2011/12/28

Austrian review of The Living Tree In Concert Part One

By glassonyonpr

The two legends YES Jon Anderson and Rick Wakeman have been 2010, “The LivingTree” album released. Then it went tremendously reduced to pure minimalism if we like, on Anderson’s unique voice and Rick Wakeman piano, that’s it. Have except that the two also various YES Classics (four to be exact) installed in their 2010 live set recorded in Englandwith – not much different it is with “The Living Tree In Concert Part One”.

But even here only dominated the piano himself and Mr. Anderson, at times dreamy deep under the skin of two continuous progressive rock legends, two veterans, two exceptionalmusicians, who – as you said, at least – are blind. Apart from the “Living Tree” material (stand out in which the two great “Morning Star” and “23/24/11”), it is mainly the “Fragile”rag “Southside of the Sky,” which this deliberate reduction to the essentials did damn good.

By the way: On the basis of the subtitle may be speculated to a decoupling of this second live tour, rumored to be with material from the U.S. foray by Anderson / Wakeman.

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2011/12/20

ANDERSON / WAKEMAN – THE LIVING TREE IN CONCERT PART ONE

By glassonyonpr

Together in search of the truth, the key to happiness and the meaning of our existence, no simple sounding task, but when two hearts beat as you stand very far. This is certainly the case with the brilliant musical duo Jon Anderson and Rick Wakeman. Already at the world famous prog-rock band Yes were alchemists as they left their words and sounds coalesce into songs such crawling under your skin like a cloud floated into another cosmos.Published in 2009 on their album “The Living Tree” you heard all that wear anything but sit on their formula. Today, they plunge us into a live edition of the tour accompanying the album, recorded under the name “The Living Tree In Concert Part One”. With only the unique timbre voice of Jon Anderson, a warm-sounding classical guitar and the master keys of Rick Wakeman, this sounds totally stripped down versions of old and recent songs very subtle. It’s a wonderful album full justice to in this Christmas period and puts more emphasis on inner strength that emanates from each song.

Since 1971, the masterpiece “Fragile” from Yes, strings together the duo Anderson / Wakeman successes together with gems like “Close To The Edge”, “Tales From Tropografic Oceans” and “Going For The One”. Despite the huge success it was not always Peis and quiet inside Yes and walked them so many times their own artistic paths, but the link was forged between the duo and united them in 2006 as a tour in which both his own work as Yes classics covered were. The crowning glory was put together with the release of their “The Living Tree” album, this live album actually and the unfulfilled promises that were made then. When the duo assured us some old Yes classics recast and placing on the album, but eventually it was decided to only new songs. Today, however, the fans of “The Living Tree in Concert Part One” to indulge a series of successful operations of their known work, without calling into the new songs, because there are again some highlights from that ensure highlights of the album. However, if you Jon Anderson’s delightful series of ascending guitar “And You And I” from their smash hit “Close To The Edge” is heard, and by the subtle play of Rick Wakeman synth, you are like old fan immediately sold. Almost seamlessly connect, new songs like “Living Tree” or the absolute top romantic waltzing “The Garden”, combined with piano and synth work, with the old classics. Surprises holds, the two also in store for us as a summer reggae adaptation of “Time And A Word”, a more subdued version of the otherwise strong “South Side Of The Sky”, where crackling voice of Jon Anderson some wear shows in the higher echelons voice, while in “Long Distance Runaround”, another classic of the same successful album “Fragile”, opt for a more sensitive, baroque editing.

Do you want something unique in your home to this peaceful Christmas day then you should look no further than “The Living Tree Live Part One” of the illustrious duo Anderson / Wakeman. Their timeless music brings you into this subtle musical framework immediately in the right atmosphere and many guest will be amazed at the Christmas table, overloaded and serenity. We look forward to the second part of this series.

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2011/12/18

Interview/Review: Janet Robbins ‘Song of the Gypsy Tree’Seductive & Magnificent

By glassonyonpr

In the world of mundane so-called superstars that repetitively get shoved into our subconscious, it’s truly invigorating to be absorbed by an emerging and untainted virtuoso. She’s Janet Robbins. An inventive and enchanting songstress, who composed, produced and performed all the instrumentation on her latest masterpiece, amply titled, Song of the Gypsy Tree. The CD projects an eclectic mix of sounds, imagery, and energy that embraces the mind and spirit.

Janet Robbins grew up in a Nashville household that included legendary dad, Marty Robbins. Robbins was an illustrious country & western music entertainer with numerous hits including several that reached the pop charts. One of Robbins most memorable tunes was “El Paso,” a #1 chart topper on both the country and pop charts. Marty Robbins was respected and emulated by legendary artists such as Elvis Presley, Frankie Laine, Johnny Cash, The Grateful Dead and The Who. Marty Robbins was also a multi-instrumentalist performer.
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Janet Robbins was told not to follow in her famous father’s footsteps by her dad. According to Janet, Marty Robbins kept his personal life private, not wanting to expose his family to all the glitz of show business. And she admits that she rarely got to see him perform. Janet stayed away from music for the first half of her life and was not a fan of country music. Instead at an early age embraced, The Doors hypnotic single, “Riders on the Storm.”

Janet would soon be captivated by artists such as Yes, Pink Floyd, Jeff Beck, Led Zeppelin and ambient music pioneer Brian Eno. Janet was also influenced by classical greats Chopin, Beethoven, Mozart and Dmitry Kabalevsky. Robbins music is categorized somewhere between progressive/ambient/ and experimental. But she has an indefinite talent that could easily embellish any existing genre.

Robbins graceful vocalization and entrancing orchestrations can easily become a motion picture soundtrack. “As In Winter,” a magnificent and complex piece, thrusting the mind into wondrous journeys. “November,” is a haunting superlative blend of piano and vocals. “Sparks,” is a powerful anthem of love for the planet.

Janet Robbins impressive debut album titled, All the Worlds was released in 1998 with delightful similarities to Song of the Gypsy Tree. Robbins followed with Carrying the Bag of Hearts Interpreting the Birth of Stars, a (3) Volume CD instrumental release recorded by Janet using her home studio. This mystifying compilation of ambient sounds will soothe the psyche and stimulate the senses. Robbins never ceases to amaze.

I had the wonderful privilege of speaking with Vocalist/Songwriter/Multi-instrumentalist/ Producer/ Janet Robbins last week from her home in California.

Ray: Janet thanks so much for being on the call today. When I received your CD, I was instantly persuaded by the artistic front cover and your Stevie Nicks-like pose on the back cover. I gave it an immediate listen and then became totally captivated. So I checked out your Facebook page and noticed that you and I were only (2) days apart in birth. (Same month and same year) We’re both an Aquarius. Then I began to feel a connection.

Janet:“How cool is that! Have you ever had your chart read?”

Ray: No, I never have but would really love to.

Janet: “I read that’s why I mentioned it. I had the fortune to study with someone who is gifted and did it for all the right reasons, assisting people and not sort of a fortune telling kind of thing but a strong spiritual grounding in her kind of teaching so I learned and love the stars.”

Ray: And it’s apparent in your music.

Janet: “Yea, it shows on some of the instrumental stuff (Carrying the Bag of Hearts interpreting the birth of Stars, Volumes I, II, III) before this last CD.”

Ray: After listening to Song of the Gypsy Tree, I wanted to listen to your debut CD All the Worlds and could only get bits and pieces from Amazon. What I heard was also truly amazing and similar in ways to your latest release. But I have to say, Song of the Gypsy Tree hit a home run for me. I can easily see it as a soundtrack for a movie.

Janet: “That’s interesting because music to me is so visual and as well as the music before Song of the Gypsy Tree which was the sort of non vocal or non lyric music. It’s very visually evocative and in fact what I’m working on right now is putting together an installation and working on creating visual loops to work with sounds and music. I’m glad you said that because I see the placement of the music having more of a home with film.”

