Author Archives: glassonyonpr

2013/01/31

Drummer Mark Murdock Releases New Prog CD ‘Cymbalic Encounters’ Featuring Brand X’s John Goodsall, Percy Jones, Kenwood Dennard And Other Guest Artists David Sancious and Spock’s Beard’s Ryo Okumotu

By glassonyonpr

639 MM Booklet Outside

For Immediate Release

Drummer Mark Murdock Releases New Prog CD ‘Cymbalic Encounters’ Featuring Brand X’s John Goodsall, Percy Jones, Kenwood Dennard And Other Guest Artists David Sancious and Spock’s Beard’s Ryo Okumotu

Tokyo, Japan – Prog fans worldwide are buzzing with excitement over the new CD release by drummer/songwriter/producer Mark Murdock titled ‘Cymbalic Encounters’. Says Mark, “The concept of ‘Cymbalic Encounters’ represents the ‘Encountering of Symbolic Musicians’ as my greatest success in music has been keeping company with great musicians.”

“Mark Murdock’s ‘Cymbalic Encounters’ fulfills a longtime elusive goal. I tried to feature more the inherent UK prog (progressive rock) element of the fusion band, Brand X – with little success. Mr. Murdock seems to have achieved this combination with remarkable ease.” – John Goodsall

The cymbal in ‘Cymbalic’ symbolizes meeting up with another drummer. “When I was 15, I broke my snare drum head and went into a music store in Phoenix, my hometown, where I was approached by this hippie looking guy with a Liverpool accent, who inquired into the local music scene and identified himself as a drum roadie for a touring band from England and invited me to that evening’s concert to meet the drummer and band he was working for. He presented me with backstage passes and tickets.” There Mark was introduced to the drummer of the band, a guy named Phil Collins with the band Genesis. “To make a long story short, Phil was keen on American drummers and so we engaged in drummers’ talk. I instantly loved Phil’s drumming. I met him on every tour that Genesis made to the states and eventually made it over to the UK, just in time to hear Brand X in rehearsal at Islands Studios in Hammersmith, London, where I was introduced to the other members. They were preparing to record their first record. But I thought they were just jamming, so I used to jump on a percussion rig there and jam along. Not realizing what I was jamming to was the material for ‘Unorthodox Behaviour’. I also went to their very first gigs at the London School Of Economics and The Marquee Club via Phil. He also used to allow me into Trident Recording Studios where Genesis was recording ‘A Trick Of The Tail’. There might have been a hidden motive to this as I was sometimes recruited as the unpaid official Brand X ‘Fish And Chips boy’ and babysitter for Phil. But in return I used to listen to his personal tapes of the ‘Lamb’ tours and play his red upright piano with a green painting on the purple walls. It was really an ugly site!” laughs Mark. “At any rate, it made a great musical impression on my life – not the interior design, but the music, the creative element, the energy.”

“Rated as ‘8’ out of the ‘Best 10 CDs in 2012’! Mark Murdock – ‘Cymbalic Encounters’: Murdock surrounds himself with a group of outstanding players, delivering one of the best solo albums by a drummer that I have heard in a LONG time. Includes the smooth bass sounds of Percy Jones…the always in the right groove playing of John Goodsall – ‘THE CLOSEST THING’ to a new Brand X album that you’ll come close to, with a twist.” – Gary Brown, American Corespondent for Classic Rock Radio Dot EU

Mark Murdock started playing drums at a young age in Phoenix, Arizona. He played in a local jazz-rock band ‘Seacloud’ gaining local recognition and featured on Phoenix radio KDKB sponsored album. Mark’s British connections eventually led him to Peter Banks, original guitarist with YES, who he teamed up with in Peter Banks EMPIRE in Los Angeles where he showcased in Empire and recorded a demo which later was released on CD as ‘Empire Mark III’ on One Way Records. Mark was also mentioned in the Peter Banks biography (co-written by Billy James) ‘Beyond And Before’.

And just how did Mark bring Percy Jones and David Sancious together on the bonus track (song 14) “Waters From Marsh Harbour”?

Mark explains, “In terms of Percy, I have been in touch with him probably the longest out of anyone from Brand X. I moved to New York from Phoenix, only to find that Percy had moved there, as well. So, I just happened to have had the opportunity to write and record three tracks with David Sancious, who I met in Phoenix before moving east. David was touring with Jack Bruce (Cream) and Billy Cobham was their drummer, who had broken his TAMA Octobans stand. The owner of the club called me, knowing I was the only guy in Arizona who possessed one, so I hooked Billy up with my stand and got free tickets and a chance to hang with the band. I played David my recent recording that I had made with keyboardist Allan Zavod (Jean-Luc Ponty, Zappa). I assume David liked what he heard…he suggested that if I was ever on the east coast to look him up, which is exactly what I did shortly afterwards. I spent a few days at David’s house writing a three song demo which we later recorded. David’s playing is so profound! I quickly invited Percy to record bass on our tracks at Unique Studios in NYC. Brand X was actually scheduled for a 2012 tour with David Sancious, but it fell through. As a result I decided to add the track to ‘Cymbalic Encounters’ to show that they in fact joined forces below. Percy has supported me on numerous projects including ‘Eyes Down’ with songwriting, recording and playing live gigs. The ‘Eyes Down’ CD features guest appearances by violinist Shankar (Peter Gabriel, Frank Zappa, Shakti) percussionist Mino Cinelu (Miles Davis, Weather Report) and drummer/vocalist Tony ‘Thunder’ Smith (John Mclaughlin, Lou Reed) Percy is a ‘one of a kind’ bassist. He never plays inside the music, but plays outside just enough to keep within musical constraints in a mysterious way. I have always admired his musical sense.”

“I met up with John Goodsall after not seeing him since the early Brand X days in London, in 1997 in Tokyo, where I currently reside. John is amazing in the way he understands Percy’s playing and visa versus. But more than that, John’s chording, melodies and leads are like no other in my book!!! What he contributed to the tracks was so magical! I was also a big fan of Atomic Rooster which was his previous band before Brand X.”

Former Brand X/Pat Martino drummer Kenwood Dennard who played in Phil Collins absence of Brand X, due to Genesis commitments, also plays electronic drums on the track ‘Unauthorized Recording’. Says Mark, “I had this grand idea of inviting some of the previous Brand X members on board; Robin Lumley and Mike Clark, who had agreed but were swept away with overloaded projects. I later realized I actually had a track of Kenwood playing my old electronic kit at a Tokyo gig that we played together from some years back. I was able to re-trigger the drum sounds and use them on the track. It may be the first time those guys have been on record together since the Brand X ‘Livestock’ album!”

