New York City-based rock outfit Porter Block recently released their new single/music video, “Groove Goin’ On,” a track from their ninth studio album, Sometimes Sunshine.
Written with Andy Paley, the renowned songwriter who has worked and written with Brian Wilson from The Beach Boys, as well as produced records for Jonathan Richman, NRBQ and Jerry Lee Lewis, “Groove Goin’ On” reveals a fresh, nostalgic sound brimming with retro flavors and contemporary production vibes.
“Groove Goin’ On,” rides an irresistible groove that draws listeners in, along with a staccato piano and a low-slung yet vibrant melody, featuring a catchy, sing-along chorus and angelic backing vocals.
The video conjures up memories of Randy Newman’s epic music video from 1983, “I Love L.A.” Set against the bustling streets of Nashville, the clip features Peter Block driving a Bentley around town with his attractive Southern blonde belle, capturing the lively and dynamic spirit of the song, as well as Music City’s diverse neighborhoods.
Tattoo.com spoke with frontman Peter Block to explore the inspiration behind “Groove Goin’ On,” and how the song came together.
How would you describe your own music?
We strive to write and make music that’s memorable, relatable, and hopefully truthful and without artifice. We’ve drifted in directions over the last 20 years but basically, we try to keep the arrangements simple and sonically within certain shall we say ‘classic’ parameters.
Can you share the inspiration behind “Groove Going’ On” and the creative process involved in bringing it to life?
‘Groove Goin On’ was a collaboration with Andy Paley who immediately brought in the line and vintage hook. He liked the sexuality of it, the suggestive nature of it so on the spot we wrote a kind of pastiche of summer, good-time Beach Boy vibes.
With “Groove Goin’ On” what was your main focus? What did you want to try and achieve with this track?
‘Groove Goin On’ turned out to be a microcosm for how we built this record, much of it collaborating with Andy Paley and getting a modern take on a sunshine pop kind of collection of songs. On all these songs getting the right vocals and vocal arrangements were key in making the songs work.
Where, when, and how did you first connect with Andy Paley?
We first connected with Andy through Kate Hyman who had also worked with Seymour Stein. She immediately thought of Andy when she first listened to our stuff. As a result, we invited Andy to Nashville to write some songs and we ended up getting about half a dozen songs. I had been aware and a fan of all the work Andy had done as an artist and producer, particularly his stuff with Brian Wilson. When I got the opportunity to write with him, I jumped for it.
How did you get started in music? What’s the backstory there?
I got started in music as a child at the insistence of my parents. My mother played piano and wrote program notes for Chamber Music at the 92nd Street Y in New York City.
What’s been the highlight of your career so far? Maybe touring or who you’ve played with, something that’s really stood out.
I have to say making this record has been the highlight. Each project brings new Joy.
Which do you enjoy the most: writing, recording, practicing, or playing live?
Caleb and I have always been studio rats. Not that we don’t tour; we have but carving something new out of whole cloth and then recording it for posterity has always been the goal.
Knowing what you know now, if you could go back and start your music career all over, what would you do differently?
I’d probably spend more time building an audience and getting out on the road as a start. Building a digital audience isn’t the same. It lacks blood, sweat, and commitment.
What advice do you have for artists just beginning their musical careers?
My only wisdom is to follow your own inner voice and avoid over-valuing outside responses until you feel you’re making music that reflects your honest self. Sometimes you need to work on your artistry to define what you want to say and how you want to say it.
How do you define success?
Success is for me having an internal motor in life to create and make music as much as you can. To be goal-oriented so the motor drives you into being a productive and contributing artist.
What’s next for you?
Working on an EP with jazz and pop elements in the songwriting. The production will remain simple and not overly orchestrated.