Alligator Records is pleased to announce the September 25, 2020 release of 100 Years Of Blues, the first-ever album by Rock And Roll Hall Of Fame guitarist Elvin Bishop and Grammy-winning harmonica master Charlie Musselwhite. 100 Years Of Blues is front-porch, down-home music with Bishop and Musselwhite trading licks and vocals on 12 rootsy, spirited songs, mixing nine originals with three reimagined classics.
The two history-making musicians – both Blues Hall Of Famers – are blues legends in their own right, with over 100 years of professional musicianship between them. They are among the most famous bluesmen in the world. Although they’ve known each other since the early 1960s and recorded as guests with John Lee Hooker (and other friends), this is the first time that they ever teamed up to make a full record. According to Musselwhite, “This is us sitting down to play the music that we love and resonating together effortlessly because we’re ‘coming from the same place’…on many levels.”
The idea for the album was sparked in 2017 when the two icons laid down the original version of the song 100 Years Of Blues for Bishop’s Big Fun Trio album. They realized that, with their soul-deep understanding of the blues, they had a special musical chemistry between them. In 2019, Bishop and Musselwhite played a series of stripped-down shows – along with their mutual friend, master pianist/guitarist Bob Welsh – swapping songs and telling stories. The audiences went wild, and Elvin and Charlie had so much fun they knew they had to capture the magic in the studio.
100 Years Of Blues is blues at its deepest, warmest and most engaging. “It all fell together so quickly and easily,” says Bishop. “We each brought about half the songs and recorded them all in one or two takes.” As for his cohorts, Bishop says, “Charlie is the real deal. He didn’t learn his licks off of records; he lived them. He’s always himself. And Bob Welsh is so versatile on guitar and piano. When you play with people who are real good, it ups your game too. I just did the best job I could.” Of Bishop, Musselwhite says, “Elvin is always a joy to play music with. We see things pretty much the same. Musically it’s like fallin’ off a log. It’s so easy and it just makes sense.”
The album was recorded at Kid Andersen’s Greaseland Studios and Bishop’s Hog Heaven Studios in northern California. It was produced by Andersen and co-produced by Bishop, Musselwhite and Welsh. The laid-back, spontaneous nature of 100 Years Of Blues highlights the heartfelt passion of each performance. The richly detailed, autobiographical title track (freshly recorded for this album) tells Elvin’s and Charlie’s tales with sly good humor, recalling specific times and locations in their amazingly colorful lives. The potent “What The Hell?” finds Bishop taking on current events, winking an eye while speaking truth to power. Throughout the album, the interplay of guitar, vocals, harmonica and piano is virtually telepathic.
Both Bishop and Musselwhite got their start in the early 1960s on Chicago’s blues-rich South Side. Bishop, from Oklahoma, befriended and was taught by guitarist Little Smokey Smothers. Musselwhite, from Memphis, was mentored by his pals Delta bluesman Big Joe Williams and harmonica master Big Walter Horton. Although they were young, white newcomers, Bishop and Musselwhite were accepted by the Black blues fans and by the established musicians because they were, like the bluesmen themselves, “from down home”, and also because they played the blues with real feeling. As Musselwhite explains, “It was great the way Elvin and I were not only welcomed but also encouraged by the blues giants of the day. When I first got to Chicago I was content just to hang out and socialize and listen to the great blues, but when Muddy Waters found out I played harmonica, he insisted that I sit in. That changed everything, because other musicians heard me and started offering me gigs. Boy, did that get me focused. I might not’ve ever had a career in music if men like Muddy hadn’t been so welcoming and encouraging.” Young Elvin was also welcomed onto South Side bandstands, gigging with Hound Dog Taylor, Junior Wells and J.T. Brown.
Both men went on to win fame by introducing blues music to the rock and roll audience – Bishop with The Paul Butterfield Blues Band and his own genre-bending Elvin Bishop Group, and Musselwhite with his wide-ranging and influential recordings as leader of his own band. Both performed with and made friends with countless blues giants. They immersed themselves in the blues tradition before blazing their own trails, beginning with their initial recordings. As Bishop and Musselwhite began adventurously expanding the boundaries of the genre, the new audience eagerly went along for the ride. Although they had only occasionally crossed paths in Chicago, by the late 1960s — after Musselwhite and then Bishop relocated to California — they began regularly running into each other and became occasional fishing buddies. In the 1980s, they toured Hawaii together. In 2002, they headlined a national tour of performing arts centers, further cementing their friendship.