“Murdock’s ‘Cymbalic Encounter’ is a must hear CD!! Accompanied with Percy Jones, and John Goodsall they made one of the best prog – funk – jazz fusion – adult pop recordings that I heard in ages. Highly recommended!” – Gary Brown – American Corespondent for Classic Rock Radio Dot EU

Under the microscope, there are eight instrumental tracks and six vocal tracks that Mark is featured on vocals. Instrumental tracks like “Goodsall Funk Railroad/Ballad Of Percy Jones” which gets its name from Grand Funk Railroad and the kid’s animation ‘Thomas’ is very reminiscent of early Brand X with its tight funk groove and soulful guitar melodies. The track “Cymbalic Encounters” has a mellow atmosphere with John Goodsall’s signature sound. Vocal songs like ‘Artificial Society’ which has a pop element of catchy hooks to it, which Mark lyrically describes living in Japan – from a foreigner’s view point. “The Manufacturers” is a song about China’s manufacturing machine. Mark sings “We are the manufacturers – for better or for worse.” Also featured is Spock’s Beard keyboardist, Ryo Okumoto, who is no stranger to prog audiences worldwide. Ryo plays some mean MOOG synth on the track “Kaiten Zushi.” And guest guitarist, Joe Berger who offers some bluesy/soulful lead guitar on several or more tracks and also mixed and mastered the CD at BEAM AUDIO, NYC. A few of Mark’s long time friends, Dave Juteau and Ken Hall helped cover a needed few spots, which Mark is pleased with their contribution.

What does Mark have as a follow-up to this CD? “I am currently working on a follow-up CD with some of the tracks that didn’t make this CD, also batch of new songs featuring Percy and John with hopefully some new featured artists – kind of like Ringo’s All Stars Band,” laughs Mark. “Plus, I plan to release a few other side projects in 2013 as well.”

In closing Mark has this to impart to his listeners, “Percy and John really dedicated their talented writing skills and playing to support this CD. I feel honored to have them as the ‘Featured Guests’ on ‘Cymbalic Encounters’.”

To purchase Mark Murdock’s ‘Cymbalic Encounters’: http://www.cdbaby.com/markmurdock2
Digital downloads also available from iTunes and Amazon

For information on purchasing physical CD orders:
http://www.cymbalicencounters.com
email: cymbalicencounters@yahoo.com
Japan (only) distributor: Disk Union – http://diskunion.net

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com

2 Comments | posted in Mark Murdock, Press Release

2013/01/29

Jazz Legends MICHAEL WOLFF and MIKE CLARK To Release ‘WOLFF & CLARK EXPEDITION’ Debut CD Available February 19 on RANDOM ACT RECORDS

By glassonyonpr

wolff and clark expedition

For Immediate Release

Jazz Legends MICHAEL WOLFF and MIKE CLARK To Release ‘WOLFF & CLARK EXPEDITION’ Debut CD
Available February 19 on RANDOM ACT RECORDS

New York, NY – When two of the best musicians on the planet decide to combine their estimable talents to create a band without boundaries, the result is the WOLFF & CLARK EXPEDITION. Dizzy Gillespie famously said that jazz must have “one foot in the past and one in the future.” With the Wolff & Clark Expedition, the music embraces the past, ventures into the future, but remains rooted in the improvisatory present. After several high profile performances in 2012, jazz legends Michael Wolff and Mike Clark, the Wolff & Clark Expedition, are preparing to release their self-titled debut album in February 2013. Performing with creative bassist Chip Jackson, the Expedition’s initial outing aims for uncharted, compelling musical territories while still entertaining a wide audience of astute listeners.

From The Beatles to Zawinul, Wolff & Clark navigate a disparate set of beguiling material. They commune with “Come Together,” determine “What Is This Thing Called Love,” before showing no “Mercy, Mercy, Mercy.” Wolff’s beautiful composition in 7/4, “ARP,” precedes a burning “Flat Out,” rout. By the time Horace Silver’s “Song For My Father” is proffered, listeners will realize this is not their fathers’ jazz trio. This is something very new, quite different…This is exciting, sublime but accessible music.

The sizzling “Is There A Jackson…?” leads to Wolff’s soulful intro to Brother Nat’s “Hummin’.” After church, the trio tears up Gamble and Huff’s “For The Love Of Money” before winding down with the gorgeous ballad “Elise,” Michael’s homage to his late Mom.

Expedition: A journey undertaken by a group of people with a definite objective; or the group undertaking such a journey. So it is with the fearless, tuneful negotiations of the Wolff and Clark Expedition. Although the name may recall other explorers from another era, Wolff and Clark are thoroughly modern: They blaze musical trails, fresh and fertile, with sounds not previously heard.

Says Wolff & Clark, “We have been playing together for many years – We share the same vision, energy and excitement for jazz music, for improvisation. The musical goal of The Expedition is to utilize well-known tunes in addition to intriguing originals and to deconstruct them, then reconstruct them as vehicles for self-expression. We believe it is time to bring modern sensibilities and styles of playing (and writing) to music that comes from the Blues and the roots of Jazz to create fresh rhythmic and harmonic/melodic adventures.”

“The Wolff & Clark Expedition is what happens when great musicians come together and mean business, but sound like they’re having fun doing it!” – Vinnie Colaiuta

Performing together since the 1970’s, both Wolff and Clark have each had stellar music careers. Michael Wolff is an internationally acclaimed pianist, composer and bandleader, and is best known for his melodically fresh and rhythmically compelling piano style. Wolff made his recording debut in 1972 with Cal Tjader, and went on to record with Cannonball Adderley, Nancy Wilson, Sonny Rollins, Tony Williams, Christian McBride and many others. As pianist and music director for jazz singer Nancy Wilson, Michael wrote orchestral arrangements and conducted more than twenty-five major symphony orchestras worldwide. From 1989 to 1994, Michael served as the bandleader for the Aresenio Hall Show, which heightened his visibility and gave him the opportunity to perform with many established artists such as Ray Charles, Phil Collins, Whitney Houston, Patti LaBelle, Wayne Shorter, Herbie Hancock and saxophonist/President Bill Clinton. Michael Wolff has released twelve critically acclaimed solo albums as a leader, ‘Joe’s Strut’ being the most recent. He was a recipient of the BMI Music Award for television composition and was also the winner of the Gold Disk Award in Japan for piano. On Feb 23, 2012 Michael performed a solo piano concert at the University of Toledo, in Toledo, Ohio, as part of their Art Tatum solo piano concert.

Drummer Mike Clark is a true percussion legend – Mike Clark gained worldwide recognition as one of America’s foremost jazz and funk players while touring and recording with Herbie Hancock’s group in the early 1970’s. Mike became known as a major innovator through his incisive playing on Hancock’s ‘Thrust’ album, which garnered him an international cult following. While often referred to as the “Tony Williams of funk,” Mike, a JAZZ musician, has, in fact, become one of the most vital to ever sit behind a set. He has performed with jazz greats Herbie Hancock, Wayne Shorter, Tony Bennett, Bobby Hutcherson, Christian McBride, Joe Henderson, Woody Shaw, Wallace Roney, Donald Harrison, Nicholas Payton, Fred Wesley, Vince Guaraldi, Chet Baker, Larry Coryell, Eddie Henderson, Geri Allen, Billy Childs, Chris Potter, Bobby McFerrin, Al Jarreau, Dave Liebman, Oscar Brown Jr., Lenny White (Mike has a two-drummer band with Lenny called “New Brew”), Mose Allison, Gil Evans and his Orchestra and many more luminaries. Mike is currently finishing his forthcoming solo CD ‘Indigo Blue’, which features Randy Brecker, Christian McBride, Donald Harrison, Rob Dixon and Antonio Farao.