Ray: There are many novels that come to life and make a lot more sense once they become movies. Some stories need that visual to explain the characters and the plot.

Janet: “Yea, well Blade Runner. I’ve been watching Blade Runner again a lot lately. And all the commentary that came from Philip Dick’s book.”

Ray: Your bewitching composition “November” had hints to the soundtrack of one of my favorite movies, The Mothman Prophecies. The music remarkably blended into the suspense of that motion picture.

Janet: “I’ll have to check it out, I’m on a big film kick right now renting and watching films. Yea, I’m visually inspired anyway. I just made this move from North Carolina back in the spring and I was on the road in my RV for four months and just with the transition of being here it feels right for me to combine visuals and audio, and being inspired by great film right now. Listening to some of the commentary and how did they shoot it and what did they do with the lighting here. I tend to have a lot of analogue and Blade Runner was like all people and analogue and just some of the things they employ to create their effects were so amazing and such a draw forcing people into true creativity and desperate attempts to get what they needed to do… genius reveals itself and I love that, I love seeing that and am very inspired by that.”

Ray: Janet, what inspired you to create the Song of the Gypsy Tree album?

Janet: “I don’t know of a particular inspiration except for my affinity with nature and my respect and awe of what we’ve been given as a planet and some of the things we do to it. But I wanted to be more in love with the things I’ve been writing about as opposed to say what was wrong with something.”

Ray: Do you try to convey a certain message in your music to your audience?

Janet: “For me, I come around the back door, things surprise me, and I usually screw up when I try to do something with my head, when I try to go at it from the front door and try to create as a result of an idea about how something might be or sound. Although that’s always there to some extent, if I can be in a little more receptive space then I think I get to a truer voice. And then whatever that message is, if I can get myself over to the music and if there’s a message there then I think it’s probably a truer message. If I try to relay a message specifically I would get preachy and I can do that, but I try not to. (Laughing)”

Ray: Something has to spark that creative energy before writing those beautiful songs. Mark Lindsay (Paul Revere & the Raiders) told me that he does most of his writing while he takes his long walks in the morning.

Janet: “I’ve always lived near nature. I have to be in the trees and live near the trees and I go out and talk to the trees, I hang with them, I write with them. And it isn’t just trees, a great rock, a good view of the water, lake, or the river. But trees I think especially. I have been on the east coast since 2000, but a couple of places that I’ve lived, in New York and then in Asheville, I was fortunate to have lots of trees and I had acreage up in Woodstock and had these amazing old trees and in Asheville as well. So I was able to go out and spend some time and hang with them and just felt the need to write at that point.”

Ray: I’ve talked with many artists who seem to live life according to the lyrics of their music. One artist who comes to mind is Jon Anderson of Yes. No matter what trials and tribulations life brings to him he remains positive and seems to have a grip on life. Your music is very positive like Jon’s; do you feel that you have a grip on life?

Janet: “I hope so. I have to have a loose grip on life. I’ve been fortunate in ways in finding instruction, or people who I felt were helpful in some sort of discovery around life. I’ve always been more interested in the more mystical side of things. Being here, being on the planet, and developing a relationship with nature as well as having my head in the stars are important to find footing. I’ve had some great teachers and have a pretty good relationship with myself and life and trying to cultivate what I think is possible. I don’t think we were meant to live miserable lives here but I think a lot of humanities stuff has created a pretty miserable place for a lot of people. And I don’t think that’s how it has to be. I think some pretty horrible things might continue to happen but at the same time that’s not what we have to create, it’s pretty much up to us.”

Ray: You played all the instruments on Song of the Gypsy Tree, shades of Todd Rundgren, and you recorded the album at home.

Janet: “Yes, the instrumentation, I used Logic in my studio and a lot of different samples and loops that I’ve made and manipulating sounds and changing sounds and recording live instruments but usually out of character, you would never recognize the guitar that’s on there or the autoharp that’s on there. And Kevin Bartlett was great fun to work with in regards to that. I wanted someone to help me out with the vocals, to record my vocals, because I was going to be way too close to it. We had fun in recording some things, like I have an old Vox electric guitar from the 60’s and we used an Ebow on it and mixed that with an autoharp on “Egypt” and things like that. So that was a lot of fun to create sounds that way and most of it was me using the keyboards. I’d send templates up to Kevin, he was in New York, and he’d send some audio files back and we’d work that way.”

Ray: I noticed at the end of the title track, “Song of the Gypsy Tree” you did sort of a backwards track or reverse tape effect like George Martin used with The Beatles.

Janet: “(Laughing) I know what that was, yea. It was a great sound I just stumbled on that. I was playing some manipulated sound and then I slowed it down and I’m not sure if I actually reversed it though. I mean it was a great sound but it was just kind of there and it was like wait a minute this should go here. It was assembling in a collage sort of way. It was just one of those blissful little sounds, very satisfying, and it sounds like a tree. That little sound has soul and that could be in my head and that sounds like a tree… in my world.”

Ray: Didn’t your dad create a sound accidentally, I think it was during the recording of “Don’t Worry” the sound was created by a faulty preamplifier and he decided to keep it in the recording.

Janet: “Yea, it was the original fuzztone. I believe a tube went out and he said keep playing because he liked the sound. They wanted to record over it and he said no we’re keeping it, he liked it. And that was credited for being the first fuzztone. He was a real pioneer and did a lot of things like that in his life.”

Ray: Janet, you took a completely different direction than your famous father didn’t you?

Janet: “That wasn’t my world and he kept it very separate growing up and I never cared for being in Tennessee, it wasn’t my world and it wasn’t my music although I didn’t know what my music was, that came much later, but I think just that sense of pioneering and discovery is strong.”

Ray: I’m going to read a lyric for you now. “We make up songs about Tesla’s ray gun building rocket ships for frogs in astronaut suits.” Talk about this lyric in your song “Egypt.”

Janet: “Well, I’m a big fan of Tesla and his ray gun and when I was little we use to pretend to have ray guns. But that was actually a pretty literal reference because I would catch frogs and try to dress them up. (All laughing)”

Ray: You actually grew up listening to mostly progressive rock music right?

Janet: “YES, Pink Floyd, Led Zeppelin, Jeff Beck, and that’s what got me through high school. When I was around 11 or 12, I carried around The Doors “Riders on the Storm” 45 record.”

Ray: Who were some of the women vocalist that you admired growing up?

Janet: “Bobbie Gentry. Wow I haven’t thought about her for a long time until recently, a couple months ago when I went online and played a You Tube video and I said, “Oh my God these were such fabulous songs!” Bobbie Gentry, “Ode To Billie Joe” and I think for the soul, Aretha Franklin.”

Ray: I would have thought at one time in your life that someone would have approached you to record a country album.

Janet: “Not really, I’ve been away from that world for so long and never was in that world. The truth is I wasn’t. Again, he(Marty Robbins) kept it separate. And I left early, I left Tennessee when I was 18. I was kind of out of there and then my dad died. He was only 57 and I was like 23 at the time. And I never lived back in Tennessee again. My brother is ten years older and he was in the business, he still lives there and is much more of a southern boy and that’s more his world. So in a way it kind of created a little bit more of a buffer because I was pretty much out of the scene.”

Ray: I’ve got to ask, being brought up by a famous dad, did he ever bring to your home any of his famous friends when you were little?

Janet:“I see pictures of before I was born and he may have brought band members over to the house but whatever happened after I was born, like nobody came, it was very separate. I was born in 1959 and “El Paso” was written in 1959 and it was right after that he kind of shot into a bigger audience. I think that shifted things and also his private life, he was a notorious private person. And I have that too, I don’t have his public persona. He had a public persona and he had a private life and he didn’t want the two to mix. My mother was an evangelical and a very different character and so it was a strange mix. And I think got stranger as the years progressed. But they stayed married, it was just that his world was a different world. But he in that world was also known as a loner. He wasn’t a drinker, smoker, he didn’t live that country life. He was more the outsider cowboy loner guy. So he had that reputation within the community as a very private individual, fun to have around but private, and didn’t bring anybody home. It’s interesting because a lot of what I know is by stories from other people. And I know Johnny Cash or Roseanne use to say that they had one of my dad’s albums on their record player at all times and yet I never meet these people. And so it was odd. I didn’t see my dad perform till I was 19 and that was in Florida.”