Since then, Bishop and Musselwhite have continued touring with their own bands and creating critically acclaimed, award-winning music. Their stories – rich as they already are – are still being written, and this album is a new chapter. Their subtle, soulful musicianship and relaxed, conversational vocals fuel every song. Infused with their deep understanding of the blues tradition mixed with the good-time spirit these two old pals stir up, 100 Years Of Blues is one of the finest, most memorable recordings of either artist’s career.
De 74-jarige countrylegende Dolly Parton, bekend van haar monsterhit 'Jolene', brengt voor het eerst in dertig jaar een kerstalbum uit, zo heeft het Amerikaanse muziekblad Billboard gemeld.
"Ik noem het 'A Holly Dolly Christmas', ik hou van de song 'A Holly Jolly Christmas' mett Burl Ives", citeert het blad de zangeres. Het album komt op 2 oktober uit, op haar eigen label Butterfly Records.
Parton heeft voor het album met enkele bekende muzikanten samengewerkt zoals Michael Bublé, Billy Ray Cyrus, Miley Cyrus en talkshowanker Jimmy Fallon. Met hem zingt de countryster 'All I Want for Christmas Is You' van Mariah Carey.
Bossa Nova veroverde de wereld in de jaren zestig. Veel iconische opnames kwamen toen uit op het Verve-label. Deze zomer herleeft Verve sommigen van hen met knipogende videoclips.
Verve Summer Samba
Als Astrud Gilberto het trieste verhaal zingt van het meisje uit Ipanema met een troebele stem, die de bewonderende jongeman negeert, of als de saxofoon van Stan Getz de betoverende melodie " Corcovado " speelt, zie je meteen de jaren 60 terug. Met opnames als deze liet Verve de bossa nova-golf de hele wereld overgaan. Deze muziek heeft tot op de dag van vandaag standgehouden, de klassiekers zijn nog steeds miljoenen keren te horen.
Om van de zomer van 2020 de bossa nova-zomer te maken, heeft Verve nu enkele van de meest populaire bossa nova-liedjes geïllustreerd met donzige videoclips. Dat er motieven van parasols tot cocktailglazen worden gebruikt die inmiddels cliché zijn geworden, wordt gecompenseerd door het feit dat de video's in een nostalgische cartoonstijl zijn met een sympathieke glimlach.
Na de video's voor " The Girl From Ipanema " en " Corcovado " die al zijn uitgebracht , zullen de komende weken meer clips worden toegevoegd. Het is dus de moeite waard om Verve's YouTube-kanaal in de gaten te houden. Als klap op de vuurpijl hebben de YouTube-kanalen van Stan Getz , Astrud Gilberto en Antonio Carlos Jobim zelfs een facelift gekregen in een bijpassende cartoonstijl. Dus je mixt voor jezelf een kleurrijke tropische cocktail en nipt deze op de muziek van Stan, Astrud en Antonio. Dat kan ook op het balkon.
Salome Bey CM (October 10, 1939 – August 9, 2020) was born in New Jersey. Beginning in her early sixties, Bey began showing signs of dementia. As of 2011, her illness had progressed to the point that she could no longer perform. She married Howard Berkeley Matthews on April 7, 1964. They had three children, including the singer SATE, formally known as Saidah Baba Talibah, and singer/performance artist Jacintha Tuku Matthews. Matthews died in August 2016 at the age of 80 and Bey died at the age of 80.
She was an American-born Canadian singer-songwriter, composer, and actress who lived in Toronto, Ontario since 1966. In 2005, she was made an honorary member of the Order of Canada. Bey was a member of the Canadian charity Artists Against Racism. Bey recorded two albums with Horace Silver, and released live albums of her performances with the Montreal Jubilation Gospel Choir and at the Montreux Jazz Festival. She received the Toronto Arts Award for her contributions to the performing arts in 1992, and the Martin Luther King Jr. Award for lifetime achievement from the Black Theatre Workshop of Montreal in 1996.