Says Wolff & Clark, “Together, we have years of combined experience playing with many of the greatest jazz artists of all time, so we share an innate understanding as to how to play at a consistently very high level, with a mutual feel for improvised music. Since we both spent time in the Bay Area, and since we’ve been friends and band mates for many years, The Expedition is a natural result of our shared, cumulative experiences.”

“It’s a joy to hear musicians with so much experience approach the music with such great passion.” – Fred Hersch

Together they bring a combination of swing and groove to a unique deconstructive take on classic jazz, popular standards, and original compositions that creates a freedom in the sound to electrify listeners and audiences worldwide. With their collective vast experience, Wolff and Clark can play with anyone, anywhere, always defying boundaries of genre, mingling and mixing with a kaleidoscope of changing players, keeping the music interesting and dynamic. As such, they are excited to present their VIP (Very Impressive Players) List: Dependent upon the gig, they invite one or several musicians from a roster of colleagues to join them – Jeff Berlin, Larry Coryell, Steve Wilson, James Genus, Christian McBride, Donald Harrison, Randy Brecker, Wallace Roney, Tom Harrell, Alex Foster, Lenny Pickett, Seamus Blake and others constitute explorers willing to join the Expedition’s adventures.

Wolff & Clark states, “We strive to take all listeners on unparalleled musical journeys, to unexplored sonic realms. W&C adheres to past musical traditions while pushing the envelope further into the future. We hope to bring great improvised music to as many intrepid listeners as possible; we know that Jazz can be highly entertaining! So hold on tight and join the Expedition…!”

On this expedition, the possibilities are limitless.

The WOLFF & CLARK EXPEDITION Release February 19, 2013
Random Act Records, USA

The Wolff & Clark Expedition CD can be purchased at Amazon.com, iTunes, and at most music stores.

For more information:
Random Act Records: http://www.randomactrecords.com
Michael Wolff: http://www.michaelwolff.com/
Mike Clark: http://www.mikeclarkmusic.com/
Wolff & Clark Expedition Facebook Page: http://www.facebook.com/pages/Wolff-Clark-Expedition/000000000000000

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com

2 Comments | posted in Press Release, Wolff & Clark Expedition

2013/01/27

Something Else! Review – The Sweet – Desolation Boulevard Revisited Live

By glassonyonpr

sweet desolation boulevard revisited

Exclusive stream: The Sweet, “Fox on the Run” from Desolation Boulevard Revisited Live (2013)
by Something Else! Reviews
(Please visit the Something Else! Reviews website to access the stream)

The Sweet, as they prepare for a new 2013 world tour, have shared a live take on their classic track “Fox on the Run” with Something Else! Reviews as an exclusive preview stream.

This concert version is from the band’s new download-only release Desolation Boulevard Revisited Live, which finds the Sweet performing their gold-selling 1974 U.S. album — which combined freshly composed songs with key tracks from the earlier UK release Sweet Fanny Adams — in its entirety.

Desolation Boulevard would provide a breakout moment for the Sweet, as it became their first charting album in the states. It also laid the groundwork, original Sweet guitarist Andy Scott reminds, for subsequent bands that combined power pop with metal like Kiss, Def Leppard and Motley Crue.

[SOMETHING ELSE! REWIND: The Sweet’s ‘Love is Like Oxygen,’ their last Top 10 hit, showed that pop music could be both catchy and ambitious, melodic and still pseudo-proggy.]

Both “Fox” and “Ballroom Blitz” from Desolation Boulevard reached the Top 5, and they come alive again on this muscular new in-concert release, available for purchase below.

The Sweet is touring in support of last year’s well-received New York Connection. Scott is joined by Pete Lincoln on vocals and bass, Bruce Bisland on drums and vocals and Tony O’Hora on guitar, keyboards and vocals.

Concerts are set, beginning in February, for Poland, Austria and Germany. For more tour details, go here: http://www.thesweet.com/tour/.

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2 Comments | posted in Review, The Sweet

2013/01/25

Blastzone Online Interview with Dave Kilminster

By glassonyonpr

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Interview By Mike Wilkerson

MW: Please introduce yourself?

DK: Hi, I’m Dave!! I play guitar, sing, play keyboards… write, compose, produce…

I’ve played/toured/recorded with a variety of artists including Roger Waters, Keith Emerson, John Wetton, Carl Palmer, Guthrie Govan, Ken Hensley, etc… I’ve also taught guitar at several private music schools (including ‘The Guitar Institute’ & the ‘ACM’ in Guildford), recorded various instructional DVD’s (as well as a TV series!!), and transcribed, written and recorded over 200 articles for ‘Guitar Techniques’ magazine.

Oh, and I also won a guitar playing competition way back in 1991 called ‘Guitarist of the Year’, for the European magazine ‘Guitarist’.

MW: How did you get the gig as Roger Waters guitarist on The Wall Tour 2010-2012?

DK: Well I played lead guitar (and sang some lead vocals) for him on the ‘Dark Side Of The Moon’ tour (2006-2008), and so early in 2010 when I was in New York playing a charity event with Roger (for The
Alzheimer’s Association Rita Hayworth Gala), he asked me if I’d like to play on the ‘Wall’ tour.

MW: What was the biggest show you played on The Wall Tour 2010-2012?

DK: The biggest show was actually the final show in 2012, when we played on the ‘Plains of Abraham’ in beautiful Québec. There were over 70,000 people there!!

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MW: Where has been your favorite place to play on The Wall Tour 2010-2012?

DK: The whole tour was just so much fun, it’s really difficult to pick out any highlights… The gigs in Mexico were great, as the audience is always a little crazy!! Also I have very fond memories of the shows in Greece that were filmed for the live DVD… partly because of the red lighting on the audience, which looked incredible!! The two shows at Yankee Stadium were also amazing…

I guess if I had to pick a favorite it would be the last one in Québec, partly because we spent a week there before we played and it’s such a gorgeous place… with lovely people… and also we knew that it may be the last show ever, so it was an incredibly emotional evening…

MW: How is it playing with Roger Waters?

DK: I love playing with Roger!!! He’s a total perfectionist (like me), so we get on very well… We sound check before every show, and every sound check he’ll be tweaking certain elements… constantly trying to make it the best show possible… :O)

MW: How big of a rush is it to be up on that stage playing iconic Pink Floyd songs?

DK: Well that’s the trick… to try and be professional and keep it all together, when the little kid inside you just wants to scream and go “Fuck”!!!!! :O)) Yeah, it’s pretty intense sometimes…

MW: Did you like Pink Floyd before playing there songs on The Wall Tour 2010-2012?