“But he and I were a lot alike in funny ways, we mirrored each other, and I think it bothered him in some ways. Because he saw the Gypsy in me and I think it scared him a little bit. He had very few talks with me about life, or a career, or anything, but one of the things he said was, “Whatever you do… do whatever you want to do, I don’t care what you do, but don’t go into the music business.”” (All laughing)

Ray: And it stuck… until now. It sounds like he was a pretty cool dad though.

Janet: “He was a character, sometimes he didn’t know about fathering, I think that confused him, but he was a good person. And he was a good provider. He wanted to provide for his family and I think he had all good intentions.”

Ray: I did some surfing around the internet looking for additional music by Janet Robbins and heard a great progressive piece that sort of rocked from your debut album, All the Worlds called, “To see You Again.”

Janet: “I love that song, I haven’t heard it in years. I was living in Los Angeles at the time and it was certainly reflective of that time period in LA. Even though it wasn’t a rock album it went more in that direction and the guitar player that I worked with who helped me put that album together and produced that album, he was just a phenomenal player and still is but Greg Montana is his name, and we got such a great sound.”

Ray: I can see you collaborating with so many great artists… perhaps Tony Levin, Billy Sherwood of Circa who is also an awesome producer and of course the great Brian Eno. I can see you on a David Gilmour or Ian Anderson album as well. Have you considered collaborating with other artists?

Janet: “It is something that I’m open to right now. Yea, there’s a force behind it, some kind of kinetic energy. And because I’ve worked so much on my own, I know what I can do on my own, but when you’re around other people you have a great creative connection, it’s pretty miserable if you don’t and you’re trying to put something together, but if you have a strong connection with somebody, that’s a completely satisfying experience in a whole different way than working on your own. And so…I’m into it.”

Ray: So what’s the next project that you’ll be working on Janet?

Janet: “The one that I’m working on right now is moving to this audio/visual direction and I’m looking to have an installation in San Rafael for the month of May and what the finished product would be is… I do think I will have a DVD of this that would probably be more towards the end of next year.”

Ray: I’m looking forward to it. Janet thank you so much for chatting with me today, it’s been a real pleasure. I’ll close by saying that your music is charming, inspiring and radiant. Please stay in touch because you are a great talent and I’m a big fan.

Janet: “That’s fabulous… I’ll take it, so appreciated. Take care dear.”

I want to thank the incredible Billy James of Glass Onyon Publicity for this interview.

*Kevin Bartlett is credited for his production work and percussion credits on ‘Song of the Gypsy Tree.’

CD Releases by Janet Robbins

All the Worlds

Carrying the Bag of Hearts Interpreting the Birth of Stars Volume I

Carrying the Bag of Hearts Interpreting the Birth of Stars Volume II

Carrying the Bag of Hearts Interpreting the Birth of Stars Volume III

Song of the Gypsy Tree

Purchase all of Janet Robbins CD’s at

http://janetrobbinsmusic.com/

CD Baby http://www.cdbaby.com/

and Amazon.com

Janet Robbins on ReverbNation

http://www.reverbnation.com/janetrobbins

Janet Robbins on MySpace

http://www.myspace.com/janetrobbins

Marty Robbins official website

http://www.martyrobbins.com/

Order author/columnist Ray Shasho’s great new book ‘Check the Gs’ – The True Story of an Eclectic American Family and Their Wacky Family Business

-Get your copy now for the holidays at amazon.com,iuniverse.com,barnesandnoble.com or borders.com.

Pacific Book Review says… Ray Shasho has quite a memory, especially when it comes to what songs played on the radio during important times throughout his youth. Combining his nostalgic recant of Billboard’s Top 100, like some infomercial for a Time-Life Oldies CD collector’s set, along with his detailed whimsical recollections while growing up, and you have the “soundtrack ” for a truly enjoyable story called Check the Gs: The True Story of an Eclectic American Family and Their Wacky Family Business.

© Copyright rayshasho.com. All Rights Reserved

Contact Ray Shasho at rockraymond.shasho@gmail.com

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2011/12/14

Jon Anderson (Citibank Hall, São Paulo, 13/12/11)

By glassonyonpr

Birds chirping, a babbling tune squeaked easy to store, acoustic instruments, scented candles everywhere, lamps suspended in the half light … No, it will not deal with a store of esoteric products, dear reader, but the show’s British Jon Anderson, the eternal voice of YES, who came to our country for a brief tour in promotion of their album “Survival & Other Stories” . On Tuesday, 13, Whiplash.net could give his presentation in the state capital, when the musician was in the pleasant Citibank Hall. The moment was very special and you follow the details in the next lines.

Text: Durr Campos / Photo: Leandro Anhelli ( http://www.anhelli.com.br )