Born to a middle-class African-American family. Bey formed a vocal group with her brother Andy Bey and sister Geraldine Bey (de Haas), known as Andy and the Bey Sisters, performing in local clubs and touring North America and Europe. After moving to Toronto in 1964 and playing the jazz club circuit, she became known as "Canada's First Lady of Blues". Bey appeared on Broadway in Your Arms Too Short to Box with God, for which she was nominated for a Grammy Award for her work on the cast album. She put together a blues & jazz cabaret show on the history of black music, Indigo - which earned her the Dora Mavor Moore Award for outstanding performance. The show was later taped for TV networks.
Thanks to HoLeigh Futch.
Zanger en gitarist Trini Lopez is op 83-jarige leeftijd overleden. De Amerikaanse zanger van Mexicaanse afkomst, die een grote hit had met het nummer ‘If I Had a Hammer’, overleed dinsdag in een ziekenhuis in Palm Springs in Californië. Dat schrijft Variety. Volgens zijn collega en zakenpartner Joe Chavira is Lopez overleden aan Covid-19.
Onder de naam Trinidad López III groeide de zanger op in Texas, als zoon van Mexicaanse immigranten. Hij werd ontdekt door zanger Frank Sinatra die hem een platencontract bezorgde. Met zijn versie uit 1963 van het nummer ‘If I Had a Hammer’ haalde hij een nummer 1-hit in 25 landen. Lopez had ook nog hits met onder meer ‘Lemon Tree’ en ‘La Bamba’.
Lopez speelde ook in verschillende films, zoals in ‘The Dirty Dozen’ uit 1967 naast Lee Marvin en Charles Bronson. Hij trad tot op hoge leeftijd op.
Er is een documentaire over z’n leven in de maak. Naar verluidt kreeg Lopez vorige week nog een versie toegestuurd ter goedkeuring.
De Britse muziekproducer Martin Birch, bekend door zijn werk met rockgroepen als Deep Purple, Black Sabbath en Iron Maiden is op zijn 71ste gestorven. Dat heeft muzikant David Coverdale gisteren bekendgemaakt via Twitter.
Over de doodsoorzaak gaf Coverdale geen details.
Birch werd in 1948 in Surrey geboren . Hij maakte vooral furore in de jaren 70 en 80 van de vorige eeuw. Bekende producties van hem zijn "Deep Purple In Rock" van Deep Purple, "Long Live Rock 'n' Roll" van Rainbow, "Heaven and Hell" van Black Sabbath en "The Number Of The Beast" van Iron Maiden.
Birch had al in de sixties met Fleetwood Mac gewerkt. Ook Gary Moore, Jeff Beck en Scorpions-gitarist Michael Schenker maakten gebruik van zijn diensten. Na het album "Fear Of The Dark", zijn tiende productie voor Iron Maiden, trok Birch zich in 1992 terug uit de muziekwereld.
The album is set to drop September 18 as the latest single, “Daylight,” brightens playlists.
ALISO VIEJO (10 August 2020): Torrential rain poured on the dark and dismal day that Southern Californians were ordered to shelter in place last March due to the coronavirus. Despite the unsettling time, Billboard chart-topping contemporary jazz guitarist Blake Aaron sat down to write a song to communicate hope. Using a tropical soca rhythm and infused with bright energy and joy, “Daylight” is Aaron’s newest single moving up the Billboard chart from the forthcoming “Color and Passion,” his sixth album that drops September 18 on Innervision Records.
“‘Daylight’ was written on and inspired by the day the coronavirus was officially declared a pandemic. It’s a song completely opposite of that rainy, dreary day written with the hope that we would soon see ‘daylight.’ The coronavirus has brought more pain to more people for much longer than we possibly could have imagined. ‘Daylight’ represents my musical hope and celebration of a new day for all of us,” said Aaron, who produced eight tracks, wrote seven songs and co-wrote three tunes for “Color and Passion.”
“Color and Passion” is Aaron’s first collection since 2015’s “Soul Stories,” and like that outing, half of the new album is made up of hit singles that were released over the last few years along with some newly completed cuts, many of which bode to be issued as singles. Two singles from “Color and Passion,” the melodically rich “Fall For You” and “Groovers and Shakers,” a duet written and produced with hitmaking saxophonist Darren Rahn, went No. 1 on the Billboard chart. Invigorating and illumined by a horn section, “Vivid” climbed into Billboard’s top 10 as did “Drive,” another propulsive collaboration with Rahn that was the No. 1 song of 2019 on the Radiowave chart.