DK: I wasn’t actually what you’d call a Floyd fan… although I’d enjoyed the songs that I’d heard… things
like ‘Shine On You Crazy Diamond’, ‘Great Gig In The Sky’, ‘Wish You Were Here’ etc really are amazing…

MW: Will there be a 2013 leg of The Wall Tour?

DK: Yes, there will!! The dates are already on Roger’s website http://tour.rogerwaters.com and also on mine, which is http://www.davekilminster.com/tour.html)… We kick off in July, and I really can’t wait!!! :O))

MW: What else are you doing other than playing with Roger Waters?

DK: I released my solo album ‘Scarlet – The Director’s Cut’ shortly before Christmas… and I also have an acoustic album due out in March called ‘Closer to Earth’, recorded with my good friend Murray Hockridge… both albums are already on iTunes, but I know that there are still a lot of people out there (me included) that like a physical CD. In fact, I miss LPs!!! Haha…

I’m also planning on going into the studio soon to start recording the follow up to ‘Scarlet’… I was actually booked in to start recording on the 10th December, but then the 12.12.12 concert for Sandy Relief in New York came up and so obviously I cancelled my plans so that I could contribute to that.

MW: What would you like to say in closing?

DK: Thank you for the questions… and please check out my music!! :O))

Source

2 Comments | posted in David Kilminster, Interview

2013/01/23

Something Else Reviews Interview with Jon Anderson

By glassonyonpr

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‘You get an instant feeling to sing’: Jon Anderson talks about his remarkable post-Yes resurgence
by Nick DeRiso

Four years ago, Jon Anderson was in the midst of a series of medical crises. You’d never know it these days, as the ex-Yes vocalist has emerged on a creative jag unseen across his legendary career.

Anderson suffered an asthma attack in 2008 — an issue that had been bothering him for as long as four years while touring with Yes. Only this time, the event escalated into respiratory failure, and Anderson was forced to spend several days in the intensive care unit. He also underwent multiple operations for pancreatitis that year, and even reportedly nearly drowned.

By the time Anderson had gotten his health back, Yes — the progressive-rock band he co-founded in the 1960s — had moved on without him. That left him to try to jump start a solo career that had gone completely dormant. Anderson’s last studio recording away from Yes had been The More You Know, from a decade before. He hadn’t even made a recording with his old band since 2001.

Those days seem very long ago now. Over the course of just three years beginning in 2010, Anderson has issued two studio recordings (The Living Tree, with former Yes-mate Rick Wakeman; and Survival and Other Stories), a live album (The Living Tree in Concert), a long-form composition (Open) and sat in with Marco Sabiu as well asDennis Haklar, among others.

And Anderson isn’t about to slow down. In a new talk with Something Else! Reviews, Anderson discusses a trio of on-going solo projects — including his follow up to Survival; part two of the epic “Open,” to be called “Ever”; and a sequel to Olias of Sunhillow, his solo debut from nearly four decades back — as well as the on-going collaborative spark he’s getting from the internet …

NICK DERISO: Let’s run down some of the things you’ve been working on. There’s the long-awaited sequel to Olias of Sunhillow.

JON ANDERSON: My son kept saying, “Why don’t you do ‘Son of Olias’?” He’s been saying that for 10 years. Over time, I have been compiling a lot of different kinds of music, relating to tribal energy, and I sort of felt like maybe it’s time to explain the next part of the story. It’s always been there in the back of my mind. I started sketching out the story, and putting together the music for it. I realized then that it wasn’t the same as it was all of those years ago. You have a different perspective about how to present music, and I want to do it visually. So, I’ve been working with a Polish animator, and another couple of people. It just takes time.

[ONE TRACK MIND: Ex-Yes frontman Jon Anderson talks with us about the twin inspirations of Tolstoy and Vangelis, and how mountains once actually did come right out of the sky.]

NICK DERISO: There has been talk of a separate, original solo album, as well. Haven’t you returned to working with Jonathan Elias, a songwriting partner going back to Yes’ Union album?

JON ANDERSON: We’re working on maybe a dozen really beautiful ideas, but it’s a slow process on how to present them. I was working with someone yesterday who is doing some orchestration, and another guy who is doing some rhythms. We want to make the project very entertaining, that’s what I am trying to go for. Again, things take time. It’s not like I’m thinking I have to hurry and get this done, because I’m going on tour — which was the way it was in the old days. You had to get it finished before you were on tour. That’s an advantage right now; I can take my time on projects. Maybe over the next 8 or 10 years, I can let them grow into long-form projects. You can do various projects, and work on them over time.

NICK DERISO: Will there be more extended compositions like “Open”?

JON ANDERSON: It was very important to do it, and I’m already working on another one. I have done all of the necessary sketches now, and I know how it’s going to sound and what the processes are. I’ll probably start it next month.

[SOMETHING ELSE! REWIND: Asked about the possibility of a long-hoped-for reunion with his former bandmates in Yes, Jon Anderson says: ‘We haven’t spoken in years.’]

NICK DERISO: “Open,” which recalled Yes at the peak of its powers in the 1970s, certainly signaled that you were ready to reclaim your piece of the band’s legacy.

JON ANDERSON: I think it’s logical that when you are in a band, you don’t want to go outside of it and make a record that sounds like the band. I don’t see the point. You want to do something totally different, which I did — and I still do. You can get into indigenous music, Irish music. All sorts of different kinds of music. You go out there and do it, and you hope that someone is going to like it. You can’t get into: “I’ve got to have a hit record.” What’s the point? You make an album, and you hope that somebody out there is going to enjoy it. I’ve learned, over the years, that it isn’t a process of “oh, it’s gotta happen this year. If I release the album, it’s going to be a big hit this year.” Like “Open,” it sells thousands of records, but it’s over a long period of time. Music is an endless thing.

NICK DERISO: Have you continued to work with collaborators via the web, as you so successfully did more recently on Survival and Other Stories?

JON ANDERSON: Right now, I have a total of three projects sitting around, trying to be finished. I’m working on one with some young musicians that I worked with on School of Rock. As you know, it’s easier these days, because you’re on the internet. You send Mp3s to each other. So that’s a project that’s going to be very interesting. It’s has that wild, a little bit crazy, young energy, when you’re working with younger musicians — because they’re not yet locked into any one style. They’re still trying to find a style, so you can help mold them a little bit.

[SOMETHING ELSE! REWIND: We delved into the largely unexplored modern era of Yes, focusing on post-1970s recordings like ‘Drama,’ ‘Union,’ ‘Talk,’ ‘Open Your Eyes’ and ‘Magnification.’]

NICK DERISO: Adding those new voices seemed like such an important part of pacing, of the variety, on your last album.

