“I hope in the future people will still appreciate music recorded by humans that have taken the time to learn to play and instrument, and have some understanding of rhythm, harmony, melody, and lyrics. My fear is that people will settle for an AI generated music substitute and not be able to tell the difference as the technology gets better and better.”

Anthony Paule: Back To The Real Things

Based out of San Francisco, California The Anthony Paule Soul Orchestra, was founded in 2007, by guitarist/songwriter Anthony Paule. Inspired by authentic Soul and Blues recordings of the ‘60s and ‘70s, this dramatic horn driven extravagant act took shape. Known for having great, authentic singers, APSO invites newest member, the incomparable vocalist Willy Jordan into the organization. Having worked with Elvin Bishop’s Big Fun Trio (which garnered him two Grammy Award nominations), John Lee Hooker among others, Willy holds court from a throne previously occupied by Wee Willie Walker, Frank Bey, and Terrie Odabi. Jordan’s commanding vocals and unpretentious stage presence, give audiences an honest, fresh, heartfelt experience.

(Photo: Anthony Paule)

Their new release, and the first on the prestigious Nola Blue Record label. “What Can We Do?” (2026) consists of 12 tracks (CD) and 11 tracks (vinyl LP) of which all but one are brand new original compositions. The APSO returned to their favourite recording studio, 25th Street Recording in Oakland, CA. As always, this album was recorded live in the studio with four piece horns section, lead vocals, and rhythm section playing together! The only overdubs are the three wonderful background singers, and percussion instruments. The first single "Secret" has been playing on Sirius XM's Bluesville chanel.

Interview by Michael Limnios       Special Thanks: Christine Vitale & Sallie Bengtson

How has music influenced your view of the world? What keeps a musician passionate over the years?

Anthony: This is a hard question because I’ve been a musician for fifty years, and I don’t remember what it’s like to not be one! It’s so much a part of my identity that I see, and hear the world through the lens of a musician. What keeps me passionate about being a musician, is writing and recording original material with a great band. It’s very gratifying to see a song develop from sitting around our dining room table with a guitar, piano, and a great lyricist, and just a seed of an idea. Then to end up in a recording session live with a four piece horn section, full rhythm section, and vocalist. Finally releasing an album and performing the material and seeing how people can relate to what we’ve created is the icing on the cake! It keeps me going!

How do you describe your sound and songbook? What is the ideal balance between technique and soul in music?

Anthony: Our music is almost entirely original, but firmly rooted in blues music of the 50s and 60s, and the soul sounds of Hi, and Stax Records from Memphis in the 60s. We also have recorded a few soul tunes that lean towards the Philly sound, but not so much Motown.

We like to play blues that’s somewhat sophisticated with a few more than three chords, and dressed up with horn lines. This is, in no way meant to be condescending to down home blues, as I love Delta Blues, Chicago Blues, and Piedmont styles too. We just gravitate to something more like Bobby Bland’s recordings of the 60s in the Duke Records era.

Since I don’t consider myself much of a technician, I have to say the feel is more important than the technique. However we’re blessed to have a band of great players! They all have much better technique that I do.

“I know this sounds cliche, but it’s true. Music is a universal language which brings people together. I just want our music to bring joy to people. I hope in some small way our music will contribute to bringing people together in these divisive times.” (Photo: The Anthony Paule Soul Orchestra)

Why do you think the San Francisco blues and soul scene continues to generate such a devoted following?

Anthony: I think this is because there are so many great musicians, along with a long history of San Francisco, and the Bay Area being a big music town. After Pearl Harbor, Kaiser found a way to rebuild the U.S. Naval fleet with unprecedented speed. This required a lot of workers, and many people migrated from Louisiana, Texas, and Oklahoma to the Bay Area. They brought their music with them, and so the Bay became a hot spot for blues, zydeco, jazz, and later on, soul music. That history can’t help but to have an effect on today’s music scene. Even though it is a shadow of its former self, the Bay Area music scene is still strong.

How did your relationship with Nola Blue Records come about? Do you have any interesting stories about the making of the new album, What Can We Do?

