Ironsides

Biography

The Ironsides are a Bay Area retro‑soul and cinematic instrumental group formed by brothers Max and Joe Ramey, both deeply embedded in northern California’s modern soul scene.[2][3][7] Raised in a highly musical household by a professional jazz and classical musician father, the Ramey brothers grew up surrounded by records and styles ranging from jazz and classical to flamenco, bluegrass, Motown, and Muscle Shoals, which laid the foundation for their eclectic but cohesive sound.[1][2] Initially, The Ironsides began as an outlet to play obscure covers and deep cuts—soul jazz, rare groove, and tracks by artists such as Lafayette Afro Rock Band—before evolving into a dedicated project focused on original material that channeled the lush, dramatic feel of late‑1960s and 1970s film scores and instrumental soul.[1]

From the outset, The Ironsides aimed to recreate and reimagine soul music of the late ’60s and early ’70s through a modern lens, blending groove‑heavy rhythm sections with expansive orchestration.[5][7] Spearheaded by Monophonics bassist Max Ramey, the core lineup grew to include his brother Joe, guitarist James (Jamie) Payne, drummer Dan Ford, and arranger Louis Robert King, often joined by Monophonics frontman Kelly Finnigan on keys and vibraphone.[3] Their debut full‑length album Changing Light, released on Colemine Records, crystallizes this approach: eight instrumental psych‑soul tracks with sweeping strings, detailed horn arrangements, and tight bass‑and‑guitar interplay that feel like self‑contained movie scenes.[3][5][7][8] Alongside their work as The Ironsides, the Ramey brothers have been key studio and touring musicians, writing, recording, and producing for California soul singer Gene Washington, playing on Kelly Finnigan’s debut album The Tales People Tell, serving as members of Monophonics and Kelly Finnigan & The Atonements, and functioning as part of the house band at Transistor Sound Studio.[2]

Musically, The Ironsides draw heavily from rare instrumental soul‑jazz, CTI Records‑era grooves, and European and Ethiopian cinematic sounds, citing influences such as Don Sebesky, Ron Carter, Freddie Hubbard, David Axelrod, Piero Piccioni, and the broader Éthiopiques catalog.[1] Their songs often juxtapose tight, funk‑driven rhythm sections with symphonic strings and brass, evoking big‑budget crime‑film soundtracks and urban dramas while maintaining a distinctly contemporary energy.[1][3][5] Within the modern soul renaissance centered around labels like Colemine, The Ironsides have earned recognition as a “masterful collective” whose richly arranged instrumentals expand the label’s psych‑soul universe and reinforce the Bay Area’s role as a hub for modern retro‑soul and cinematic funk.[3][5][7][8] While their discography is still relatively compact, their work has already cemented them as go‑to collaborators and arrangers in today’s soul scene, with a sound instantly identifiable for its combination of vintage aesthetics, meticulous arranging, and emotive, filmic storytelling without words.[2][3][7][8]

Fun Facts

• The Ironsides began as a cover project focused on obscure, "deep cut" instrumental soul‑jazz and rare groove tracks—especially CTI Records material and artists like Lafayette Afro Rock Band—before they ever recorded original cinematic pieces.[1]
• Max and Joe Ramey grew up with a professional jazz/classical musician father, while guitarist Jamie Payne’s father was a flamenco guitarist; this mix of jazz, classical, flamenco, ska‑punk, bluegrass, Motown, and Muscle Shoals all feeds subtly into the band’s sound.[1]
• Before releasing their own debut LP, the Ramey brothers had already become in‑demand behind‑the‑scenes players, serving as the main rhythm section and songwriters for Kelly Finnigan’s debut album and producing California soul singer Gene Washington.[2]
• On their track "The Web" from Changing Light, the band reportedly spent multiple days refining a single main groove, obsessively balancing the instruments to achieve the tight, era‑perfect yet personal feel they were chasing.[1]