JON ANDERSON: You’re working with people who are sending you music which you haven’t heard before. It’s fresh, and so you get an instant feeling to sing — so that’s what I would do. I’m still doing it. I’m still working with everybody that I worked with on the album, plus other people, and I’m working on new concept ideas with each one of them. With Jamie Dunlap, we’ve written five or six songs in the last six months. He did a couple of songs on the album. His main job, really, is he makes music for “South Park,” and a couple of other projects on TV. I’m also working with people like the young musician (Peter Kiel) who I did “Understanding Truth” with, a guitar player out of Holland. He sent me some music about a month ago, and I wrote a song about my new grandson. So, maybe people will hear that in the coming months. I’m in touch with them all the time, so you never know what the next piece of music will be. When it comes, I’ll just be happy to add some ideas, and then eventually there will be an audience out there. We’re just trying to figure out the best way to get the music to them.

NICK DERISO: Will you release some of these things as stand-alone items, or will you wait until there’s an album?

JON ANDERSON: I don’t think I’m hearing albums. I’m hearing a combination of songs, I think. But I have to be careful how I do it. I could put out something every three or four weeks, and eventually it would be enough for three albums. I’ve got to decide how to do it, so that I get the best attention from the people who are interested in what I am doing. You can put it on your Web site, and then onto iTunes and Amazon for downloads, but we’re also thinking of putting something out on vinyl. That sounds cool. I’d like to do that.

[SOMETHING ELSE! INTERVIEW: Yes’ Jon Anderson goes in depth on his terrific 2011 solo release, and enthuses about the long-awaited rebirth of progressive rock.]

NICK DERISO: This has been such a period of creative rebirth for you. Could you imagine, at the lowest ebb when you were so ill, that all of this was in front of you?

JON ANDERSON: You just have to let it go, and get on to the next point in your life. Getting sick, you know, a lot of people do it. A lot of people go through things like that in their lifetime, so it’s no big thing, in so many ways. It happens. You’ve just grin and bear it, and then gather your energy for the next journey. I have to say, I’m having a lot of fun, doing so many different things that I enjoy doing musically. And, of course, writing is never ending. It’s just an endless procession of ideas.

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1 Comment | posted in Interview, Jon Anderson

2013/01/21

French Avant Garde Music Trio Sidony Box Release New CD Recorded By Magma/Gong Legend Venux Deluxe

By glassonyonpr

Sidony recto recadree

For Immediate Release

French Avant Garde Music Trio Sidony Box Release New CD Recorded By Magma/Gong Legend Venux Deluxe

Paris, France – Much to the anticipation of music aficionados around the world, French avant garde music troupe Sidony Box have released their third album ‘Sidony Box Rules’. Award-winner of the “Rezzo Jazz a Vienne 2010” showcase and selected for the AFIJMA’s “Jazz Migration 2011” tour, Sidony Box has earned its scenic reoutation through Europe and already released two albums acclaimed by international press. Sidony Box is back on stage with a luminous and heavenly third album recorded by Venux Deluxe, well known for his work with legends such as Magma and Gong, taking the sound of the ensemble to a new plateau in sonic expression. This album installs the power jazz trio in the tradition of its illustrious elders, while keeping the devastating energy that made the initial force of the band. Free electrons spinning in the same direction… Exploring musical boundaries with remarkable consistency by creating an imaginary artistic landscape, Sidony Box is now writing a new page of its history, becoming impossible to miss from now on!

The best way to present the music of this trio is probably to emphasize the state of mind in which it arose as well as its aspirations. Urgency and obviousness first characterize Sidony Box, which was created at the beginning of the summer 2009, not as a conceived project but more a happy consequence of an unpremeditated encounter. While the three musicians play for the first time together, a genuine sound and the will of a common musical direction intrude naturally. Far from the classically well-ordered styles, each individual of this band brings in its own musical identity to design rapidly a unique repertoire inspired by the contemporary world, blending with ease separate musical universes. From then on, extemporaneous feelings and a savant mixture of influences are expressed in the name of spontaneity. While guitarist Manuel Adnot’s reference artists are numerous and eclectic such as Deftones, Happy Apple, Sigur Ros or Radiohead; drummer Arthur Narcy is an ardent trance and “working sound” devotee, and alto sax player Elie Dalibert is more anchored in the jazz tradition yet naturally open to all sound cultures. De facto present here and there, pop accents, metal, or noise are always underlain by an improvised speech which is the foundation of their pieces. Their only motto is to play totally. All in all the credo of the trio is to play the music of the moment rather than to lock itself in a definitive style. The pieces are most often collectively woven from a written pattern to a band composition in which three individualities blend to a unanimous speech, to the sound of the band.

Says guitarist Manu Adnot, “Our new release ‘Sidony Box Rules’ is the result of all our work since the band’s birth in 2009. All music styles are played at their paroxysm: free jazz music, pop song. hardcore, electronics, post-rock… This is what we wanted when we started together; playing very different styles with only a trio formation, without bass. We looked also in a new way of thinking for us with more completely free improvisations; this time we really have left the things coming out naturally, and we took time to play again and again for getting out the best energy. This album is the results of all that; free way of thinking, free way of playing music, and a lot of pure emotion. Hope it will touch you too.”

Here’s what the press raved about Sidony Box’s previous releases:

“Their music, which blends shoegaze and modern prog-rock with jazz improvisation, feels expansive… With droning guitar and undulating waves of rhythm, the music is textured and layered, so much so that it sounds like a few more than three musicians…the trio draws on the aesthetics of certain rock bands – Radiohead, Tortoise, and Sonic Youth, in particular – as it constructs songs” – Boston Globe

“Sidony Box boasts a style that melds jazz, pop and hard, in-your-face rock, bursting with urgency – a blazing and obstreperous crew. Even when the band drifts, it does so with a certain intensity, conjuring images of a waning star emitting a cold, radiant electronic wave, on a drift through deep space, and announcing that Sidony Box is a conglomerate with an oddly metallic synchronicity.” – All About Jazz

“By the time this complex and challenging ride is over, musical categories lay in pieces on the ground.” – Something Else Reviews

“This French power trio dishes up a very satisfying blend of avant-jazz, prog-tinged rock, and free-ish improvisation, with wonderful dynamics, brilliant instrumental interplay, lovely melodies, and highly engaging guitar work by Adnot.” – Guitar Player

For more information: http://sidonyboxband.blogspot.fr/

To purchase Sidony Box – Sidony Box Rules CD: http://v2.seventhrecords.com/catalogue-ex-tension-33/sidony-box-rules-cd-dvd-1119.html

Youtube video: http://www.youtube.com / watch

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com

CONTACT BOOKING: reno.dimatteo@mac.com Anteprima Production 3 Rue Clairaut 75017 Paris +33 1 45 08 00 00

2 Comments | posted in Press Release, Sidony Box

2013/01/17

Blastzone Online Interview with John Lawton

By glassonyonpr

john-lawton_2188

Interview With Singer John Lawton Ex Front Man Of Lucifer’s Friend and Uriah Heep

Interview Done By Mike Wilkerson

MW: Please introduce yourself?

JL: Hi this is John Lawton ex front man of Uriah Heep and Lucifers Friend and various other projects….

MW: You got your start in Asterix in 1970. Why did you all decide to change the name to Lucifer’s Friend?

JL: Actually Asterix was a Lucifer’s Friend project recorded at the same time as the first Lucifers album, but with a different theme running through it and 2 vocalists…..