In addition to featuring Rahn, Aaron spotlights several more Billboard chart-toppers on “Color and Passion.” He wrote the exhilarating “Sunday Strut” with guitarist Adam Hawley, a song graced by urban-jazz icon Najee on tenor and soprano saxophones. The album closes with a Latin percussive treatment of Stevie Wonder’s anthemic classic “Don’t You Worry ‘Bout a Thing” that includes Kim Scott’s impassioned flute engaging in a dalliance with Aaron’s fiery electric guitar.
Virtually every song on “Color and Passion” sounds like a single because of Aaron’s innate ability to write ensnaring hooks that he animates with dexterous and technically-astute guitarwork along with an assortment of first-call musicians, the likes of which include bassists Darryl Williams, Hussain Jiffry and Mel Brown; drummers Tony Moore and Eric Valentine; keyboardists-pianists Rob Mullins, Tateng Katindig and Mike Whittaker; horn players and arrangers David Mann, Lee Thornburg and Scott Martin; and strings arranger Craig Sharmat.
“I’ve never been a believer in throwaway album cuts, so I write every song on my CDs with the hopes of it having a good shot at being a radio single. I’ve been lucky because I’ve had quite a few radio singles from both ‘Soul Stories’ and ‘Color and Passion.’ My radio promoter jokes that my albums are like greatest hits CDs even before they’re released.”
Aaron’s catalogue has consistently explored a wide range of musical styles – jazz, R&B, pop, Latin, Caribbean, funk, fusion and rock - and writing and recording over an extended period of time perhaps enhances the diversity heard on “Color and Passion.”
“‘Color and Passion’ refers to the way I see the wonderful and beautiful vast array of different styles and moods of music as colors, how those colors represent different paths, twists and turns on the journey through life, and the passion I have always had for and expressed through my music that hopefully shines through in my playing style, especially on songs like the title track,” said Aaron, who then got introspective.
“Having such a love for so many diverse musical styles and experiences has been mostly a blessing, but also slightly a curse. It’s been a blessing because I have never been bored and have been on this amazing journey both musically and personally that continues to unfold with new and exciting adventures. It has slightly been a curse because I may have gotten to where I was going with my music and my personal life a little faster without so many twists, turns and detours in the road.”
Releasing a new album during this uncertain time is not easy. All of Aaron’s supporting concert dates have been canceled or postponed for the time being. But he remains an eternal optimist and purposely closed “Color and Passion” offering a note of optimism.
“I must admit the one good thing for me that came out this terrible coronavirus situation was it allowed me to focus and finally finish ‘Color and Passion.’ I ended the album with Stevie Wonder’s uplifting and joyful ‘Don’t You Worry ‘Bout a Thing’ because that is the last feeling and encouraging impression I want listeners to take with them. I hope this album provides a musical glimmer of hope and belief that we will get through this together.”
“Color and Passion” contains the following songs:
“Fall For You”
“Groovers and Shakers” featuring Darren Rahn
“Sunday Strut” featuring Najee
“Color and Passion”
“Weekend in Paradise”
“Don’t You Worry ‘Bout a Thing” featuring Kim Scott
For more information, please visit https://www.blakeaaron.com.
STEVE HACKETT GENESIS REVISITED - SECONDS OUT WORLD TOUR NIEUWE DATUM OP ZONDAG 6 MAART 2022 IN DE STADSSCHOUWBURG ANTWERPEN
Naar aanleiding van de genomen maatregelen door de Belgische regering om het coronavirus (COVID-19) in te dijken, kunnen veel evenementen niet plaatsvinden op de voorziene datum. Het concert van Steve Hackett, dat zou plaatsvinden op 26 september 2020 in Stadsschouwburg Antwerpen, wordt hierdoor uitgesteld naar zondag 6 maart 2022.
Tickethouders worden persoonlijk via mail gecontacteerd.
Er zijn nog tickets te koop voor deze nieuwe datum, meer info via livenation.be.
De gezondheid en veiligheid van artiesten, fans en medewerkers is onze grootste prioriteit. De richtlijnen van overheden volgen. Verantwoordelijkheid nemen. Het virus een halt toeroepen. Daar draait het om. Dank voor jullie begrip. Take care, stay safe.
