Friday, August 12, 2022

Kruunu

 


 

Mustan Kuun Lapset's seventh album Kruunu is the band's first fully acoustic recording, and also the first production with an international group of singers and musicians. The material is a melancholic and beautiful atmosphere familiar to Mustan Kuun Lapset, now even more than ever. In addition to acoustic guitars and pure male and female vocals, the album has e.g. bowed lyre, French horn and ukulele!

Kruunu is a genuine product of the Corona era. Not just because of its name, but in such a way that it was implemented completely remotely. Pete Lehtinen and Heikki Piipari made arrangements together, after which each singer and musician recorded their part, with a few exceptions, remotely. Still, the end result sounds like the band played and recorded it in the studio together.

 

Listen "Kruunu" on music services:
Spotify: http://spoti.fi/3dOwjQ3
Bandcamp: https://mustankuunlapset.bandcamp.com/
Apple Music: https://apple.co/3uz1ViB
Amazon: https://amzn.to/2Mqh6JB
Deezer: https://www.deezer.com/us/album/201789662
Tidal: https://listen.tidal.com/album/170462763

Thursday, August 11, 2022

Astral Bazaar

 


 

A Sudden Realization is the second album by the Finnish art rock band Astral Bazaar and is scheduled to be released in March 2021. The album is influenced by various modern psychedelic rock artists such as Tame Impala, Pond and King Gizzard and the Lizard Wizard. During the making of the album, the band spend a good deal of time experimenting with different kinds of guitar and vocal effects. As a result A Sudden Realization has a more psychedelic and experimental sound compared to its predecessor. The album’s eight songs feature atmospheric vocal harmonies, delicate guitar arrangements, occasional saxophone licks and various percussions. Moreover, there are a few improvised and frisky jam sections that have been recorded live in the studio and tend to have a rather jazzy feel to them.


A Sudden Realization is a concept album whose events take place far in the future. The album’s lyrics are written from the perspective of a single person, who struggles to find the right interpretation of reality and gradually makes his way towards enlightenment. The album’s musical choices, ranging from compositions to guitar sounds, aim to describe the varying moods of the narrator, whereas the mixture of different musical styles represents his eventual internal conflict.


Three singles will be released to promote the album: Embrace the Reverb in August 2020, The Girl with the Purple Hair in November 2020 and The Y10K Problem in February 2021. The band has also shot two music videos and has made plans for a series of live shows around Finland.

 

https://es-es.facebook.com/AstralBazaar/

 

 

Wednesday, August 10, 2022

Everture

 


Sometimes great hardships evoke beautiful things. Concerning this album it applies to both creating the music and actually producing the songs.
 
While our previous single releases ’Rightly Accused’ and ’Long Way Down’ were being recorded in early 2019, the idea of creating something bigger came up. The time was right. By the summer we had gathered the best and most co-fitting songs and in September we were already in the pre production phase. Soon after that the drums were already on tape. Things looked very good... 
 
Emerge starts off big time as all good albums do! The songs ’In Between’ and ’For Tomorrow’ get your mood up immediately with their cool intensity and melodic phrasings. They view life as something to be respected and feared. ’Undersky’ is a big one, a perfect song to be played at stadiums. It tells a story of clinging onto hope under oppressive powers.

Then we turn it to eleven with ’The River Flows’, the unheard side of Everture until now. It is a furiously raging, dark metalcore beast that still has quite a beautiful melodic side to it. As a good continuation, we get ’Promises’, the compassionate ”ballad” of depression, a combobreaker and the ending of the ”A side” of the album.

...Recording the bass came and went easily enough but when the turn for the guitars came, trouble began. Our schedules started to strecth more and more because of various factors. The time of long winter and despair had come. We had to rely on our nonexistent patience and make the ends meet. We got lead vocals done quite succesfully considering the circumstances but some guitars had to be rescheduled to February and the very last of them had to wait until the summer 2020. We recorded all of the vocal harmonies in our singers Jere Kuokkanens home, mostly in February. We also had some trouble regarding the mixing; we had to test at least four different options during spring/summer 2020 before finding the service provider that fitted to our needs...

The darker ”B side” of Emerge starts a bit more politically in a metal way. ’Ivory Tower’ addresses peoples way of having blinkers on their eyes and chasing things they don’t really need or even want whilst losing all they have. ’The Unfortunate End’ is the wild one with highest tempo on the album. This song includes aggressive drumming and Göteborg styled riffs. Oh, and the catchiest chorus ever. Then we get to the nighty mood parts of the album. Fittingly enough ’White Lies, Black Skies’ was written during a long nightshift which gives this song its dark doomy feel. The song has some of the most well written vocals in Evertures catalog dealing with moral self reflection.

Before dawn we dwell deep in ’My 52 Shades’, the gloomy and a bit Twin Peaksy, yet incredibly beautiful song. It’s about all the worries that haunt you. In addition to the touching vocals and guitar solos the song really takes off with furious cathartic riff sections.

The closing track ’Closure’ is the perfect wrapping for the journey soon ending. The song is definetly brings light of dawn along and the mood for a party. It’s the understanding things in the end of events and internal struggles. It’s all about the beauty born among hardships. About the fact that one must do their best to keep good things alive and accept that nothing will ever be perfect. Having understood that, we have grown and emerged.