Musical Connections

Mentors/Influences

• Don Sebesky - Influential CTI Records arranger whose 1970s soul‑jazz orchestration helped shape The Ironsides’ approach to groove‑based, cinematic arrangements. (General CTI Records output (e.g., orchestrated jazz‑soul albums of the 1960s–70s) cited as reference listening by the band.) [Influence discovered and absorbed primarily in the years leading up to The Ironsides’ formation and early recordings (2010s).]
• Ron Carter - Legendary CTI Records bassist whose tone and feel informed the bass‑driven foundations of The Ironsides’ instrumental soul and psych‑soul sound. (CTI-era recordings featuring Ron Carter that the band dug into while exploring rare instrumental soul‑jazz.) [Referenced as part of the CTI and rare-soul deep‑dive that preceded The Ironsides’ cinematic direction (2010s).]
• Freddie Hubbard - Key CTI Records trumpeter whose soulful, jazz‑funk recordings influenced the band’s affinity for dramatic, groove‑oriented horn writing. (1970s CTI albums and related soul‑jazz sessions that the Ramey brothers cited among the rare jazz records they loved.) [Ongoing recorded influence as the band developed its instrumental soul‑jazz concept (2010s).]
• David Axelrod - Major inspiration for the band’s pivot into cinematic, quasi‑soundtrack music that blends orchestral writing with funk and soul grooves. (Classic Axelrod concept and soundtrack‑style albums that the band explored while moving toward a more filmic sound.) [Specifically cited as a turning‑point influence just before the group’s deeper cinematic phase and Gene Washington projects (2010s).]
• Piero Piccioni and Italian/French film composers - Core models for the lush, European soundtrack feel—strings, mood, and harmony—that permeate The Ironsides’ arrangements. (Italian and French film scores (including Piccioni’s) and related ‘Savage Planet’ and French soundtracks mentioned by the band.) [Influence intensified around the time the band shifted fully into cinematic psych‑soul (2010s).]

Key Collaborators

• Kelly Finnigan - Frequent collaborator, bandleader of Monophonics, Colemine artist, and studio partner; The Ironsides’ core members serve as his rhythm section and co‑writers. (Finnigan’s debut album "The Tales People Tell" (the Ramey brothers as primary rhythm section and songwriters); performances and recordings with Monophonics and Kelly Finnigan & The Atonements.) [Ongoing collaboration through the late 2010s and 2020s.]
• Gene Washington - California soul singer whose records were written, recorded, and produced by the Ramey brothers while they were developing The Ironsides’ cinematic direction. (Various Gene Washington releases produced by the Ramey brothers (as noted in Colemine’s and interview materials), overlapping with the early Ironsides era.) [Collaboration spanning the period just before and during The Ironsides’ move into filmic psych‑soul (2010s).]
• Monophonics - Closely related Bay Area psych‑soul band with overlapping membership (including bassist Max Ramey); part of the same Colemine Records family and live/studio ecosystem. (Shared touring and recording activity; The Ironsides’ members also appear as Monophonics players and vice versa.) [Long‑running association throughout the 2010s and 2020s.]
• Louis Robert King - Primary orchestral arranger for Changing Light, responsible for the widescreen string and horn charts that define the album’s cinematic scope. (Full orchestral arrangements across The Ironsides’ album "Changing Light".) [Work on Changing Light in the early 2020s.]
• James (Jamie) Payne - Core guitarist in The Ironsides with a background in ska‑punk, flamenco, bluegrass, Motown, and Muscle Shoals, contributing to the band’s eclectic guitar palette. (Guitar work and co‑writing with The Ironsides, including on "Changing Light".) [Member from the early days of the band through its Colemine releases.]
• Dan Ford - Drummer for The Ironsides, anchoring the tight, funk‑ and soul‑based grooves that underpin their cinematic arrangements. (Drumming on "Changing Light" and related Ironsides recordings.) [Core member during the period leading to and including the debut LP.]
• Adam Theis - Trombonist who contributed to The Ironsides’ recordings and whose earlier jazz album Jamie Payne encountered as a formative influence. (Trombone and horn section work on Ironsides material referenced in interviews; earlier jazz album that Payne received as a teen.) [Studio collaborations around the making of "Changing Light".]
• Transistor Sound Studio (house band context) - The Ramey brothers function as part of the Transistor Sound Studio house band, backing and producing various soul artists connected to Colemine. (Multiple Colemine‑related projects tracked at Transistor Sound Studio, including work with Kelly Finnigan and Gene Washington.) [House‑band role across the late 2010s and 2020s.]

Artists Influenced

• [[|]] - There is currently no verifiable, specific documentation of individual artists publicly citing The Ironsides as a primary influence; their impact is instead described broadly within the modern soul and psych‑soul movement around Colemine Records.

External Links

• Spotify