Alone, at 21:30, Jon kicks in lavishing sympathy and heartfelt applause. Without ado, holds one of the guitars available there and gives the first chords of “Yours Is No Disgrace”, one of many classics of his former band played during his performance. The following three, all ofYESProved that centuries may pass, and even then, good music will remain timeless. Or you can say the opposite of hymns flawless level of “Sweet Dreams,” “Long Distance Runaround” (belíssima!) and “Time and a Word”, the second self-titled album, released in 1970? Also, on this record somewhat obscure in the discography of the English group, it is noteworthy musical quality in each of the eight tracks present. Far ahead of his time, Time and a Word, disk , and one of my favorites, is indeed a work extremely well finished and worth more attentive hearing, including the fact marking the departure of the great guitarist Peter Banks ( Editor’s note: that formed the great Flash after his resignation from YES, A group widely recognized in Europe on behalf of their three excellent albums released ).
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After a brief joke interspersed with the previous song “She Loves You” by The Beatles , Jon explains that during the months he spent recovering from a surgery he had time to write enough material, much of having his wife Jane as inspiration. This season he chose “Under Heaven’s Door (Never Ever)” and “Everyday Love” actually good songs, but the reception only increased even when he announced “Find My Way Home”, probably the most famous partnership with the Greek musician Vangelis, present in the cult album The Friends on Mr. Cairo (1981). Anderson took the opportunity to recall a hilarious story of when they were invited to play the aforementioned music, which achieved excellent placement in the British charts, on TV. Vangelis initially refused because, according to Jon, did not support the “hype” of the industry of show business. However, it was just mentioning the word “black money” for the boy change his mind in the act!
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The unfailing “Starship Trooper” came next, with coladinha “America”, cover of the famous work of Paul Simon and Garfunkel, was one of the most sung. The requests from fans, “Ritual (Nous Sommer Du Soleil)”, the controversial – and wonderful – Tales From Topographic Oceans (1973), the sixth studio album YES , was included in the repertoire. I wondered how great it would be if there were an accompanying band. The following need not be announced: “Owner of a Lonely Heart,” the biggest hit YES if you look at the world level. Performed briefly, but well arranged, that remained intact close relationship between performer and audience that has always promoted since his first introduced back in 1983, when the multi-platinum album 90,125 fell into the graces of the public.
Jon then goes to the keyboard and starts a delicious medley containing “Set Sail” perfect “Close To the Edge” (much shortened, unfortunately), “Heart of Sunrise” and “The Revealing Science of God (Dance of the Dawn) “. The last letter of this is very complex and difficult to follow, however, the attentive audience did not seem intimidated and sang every verse in unison. “Marry Me Again With” kept the intimate atmosphere, and then return to the humorous side to “The Light of Love” and brought their unique reggae. “And You And I” was one of the points high, but could, it is one of the most beautiful things ever forged in the UK. Jon asks if anyone knows “Show Me”, which is played after the positive response of the majority. In the case I do not admire him, even this is a bonus The Ultimate Yes: 35th Anniversary Collection, released in 2003.
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Like most readers of this text may already know, in 1975 all the members of YES at the time decide to take a break from the band and releasing solo albums. Olias of Sunhillow what was left of the head of Jon Anderson after weeks locked inside a garage full of tools and many exotic megalomaniac ideas. From that classic album of the two most interesting were selected for this concert: “Flight of the Moorglade” and “To the Runner.” The regular part of the set even brought the obligatory “Your Move / I’ve Seen All Good People” and “Roundabout”, followed by standing for almost the entire house. A quick exit from the stage, and the encore was soon brought “State of Independence”, another partnership with Vangelis, the supernatural “Wonderous Stories” (another note from the Editor: Along with “Circus of Heaven”, my favorite YES) and sensational “Soon” section of the epic “The Gates of Delirium”, the insane and equally perfect Relayer, which featured Patrick Moraz on the keyboard after the rout of Rick Wakeman due to its dissatisfaction with the previous release, Tales From Topographic Oceans (more an editor’s note: Indian documentary YesYears for more details on the fact).
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The “one-man show” ended after 90 minutes of beautiful songs, smiles and tears. I could see how dear Jon Anderson is, regardless of age. Even amid the controversy after leaving YES , both have been incredibly well received by the Brazilians. Whether solo or with the band who designed the world, the fact is that time does not seem to move to this gentleman. At the height of its 67 years his voice remains intact and full of vigor, as well as the legion of fans who follow him.
Set-list
1. Yours Is No Disgrace (Yes)
2. Sweet Dreams (Yes)
3. Long Distance Runaround (Yes)
4. Time and a Word (Yes)
5. Under Heaven’s Door (Never Ever)
6. Everyday Love
7. Find My Way Home (Jon & Vangelis)
8. Starship Trooper (Yes)
9. America (Yes / original by Simon & Garfunkel)
10. Ritual (Nous Sommer Du Soleil) (Yes)
11. Owner of a Lonely Heart (Yes)
12. Piano Medley (Set Sail, Close to the Edge, Heart of the Sunnis, Set Sail reprise, The Revealing Science of God)
13. With Marry Me Again
14. The Light of Love
15. And You And I (Yes)
16. Show Me
17. Flight of the Moorglade / To the Runner
18. Tony And Me (Yes)
19. Your Move / I’ve Seen All Good People (Yes)
20. Roundabout (Yes)
Encore
21. State of Independence
22. Wonderous Stories (Yes)
23. Soon (Yes)

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2011/12/12

Transatlantic – More Is Never Enough

By glassonyonpr

If you thought Transatlantic – Whirld Tour 2010: Live In London was the ultimate TA experience for a live DVD, well you are going to find out different if you pick up this immense 3 CD/2 DVD set More Never Is Enough.

Neal Morse (keys, acoustic guitar, vocals), Roine Stolt (guitars, vocals), Pete Trewavas (bass, vocals), Mike Portnoy (drums, vocals) and Daniel Gildenlow (keys, guitars, vocals and percussion) are the band that went on tour and consequently captured some of their best moments on stage at one of their favorite venues in Tilberg, Norway.

Transatlantic was in their finest form at these gigs. They climbed the mountain and made it to the absolute peak with this release. As these gods of prog look down upon us mere mortals they planted their flag in the fertile earth of progressive rock, forever leaving their mark upon our senses and souls. No, that is implying something other worldly and being too over the top, this was indeed an epic and beautiful set. This collection serves as a definitive piece of evidence, a literal foundation from which everyone else that creates music like this should endeavor to create and capture for their fans on CD and DVD. It is a treasure trove of archetypical prog rock that you quite simply cannot miss and if you do get it you can then claim to be amongst the prog lovers in the circle of knowing, that collective consciousness in the music universe that we all tap into. If not, as they say over in England, you are a punter. The timing for this release just fuels the fire that is now burning out of control for this prog rock renaissance we have become immersed in.

The two DVDs are in the stratosphere on a performance level, and that is at every position in the band. The extended jams are things that dreams are made of and any aspiring musician or enthusiastic prog fan will be salivating while all this takes place before their eyes. And if all that is not enough you can step away from the visual experience and listen to every performance on the 3 CDs. When you listen to some of the runs guitarist Roine Stolt goes on its not hard to see how each member inspires the other to reach for the stars with their given instrument with each composition. And that is exactly what they do consistently throughout these performances.

Every band member is so inspired, you can see it, feel it, and hear it each performance. This collaboration called Transatlantic has proved time and again that is it magical and their innate abilities to deliver spot on improvisation is their ace in the hole.

Their second encore in Tilberg was the legendary Genesis track “Return Of The Giant Hogweed.” This was the first time the band performed it live (without Steve Hackett) and it turns out very well. In fact, in the intro to the set from Neal Morse he states that the fans at the show were singing all the words and that they are real prog fans.

“The Whirlwind” is an epic track custom built for these talented musicians and believe me they take every opportunity to find their own niche in songs like this, to their credit, without stealing the show from anyone else. Their chemistry and brotherhood within the band is clearly on display at all times. There is a bountiful amount of music and concert experiences to enjoy here if you are fan of the band or prog rock. This one is going to be nearly impossible to top but for all us prog rock freaks it is so true, More Never Is Enough.

Key Tracks: “Whirlwind,” “Return Of The Giant Hogweed,” “Bridge Across Forever”

Also released via Metal Blade (14938) and InsideOut (Century Media/EMI) (0505678)

© MuzikReviews.com

Tracklisting:
Disc One: The Whirlwind (79:45): Overture/ Whirlwind / Wind Blew Them All Away / On The Prowl / Man Can Feel / Out Of The Night / Rose Colored Glasses / Evermore / Set Us Free / Lay Down Your Life / Pieces Of Heaven / Is It Really Happening? / Dancing With Eternal Glory/Whirlwind (Reprise)

Disc Two: All Of The Above (31:57) / We All Need Some Light (10:22) / Duel With The Devil (28:48)
br> Disc Three: Bridge Across Forever (6:02) / Stranger In Your Soul (33:17)

DVD One: Transatlantic Live In Tilburg: The Whirlwind

DVD Two: Transatlantic Live In Tilburg: All Of The Above / We All Need Some Light / Duel With The Devil / Bridge Across Forever / Stranger In Your Soul / 2nd Encore: Return Of The Giant Hogweed (Genesis)

Musicians:
Neal Morse – vocals, keyboards and acoustic guitars
Roine Stolt – vocals and guitars
Mike Portnoy – drums and vocals
Pete Trewavas – bass and vocals

Guest:

Daniel Gildenlöw – acoustic and electric guitars, keyboard and backing vocals

Discography:
SMPTe (2000)
Live In America (2001)
Bridge Across Forever (2001)
Bridge Across Forever – Special Edition (2001)
Live In Europe (2003)
The Whirlwind (2009)
More Is Never Enough (CD/DVD) (2011)
Live In America (DVD) (2001)
Live In Europe (DVD) (2003)
Building The Bridge Across Forever/Live In America (DVD) (2006)
Whirld Tour 2010 – Live From Shepherd’s Bush Empire, London (DVD) (2010)
More Is Never Enough (DVD/CD) (2011)

Genre: Progressive Rock

Origin VA

Added: December 10th 2011
Reviewer: Keith “Muzikman” Hannaleck
Score: *****
Artist website: http://www.transatlanticweb.com
Hits: 32
Language: english

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2011/12/07

Jon Anderson (formerly of Yes) (interview)

By glassonyonpr

There is an audio interview of Jon Anderson up on the website Icon Fetch. Click the link below to hear it!