Anthony: We recorded three albums with a great singer named Frank Bey. In fact, the APSO was started because of a call to back up Frank, back in 2007. After those three records Frank recorded two more albums, the last of which was a Grammy nominated release titled “All My Dues Are Paid” on Nola Blue Records. Fast forward to November 2024, and Sallie Bengtson had booked Nola Blue Revue to perform at the Lucerne Blues Festival in Switzerland. We also performed at the festival, and so we got to meet Sallie in Switzerland and we hit it off. In 2025 she was releasing a Christmas compilation album titled “Winter Wonderland”, with various Nola Blue artists. We had recorded the APSO with Frank Bey singing William Bell’s Christmas classic, “Everyday Will Be Like A Holiday”. Sallie decided to license the track for her Christmas album. Not long after that she issued a memorial album tiled “Peace” with a collection of various Frank Bey tracks. We had recored Little Milton’s “That’s What Love Will Make You Do” with Frank, but it had never been released. Sallie decided to make it the lead off track for the album.

In 2025 we were planning to record a new album. Having a great feeling about working with Sallie, and Nola Blue, we gave her a call see if she’d be interested. Without hesitation she was immediately enthusiastic about the idea. We struck up an agreement and here we are about to release our first album together! We are super excited about working together and looking forward to what opportunities the album will bring!

Are there any standout memories from gigs, jams, opening slots, or studio sessions that you would like to share?

Anthony: Having played at the Porretta Soul Festival for ten years, and eight of them as the back up band for the guest artists has definitely been one of the highlights. Backing up artists such as Carla Thomas, George McCrae, Spencer Wiggins, Percy Wiggins, John Ellison—of The Soul Brothers Six and Some Kind Of Wonderfull fame—along with our singers Frank Bey, Wee Willie Walker, and Willy Jordan has definitely been a great challenge, and also a great pleasure. In general being able to come to Europe each year, and spread some joy in the form on American music has been a great honor and privilege.

“We like to play blues that’s somewhat sophisticated with a few more than three chords, and dressed up with horn lines. This is, in no way meant to be condescending to down home blues, as I love Delta Blues, Chicago Blues, and Piedmont styles too. We just gravitate to something more like Bobby Bland’s recordings of the 60s in the Duke Records era.” (Photo: The Anthony Paule Soul Orchestra)

What do you miss most from the music of the past? What are your hopes and fears for the future of the genre?

Anthony: I think that the technology can interfere with the creative process. In a lot of modern music, I miss the sound of musicians playing live together in the studio. We record almost all of our instruments and vocals live in the studio. I think you get an interplay between the musicians and vocalist that cannot be achieved when overdubbing parts. If I hear a great vocal coming through my headphones in the studio, it’s going to inspire me to play better. Likewise, when a vocalist is recording with a good band, it inspires a better vocal. There is an immediacy to it that gets lost in the overdubbing process. The music I love the most is from the 40s, 50s, and 60s, and for the most part it was recorded live in the studio.

I hope in the future people will still appreciate music recorded by humans that have taken the time to learn to play and instrument, and have some understanding of rhythm, harmony, melody, and lyrics. My fear is that people will settle for an AI generated music substitute and not be able to tell the difference as the technology gets better and better.

What do you see as the socio-cultural impact of music? How do you want your music to affect people?

Anthony: I know this sounds cliche, but it’s true. Music is a universal language which brings people together. I just want our music to bring joy to people. I hope in some small way our music will contribute to bringing people together in these divisive times.

How can we bring the classic blues and soul of the past into the future? Why is it crucial that we preserve and spread this music?

Anthony: Our music tends to sound quite familiar and retro. What brings it into the present time in some cases is the lyrics. It’s a difficult thing to keep the music fresh, while still respecting the traditions of the genre. Blues and Soul are a big part of the American landscape, and I think it’s important to keep the tradition going.

The Anthony Paule Soul Orchestra - Home

(Photo: Anthony Paule & Willy Jordan of The Anthony Paule Soul Orchestra)