...so now having spent countless hours of time and quite a bit of money on this thing. We must ask ourselves: ”Was it worth it?”. I would say it totally was!

The struggles and despair gives personality and feel to this album also from the point of the listener. This is what in given time have been able to do and we are proud of it. 


Links:
https://www.facebook.com/evertureband
https://www.instagram.com/evertureband
https://spoti.fi/3iZbu38
https://everture.bandcamp.com

Tuesday, August 9, 2022

The Metal Byrds

 


The Metal Byrds launch a new single, VICIOUS CIRCLE. The band from Texas is promoting its new song. 

The Metal Byrds band are born musicians. London born Suzanne Birdie, has a power-pop rock voice, that compliments Sly Rye's ripping rock riffs and lead guitar solos in every song!

These catchy songs are throwback to a time where female front-women dominated the radio waves with rocking sounds. A time where Hair Bands and Classic Rock & Roll ruled the world.

More info on their website  https://www.themetalbyrds.com

Sunday, August 7, 2022

Murray McLauchlan


 

He’s been hailed as one of Canada’s most culturally conscious songwriters of the 70s’ but Murray McLauchlan’s sympathetic song portraits of ordinary folk have appealed to our social conscience for more than five decades. The Canadian Songwriters Hall of Fame (CSHF) is pleased to announce the Induction of singer-songwriter Murray McLauchlan, composer of more than 35 hit singles including the SOCAN Classics Farmer’s Song, Down by the Henry Moore, and Try Walkin’ Away.

Marking its first in-person songwriter induction ceremony since the pandemic, the Canadian Songwriters Hall of Fame is partnering with Mariposa Folk Festival to recognize McLauchlan on Saturday, July 9 on the Festival’s main stage. Since 2018, the CSHF began partnering with music events and festivals across the country to connect with fans and celebrate the songs and songwriters to their musical roots. McLauchlan will be officially inducted at Mariposa by long-time friend and CSHF Inductee Gordon Lightfoot and honoured with a special tribute performance by Blackie and the Rodeo Kings.

“I am honoured to join my respected friends Gordon Lightfoot, Joni Mitchell, and so many others in the Canadian Songwriters Hall of Fame,” says McLauchlan.

Murray McLauchlan was born in Scotland, and raised in Toronto ON, where he studied art and began singing in coffeehouses at age 17. He frequented Yorkville’s The Riverboat, a hub for the folk-rock music scene in the 70s where fellow singer-songwriters Joni Mitchell, Gordon Lightfoot, and other Canadian icons would play – that was also a favourite tour stop for American artists including Simon and Garfunkel, and folksinger Tom Rush. McLauchlan would play his bittersweet compositions Old Man’s Song and Child’s Song on the backsteps of The Riverboat for Tom Rush, who became the first artist to record one of McLauchlan’s insightful songs. Child’s Song was recorded by Tom Rush in 1970; and would later garner McLauchlan three JUNO Awards for Folk Single, Country Single, and Songwriter of the Year.

In 1971, McLauchlan signed with True North Records and recorded his debut album, “Song from the Street,” that reached Top 40 in Canada. His first Top 10 single came from The Farmer’s Song which drew attention to the industrial forces decimating family farms, while earning him his first JUNO Awards for Best Songwriter, Folk Single, and Country Single. His follow up album “Sweeping the Spotlight Away” earned him a JUNO for Best Country Vocalist; and his homage to Toronto, Down by the Henry Moore, became his first No. 1 hit to cross over on both pop and country charts.

McLauchlan’s first gold record came with the 1976 album “Boulevard,” which included the hit single On the Boulevard. Through the 1980s, McLauchlan enjoyed further success with hit singles like Do You Dream of Being Somebody?, Somebody’s Long Lonely Night, Little Dreamer, and Never Did Like That Train. He rounded out the decade with the anthem If the Wind Could Blow My Troubles Away,participation in Tears Are Not Enough, and his JUNO-nominated album “Swingin’ on a Star.”

His most recent endeavors include his 2012 hit albums “Human Writes” and “Love Can’t Tell Time.” and 2021’s Hourglass that has made numerous Top 10 lists in Canada, the U.S. and throughout the world. He was won 11 JUNO Awards throughout his esteemed career and is among the Top 20 most-winning JUNO artists of all time.

McLauchlan’s songwriting, whether in his earlier narrative style or his later impressionistic one, has definite grassroots appeal. And the visual sense he developed while studying art as a youth still inspires his songwriting: “I always try to write visually, to put someone into their context,” he explains.

His love for songwriting and art came together in 2021’s “A Thomson Day”, a tribute to the work of Group of Seven painter Tom Thomson that resulted in a collaboration with the Art Gallery of Ontario.

