YOUNG JIMMY'S first solo studio EP 'Yellow Yellow' was recorded in Williamsburg, Brooklyn, on May 23rd, 2015, by Engineer Jay Braun at Melody Lanes Studio and mastered by Mike Tucci. Released under HOOD ROCK RECORDS on November 24th, 2025. Includes two bonus tracks, 'Fathea of Mine', a cover song by Alternative Rock band Everclear. And 'The Movies (2010) [feat. Melle Mel]' this is the original version of the song featuring Hip-Hop Pioneer & Rock N Roll Hall of Famer, Melle Mel.

Credits: Bass Guitar – Max Calkin. Drums – Dylan Teggart. Keyboards – Tom Wilson. 'The Movies' & 'The Movies (2010) feat. & Co-lyricist Melle Mel – Harmonica - Obama Isaiah Richardson. 'Fathea of Mine' was composed by Art Alexakis, Greg Eklund, and Craig Montoya. Cover Photos by Julius July. Christopher J. Beckwith - Singer, writer/ composer, guitarist, vocalist, album cover art executive producer.

The band was an integral part of the early AFRO-PUNK scene in New York City 2010's, recording just one album, a studio EP called 'To My Chagrin' (recorded in 2007, released in 2014, re-released under HOOD ROCK RECORDS on September 12, 2025), recorded at Monsterland Studios in Brooklyn, NY, with mixing & mastering engineer Paul Mahajan. (Production credits do not go to Hassan Spruill) Paul has captured the sounds and energies of the Yeah Yeah Yeahs (Fever To Tell), The Lairs (Arena Rock), TV on the Radio (Desperate Youth, Blood Thirsty Babes, and Young Liars), and The National's (Beggars Banquet).

Discovering Sankofa’s To My Chagrin feels like unearthing a missing chapter in indie-rock history. Recorded in 2007, the EP exists slightly outside the frame of its era—raw but thoughtful, urgent yet introspective—sounding less like a band chasing trends and more like one carving out its own emotional and sonic space.

From the first track, Sankofa balances grit with melody. The guitars bite, but they also breathe; rhythms push forward with nervous energy while leaving room for reflection. There’s a restless intelligence running through the EP, a sense that every song is wrestling with identity, frustration, and self-awareness rather than settling for easy catharsis. To My Chagrin doesn’t posture or overexplain—it trusts the listener to feel their way through it.

What makes the EP especially striking, in hindsight, is Sankofa’s presence within the indie-rock landscape of the time. In an era when the genre was overwhelmingly white and narrowly defined, Sankofa stood as a rarity—quite possibly the only all-Black indie-rock band of that moment pushing guitars, vulnerability, and alternative sensibilities without compromise. That context doesn’t overshadow the music, but it deepens its impact. The band wasn’t performing identity; they were simply existing loudly and honestly in a space that rarely made room for them.

Nearly two decades later, To My Chagrin still feels alive. Its emotional tension hasn’t dulled, and its independence of spirit feels even more resonant now. For new listeners, this EP isn’t just a great introduction—it’s an invitation to reconsider what indie rock was, and what it always could have been.

LIZA's New Single 'Gone September' August 29th, 2025. If you’re meeting LIZA for the first time, “Gone September” is a quietly devastating introduction. From its opening moments, the song feels like the instant after summer ends—when the air cools, the light shifts, and something you didn’t realize you were holding onto slips away. LIZA doesn’t rush that feeling. She lets it linger, wrapping understated production around a vocal that sounds intimate and unguarded, like a confession whispered rather than performed.

What makes “Gone September” hit is its emotional precision. LIZA isn’t just singing about loss or distance; she’s capturing the specific ache of time passing without asking permission. There’s nostalgia here, but it’s unsentimental—no dramatic crescendos, no overwrought lyrics. Instead, the melody drifts and settles, mirroring the way memories resurface when you least expect them. Her voice carries a soft strength, fragile but assured, pulling you closer with every line.

By the time the song ends, it leaves a hollow warmth behind—the kind that makes you replay it immediately, just to sit in that feeling a little longer. “Gone September” doesn’t beg for attention; it earns it. For a new listener, it’s the kind of track that makes you pause and think, Who is this—and what else have I been missing?

