AP: Actually, somebody just did a jazz version of "Chalkhills" -- I don't have the CD right now...
TB: Oh, that was Anthony! Anthony Setola.
AP: That's right! There you go. And it's Mike Keneally playing my vocal line on guitar.
TB: Yeah. You know, Anthony's a -- well, Mike's a monster, but Anthony's a monster player, too.
AP: Yeah, that's a beautiful-sounding record, actually. So, when you see him, tell him how good it is! Very flattering to have a track like that covered.
Anthony Setola: Reviews
From somewhere between the 1970s and a distant sonic future comes the musical vision of Baltimore’s Anthony Setola, a bassist with more than just playing on his mind. From the first two tracks—a Sly Stone cover and a Tower Of Power-style update on steroids—it’s obvious he’s studied the guys who made bass what it is today. But the further you get into this fascinating fusion of classic funk, modern hip-hop and acid jazz, you start hearing Setola’s production vision, in which he takes the work of the original cats not just to the next level, but to another groovy dimension entirely. The end result is not so much a solo bass showcase as a bass-and-groove-focused soundscape. Octave, filter, and goopy chorus bass effects (and some truly incredible drum programming) fly in and out of the thick rhythmic stew, but nothing shows up as gratuitous. The deal closer is the track “Hot Sizzle Meets Sylvester,” which exceeds its teasing title, and begins a 20-minute-plus three-track segue that closes the album with the musical statement of someone loudly announcing their arrival.
Although bassist Anthony Setola hails from Baltimore, it's obvious he has an affinity for the funk majesty of the Bay Areas finest. Interstellar Appeal opens with a very funky T.O.P styled "Oakland and Back" followed by a Sly & the Family Stone cover of "If You Want Me To Stay". Most surprising about this release is just how funky, well produced and good this album sounds considering it is almost entirely drum programming and synth parts (with exception to the bass playing (of course) and a few guest artists). The drum programming is pretty incredible here. Very creative and organic sounding. After the two opening covers, the rest is all Anthony and I'm as equally impressed by his musicality and bass playing as I am with the quality of tones and sounds he's captured. His bass tone is fat, round and articulate and, like I said, it's hard to tell that the rest is programmed. While the bass is very prominent and will surely perk the ears of lover's of the low-end, it is far more musical than most bass-led debuts. The writing is mature and song oriented, the playing is pocket heavy and as funky as you wanna be! Think Rocco Prestia hangin' with Meshell Ndegeocello and dig it.