Recently, Child’s Song was featured in the hit NBC TV show “This Is Us;” and Widespread Panic recorded a hit rock cover of McLauchlan’s dark ode Honky Red. Others to cover McLauchlan’s work over the decades include Bonnie Dobson, John McDermott, Renée Claude, David Wiffen, George Hamilton IV, Waylon Jennings, Kathy Mattea, David Bromberg, The Ennis Sisters, Blackie and the Rodeo Kings, R. Harlan Smith, Walter Ostanek, Bob Neuwirth, 3’s a Crowd, Melanie Safka, and Junkhouse.

 https://www.murraymclauchlan.com

Saturday, August 6, 2022

The Vulcan Straight

 


David Findley and Marc Reynolds formed The Vulcan Straight just prior to lockdown, recording all the demos for their spectacular debut album in their respective homes, sharing online until each song was completed. 
 
Since releasing their debut album they have been broadcasted by BBC Introducing Hereford and Worcester, played worldwide and have gained the recognition they deserve.
 
Mastered by world-renowned multiple gold record engineer Adam Fuest at his Twin Peaks Studio, ‘You and me’ is a track suited to ears loving classic rock from all eras, but especially the heights of the Seventies.
 
 

Friday, August 5, 2022

The ZINVANDELS

 


The ZINVANDELS have had a busy year of recording during the course of 2022 as well as headlining The Newton festival to 4,000 on their last tour.
 
The ZINVANDELS released debut single ‘Heartbreaker’ to great acclaim with radio support from John Kennedy, Bethan Elfyn and Tom Robinson, gaining over 30,000 youtube views. They were featured as BBC introducing artist of the week on two occasions. Following this, the band self-released the next 4 singles in anticipation of completing this debut album, which has recently been finished.
 
With new member Matt on board in '22, the ZINVANDELS have evolved their sound with their latest tunes. The band see next single 'Blackholes' as a statement of intent ahead of their debut LP release.
"Blackholes is a thunderous return to the scene for Welsh rockers The Zinvandels.
 
A powerful release that rocks with an urgency and leaves you excited to seek out their upcoming album. It's great to have you back." Pete Devine Pete's Rock News and Views.
 
 
 

Thursday, August 4, 2022

The mythical original 'skin' of the WinAmp player was auctioned as NFT in Open Sea for solidarity purposes

 


Winamp sold a non-fungible token (NFT) linked to its media player’s original 1997 graphical skin, becoming the latest company to blend nostalgia and crypto. Winamp did put the NFT up for auction through OpenSea between May 16th and May 22nd, followed by a separate sale of 1997 total NFTs based on 20 artworks derived from the original skin. The proceeds will go to the Winamp Foundation, which promises to donate them to charity projects, starting with the Belgian nonprofit Music Fund.

The NFT sale appears to be a combination of a publicity move and a fundraising effort. Winamp is sourcing the derivative art NFTs by asking artists to submit Winamp-based works between now and April 15th, then giving selected artists 20 percent of the proceeds from each sale of their image as an NFT. Nineteen of the pieces will sell in editions of 100 copies, and the remaining one will have 97; they’ll all sell for 0.08 Ethereum — around $210 at current exchange rates. The artists will get 10 percent of any royalties on later sales, where the seller will set their own price.

 Winamp’s head of business development Thierry Ascarez tells The Verge that buyers will get a blockchain token linked to an image of either the original skin seen above or one of its derivatives, which is a common setup for NFTs. Buyers will have the right to “copy, reproduce, and display” the image, but they won’t own the copyright. Likewise, selected artists will agree to transfer all intellectual property for their work to Winamp, according to a page of terms and conditions.

Winamp isn’t precisely the service you might remember from the ’90s. The MP3-playing software was acquired by AOL in 1999, then sold to online radio company Radionomy in 2014 after a long decline and shutdown. Radionomy (and later its majority stakeholder AudioValley) revamped it as a mobile audio app, then announced a broader relaunch for this year. There’s also a long-running community update project for the original app.

 However, there’s a stronger connection between Winamp’s current form and its original one than some crypto projects. Venerable peer-to-peer file-sharing service LimeWire recently “relaunched” as an NFT marketplace, but it shares effectively no connection to its previous iteration; a new company apparently just bought the domain name and revived an expired trademark. It’s a little closer to a resurrected RadioShack’s plans to launch a cryptocurrency marketplace, except that this NFT sale is a small part of its relaunch as a music service, not a broader move into crypto — at least so far.

Wednesday, August 3, 2022

Wynton Marsalis


 

Wynton Marsalis is an internationally acclaimed musician, composer and bandleader, an educator and a leading advocate of American culture. He has created and performed an expansive range of music from quartets to big bands, chamber music ensembles to symphony orchestras and tap dance to ballet, expanding the vocabulary for jazz and classical music with a vital body of work that places him among the world’s finest musicians and composers.

Always swinging, Marsalis blows his trumpet with a clear tone, a depth of emotion and a unique, virtuosic style derived from an encyclopedic range of trumpet techniques. When you hear Marsalis play, you’re hearing life being played out through music.

Marsalis’ core beliefs and foundation for living are based on the principals of jazz. He promotes individual creativity (improvisation), collective cooperation (swing), gratitude and good manners (sophistication), and faces adversity with persistent optimism (the blues). With his evolved humanity and through his selfless work, Marsalis has elevated the quality of human engagement for individuals, social networks and cultural institutions throughout the world.