MW: Tell me about each of the following Lucifer’s Friend albums:

MW: Where The Groupies Killed The Blues…

JL: 2nd Lucifer’s Friend album, very progressive I thought. Several lyrics written by a guy called John O’Brian Docker buta very strong album, got into the Billboard chart which was very good for an unknown German band..

MW: Banquet

JL: My own personal favourite of all the Lucifer’s albums. Featured the brass section from the James Last Orch. Great songs only 6 of them, but great to record….A bit jazzy for some fans but it just showed how diverse we were….

MW: Mind Exploding

JL: Back to the rock roots and again a good album with some terrific musicianship from the band….

MW: Mean Machine

JL: After a time away from the band with Uriah Heep I rejoined the guys for this album which we recorded in England. Wasn’t the best work we have done, but still had some good songs on it and was unfortunately the last album with the original line up.

MW: Sumo Grip

JL: The last album that the original guitarist Peter Hesslein and I worked on. Again some great material but some say the album was overproduced and I tend to agree, but it was well received….

MW: During this time you were pretty busy because you would also sing for Uriah Heap from 1977 – 1979. How did this come about?

JL: After David Byron left Heep, they contacted some friends of mine who new my work from Lucifers Friend and my work with Deep Purple’s Roger Glover. I had sung for Roger on the iconic Butterfly Fly Ball concert at the Albert Hall in London. I received a call from Ken Hensley from Heep asking me to come to London for an audition. I got the job and the rest is history….

MW: Tell me about each of the following Uriah Heap albums:

MW: Firefly

JL: The tracks were already recorded when I joined, so it was a case of me learning the songs and putting my own style to them…Some great songs here including on of my favourites WISE MAN.

MW: Innocent Victim

JL: Back to a more rocky style for the band and a chance for me to write something. The single FREE ME became a big hit for Heep all around the world and took the album on to greater things….

MW: Why did you leave Uriah Heap after such a short time in the band?

JL: Many reasons really and too many to list here but basically musical differences. I think the guys had got the taste for commercial success after FREE ME and were consequently looking for the next hit. To my mind that is not what Uriah Heep were noted for. Songs like JULY MORNING, THE WIZARD, SUNRISE and songs of that ilk is what made the band different….

MW: You would go back to Uriah Heap in 2001 to do the live album The Musicians Birthday Party?

JL: Actually I went back to the band in 1995. The singer Bernie Shaw was having some problems with his voice so they asked me to do a tour of South Africa with them, which of course I did. The Magicians Birthday was a good gig with the original lineup including Ken Hensley….

MW: Do you think you will ever go and play with Uriah Heap or record with them again?

JL: I have learnt in this business to never say never J) who knows we have remained friends throughout the years and Mick Box and I collaborated on a Bulgarian Cinema Movie a year ago. Heep are very settled in their present formation and I can’t envisage my going back or them asking me, we both have our paths to follow.

MW: Tell me about each of the following bands:

MW: Rebel

JL: I was invited to go over to Germany to produce an album by the band. Unfortunately the singer they had couldn’t crack it in the studio, so they asked me to sing it. It turned out okay and opened the doors for future productions…

MW: Zar

JL: The same guitarist but different musicians in the “engine room” J) some really good songs on this album and we did do a couple of presentation gigs, but it was never going to be long term for me….

MW: Gunhill

JL: A band I put together with some friends to try and get back to what I started off doing all those years ago, ie playing songs that I liked and playing smaller clubs really just for fun…but we were very good I have to say J).

MW: the Hensley Lawton Band

JL: After so many years away from the music scene, Ken Hensley decided to make a come back. We put our differences to one side and played together at the Uriah Heep convention in 2000. The gig was recorded and we went out on the road together promoting the album and playing the good Heep stuff. It was never our intention to take it further than this and after 6 months we went out separate ways…

MW: the Lawton Dunning Project

JL: Myself and Steve Dunning from the John Lawton Band did a couple of acoustic gigs as a duo and it was so successful that we were asked to record an album which we did called STEPPIN IT UP. It was never going to be more than that and it was just a slight side step from the John Lawton Band.

MW: the John Lawton Band

JL: A terrific band with some great musicians and we recorded an album called STING IN THE TALE. We were together for about 2 years and did lots of gigs abroad aswell as England but the guitarist decided to go back to Canada and my buddy Steve Dunning developed some health problems, so we called it a day…pity but there you go.

MW: OTR – On The Rocks

JL: I met with ex Focus axeman Jan Dumee who played me some of his new material which sounded very exciting for me. He had written most of the music for guitar, so it was a challenge to convert the melodies for vocals. The musicians were from Brazil and the basic tracks were recorded in Sao Paulo. I did the vocals in a studio in Holland and we did plan to take the album out on the road. However the lack of promotion from the record company didn’t help, so we had to let it slip.

MW: How did Diana Express – The Power Of Mind come about?

JL: I have done a lot of work in Bulgaria over the past few years and one of my musician friends introduced me to a guy called Milen Vrabevski who is actually a doctor. Milen had written and produced an album with some Bulgarian musicians called DIANA EXPRESS who had been a very successful band back in the 70’s. Milen asked me to have a listen to this album with the idea that I would sing it in English…. I liked the album a lot, the songs were very well played and produced, so after looking at the English lyrics and thank god they were not a Google translation, I decided to do it. It’s a great album and just goes to show that there are some excellent musicians on the other side of the world J)

MW: What do you have planned for 2013?

JL: We have some new material to sort out for the next album, but right now the plan is to get out there and present POWER OF MIND live….

MW: What would you like to say in closing?

JL: Happy New Year to all the readers…and take care

Source

2 Comments | posted in Interview, John Lawton

2013/01/15

The Morton Report Interview with Jon Anderson

By glassonyonpr

jon

A Short Conversation with Jon Anderson
Jon Anderson once fronted the popular rock band, Yes, and hopes to again.
January 11, 2013
By Matt Rowe, Columnist

To talk with those who journeyed with you, in their way, as you made your way through this thing called life, well, that’s special.

Being a Yes fan, I followed much of their music as I made my uncertain way through my teens. They were unlike any other band I had heard. And they still are. So when I discovered that Audio Fidelity would reissue Close to the Edge, the enduring 1972 classic that, as Jon Anderson so eloquently puts it, “…changed the musical landscape a little at that time,” as a high-resolution Super Audio CD (SACD), I became excited.

It’s not every day that a fan can get one of their favorite albums remastered in the highest quality. It has the potential to become a whole new experience.

I sought out an opportunity to talk with one of the architects of Close to the Edge and other Yes classics, Jon Anderson. What follows is a short—and memorable—conversation I had with the writer and voice of all those songs.

Yes has been an important part of not only my life, but many others as well. Part of that is the distinctive voice that powered many of those great albums and songs. Another part of the allure is the great songs, their lyrics, and their music that you had a deep part in helping create. Let me take this moment to thank you on behalf of myself and a wealth of fans that feel the same. We’re deeply grateful for Jon Anderson.