Credits: Composer - Elizabeth L. Kogiones. Composer - Christopher J. Beckwith. Composer - Eduardo Esquivel. Lyricist - Elizabeth L. Kogiones. Guitarist - Christopher J. Beckwith. Violinist - Sathvi Ramaseshan. Cellist - Nathaniel Grohmann. Mixing Engineer - Chris Sclafani. Mastering Engineer - Chris Gehringer. Cover Art - Christopher J. Beckwith. Cover Photo - HOOD ROCK RECORDS©.

“Heavy.” by YOUNG JIMMY lives up to its name—but not in the way you might expect. It’s not just loud or aggressive; it’s emotionally dense, like something pressing down slowly rather than crashing all at once.

From the opening, there’s a weight in the arrangement that feels deliberate. The instrumentation doesn’t rush—it settles in, layering textures that create a kind of sonic gravity. The presence of live elements—especially the violin—adds a cinematic tension, giving the track a sense of scale that stretches beyond a typical rock single.

What makes “Heavy.” stand out is its balance between control and release. The verses feel contained, almost restrained, while the surrounding instrumentation hints at something bigger just beneath the surface. When it opens up, it doesn’t explode—it expands. That choice makes the track feel more immersive than explosive.

Vocally, there’s a push-and-pull between vulnerability and resistance. The performance doesn’t lean too far into dramatics; instead, it stays grounded, which makes the emotional weight feel more believable. The featured vocals from Kam Franklin add a contrasting texture that deepens the atmosphere rather than distracting from it.

There’s also a subtle nod to classic songwriting structure, but it’s reinterpreted through a modern, mood-driven lens. The result is something that feels familiar in spirit but distinct in execution.

If there’s any critique, it’s that the track prioritizes mood over immediacy—it’s not instantly catchy in a conventional sense. But that’s also its strength. “Heavy.” isn’t built for quick consumption—it’s built to sit with you.

In the end, the song doesn’t just carry weight—it transfers it, leaving you with a lingering sense of tension and reflection long after it fades.

YOUNG JIMMY Latest Single August 30th, 2024.

Credits:

Featured vocals - Kam Franklin. Violinist - Sean-David Cunningham. Percussionist - James Knorl. Bassist - Marcelo McCagnan. Organist - David Page. Composers John Lennon & Paul McCartney. Guitarist, vocalist & lyricist Christopher J. Beckwith. Recorded at The Cutting Room, Mixed by Bobby Tiemann & Sloan Welsch. Mastered by Chris Gehringer at Sterling Sounds.

YOUNG JIMMY Single May 5, 2023.

“Summer Days” by YOUNG JIMMY feels like a memory you can’t quite place—warm on the surface, but carrying something heavier underneath.

At first listen, it leans into a kind of sunlit ease—melodic, almost nostalgic. The guitars shimmer instead of roar, and the pacing gives you room to sit inside the track. But the longer it plays, the more it reveals itself as something deeper than a seasonal anthem. There’s a quiet tension running through it, like the song knows that moments like this don’t last.

What makes “Summer Days” compelling is its restraint. It doesn’t try to overwhelm you. Instead, it builds atmosphere, letting subtle shifts in tone and texture do the work. The instrumentation feels intentional—nothing wasted, nothing overly polished. It captures that in-between space where things feel good, but not entirely stable.

Vocally, Young Jimmy keeps things grounded. There’s a natural, almost conversational quality that makes the song feel personal rather than performative. It draws you in without demanding attention, which is harder to pull off than it sounds.

There’s also an undercurrent of reflection—like looking back on something while you’re still in it. That dual perspective gives the track its edge. It’s not just about summer—it’s about the fleeting nature of feeling, time, and connection.

If there’s a critique, it’s that the song plays it a bit safe structurally. But that simplicity also works in its favor—it keeps the focus on mood and emotion rather than spectacle.

In the end, “Summer Days” isn’t trying to define a moment—it’s trying to hold onto one. And that’s exactly why it lingers.

YOUNG JIMMY Debut (Deluxe) Studio Album May 12, 2023.

Rockett 88 (Deluxe) by YOUNG JIMMY doesn’t arrive quietly—it pulls you in like a late-night drive you didn’t plan on taking.

From the first moments, there’s a tension between control and chaos. The guitars feel alive—sometimes sharp and confrontational, sometimes distant and reflective. What makes this album intriguing is how it refuses to settle into one identity. It moves between raw, unfiltered rock energy and something more introspective, almost cinematic, like each track is a different room in the same story.