Jon Anderson (formerly of Yes) (interview)

Leave a comment | posted in Interview, Jon Anderson

2011/12/07

CIRCA: New Year’s Eve Internet Concert December 31st 2011

By glassonyonpr

For Immediate Release

CIRCA: New Year’s Eve Internet Concert December 31st 2011

12/7/2011 – Los Angeles, CA – CIRCA: featuring former YES members Billy Sherwood & Tony Kaye with Johnny Bruhns & Scott Connor will be in concert, live, interactive, in real time and brought directly to your home via their new UStream channel “CIRCA: HQ” on December 31, 2011 (6:00 PM PST / 9:00 PM EST).

Performing songs from the newly released CIRCA: ‘And So On’ CD (available at http://www.circahq.com) as well as selected cuts from their previous studio CDs ‘CIRCA: 2007’ and ‘CIRCA: HQ’, and other tracks from their collective musical pasts.

HD cameras and pro audio combined puts you right in the center of the action. There will be a host taking questions for the band from the audience between songs making it a totally interactive experience and the first ever of its kind for CIRCA:

Put the champagne on ice, start the countdown and bring in the New Year with CIRCA: December 31st– tickets can be ordered directly from CIRCA: HQ UStream channel using paypal at http://www.ustream.tv/channel/circa-hq Anyone who misses the show in real time can at any point purchase a ticket and watch it at their own convenience from the UStream archives.

Preview 3 excerpts “Life’s Offering”, “Till We Get There” and “And So On” from the new CIRCA: CD ‘And So On’ on YouTube:
http://www.youtube.com/user/CircaHQ?feature=mhee#p/c/D2D8A5458B653210/4/swbxCGqX3ds

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

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

Leave a comment | posted in Circa, Press Release

2011/12/07

Wishbone Ash interview Andy Powell

By glassonyonpr

Interview:

1. Thank you very much for taking your time to make an interview with It’s Psychedelic Baby Magazine. You are very active these days and will be releasing a brand new album titled Elegant Stealth on the 25th November. Are you excited about it? We all are and can’t wait to hear the album!

It’s my pleasure to talk with you. Yes, we are extremely excited about the release of the CD Elegant Stealth. We all feel we’ve done some extra good work here and are eager to know what folks think.

2. Tell me about the process of recording and producing your latest album? What can you say about the concept behind the album?

We started writing 2 years ago and actually produced a rockumentary style DVD about that process. It didn’t hurt that we were in a very conducive location – an old manor house in Normandy, France.

Then we had some more writing sessions at my place in Connecticut last summer. Finally we got to our studio in Lancashire England, last November, to produce the basic tracks and some vocals. Some more overdubs were done back at my place in the USA. In addition, work was also done in the UK and in Helsinki, Finland by my co guitarist, Muddy Manninen. It’s been a real global affair! A labour of love, you might say.

The main concept behind the album was to write and record, together as a band, to capture the creative thing as we jammed out and worked collectively. We hoped that we’d get more of a stage vibe going and I believe we have got close to that spontaneity.

3. You also have a new documentary out. Please share a few words about it!

As mentioned, it was recorded in France. The video crew and producer were French and very experienced in this kind of thing, having worked with musicians in Africa and France, but never with a rock band originating from England. At first, you can see us slightly uncomfortable with having cameras there 24/7, but pretty quickly we became oblivious to them and settled down to working on producing new material.

4. I know you will start your tour in 2012. Are you excited to be on the stage? Will you be presenting only the new album or will you also add your amazing stuff from the past?

Myself and the guys in the band are always excited about being on stage. It really has to be that way, otherwise why do it? We really do love what we do. We’ll certainly preview a few new songs from the album as well as some of the classics from the band’s long past. We understand that folks want to bask in memories of the old days as well as check out our new stuff, hopefully.

5. Let’s go back into the late 60’s. Were you or others in any bands before forming Wishbone Ash?

Yes. I was in bands from the age of 12 actually, and always, in my own naive way, treated it as a professional thing, even at that young age. During my teens, I was in a succession of bands in the provinces around London. Mostly they were 4 piece rock outfits and then also what we called soul bands. There were at least 2 of these which specialized in Stax and Motown style music – Sam and Dave, Otis Reading, Marvin Gaye, James Brown – that kind of thing. We used to have great singers and some of my friends from those bands have also gone on to have careers in music but ironically, one of the singers is now a TV presenter for a fishing show having had a successful career in business!

Speaking for the others in the band now, I believe it was definitely the same for them. I know they played in bands as teenagers. We all got the music bug at a young age.

6. What are some of the nicest memories from producing and recording your debut, Pilgrimage and Argus?

Being young and free in London. It was a great time to be alive, producing your own music. The music business was really exploding and London was the epicenter of it. Pilgrimage was pretty much us just going into a studio with a great engineer and producer and playing. It was was essentially our stage set. That was Pilgrimage. I believe it was recorded and mixed in a very short time – 10 days maybe. We were getting more experienced at recording.

Argus was a different thing. We were conscious that folks were expecting a bigger statement on this, our third album, so we took our time writing and mapping out the musical direction. The band was starting to think big. We’d been to America and played big stadiums and in the UK, we’d played summer festivals and the Town Hall circuit, so we needed music that had a bigger statement about it. We had a great manager, Miles Copeland, and by then, we’d really got comfortable with Derek Lawrence our producer, and Martin Birch, our engineer.

Everything about Argus was epic in a way, even the cover art, and it became a huge seller and really defined us as a band. I felt we really worked as a unit on that album. It was a true group effort with everyone’s role being clearly defined, yet very open ended. Martin Turner handled most of the lyrics. I handled arrangements and many guitar parts, but we all overlapped into each others’ territory. Drummer Steve Upton, wrote the very poetic lyric to Leaf & Stream and Ted Turner came up with the iconic riff in the King Will Come, as well as the whole opening section to Time Was and the song Jailbait. I wrote the bass part in Sometime World as well as the vocal melody. Martin came up with guitar lines. The harmony vocal lines and song melodies were a sometimes overlooked but integral part of the sound of this very special album. There were great, great guitar solos by yours truly and my harmony twin, Ted Turner, and some killer opening riffs and guitar lines like Blowin’ Free and Throw Down the Sword. Actually some great song endings too.

No one person could have produced that record on their own . It was us truly melding as a band. Great openness, great creativity, a kind of collective consciousness, mutual respect and subsequently now, great memories. We actually, and finally sounded cool – I remember thinking at the time 😉 The public obviously also thought that because the record sold millions around the world.

7. You saw the whole world while touring. Do you have any particular memories or should I say stories you would like to share with us?

Oh my – let me see. The first time in America was special because I’d grown up in the UK in the 50s which was really quite drab. We were trying to recover from a war. But, we’d seen this magical place called America, on our TV screens. I remember when color TV came in, so to finally visit the place, traveling on BOAC I can remember the light – it was like Technicolor all over again but this time for real. I was sitting on Miami Beach and I can remember pinching myself to make sure this was finally, actually real. America meant and still means a lot to me. We toured with the Who, I remember as well as Steppenwolf, Three Dog Night, Quicksilver Messenger Service. Sounds like ancient hippy history, doesn’t it?

Visiting Russia was something also. We were there in the depths of winter. I never realized it could get so cold. The Neva river was frozen solid. There were like icebergs on it. People had it rough. On the other hand we saw the Hermitage Museum and all the splendors of St. Petersburg / Leningrad. We had junior KGB acting as interpreters. They were very dour and you weren’t allowed to leave your hotel room without supervision.Our security at the shows was the army. They were rough with the kids. But there was such an outpouring of emotion that we’d gone there.

India was amazing. Such extremes of poverty and then on the other hand, great wealth. Overwhelming visually, but incredible in every way. We are one of the few rock bands to have toured there. I have a book full of memories of those trips there. It was a very special experience and even today, there are people who write to me who remember coming to our concerts there.