You were a part of the original configuration of Yes that did not have Steve Howe in it. Somehow, in strange ways, that seems inconceivable. The legacy of Yes owes much to the collaborative talents of both you and Steve, lyrically and musically. How did that partnership begin, and how did it evolve?

When Steve joined the band, we became inseparable. His knowledge of the guitar was amazing to me, and it was very easy to to sing melodies and write lyrics with him at that time. We were free spirits in a way.

As time progressed, so did we. He would come to me with ideas of a song. I would help develop the songs and add my ideas. That’s how we were able to write longer format songs, like “And You and I” and “Close to the Edge.” Again, with his guitar knowledge, I would ask him to try ideas out. He would happily follow my thoughts, and there it was, ‘magical’ moments that seemed to last forever.

The Yes Album and Fragile are excellent albums. But many, myself included, have a profound love for Close to the Edge. Would you tell us what ideas went into the creation of that album?

I think, first and foremost, we had a connection to create a very large work. Steve sang to me, “…close to the edge, down by the corner…”, and I sang, “…down at the end, round by the river…”, and off we went creating the verse and chorus to the song. It was then that I thought of a sort of ‘chanting’ intro, even starting with some sound effects, like the cosmic ocean, diving into a guitar-based solo intro, then into the ‘chanting’, “a seasoned witch,” etc.

After creating the first half of the song, jumping from a verse-to-chant-to-verse-to-chant sort of thing, we needed a middle section. Again, I created a cosmic ocean of sound, and we needed a song. So Steve played me these chords, and I sang, “I get up, I get down”, and “two million people barely satisfy,” etc. Steve then remembered that he had written a song on those very same chords, which he started to sing, “in her white lace,” etc. And lo and behold, the two songs worked together. The rest of the song needed Rick’s solo building to the chant once more, and then the final verse. We all felt that we had changed the musical landscape a little at that time.

There are few Yes albums that I do not revere as much as others. Those include releases without you in them. Despite the absence of Rick Wakeman, I have a deep love for Relayer. I also deeply appreciate the whole of Going for the One. Do you have any Yes albums that you value over others?

Fragile, Close to the Edge, Tales from Topographic Oceans,Relayer, Going for the One, especially “Awaken” [from that album], 90125, Talk, Magnification. All of them were very worthwhile creations.

Your first solo album, the brilliant Olias of Sunhillow, showed Yes fans that there were facets of the band that could be enjoyed outside the confines of Yes. Even so, it is difficult to escape the majesty of the Yes sound. CouldOlias of Sunhillow have been a Yes album?

Not really. I was very committed to this idea of ‘solo’, creating a work by myself. Like going to a musical university and learning about my potential.

I have followed and enjoyed your work outside of Yes, including your collaborations with Vangelis, as well as your film contributions (“Loved by the Son” with Tangerine Dream). All of your solo albums after Olias of Sunhillow take on various musical styles. Do you have a side that you particularly enjoy exploring musically?

I always feel the need for adventure when I create an album. That’s why they are all so different.

I understand the sequel to Olias of Sunhillow is underway, with you playing all instruments? Can you tell us about this album?

Again, it was just like going to school every day, and being guided by ‘spirit’ to make this enormous musical project come to life. It drove me a bit crazy, but in the end, it was amazing to me that it worked so well.

Your Three Ships Christmas collection is an essential for my holiday enjoyment. Did you record other standards that didn’t make the cut for the LP?

Not really. I wanted to try something different, like the jungle making music, and songs for spirits, it was such a fun album to do. Maybe one day I will sing the carols I sang at school.

Will there be a time that you re-record popular Yes classics, perhaps with Rick Wakeman?

Maybe some acoustic versions for fun. Rick and I already perform those songs on the live albums.

Will there ever be a chance at reconciliation with Yes that could result in a new tour, perhaps even a new Yes album?

I would love that to happen!

Are you aware of the reissue of Close to the Edge in the audiophile format SACD coming from Audio Fidelity?

Yes, very cool!

It will be presented in stereo, however many love a multi-channel effect. If such technology were available to you back when your albums were created, would Yes have widely availed themselves of it?

I’ve always wanted to record in surround sound, still do.

Assuming that you have heard the DVD-Audio multi-channel of Fragile released some years ago by Rhino Records, do you have any thoughts on how it made the album sound?

Not really. I just remember that great feeling I had at Advision Studios when we recorded it.

Have you heard the SACD version of Close to the Edge that was mentioned earlier? If so, what are your thoughts on it?

I don’t have it, sorry.

Thank you for your time. I cannot tell you what a pleasure it was to communicate with one of the greats. Thanks again for your immeasurable impact on my recognition of beauty in song and lyric.

My pleasure.

If the thought of hearing Close to the Edge in great clarity appeals to you, Audio Fidelity will release the intended SACD version on January 22.

Source

2 Comments | posted in Interview, Jon Anderson

2013/01/13

Singer/Songwriter JL Stiles Presents The House Of Murmurs

By glassonyonpr

jl stiles presents house of murmurs front cover

For Immediate Release

Singer/Songwriter JL Stiles Presents The House Of Murmurs

Jimmy Reed, John Hurt, Ted Hawkins…JL Stiles? Well, maybe….

San Francisco, CA – “If it weren’t for his appearance, listening to JL Stiles’ gritty, twangy voice, you’d swear you were hearing an old bluesman like the late Ted Hawkins, to whom he’s been compared,” LA’s Music Connection magazine touted about singer/songwriter JL Stiles. In many ways, the essence of this extraordinary music artist, along with his unique songwriting and blues guitar style, is his distinctive soulful voice – a voice that harkens to the days of classic blues and jazz crooners. In regards to his guitar prowess, says Performing Songwriter, “Stiles lays into his 12-string guitar with the vigor and ambition of a streetwise punk who just discovered Leo Kottke.” And now with the release of his highly anticipated new album ‘JL Stiles Presents The House Of Murmurs’, he reaches a new plateau in his exploration of blues, pop, and psychedelic folk musical territories.

Says JL Stiles about his new album, “I’d like to play like Blind Blake. Never will equal the pure joy of the legend, but I’ll die tryin’. My biggest influences as a player and singer come from Blind Blake, Mississippi John Hurt and Jimmy Reed. This CD also includes a heavy dose of Maybelle Carter’s guitar style, essentially, though the songwriting is different so you might not peg it as such. The song ‘Beside My Grave’ is really what started the whole album idea and the guitar part is based on a Blind Blake thumbroll. I did the track in my apartment very late at night and figured it to be a demo because my equipment is awful, but regardless of what or where I recorded after, it never had as good a feel as on that night. The piano was out of tune a little and I used the wrong mic, go figure. For the rest of the stuff my apartment would not do. I wanted a producer to to create an essence to the sound, to be the other ears beside my own in order to access sounds I wouldn’t ever consider. So I sent some demos to Etienne de Rocher and he agreed to produce the album. We started out in Athens, GA, recording vocals and guitar live off the floor with Andrew Borger on drums in a house-come-studio called The Bakery. Had a lovely time that weekend, so the whole thing started on the right foot. I love the sounds of the late 1960’s recordings so, in a way this CD is a re-routing from that juncture in time.” The album is dedicated to Seth Koller, a student of JL’s who died in an accident at the age of 16. The song ‘Movin” is about him. He also dedicated the album to Mike Morrison, who died recently at the age of 70 from unknown causes.