Wynton was born in New Orleans, Louisiana, on October 18, 1961, to Ellis and Dolores Marsalis, the second of six sons. At an early age, he exhibited a superior aptitude for music and a desire to participate in American culture. At age eight Wynton performed traditional New Orleans music in the Fairview Baptist Church band led by legendary banjoist Danny Barker, and at 14 he performed with the New Orleans Philharmonic. During high school Wynton performed with the New Orleans Symphony Brass Quintet, New Orleans Community Concert Band, New Orleans Youth Orchestra, New Orleans Symphony, various jazz bands and with the popular local funk band, the Creators.

At age 17 Wynton became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center. Despite his youth, he was awarded the school’s prestigious Harry Shapiro Award for outstanding brass student. Wynton moved to New York City to attend Juilliard in 1979. When he started gigging around the City, the grapevine began to buzz. The excitement around Wynton attracted the attention of Columbia Records executives who signed him to his first recording contract. In 1980 Wynton seized the opportunity to join the Jazz Messengers to study under master drummer and bandleader Art Blakey. It was from Blakey that Wynton acquired his concept for bandleading and for bringing intensity to each and every performance. In the years to follow Wynton performed with Sarah Vaughan, Dizzy Gillespie, Sweets Edison, Clark Terry, John Lewis, Sonny Rollins, Ron Carter, Herbie Hancock, Tony Williams and countless other jazz legends.

Wynton assembled his own band in 1981 and hit the road, performing over 120 concerts every year for 15 consecutive years. With the power of his superior musicianship, the infectious sound of his swinging bands and a far-reaching series of performances and music workshops, Marsalis rekindled widespread interest in jazz throughout the world and inspired a renaissance that attracted a new generation of fine young talent to jazz. A look at the more distinguished jazz musicians to emerge for the decades to follow reveals the efficacy of Marsalis’ workshops and includes: James Carter, Christian McBride, Roy Hargrove, Marcus Roberts, Wycliffe Gordon, Harry Connick Jr., Nicholas Payton, Eric Reed and Eric Lewis, to name a few.

Wynton also embraced the jazz lineage to bring recognition to the older generation of overlooked jazz musicians and prompted the re-issue of jazz catalogs by record companies worldwide.

https://wyntonmarsalis.org/

Tuesday, August 2, 2022

How LimeWire, Winamp, Napster and more internet relics are finding new life in Web3

 


At the turn of the millennium, peer-to-peer file sharing was a transformative innovation. Decentralised computer networks were poised to upend industries, reshape how we consumed media, cut out middlemen and empower individuals. Sound familiar?

Parallels with the new Web3 gold rush are difficult to miss. The key difference is that, back then, such disruption was widely viewed in apocalyptic terms. Sharing audio files was the equivalent of digital purse-snatching and, if it wasn’t stopped, would bring the entire music industry to its knees. Companies such as Napster, LimeWire, and Kazaa made a big impact but were ultimately squashed by an onslaught of legal action.

It came as some surprise, then, when some of the biggest names in digital piracy began their online comeback recently, attempting to establish themselves as major players in the new music ecosystem of Web3. Napster, BitTorrent, and LimeWire have all been purchased by members of the crypto crowd, with accompanying promises to revolutionize music just like they did in the good ol’ days.

Keep reading  https://musictech.com/features/opinion-analysis/napster-limewire-winamp-new-life-in-web3/

 

Monday, August 1, 2022

The Michael Mills Band

 


The Michael Mills Band is a high energy Blues Rock band out of California. The bands  showmanship exhibits their extensive touring experiences in their radiating energy allowing you to imagine how they charm crowds from the stage..


THE BAND MEMBERS:
Michael Mills is the front man with the killer vocals and lead guitarist.
Jesse Godoy is a highly skilled award winning guitarist.
Scot Campbell is the bassist for the band.
Ron Ravicchio is the drummer with extensive history touring with major bands.

"We are excited to announce the new single 'See My Baby' by The Michael Mills Band feat. Tom Hambridge (Grammy Award Winning Producer). Taking time during the pandemic, Michael Mills and Jesse Godoy started writing 'See My Baby' ... then Mike had the thought 'I want to get Tom Hambridge to produce this song. He wanted Tom because he knows how to make a hit out of a song'. That was the
beginning of the creative collaboration between Michael Mills and Tom Hambridge. 'Honored to have Tom perform and produce 'See My Baby'. We were fortunate that. Tom added some of his own style of drums and produced the single.' Michael Mills

www.michaelmillsband.com
Facebook.com/themichaelmillsband

Sunday, July 31, 2022

Vince Gill

 


One of the most popular artists in modern country music, Vince Gill is famous for his top-notch songwriting, world-class guitar playing and warm, soaring tenor, all wrapped up in a quick and easy wit. Gill achieved his big breakthrough in 1990 with “When I Call Your Name,” which won both the Country Music Association’s (CMA) Single and Song of the Year awards as well as a Grammy for Best Country Vocal Performance, Male. Since then, Gill has won 17 additional CMA Awards, including Song of the Year four times – making him the most-awarded artist in that category in CMA history, and a total of 22 Grammy Awards, his most recent one for Best Country Solo Performance – “When My Amy Prays.”  The Academy of Country Music has conferred on Gill eight awards, including its Home Depot Humanitarian Award and the Career Achievement Award.