€54,88 - €47,05 - €39,20
Sinds 1985 staat Night of the Proms onafgebroken op het programma van de grootste concertzaal in België. Want ook na 35 jaar vult het unieke concept van klassiek en pop nog steeds volle Sportpaleizen. Maar dit jaar zal Night of the Proms voor het eerst niet kunnen doorgaan. Ook de volledige tour in Duitsland en Luxemburg wordt met één jaar uitgesteld.
“We hebben lang gehoopt, maar eigenlijk moesten we nu de knoop doorhakken van iets dat we al weken aanvoelden met ons verstand, maar waar ons hart nog niet klaar voor was. Na onze zomerse Proms in Koksijde moeten we ook Night of the Proms in Antwerpen met een jaartje uitstellen. We waren klaar om onze line-up bekend te maken en de ticketverkoop liep als een trein. Maar de veiligheid van het publiek, onze artiesten en crew gaat voor alles. En voor een halflege zaal spelen vanwege de strikte maatregelen ziet niemand zitten.” aldus Jan Vereecke, CEO van organisator PSE Belgium en founding father van NotP.
Tickets die reeds aangekocht werden voor november 2020 worden automatisch overgeplaatst naar de nieuwe data in 2021: vrijdag 19 en zaterdag 20 november. Alle ticketkopers worden vandaag via Tele Ticket Service op de hoogte gebracht. Voor meer informatie: www.notp.com.
Bekijk hier de lockdown-versie van "Music" door het Antwerp Philharmonic Orchestra:
NIGHT OF THE PROMS IN 2021
- 29 juli & 30 juli - Kerkplein Koksijde (Summer Edition) Met oa. Ozark Henry, Stan Van Samang, Bart Peeters en John Miles. Meer namen worden binnenkort bekendgemaakt.
- 19 november & 20 november - Sportpaleis Antwerpen - Eerste namen worden in het najaar van 2020 bekendgemaakt.
Info & tickets: www.notp.com/belgie
Een gitaar van de legendarische muzikant Jimi Hendrix heeft op een veiling bijna vier keer zoveel opgebracht dan gedacht. De nieuwe eigenaar had er 216.000 dollar (zo’n 183 duizend euro) voor over, meldt Rolling Stone. Hendrix bespeelde het instrument toen hij in 1962 thuiskwam uit dienst en naar Clarksville, Tennessee verhuisde. Toen hij vier jaar later naar Londen emigreerde, liet hij de gitaar achter in New York in het appartement van een van zijn beste vrienden.
Naast de gitaar van Hendrix gingen ook eigendommen van andere grote sterren onder de hamer. Onder meer een paar op maat gemaakte laarzen van Prince (11.000 euro), een ring van Elvis Presley (19.000 euro) en een jasje van Michael Jackson (16.900 dollar) wisselden van eigenaar.
De ‘British Invasion’ zanger Wayne Fontana is afgelopen donderdag op 74-jarige leeftijd overleden. Dat heeft zijn goede vriend Peter Noone (Herman’s Hermits) laten weten. Fontana ging in 1965 de geschiedenisboeken in met de Amerikaanse Billboard Hot 100 nummer 1 hit ‘Game Of Love’, een compositie van Clint Ballard Jr, Fontana, die geboren werd als Glyn Geoffrey Ellis, leidde enige tijd de uit Manchester afkomstige band Wayne Fontana & The Mindbenders. Toen de andere groepsleden verder gingen zonder Fontana scoorden zij als The Mindbenders een nummer 2 hit met de single ‘A Groovy Kind Of Love’. Ellis werd geboren in Manchester en ontleende zijn artiestennaam aan Elvis Presley’s drummer, D.J. Fontana. De zanger had al deel uitgemaakt van de band Wayne Fontana & The Jets voordat hij The Mindbenders (ontleend aan de film ‘The Mind Benders’ uit 1963) formeerde. De overige groepsleden waren bassist Bob Lang, drummer Ric Rothwell en gitarist Eric Stewart (later 10CC). Een contract bij Fontana Records leverde de Britse Top 5 hit ‘Um, Um, Um, Um, Um, Um’ op. Het grootste internationale succes kwam met ‘Game Of Love’, die op de eerste plaats van de Billboard Hot 100 werd afgelost door Mrs. Brown You’ve Got A Lovely Daughter’ van Herman’s Hermits. De opvolger ‘It’s Just a Little Bit Too Late’ haalde ook nog de bovenste 50 van de Billboard Hot 100. Zijn grootste solohit scoorde Wayne Fontana met de single ‘Pamela Pamela’, een compositie van Graham Gouldman (later 10CC). Peter Noone lanceerde het volgende bericht op zijn FB-pagina: “Wayne Wayne don’t go away. After 59 years of friendship, laughter, tears, jail cells and lost brain bells , we have handed over our lovely lead singer Wayne Fontana to the big band in ROCK AND ROLL HEAVEN.” Wayne Fontana ruste in vrede!
