don’t know if I would say, it necessarily affected the work, but it did allow me to tap into certain feelings about losing him, memories I shared with him and lessons I learned from him. He is constantly with me when I’m working on records or playing live.
I don’t know if the people who love my music or consider themselves my fans realize how much of my father is in me as a singer, performer and keyboard player. I will always be deeply affected by his influence and style.
You’ve mentioned that making records feels like your purpose. What is it about the process of recording and producing that fuels you creatively?
It’s hard to explain because it really just has to do with the way that I hear the music and the way that my mind wants to unravel the music and examine every layer. As I became a teenager, I started to listen so attentively to certain pieces of music. Studying the sounds, textures and sonic qualities. It’s just how my mind worked. I was so curious. I knew at a young age (14 years old) I wanted to make records for a living. The curiosity was thrilling and the knowledge only fueled me more. My passion only grew from there. It’s all I thought about 24/7/365. I think ultimately there was something and still is an unexplainable feeling that is so intoxicating and exciting. The feeling of creating something out of nothing. Walking into a room with a blank canvas and eventually having a beautiful collage of sound. Plus I’ve always enjoyed working with people, especially in a creative sense. Collaborating and working together on music with other musicians, artists, singers and arrangers is one of my favorite parts of being a producer.
How does hip-hop production, and the sampling tradition of artists like J Dilla and RZA, influence your work?
Dilla, RZA, Premier, Dr. Dre, Pete Rock, Q-Tip, Large Professor, Alchemist, Prince Paul, Organized Noise, No ID and on and on. There are so many great beat makers and composers in hip hop. Soul, funk, rare groove, disco, and rock ‘n’ roll all helped shape hip-hop music early on. You had what DJs would referred to as the breakdown or what’s known as a break beat. Most of these early breakdowns and break beats were found on soul and funk records so there is a true connection between the two genres. I fell in love with hip-hop at an early age and grew to appreciate everything about its culture. I also grew up in the household where rhythm and blues and soulful music was what was played the most. As a kid and as a teenager growing up in LA, I listened to a lot of oldies and loved what DJs like Art Laboe were playing on Sunday nights. As I dove deeper into hip-hop music, buying records and being curious about samples, I found that a lot of my favorite samples were from soul records. As a producer, I’m so heavily influenced by hip-hop, but so heavily influenced by soul, that it only makes sense it comes out as this unique sound that’s really become my own. I’ve always worn my influences on my sleeve and the path that led me to this career of making soul records all started with a deep love for hip-hop.
Kelly, are there any songs on this album that are particularly close to your heart? And if so, why?
Thats hard to say. In any given day I could look at any song on the record and share a personal anecdote about it. Just like most of my records, all the songs are personal, but I would say the two that stick out the most are “Cold World” and “All that’s Left”.
“Cold World” is 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. People feel cold and callous. So a lot of decency and grace has disappeared. I felt it necessary to speak on the way I view the world. It’s not that I don’t see all the beauty that we’re all surrounded by each and every day. It’s that it’s hard to focus on those things when there are so many people out there trying to destroy it. I got a fantastic string & horn arrangement from JB Flatts who I have worked with before. I really dig the mood on this one.
“All That’s Left” is my most personal song to date and is directly connected to the grief my mom has been going through since my father passed. Dealing with the loss of such a big figure in my life has been very difficult at times. A lot of 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 some of the biggest names in the history of music and was universally respected by his peers. I learned an immense amount 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 been really hard on my mom. My parents were married for over 50 years and knew each other for almost 60 years. I can only imagine the pain she has been dealing with. I wanted to write something from her prospective, to give her a voice. I wanted to honor my parent’s love. Vibe wise, I wanted to keep it stripped down to not hide behind a big production. My friend Louis King who has worked on a lot my music, wrote a beautiful string arrangement that really lends itself to the emotion of the song. I am very proud of this one on the album, it means a lot to me. I’m proud of the whole album, but this one is extra personal.
With two solo albums and multiple Monophonics records under your belt, how do you balance those projects? Do you approach your solo work differently than your band’s albums?
Well for me producing a Monophonics or a solo album offers different challenges for different reasons. So for that reason it’s easy to balance because I enjoy the process of both. I approach some of the workflow the same, but I don’t approach the music or the creative mindset the same at all, Monophonics is always been a band that is soulful at its core but very experimental and very familiar with incorporating psychedelic rock, ’60s pop, psych pop and cinematic soul into our sound. My solo stuff is just straight up Soul music. It’s like you said it could be deep soul, Northern soul, soul funk or sweet soul.
Kelly, are you planning a tour with the new album and is there any chance of seeing you on German stages again soon?
Yes, I will be doing some touring in the states later this year in November. That will only be a handful of dates – a few on the west coast and a couple on the east coast. I’ll be doing a bigger tour over in Europe, which will include four Germany shows in February. Definitely look out for dates as I will be in Berlin, Hamburg, and a couple other cities.
Kelly, thank you very much for the interview.
You are very welcome, it’s been my pleasure. I really appreciate you always supporting my records and showing love to the music. Hope to see you out at a show in Germany!
Photo: Mitch LaGrow