8. What are your future plans, besides going on the tour?

I want to write a book someday, and produce a solo CD.

9. I’d like to thank you once again for taking the time and effort to answer my questions! Would you care to send a message to all of your fans and readers of It’s Psychedelic Baby Magazine?

Yes, I want to know what drugs you are all on 😉
Seriously, thanks for your support for one of Britain’s treasures, Wishbone Ash. As John Lennon said “I’ll wear it gratefully”.

Interview made by Klemen Breznikar / 2011
© Copyright http://psychedelicbaby.blogspot.com/ 2011

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2011/12/05

Macon Guitar Legend Joey Stuckey Receives Prestigious Award, Gains New Endorsers and Composes Radio Theme Song

By glassonyonpr

For Immediate Release

Macon Guitar Legend Joey Stuckey Receives Prestigious Award, Gains New Endorsers and Composes Radio Theme Song

12/5/2011 – Macon, GA – Truly one of the hardest working people in the music industry, 2011 has been a landmark year for blind recording artist, engineer, producer and inspirational speaker Joey Stuckey. With the release of his latest acclaimed CD ‘The Shadow Sound’ in February of this year, Stuckey has been hitting the road performing and speaking all over the country – October alone saw Stuckey in Hawaii, Los Angeles and Nashville. However, October was a landmark month because Joey was honored by a non-profit organization in his hometown of Macon, Georgia where he serves as the official music ambassador. The organization “New Town Macon”, a non-profit tasked with revitalizing the downtown area of Macon, presented Joey with a special recognition award for his contribution to his community. Joey has been instrumental in shaping Macon’s musical landscape. Stuckey was also recognized for his active role in preparing for Macon’s future.

“I’m honored to be recognized for my efforts in promoting the music and history of Macon,” says Stuckey. “I look forward to being of service to my community for the rest of my life. I feel like this area, and Macon in particular, has as much musical talent as New York City or Los Angeles. We just have to find a way to make sure the rest of the world knows about it and come together as a community to ensure our musical economy continues to prosper!”

Stuckey’s father accepted the award on Joey’s behalf, from Greg Dent, a New Town Macon board member. Dent presented the award and said: “As Macon’s first official ‘Ambassador of Music’, Joey is a tireless and enthusiastic promoter of downtown, whose life work advances the city’s musical legacy. Joey’s business, Shadow Sound Studio on Third Street, brings musicians from around the globe to downtown Macon to record. Several of (Joey’s) own recordings have been nominated for Grammys. Joey is a band leader, educator, and promoter of civic activities who leads with a powerful and generous spirit. He has donated his time and talent to area schools and local organizations and recently provided a young boy in hospice care with his wish of recording in Joey’s studio. Anyone who knows Joey Stuckey knows that his enthusiasm and love of Macon never waivers.”

While October was a busy month with many exciting and amazing events for Stuckey, November has also been busy and a month of growth. First, Joey welcomes two new endorsers to the family. To enhance his studio and live performances and take his music production ability to the 23rd century, Joey has partnered with Misa Digital makers of the “Kitara”. “The Kitara is one of the most remarkable instruments to come out since the advent of the electric guitar,” says Stuckey.

This amazing MIDI controller gives guitarists new and innovative ways to make music both live and in the studio. For more information please visit http://www.misadigital.com, http://www.facebook.com/misadigital, twitter: misadigital, YouTube: http://www.youtube.com/misadigital

To add even more reasons to come out to one of Joey’s live performances, Joey has partnered with Kazoobie Kazoos. “As the official ambassador of music for Macon, Georgia – the birthplace of the kazoo – I am thrilled to partner with Kazoobie Kazoos to provide a limited number of souvenir kazoos to be given away and used during the audience participation parts of my concerts and inspirational talks,” says Joey. “I am excited that my fans will have this unique souvenir and fun musical instrument which truly allows us to share the gift of music! As a blind musician, sound is the only thing that I care about and Kazoobie Kazoos are unparalleled in their tonality and quality construction.” For more information or to acquire your own Kazoobie Kazoo go to http://www.kazoos.com

Stuckey’s studio records theme song for Talent Watch Radio: “We are proud to be working with Talent Watch, the fastest growing source for new talent discovery on the internet! It’s like ‘American Idol’ but better – and a great way for talent bookers, record labels, management firms and artists to connect.” Joey Stuckey, recording engineer, producer and owner of Shadow Sound Studio, was hired to compose and record the Talent Watch theme song being used to audio brand the Talent Watch radio show. Joey was also used to produce the most current episode of the radio show http://soundcloud.com/talent watch/talent watch-radio-show and train the staff of Talent Watch on producing future episodes of said show. Stuckey also has his voice heard in the intro of the show and the various promos for the show, both video and audio and throughout the program between songs branding the show.

Says Hugh Hession, Talent Watch radio host and partner of TalentWatch.net, “Talent Watch Radio decided to record and produce our latest show at Shadow Sound Studio with owner Joey Stuckey. We chose Shadow Sound because of Joey’s reputation of being a results-oriented engineer and producer. He understood our vision and was able to transform that into the caliber of show we desired. Talent Watch highly recommends Joey to anyone who wishes to up their game.” To check out Talent Watch and what it has to offer to both artists and industry pros alike visit: http://www.talentwatch.net

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

Press Inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@cs.com

Leave a comment | posted in Interview, Joey Stuckey, Press Release

2011/12/01

Hall of Fame Theatrical Rock Icon Neal Smith

By glassonyonpr

By Al Carlos Hernandez on November 28, 2011

HOLLYWOOD (Herald de Paris) — Neal Smith is a Rock and Roll Hall of Fame drummer and the co-founder for the rock group Alice Cooper from 1967 to 1974. http://www.nealsmithrocks.com

He performed on the group’s early albums Pretties For You and Easy Action, the breakout album Love It to Death and the subsequent successful albums Killer, School’s Out, and Billion Dollar Babies. His last album with Alice Cooper was Muscle of Love. When asked by Herald De Paris, “How did you meet Alice Cooper?” Neal Smith replied, “I never met Alice Cooper, but Glen Buxton, Dennis Dunaway, Michael Bruce, Vincent Furnier and I created Alice Cooper.”

Smith graduated from Camelback High School in Phoenix, Arizona while the rest of his band mates graduated from Cortez High School. Smith talks about his high school in the song “Alma Mater” sung by Alice Cooper. Neal Smith’s drum part on the title track (the number-one-album in the US and UK) Billion Dollar Babies, is considered one of the most original and dynamic drum pieces amongst musicians during that era.

Billion Dollar Babies was also the name of the band founded by former Alice Cooper group musicians Michael Bruce, Dennis Dunaway and Neal Smith, along with Bob Dolin and Mike Marconi after Alice Cooper split the band in 1974.

Smith has been selling real estate in New England since the early 1980’s. He is still an active musician and has performed with Alice Cooper during a show in 1998. In 1999, he released his first solo album, Platinum God, recorded in 1975. He is also currently the drummer/percussionist and songwriter for Bouchard, Dunaway & Smith (BDS), composed of Smith, former Blue Öyster Cult bassist, Joe Bouchard, and original Alice Cooper bassist,Dennis Dunaway. The band has co-written songs with Ian Hunter. BDS has released two albums: 2001’s Back From Hell and 2003’s BDS Live In Paris. Smith has also released two albums under the group name Cinematik, with guitarist Robert Mitchell and bassist Peter Catucci, produced by Rob Fraboni. Cinematik has a loose, jam-laden world-beat sound, as opposed to BDS’s more classic-rock sound.

Smith has also recorded with Buck Dharma of Blue Öyster Cult (Flat Out, 1982), Plasmatics(Beyond The Valley of 1984, 1984), and Deadringer (Electrocuxion of the Heart, 1989). Neal played on Bruce Cameron’s CD Midnight Daydream along with an all-star cast consisting ofJack Bruce, Buddy Miles, Billy Cox, Mitch Mitchell, Harvey Dalton Arnold and Ken Hensley.