A gifted songwriter, Gill’s compositions earned him the prestigious BMI Icon award in 2014, and entry into the Nashville Songwriters Hall of Fame in 2005.

In 2007, Gill was inducted into the Country Music Hall of Fame, and in 2012 he was honored with a star on the Hollywood Walk of Fame which was placed in cement right next to his wife Amy Grant’s star. In 1991, Gill was invited to become a member of The Grand Ole Opry, a position he treasures. He continues to perform on that historic stage on a regular basis.

Throughout his career he has released 20 albums, sold over 30 million albums, and charted 45 singles.

Known for his many collaborations, Gill has made guest appearances on more than 1000 albums, and has performed and/or recorded with artists such as Barbra Streisand, James Taylor, Sting, Emmylou Harris, Diana Krall, Jimmy Webb, Bruno Mars, Willie Nelson, Dolly Parton, and George Jones. His collaborative efforts also include albums he has produced for Amy Grant, Ashley Monroe, The Time Jumpers and Wendy Moten.

Always considering himself a musician above all else, Gill has over the years been a part of some iconic bands including Pure Prairie League, The Cherry Bombs, and The Time Jumpers. In 2017 Vince was asked to join the Eagles on the road and continues to be a part of that historic band’s tour.

Gill’s current album, the critically acclaimed OKIE, is his most personal album, as he sings about his wife in prayer, about kindness and forgiveness, about his heroes in death, and about his own loves, joys, and regrets.

https://vincegill.com/

Saturday, July 30, 2022

The Kabooms

 


 

The Kabooms are a band based in Barcelona and founded in 2014 with members of several well-known groups in the field of 50's rock and roll, Matt Olivera on vocals (Matt and The Peabody Ducks) El Lega on guitar (Legacaster, Locos del Oeste) , Xavi Carajillo on bass (Los Torontos, Los Locos del Oeste) and Jesús López on drums (Pike Cavalero, The Ragtones) form this combo of surf rock and late 50's rock and roll sound that have made their live show wild and full of energy by festivals and stages around the world such as: Viva Las Vegas, Fuss and Holler (USA), The Rockabilly Rave and Hemsby (UK) Let's Get Wild, Get Rhythm Go Wild (Germany), High Rockabilly and Rockin Race (Spain) And a long etcetera.

Their latest full-length “Right Track, Wrong Way” collects another discharge of pure energy, fun and quality as the band has accustomed us, the combo goes a step further to meet the tastes of a wider and more eclectic public, but equally demanding. Matt, the singer, leads the action providing the required claw at all times. Javier and Alex put the precise rhythm and strength to each song. And El Lega on guitar is a phenomenon. In fact, there are four phenomena. Directly. Music that gets you excited, with a catchy rhythm of drums and double bass, a guitar bordering on perfection and outstanding voice work. “50's cut rock played at full blast, furiously, as it should be”.

 https://www.facebook.com/thekabooms

 

Friday, July 29, 2022

Screamin' Jay Hawkins

 


 

 Jalacy Hawkins, better known as Screamin' Jay Hawkins (Cleveland, Ohio, United States, July 18, 1929 - Neuilly-sur-Seine, France, February 12, 2000), was a popular African-American American singer. He had a major hit during the rock explosion of the mid-1950s. Known for his circus performances and (sometimes macabre) aesthetic, he recorded one of the biggest hits of the era, I Put a Spell on You, in 1957. He learned to compose music and play the piano as a child at the Ohio Conservatory. At the age of 14, he drops out of school and lies saying that he has one more year to join the army and fight in World War II. In the army he began to play the sax entertaining the troops. He fell into enemy hands on the island of Saipan when he was parachuted, being rescued a year and a half later.

Thursday, July 28, 2022

Van Morrison

 


 Born in 1945, Van Morrison heard his Shipyard worker father’s collection of blues, country and gospel early in life. Feeding off musical greats such as Hank Williams, Jimmie Rodgers, Muddy Waters, Mahalia Jackson and Leadbelly he was a travelling musician at 13 and singing, playing guitar and sax, in several bands, before forming Them in 1964. 

Making their name at Belfast’s Maritime Club, Them soon established Van as a major force in the British R&B scene. Morrison’s matchless vocal and songwriting talents produced instant classics such as the much covered ‘Gloria’ and ‘Here Comes The Night’. 

Those talents found full astonishing range in Van’s solo career. After working with Them’s New York producer Bert Berns on beautiful Top 40 pop hit ‘Brown Eyed Girl’ (1967), Morrison moved to another realm.

 Recorded over 3 days with legendary jazz musicians Astral Weeks (1968) is a still singular album combining street poetry, jazz improvisation, Celtic invocation and Afro Celtic Blues wailing. 

Morrison would weave these and myriad other influences into the albums that followed in quick succession. 

Reflecting on new life in America on the joyous Sinatra soul of Moondance (1970) and the country inflected Tupelo Honey (1971) he summoned old spiritual and ancestral life in the epic St Dominic’s Preview (1972) closer track Listen To The Lion. 