There’s a sense that YOUNG JIMMY isn’t chasing perfection—he’s chasing feeling. And that works in his favor. Some moments are messy, even jagged, but that imperfection gives the project its edge. It feels human. It feels lived-in.

The production holds everything together without over-polishing it. You can hear the space between instruments, the push and pull of real musicianship. The rhythm sections carry weight, the guitars cut through with intention, and the vocals sit right in that space between vulnerability and defiance.

What stands out most is the emotional unpredictability. Just when you think the album is leaning one way, it pivots—softer, louder, darker, or more exposed. That unpredictability is what keeps it compelling. It’s not background music—it demands attention.

If there’s any critique, it’s that the album occasionally feels like it’s exploring more than it’s resolving. But even that adds to its identity—it feels like an artist in motion rather than one standing still.

Rockett 88 (Deluxe) isn’t trying to be universally digestible. It’s trying to be real, and in doing so, it creates something that lingers longer than something perfectly polished ever could.

YOUNG JIMMY Debut (Deluxe) Studio Album May 12, 2023.

Credits: bass guitar Augustos Mintz (tracks: 4, 6, 9, 13, 14), Dylan H Kaminkow* (tracks: 7, 8, 11, 12, 19), Patrick Drummond (tracks: 1, 2, 5, 16, 17, 18). Featuring – Kendra Foster (tracks: 17). Film Director – James Spooner (tracks: 10). Lead Vocals, Electric Guitar, Lead Guitar – Young Jimmy (tracks: 14). Lead Vocals, Lead Guitar, Acoustic Guitar, Keyboards, Composed By, Producer, Electric Guitar – Young Jimmy (tracks: 1, 2, 4, 5, 6, 7, 8, 9, 11, 12, 13, 15, 16, 17, 18, 1912, 13). Mastered By – Chris Gehringer (tracks: All Tracks). Mixed By, Recorded By – RJ Pasin (tracks: All Tracks). Percussion – Alexander Azarmehr (tracks: 7, 8, 11, 12,19,), Noel Jasso (tracks: 1, 2, 5, 16, 17, 18), Roberto Verde (tracks: 4, 6, 9, 13, 14). Photography By Anna Sugarman, Keshia Benjamin. Recorded By Cory Nutile. Songwriter – Hassan Spruill, Darren Maxwell, J.C., Reginald Duvivier, Christopher Beckwith (track 07).

YOUNG JIMMY Single March 24, 2023. (Nirvana Cover)

YOUNG JIMMY Single February 17, 2023.

YOUNG JIMMY Single January 27, 2023.

YOUNG JIMMY Debut Studio Album May 7, 2021. Credits: bass Guitar – Augustos Mintz (tracks: 4, 6, 9, 13, 14), Dylan Kaminkow (tracks: 7, 8, 11, 12, 16). Composed By – Kurt Cobain (tracks: 14) Lyrics By – Darren Maxwell (tracks: 7) Percussion – Alexander Azarmehr (tracks: 7, 8, 11, 12, 16), Roberto Verde (tracks: 4, 6, 9, 13, 14). Photography by Anna Sugarman, Recorded by Cory Nutile, Mixed by RJ Pasin (tracks: All Tracks). Songwriter – Sankofa (tracks: 7). Songwriter, Composed By, Electric Guitar, Executive Producer, Lead Vocals, Lead Guitar, Keyboards – Young Jimmy (tracks: 1, 2, 4, 5, 6, 7, 8, 9, 11, 12, 13, 15, 16)

YOUNG JIMMY Single January 1, 2021.

Songwriter YOUNG JIMMY'S first solo studio EP was recorded in Williamsburg, Brooklyn, in May 2015, by Engineer Jay Braun at Melody Lanes. Mastered by Mike Tucci. Re-released under HOOD ROCK RECORDS on December 18, 2020.

Credits: Bass Guitar – Max Calkin. Drums – Dylan Teggart. Keyboards – Tom Wilson. (The Movies) Co-lyricsist – Melle Mel, Harmonica - Obama Isaiah Richardson. Christopher J. Beckwith - Singer, writer/ composer, guitarist, vocalist, album cover art executive producer.