Neal Smith also has an industrial rock project Killsmith.[1] Killsmith’s sophomore release is underway and this makes Smith the first member of the original Alice Cooper Group to have a project of original material released after the group’s induction to the Rock ‘n’ Roll Hall of Fame.

Neal Smith plays on three songs on Alice Cooper’s 2011 album Welcome 2 My Nightmare.

Back in July 2010, when talking about the newly retitled album, Welcome 2 My Nightmare, Alice said (in a Radio Metal interview): “We’ll put some of the original people on it and add some new people. I’m very happy with working with Bob (Ezrin) again.” Names mentioned so far are Slash, Neal Smith, Dennis Dunaway, Steven Hunter and Dick Wagner. Dunaway and Smith have already written two songs.

Herald de Paris Deputy Managing Editor, Dr. Al Carlos Hernandez, was honored to converse with the master metal drummer:

AC: Do you have an exact memory of when you decided to become a drummer?

Neal: Yes, when I was in elementary school I sucked on the trombone and I hated it. I started banging on pots and pans with wooden spoons on my kitchen floor and I was hooked. I borrowed a snare drum from my cousin and took two years to learn to play it.

AC: What kind of early musical influences did you have?

Neal: I was hugely influenced by the rock n’ roll of the 50’s and early 60’s – drummers like Gene Krupa, Sandy Nelson, and Dennis Wilson of The Beach Boys.

AC: When did you decide to become a rock star and how did your family feel about your choice of vocation?

Neal: First of all, you don’t decide to become a rock star. However, if you’re very lucky and your fans make you successful, then, and only then, do you become a rock star! I lived with my mother in Phoenix, Arizona back then and I left home to pursue my music career. Although she loved music and was very supportive of my chosen career, she never liked my extremely long hair. When I bought her a house she didn’t seem to mind my long hair anymore. My father, who lives in Akron, Ohio, hated my music, hair and lifestyle. I never bought him a house.

AC: What was high school/junior college like for you and what was the music scene like in Phoenix where you grew up? Who was your drumming hero then?

Neal: High school and college was okay for me in Arizona. I was pretty popular, played in my high school rock band, and had lots of girlfriends. But I just wanted to get out of school so I could pursue my dream as a rock drummer. I was still a big fan of drummers like Gene Krupa, Sandy Nelson, and Dennis Wilson of The Beach Boys, but with the British Invasion there were a brand new crop of amazing drummers. Ringo Starr, Charlie Watts, Keith Moon, Ginger Bakerand Mitch Mitchell are at the top of a list of many fantastic English drummers.

AC: How did you meet Alice Cooper? What was your first impression?

Neal: I never met Alice Cooper, but Glen Buxton, Dennis Dunaway, Michael Bruce, Vincent Furnier and I created Alice Cooper! In 1966, when I started my second year at Glendale College in Arizona, I shared classes with three local musicians that were members of Phoenix’s most popular rock band called The Nazz. These three classmates were Glen Buxton, Dennis Dunaway and Vincent Furnier. I soon found out that Glen, like myself, was from Akron, Ohio and we became fast friends. As I got to know Dennis and Vincent, I thought that they were very talented artists as well as talented musicians. We all became friends for life that year.

AC: You went to SF while the rest of the guys went to LA. Why SF?

Neal: After college, in the summer of 1967, I was in a top Phoenix area band called the Holy Grail. Our music style was more rhythm & blues and acid rock; therefore we felt that we would fit into the San Francisco music scene better than the LA music scene.

AC: Where did you get the whole first outrageous, and then macabre, style from?

Neal: We became outrageous purely out of frustration. We were trying to get the whole world to notice us when no one gave a crap. We were all art majors and fans of old horror movies. We wanted to push the dark side of rock much farther than even the Doors, who was one of the first bands to have a very dark side lyrically. We added props to add emphasis to our songs. One thing led to another and then we started killing Alice every night on stage. All of a sudden it started working for us.

AC: Did the production come from the heavy metal music or did the music come from the macabre?

Neal: There was no such term as heavy metal music when we started making hit records in the late 60’s and early 70’s. We would refer to rock with powerful guitars like Hendrix, the Who, Blue Cheer, the MC5 or the Stooges as heavy rock or kill rock. Michael, Dennis or I would write the music, Alice would write the lyrics, and we’d all brainstorm so that our live macabre stage show would evolve from there.

AC: I am told that rock impresario Bill Graham hated you guys. He said if you guys make it, it will be the end of Flower Power. What did he mean? Was he a hater?

Neal: Bill created a monopoly when he successfully turned San Francisco’s Fillmore Auditorium into the hippest music venue in the US during the mid to late 1960’s. Through his efforts he also catapulted a barrage of Bay Area bands into national stardom. Almost more than anyone, he totally capitalized on the 60’s Flower Power – Peace & Love Generation. We,Alice Cooper, created a new rock experience for the generation of the 1970’s. In his mind we were threatening everything in the musical empire that he had created. By the time we were filling outdoor stadiums with our fans, his auditoriums were no longer what they once were. At our peak we still could not sell out a show in the Bay Area. I don’t know if he was a hater, but he sure hated us.

AC: I’m told that Bill was partial to Bay Area based bands to the exclusion of yours. Did it hurt the band?

Neal: Bill Graham loved Bay Area bands because that was his universe and he helped a lot of them become successful. We were from Phoenix but I don’t think that’s why he didn’t like us. Maybe he just didn’t like what we were, what we had created musically and image-wise, which totally was the opposite of his comfort zone. I can’t say for sure if that ever hurt us or not, but we were never able to break into his part of the country.

AC: Years later, SF based acts like Metallica owned the charts. Do they owe a debt to you?

Neal: I don’t think that they owe us a debt. If we inspired them then that’s cool, but it’s the same as the English bands that inspired us. Their inspiration was great but we don’t owe them anything except respect.

AC: I’m told that, as the Alice Cooper band, the whole band helped put together the band personae. What did you contribute?

Neal: Although everyone in our band’s image was evolving and moving in the same direction in ‘67 and ‘68, I wanted everything about my personal image to be bigger and better than anyone who came before me. I wanted more outrageous clothes, longer hair and a larger drum set with more drums than anyone had ever seen. I had Rolls Royces, the most expensive jewelry – the best was never good enough for me – spare no expense and so on! Along with Glen, Dennis, Michael and Alice, I was 100% into the violence and theatrics that we were all brainstorming and creating on a daily basis. I always have a blast playing my drums, but I loved when I got off of my drums and became part of the show, like in the fight scene in our School’s Out Tour.

AC: You are considered one of the best rock drummers ever, particularly in Europe. How does that make you feel?

Neal: It makes me feel lucky that I was able to play with four guys who knew no boundaries. When it came to creativity, the sky was the limit for me writing my drum parts. I’m also lucky that I worked with legendary producer Bob Ezrin, making my drums sound great on our records.

AC: Wasn’t the name “Alice” a gender-bender-type trip? What was the reaction?

Neal: That’s the exact reason the five of us chose Alice Cooper for the name of our band. And the reaction was just what we anticipated it would be. People were expecting a blond female folk singer to appear on stage – instead they got five crazy lunatics from Phoenix with extremely loud music, shiny silver clothes, a blinding flashing light show, smoke bombs, feathers and blasting air from a CO2 tank. The fans either loved us or hated us!

AC: There is a rock story/legend that claims you would call up Keith Moon (from the Who) and other rock star drummers and compare equipment. Is that true, and if so, who else did you call?