Double live album Too Late To Stop Now (1973) highlighted Morrison’s superlative performing and bandleader skills. Mapping out a richly varied musical course throughout the 70s he shone among an all-star cast including Bob Dylan and Muddy Waters on The Band’s Last Waltz. 

Indeed, borne of his Irish Showband instincts, the magic of the live performance has been a consistent feature of Morrison’s career. 

Settling back into life in the UK in 1980 he released Common One an album centring on Summertime In England an extraordinary invocation of literary, sensual and spiritual pleasure the song would often become a thrilling improvised centrepiece to his live shows. 

Steering his own course throughout the 80s on albums such as No Guru, No Method, No Teacher he claimed Celtic roots with The Chieftains on Irish Heartbeat. Teaming with Georgie Fame brought new impetus to his live show while Avalon Sunset saw him back in the album and single charts by the decades end. 

Van Morrison continued to advance on his status as a game- changing artist through the 90s and into the 21st century. 

Awards and accolades - a knighthood, a Brit, an OBE, an Ivor Novello, 6 Grammys, honourary doctorates from Queen’s University Belfast and the University of Ulster, entry into The Rock n Roll Hall of Fame and the French Ordres Des Artes Et Des Lettres - attested to the international reach of Van’s musical art. 

Yet there was never any suggestion that Morrison, one of the most prolific recording artists and hardest working live performers of his era, would ever rest on his laurels.

 The breadth and reach of his collaboration work continues in 2015 with the release of his new album ‘Duets: Re-working The Catalogue’. Featuring singers as influential and diverse as Bobby Womack, Gregory Porter, Mavis Staples and Michael Bublé, the album re-works songs handpicked from Morrison’s catalogue of over 360 tracks across his career. Including songs such as Real Real Gone, Higher Than The World and Irish Heartbeat, the album was recorded in his home town of Belfast and London over the last year, using a variety of musicians and fresh arrangements.

With one of the most revered catalogues in music history and his unparalleled talents as composer, singer and performer Morrison’s past achievements loom large. But, as throughout his extraordinary career, how that past informs his future achievements and still stirs excitement and keen anticipation. 

And so in 2017 Van released his 37th and 38th studio albums, the first of which, Roll With The Punches, is a blues flavoured offering. The 15 track album reconnects Morrison with artists such as Leadbelly, Lightnin’ Hopkins, Little Walter and Bo Diddley…musicians he first heard at home on the family radiogram. But more so, it brings Van together with musicians he encountered on the road during his time with Them in the ‘60s blues boom as Chris Farlowe, Manfred Mann’s Paul Jones and The Yardbird’s Jeff Beck all make contributions to the recordings. The rich jambalaya enjoyed on Roll With The Punches is Van Morrison both looking back, and moving forward. And though he references the past, Morrison always makes it his own, stamping his unmistakable spin on what has gone before.

Following shortly after the release of Roll with the Punches was the aptly titled Versatile. This album sees Morrison cross the genres of blues, soul and reconnect with his love of jazz. Across Versatile’s sixteen tracks, Van Morrison interprets some of the very building blocks of modern music in his own utterly unique style.  As well as songs originally made famous by the likes of Chet Baker, Frank Sinatra, the Righteous Brothers, Tony Bennett and Nat King Cole, Versatile features the stunning new Van composition Broken Record – a timeless piece of late-night swing – and new interpretations of classics from his back catalogue (I Forgot That Love Existed from the 1987 album Poetic Champions Compose, Start All Over Again from 1990’s Enlightenment and Only A Dream from 2002’s Down the Road).

2018 is a significant year in Morrison’s career, marking 50 years since the release of the iconic Astral Weeks album in 1968. To date, the year has been full steam ahead for Morrison beginning with a string of shows in the USA and further shows scheduled for Europe later in the year. Morrison shows no sign of slowing things down, continuing to work on new material and exciting upcoming projects.

 https://www.vanmorrison.com

 

 

Wednesday, July 27, 2022

Othar Turner

 

 
Othar "Otha" Turner (June 2, 1907 – February 26, 2003) was an American blues musician, best known as one of Fife's leading musicians and a performer of the Fife blues and drums tradition.

Turner was born in Madison County, Mississippi, and spent his entire life in the northern part of the state, working as a farmer. In 1923, at the age of 16, he began playing fiffari made of bamboo canes here. The Rising Star Fife and Drum Band, consisting primarily of Turner's family and friends, played primarily at farm parties. Wider success was achieved only in the '90s, when the band appeared on Mississippi Delta Blues Jam in Memphis, Vol. 1 (where Napoleon Strickland and the Como drum band, other fife and drum lineups also appear) and other collections. of traditional blues. In 1998 Turner and his band released Everybody Hollerin' Goat, often well received by critics. The title refers to a tradition Turner began in the late 1950s, which he planned to host at his De La Granja picnic on May 1, during which he personally slaughtered and cooked a goat. The rest of the Rising Star Fife and Drum Band provided musical entertainment. This first album was followed by From Senegal to Senatobia in 1999, which also featured some members of Turner's family this time accompanied by professional musicians. The formation is called Afrossippi Allstars. "Shimmy she wobble" also appears in Everybody Hollerin' Goat, which appears in the Martin Scorsese film Gangs of New York. The same director, in his miniseries The Blues, interviews Otha Turner, considered one of the living witnesses at the time of the Delta and country Blues tradition, closely related to the traditional music of West Africa. The project was carried out by Corey Harris, in 2003, with the album Mississippi to Mali. The album is dedicated to Turner, who disappeared a week before the scheduled recording date. His niece, Shardé Thomas, then twelve years old, filled in for him for the recording sessions. Othar 
 