Here’s what the press have been raving about JL Stiles:

“Remember the name JL Stiles. The San Francisco via New Orleans songwriter is the real deal.” – Stan Hall, The Oregonian

“Catch him while you can…JL Stiles is an artist on the rise…brings a modern polish and quirky writing to his songs.” – Michael Shapiro, North Bay Bohemian

“While his blues chops may have gotten him through John Lee Hooker’s door, it’s the introspective harmonica and guitar ballads that best show off his songwriting…coolly crooned in between harp licks over homespun finger-work on a 12-string acoustic.” – SF Weekly

“His exquisite guitar playing is like falling in love and his songs are treasured mementos with words to keep you pondering.” – Char Ham, Southland Blues

“Stiles plays with such a quiet unassuming style that at first you don’t realize how good it is…clearly he’s done something right.” – Genevieve Williams, Blues Revue

JL Stiles is a unique animal who for the first time is merging two totally different fields of truth seeking: Ragtime and higher mathematics. Both of these disparate strands filtered through a lifetime on the run, searching for a universal truth from psychedelic Brazilian forests to US college campuses and further into his own unique vision. JL Stiles has a mind that sees music in a similar way to how J.S. Bach saw music. However, Bach never played the blues.

As for the blues: JL has opened for many a blues great, including BB King, Etta James and JJ Cale. Surprisingly, looking at such a history, most of his originals would not be considered blues or folkways yet Maybelle Carter, Blind Blake and the rest of his honored forebears haunt everything he does, including his most recent song-of-the-ages release, ‘JL Stiles Presents The House Of Murmurs’, on which producer Etienne de Rocher (Sean Hayes) plied his remarkable talents. It’s a bit confounding to box a one-off like JL, so the artist decided to mostly reserve his stunning rag time and blues guitar madness for his other band, Hobo Paradise, which recently tore the house down at the legendary jazz club Yoshi’s in San Francisco. In support of his new CD release, this spring JL will embark on a fully backed national tour over two months covering most of the US and shooting into Canada as well. Says JL about his new album, “I wanted to have an overall feel and arc to the CD as a complete listen straight through. Love, death, celestial connection and fighting the tyranny pretty much covers the whole album, but the album fits together by going from personal stories to epic stories and back to personal.”

To purchase JL Stiles Presents The House Of Murmurs: http://jlstiles.bandcamp.com

‘Beside My Grave’ video: http://m.youtube.com/watch?v=sPDNOqqyWjI

For more information: http://www.jlstiles.com
Facebook: http://www.facebook.com/jlstileshouse

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com

2 Comments | posted in JL Stiles, Press Release

2013/01/11

UK Rock Legends SWEET Revisit Hit Album ‘Desolation Boulevard’ With New Live CD

By glassonyonpr

sweet desolation boulevard revisited

For Immediate Release

UK Rock Legends SWEET Revisit Hit Album ‘Desolation Boulevard’ With New Live CD

London, UK – Hot on the heels of their recent critically acclaimed album release ‘New York Connection’, UK rock legends SWEET have released a new live CD only available by digital download. Performing the band’s most famous and influential album from 1974 ‘Desolation Boulevard’ live, SWEET’s ‘Desolation Boulevard Revisited’ recaptures the album in concert with all of the raw energy that can only come from a live performance. Originally titled ‘Sweet Fanny Adams’ in the UK, the 1974 US release of the album, re-titled ‘Desolation Boulevard’, was a turning point for the band featuring, for the first time, more of a hard rock sound. The album yielded classic hits such as ‘Ballroom Blitz’, ‘Fox On The Run’ and ‘The Six Teens’, catapulting the band to international stardom!

Says original member Andy Scott, “SWEET’s ‘Desolation Boulevard’ album was groundbreaking back in 1974 and proved to be a major influence on soon to be famous rock bands such as Kiss, Motley Crue, Def Leppard and many more. The album was a tightly produced collection of Power Pop Heavy Rock Radio Friendly tunes that still sound great today. This was the album that accelerated SWEET into a Major Headlining Touring Band in the ’70s, a testament of anyone who saw the band ‘live’. Several of the songs from the album have been covered by other artists which pays true homage to a great band. Now in 2013 we have ‘Desolation Boulevard Revisited’. A ‘live’ album release, almost 40 years on from the original but sounding as fresh as the day the songs were conceived. This is a ‘must’ for SWEET fans everywhere!”

“Without The Sweet there would not have been a Kiss”
GENE SIMMONS

“Mötley Crüe wanted to be The Sweet”
NIKKI SIXX

“The Sweet are the band that I wish I had been in”
JOE ELLIOTT, DEF LEPPARD

With worldwide album sales of more than 55 million copies, SWEET have notched 34 Number One smashes across the globe as part of a run of timeless hits that includes ‘Blockbuster!’, ‘Hell Raiser’, ‘The Ballroom Blitz’, ‘The Six Teens’, ‘Action’, ‘Fox On The Run’ and ‘Love Is Like Oxygen’. Seen on Top Of The Pops on what felt like a weekly basis throughout the 1970s, their über-harmonious, multi-tracked guitar work and layered production was to provide inspiration to other acts such as Queen, the Electric Light Orchestra and, in later decades, Def Leppard, Mötley Crüe and The Darkness.

SWEET are a National Treasure, British at the core and a rock music phenomena that has taken every continent by storm for more than four decades. The golden thread that links the past through to the present and into the future is Andy Scott. His determination to maintain high standards with the band’s musical legacy and touring is legendary. The band today has an illustrious pedigree recreating “live” the high energy and soaring vocals associated with the SWEET sound that is the band’s trademark. SWEET are Andy Scott – guitar and vocals, Pete Lincoln – lead vocals and bass, Bruce Bisland – drums and vocals, Tony O’Hora – guitar, keyboards and vocals. 2013 sees SWEET commencing their ‘NYC World Tour’ in support of their latest smash studio album ‘New York Connection’. The tour kicks off in Europe in March 2013, with more dates in other territories to be announced soon.

To purchase SWEET – ‘Desolation Boulevard Revisited’ (digital download only):
https://itunes.apple.com/us/album/desolation-boulevard-revisited/id582459152
http://www.amazon.com/Desolation-Boulevard-Revisited-Live/dp/B00AFITEWC/ref=sr_1_1?ie=UTF8&qid=1357380547&sr=8-1&keywords=desolation+boulevard+revisited

For more information: http://www.thesweet.com

Press inquires: Glass Onyon PR, Billy James, PH: 828-350-8158, glassonyonpr@gmail.com

1 Comment | posted in Press Release, The Sweet