Neal: No, that story about Keith Moon is not true at all. It is a very good story, but that’s all it is. I’m Neal Smith. Why would I even give a crap about anyone else’s drum equipment except my own? I had the largest set of drums in the world at the time, end of story. No one else’s drum set came close to mine and I knew it! I did call Pete Townshend of the Who once to ask him if he would produce Platinum God, my 1975 solo album.

AC: School’s Out is a monster hit that is still played all over the world. How did the tune come about and how did you feel every time you played it?

Neal: The song came about when we were brainstorming a new concept for our fifth album, the follow up to Killer, our first platinum album. We wanted something with gang related violence, inspired by a mix between West Side Story and A Clockwork Orange. Something commercial to celebrate that last day of the school year – and also 100% explosive and dangerous, vintage Alice Cooper Band. My contribution was the bolero tom-tom beat on the School’s Out chorus. When I play the song I feel great, just like I do when I play any of our classic songs!

AC: Is the same is true for No More Mr. Nice Guy? Was the song about Alice or just folks in general?

Neal: Michael Bruce came up with the music and original concept for the song. We always wrote songs about ourselves for the most part, and No More Mr. Nice Guy is no exception.

AC: Are you still friends with Alice and the guys from the original band?

Neal: I am and will always be close friends with everyone in the band, Alice. Dennis, Michaeland Glen R.I.P. We have a special bond that has a long history that goes back to the mid 1960’s.

AC: The best Alice Cooper Group gig ever?

Neal: We had many great shows, but in my opinion our best gig ever was the ‘74 show in Sao Paulo Brazil. We headlined and drew, conservatively, 125,000 fans, although there were estimates of well over that amount. We held the record for ‘concert attendance at an indoor venue’ in the Guinness Book of World Records for decades after that.

AC: Worst Alice Cooper Group gig ever?

Neal: Our last concert in Rio de Janeiro in the spring of ‘74.

AC: Didn’t you yell at the members of Kiss for setting up behind your drum set up once?

Neal: Yes I did. I yelled at Gene Simmons when he told me that he and the other original members of Kiss sat behind my drums when we played at the Fillmore East in New York, but I was only joking – sort of.

AC: Biggest regret musically?

Neal: My biggest regret is that the band broke up in ‘75, stopping our amazing flow of songs; songs that were changing the music of the 70’s generation.

AC: Biggest success musically and who have you inspired?

Neal: My biggest success was when our album Billion Dollar Babies, went to #1 in all three US music trade magazines, at the same time, in April of 1973. #1 in Billboard, #1 in Record World and #1 in Cash Box. We had already collected gold and platinum albums for selling millions of records, but this was something only a few artists in history have achieved and it was totally unexpected. Plus the tour was the largest grossing tour in rock history up to that time. I think we inspired bands like Kiss, The Plasmatics, Merlyn Manson, Slip Knot and many, many more.

AC: How does it feel to be a member of the Rock and Roll Hall of Fame?

Neal: I am happiest for the fans of the original Alice Cooper Band. As I said in my acceptance speech, our induction into the Hall Of Fame was all about them and because of them. Without our faithful fans around the world, that night would never have happened. At the pinnacle of our success, the only awards we ever received (or cared about) were in the shape of gold and platinum albums – and that was only because of our fans. Even the established music business if the 70’s shunned the Alice Cooper Band and never considered us for Grammys, or any of the other music awards at the time. Living on the fringe of acceptability has always been the norm for me. Now I’ve been asked to become legitimate in the music world and that’s a roll I’m very uncomfortable with. My solo project called KillSmith keeps me on the fringe and in my comfort zone. But the party at the Waldorf Astoria in New York City was f’ing awesome; I went to bed just before the sun came up over New York City. I wished Glen Buxton was still alive to enjoy the honor and the killer party. He would have loved it to death!

AC: Which bands should be inducted but have been overlooked? Do you think the selection process is political?

Neal: We were the only overlooked band that I really cared about – overlooked for way too long. I think there are bands that got into the Hall Of Fame that don’t belong there while we were being passed over. Of course it’s political – everything in society is political – you can’t avoid that. Cheap Trick should definitely be in the hall!

AC: Do you thing Merlyn Manson, Kiss and other bands ripped you off? Or do you feel that what they did has paid homage to Alice because you were the ones doing it first.

Neal: Music and bands are constantly evolving from one generation to the next. We, the Alice Cooper Band, evolved from the British music invasion of the 60’s spearheaded by The Beatles. Being inspired by movies and television, as well as British rock, we started what eventually would be called Glitter, Shock or Theatrical Rock. Bands like Kiss, The Plasmatics, Merlyn Manson, Slip Knot, etc. that followed us, just crafted their look and sound a little differently. If we inspired bands, I wouldn’t consider that they ripped us off at all, but that their success is a homage and testimonial following the trail that we blazed before them.

AC: When did you decide to quit the rock star life and get out of the game?

Neal: Well, I never decided to quit the rock star life. No one in their right mind would just decide, out of the blue, to stop making all of that money! After we played in South America in the spring of 1974 we all agreed to take a year off so that Michael Bruce could record a solo album. Glen, Dennis, Alice and I all agreed to that. We also unanimously agreed that we would reunite one year later to record our next Alice Cooper Group album.

Unknown to us, Alice was recording a solo album of his own during that time off. With the success of Welcome to My Nightmare, his first solo album and tour, when it came time for us to reunite, Alice changed his mind and declined. He just decided not to get back with the band to record what would have been our ninth Alice Cooper Group album. All other accounts of our bands breakup are completely false!

AC: How is it that you and your wife became real estate executives?

Neal: First of all, I don’t have a wife – that’s a whole other story. I had a wife once but that didn’t work out too well. I do have a significant other; she and I are both Realtors®. I have been a licensed Realtor® in the state of Connecticut, listing and selling residential real estate, since 1985. After the band’s success I started investing in real estate, buying and selling homes around 1971. I was also involved in several Alice Cooper Group real estate investments in the early to mid 70’s. The combination of those things sparked my interest in real estate as a profession.

AC: Any parallel between rock life and real estate life?

Neal: Not really, except they are both very competitive and very difficult professions. You must always be on your game for both.

AC: Tell us all about your latest solo musical project: ‘KillSmith?’

Neal: I have written twelve brand new songs: 2000 Miles from Detroit, Suicide Highway, Cemetery of The Damned (23), Evil Voodoo Moon, Death By The Numbers, Crimes Of High Passion,Legend Of Viper Company, Die For The Night, Strip Down, Kiss My Rock, Anything, Squeeze Like A Python. (available at http://www.nealsmithrocks.com or http://www.cdbaby.com )

I think it’s the best writing I’ve ever done with industrial strength music. The fourth song on theK$2 CD is called Evil Voodoo Moon. It is the song that’s the mother of Alice’s latest single called I’ll Bite Your Face Off, featured on his great new CD Welcome 2 My Nightmare. One of the main goals I had in mind while writing K$2 was to keep my lyrics radio-friendly this time. My colorful vocabulary could make a drunken sailor blush. So I took it back a few notches for airplay, something I didn’t do on my first KillSmith CD, Sexual Savior, when I just let all hell break loose.

AC: If everything worked out 100%, what would be your highest expectation?

Neal: To have a hit record go to #1 on the Billboards charts and supported by a world tour. Just like I have in the past!

AC: What about touring again?

Neal: Along with band members Peter Catucci, Kevin Franklin, Doug Walberg, we are currently in rehearsals working on a new KillSmith show right now. Any future show dates will be announced on my web site: http://www.nealsmithrocks.com .

AC: Looking back on your life, would you have done anything differently?

Neal: I would have done three things differently: never gotten married, never gotten married and lastly I’d never have gotten married!

AC: How would you like history to remember you?

Neal: As one of the five founding members of the groundbreaking, show stopping band called Alice Cooper that changed the look and sound of Rock forever! And as a drummer/percussionist, when called upon, I could come up with some very innovative and creatively cool kick ass drum parts!

Edited by Susan Aceves

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