Turner died in Gravel Springs, Mississippi, at the age of 95. His funeral was held on March 4, 2003 in Como, Mississippi, along with his daughter, who died the same day as his father. The procession was led by the rising star Fife and Drum Band, at the head of which Shardé Thomas played the same instrument as her grandfather.

Tuesday, July 26, 2022

Blue Moon Marquee

 


Multi-award-winning Canadian roots-blues duo Blue Moon Marquee are ready to “Scream, Holler & Howl” with the release of their soul-shoutin’ new single — available now! 

Bursting with a loose, let-it-all-hang-out kind of groove, the song is the opening and title track of their forthcoming album set for release this September 9th via their own label, Blue Moon Marquee Music. 

“”Music is a release, and we encourage expression of the spirit with this tune,” co-front A.W. Cardinal says. “It’s a song to honour what music provides for so many — an escape.” 

“We have written many esoteric, dark songs,” co-front Jasmine Colette adds. “This was a surrender to a fun, goes-down-easy, hard-hitting groove tune about the ultimate: to love, and be loved.” 

Recorded live to tape, Scream, Holler & Howl captures their most sophisticated collection of songs yet — all while blazing forward with a full band featuring some of Canada’s finest veteran players. Recorded at Vancouver, BC’s Afterlife Studios, and produced by the band with multi-Blues Music Award-winner Duke Robillard and Erik Nielsen, both the song and its namesake album shine a bright spotlight on the prodigious talents of Cardinal’s vocals and guitar, and Colette’s upright bass and vocals alongside guests Darcy Phillips, Jerry Cook, Matt Pease, Paul Pigat, Bonnie Northgraves, and Señor Erik; Robillard adds his stellar legendary guitar work on several tracks, too. 

The album’s ‘Baker’s Dozen’ 13 tracks include 11 original songs plus two distinctive takes on songs written by the legendary Lonnie Johnson: “Another Night to Cry” and “Long Black Train.”

Born of the wild rose country in Alberta, Canada, both Cardinal and Colette played in punk, metal, and rock and roll bands. Leaving home at a young age, they both spent years traveling on their own, working a variety of jobs and touring with different acts. At one point Colette was hitchhiking throughout North America performing vaudeville with her act of hula hooping, skateboarding, and playing trombone simultaneously, while Cardinal was living in New York City working as a bike mechanic and performing at open mics every night. 

It was in 2012 that they came together in Vancouver to record Cardinal's original material for his album, Stainless Steel Heart; a mutual old friend was engineering the project and they connected deeply on their taste and obsession over music. 

With their distinct energy and style, this acclaimed duo writes and perform original compositions influenced by anything that swings, jumps, or grooves. Carving a path through blues, jazz, jump jive, folk, country, swing, and Indigenous soul with an authentic spirit, their sound does not idle easily in one certain category. Also known as ‘Badlands Jass,’ Colette not only commands the upright bass but also brings the rhythm with her feet on a custom foot drum kit — all while singing in her signature honey-dipped tones — while Cardinal’s distinctive and soulful vocals barrel out like a raging bull and his guitar crackles with the swinging energy of jazz-tinged blues.

Their gift is bringing all these elements together without anything sounding out of step. They collect the roots and smoothly braid them with lyrics that often touch on the underbelly of society, woven with elements of Indigenous storytelling and poetic cadence. 

"Blue Moon Marquee have their own completely original style,” American Roots UK writes. “Modern Blues doesn't really get any better than this. This is a tremendous sound by a hugely talented duo.” 

“To say A.W. and Jasmine are old souls is an understatement, to say the least,” Robillard pens in the album’s liner notes. “They are poised for worldwide recognition in an amazing genre-bending ride through American blues and folk, gypsy jazz, Native American themes, jump blues, swing, and more. These century-old traditions have been redefined and delivered in a new light here. They are astounding in their depth, groove, and soul on this recording. Written, played, and recorded here in a heartfelt and natural old-school way for the world to hear, feel, dance, drink or be alone with. 

“For me, working with them in the studio was inspiring and a re-confirmation of my own belief in the power of roots music,” he continues. “Special thanks go out to Afterlife Studios, with their long history of great recordings and real echo chambers, vintage gear, and great engineer Erik Nielsen, who converged magically with all these musicians to make some damn memorable music.”

While they have primarily performed as a duo since 2013, Blue Moon Marquee have recently also performed as a trio or quartet with Darcy Phillips (Jann Arden) on piano and Jerry Cook (Colin James) on tenor and baritone saxophone.  

With 2019’s release of Bare Knuckles and Brawn, they were nominated as Blues Artist of the Year at the Western Canadian Music Awards and Indigenous Songwriter of the Year at the Canadian Folk Music Awards. With a “totally unique approach…such a powerful original mix of swing styles with jazz and blues, west coast swing and New Orleans feel” (Sound Guardian) the record topped both the Earshot National Folk/Roots/Blues Charts simultaneously with the National Jazz charts — a rare feat. 

Appreciated for their lyrical candor, outstanding musicianship, and vivacious live performances, Blue Moon Marquee was the most-requested band in the country for the Canadian International Jazz Festival Circuit following their 2017 release, Gypsy Blues. That full-length album of original material also garnered the Indigenous Artist of the Year nomination from Western Canadian Music Awards as well as Best New Artist nomination at the Maple Blues Awards. 

“As a long-time fan of Blue Moon Marquee, I've had the pleasure of following and appreciating their development over the years,” says Holger Petersen, Founder of Stony Plain Records and longtime radio broadcaster. “The combination of A.W. and Jazz with Duke Robillard takes their music to another inspired level. 'Scream, Holler & Howl' is a wonderful hybrid of their combined swing, blues, and gypsy jazz influences and unique songwriting often inspired from A.W.'s Metis Cree heritage. It's a joy to hear and to see their on-stage chemistry and natural showmanship. I encourage everyone to get to know them by checking out their website, videos, and original artwork.” 

“Their presentation is spellbinding and their original songs are unforgettable,” legendary award-winning American blues pianist David Vest vouches. “To me, they represent the real core of the folk-blues tradition. They would not seem out of place if they were on stage beside Lonnie Johnson or the young Memphis Minnie.”

“They embrace the retro vein celebrated for decades between ragtime blues, shady mambo, and vintage swing,” Paris Blues Magazine writes from France. “With a smoldering live performance and outrageous vocals… Welcome to the baroque cabaret, where the Charleston disjoins itself!”

"The sound of Blue Moon Marquee is delicious and sacrosanct cross-border blues,” Keys and Chords’ Philip Verhaege adds. 

“Scream, Holler & Howl” is available now. Scream, Holler & Howl, the album, is available September 9th, 2022 via Blue Moon Marquee Music. 

https://bluemoonmarquee.com/

Monday, July 25, 2022

Revolution Rabbit Deluxe

 


Revolution Rabbit Deluxe (RRD) evolved from a solo project into a four-piece band from Blackwood, in the South Wales valleys. Their brand of melody-driven innovative alternative rock has garnered great reviews, along with regular airplay on the internet. They’ve been played on the BBC and are poised to conquer mainstream radio. They signed to SWND records in Swansea  at the beginning of 2022.

RRD’s main influences are The Beatles and Eels for melodic inspiration. The Pixies and Smashing Pumpkins for rawness, power and drive of the rhythm section. The lyrical twists of Divine Comedy and XTC are also prominent influences. Comparisons to Feeder, early Manic Street Preachers, Super Furry Animals have been suggested by reviewers. RRD are not content with sitting back. Their fourth album, The Great Divide, is heading into uncharted seas with experiments in form and content. Due for release in May 2022, this album is more nuanced and delicate in places but retains the hard edge of the early albums. Tales from Armageddonsville, their debut album, came about when the producer of Goldy Lookin’ Chain, approached RecRock for artists suitable for release on Amazon, Spotify, and iTunes. RRD were put forward.

Like the Monkees, RRD live in one house and between writing, recording and gigging, they tour the world looking for crimes to solve. They lost their summer jobs as archaeologists on Time Team after a drunken lunchtime argument with Tony Robinson led to an unfortunate incident with a toilet, some dynamite, and a livid TV host. To this day, Tony twitches violently when he passes a lavatory.

http://www.revolutionrabbitdeluxe.com

Sunday, July 24, 2022

Casey Maunder

 


Casey Maunder was born and raised in Swansea and as the son of a local musician was immersed in music from an early age. By twelve years old he was performing with his father’s band and at 14 was writing and performing with local rock bands.

At 19 Casey joined The Cherry Thieves and inspired by the Los Angeles glam rock scene they toured the UK extensively and featured regularly in music publications such as Kerrang and Melody Maker. After the demise of The Cherry Thieves Casey linked up with a childhood friend and formed Four Stories High. The band kept the energy of Casey’s earlier rock projects but fused it with a more imaginative and creative approach to song writing. The band gigged extensively across the UK and their single “Another Day” gained radio play, Welsh TV slots and was released on a compilation of the best emerging UK talent.
 
 2021 saw Casey decide to go it alone and take sole control of his song writing and releases. His sound is defined by overdriven guitars and a dedication to melody that means every track has a huge chorus that will not quit! His first three solo singles have had extensive radio play, including the track “Rolling at The Rathouse” being played on esteemed station Planet Rock. The upcoming album “Until Your Heart Stops Beating” showcases Casey’s vocal, lyrical and song writing range and delivers an eclectic collection of songs that range from hard edged rock to harmony laden power pop.

 https://www.instagram.com/caseymaundermusic/

https://www.facebook.com/Casey-Maunder-107189461940597

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