Met dank aan Leo Weijers.
Producer, componist, zanger, muzikant, schrijver en komiek Mark Wirtz is eergisteren op 76-jarige leeftijd overleden. Mark Philipp Wirtz werd geboren in Straatsburg, Frankrijk, Als producent was hij vanaf midden jaren zestig actief toen hij in de Abbey Road Studio’s samenwerkte met Beatles geluidstechnicus Geoff Emerick en onder contract stond bij EMI. Wirtz werd wereldberoemd met het in eerste instantie niet voltooide conceptalbum ‘A Teenage Opera’, waarvan het nummer ‘Excerpt From A Teenage Opera’ door Keith West naar de top van vele hitlijsten werd gezongen. Het idee voor ‘A Teenage Opera’ ontleende Wirtz aan zijn creatie ‘A Touch of Velvet, Sting of Brass’ (1966). Deze compositie werd onder de naam Mood Mosaic, met The Ladybirds als achtergrondzangeressen, in Duitsland bekend als het thema van het radioprogramma ‘Musikladen’. Daarnaast gebruikten een aantal radiostations en deejays in het Verenigd Koninkrijk de compositie als herkenningsmelodie, waaronder Dave Lee Travis op Radio Caroline. In 1963 tekende Wirtz een platencontract als Mark Rogers en werkte hij met EMI producer Norman Newell. Twee jaar later begon Wirtz zijn eerste onafhankelijke productiebedrijf. In 1967 werd hij in-house producer bij EMI Records en weer twee jaar later keerde hij terug in de muziekwereld als onafhankelijk producer. Hij verhuisde naar Los Angeles, Californië, waar hij voor Capitol Records twee albums uitbracht onder de naam Marc Wirtz. In de jaren zeventig was hij actief als freelance sessie-arrangeur/producent en dirigent en werkte hij samen met Kim Fowley en Jimmy Bowen. Hij schreef en produceerde liedjes voor artiesten als Helen Reddy, Leon Russell, Vicky Leandros, Kim Carnes, Dean Martin en Anthony Newley. In de jaren tachtig en negentig was Wirtz een typisch voorbeeld van ‘twaalf ambachten en dertien ongelukken’, maar uiteindelijk zou hij toch weer terugkeren als producer, schrijver en kunstenaar. In 2010 produceerde Wirtz zijn soloalbum ‘Lost Pets 2’ en een jaar later verscheen zijn novelle ‘Dreamer Of Glass Beach’. ‘Excerpt From A Teenage Opera’ werd geschreven door Keith West en Mark Wirtz. Volgens Wirtz kreeg hij het idee voor het project tijdens een droom over een huis-aan-huis verkopende kruidenier (“Grocer Jack”) in een klein dorp. In de jaren negentig bracht Mark Wirtz de complete tieneropera alsnog uit. Keith West zelf verdween in de anonimiteit. Mark Wirtz ruste in vrede!
Met dank aan Leo Weijers.
The single is taken form their second full-length studio album titled ‘Bless Your Heart’ released on Friday 28 August 2020 via BMG. The video was filmed over the course of two days in Joshua Tree National Park, California.
Devon Allman told Rolling Stone Country that “’Pale Horse Rider’ was a really fun one to write. Duane had this almost vertigo-inducing descending melodic pattern that was so unique. Once I started the lyric about a man feeling so lost and isolated with the world out to get him, the story just kind of wrote itself. The Wild West seemed the perfect setting to tell the tale.”
When The Allman Betts Band released Down to the River in June of 2019, the debut album represented not only the first time the group had recorded together but, in fact, the first time the seven-piece ensemble had ever played together. If Down to the River was the sound of the band’s combustible sparks igniting, then Bless Your Heart is their bonfire, built for the summer of 2020 and beyond; a double-album follow-up fuelled by road-forged camaraderie and telepathic musical intensity, vibrantly reflecting the individual and collective experiences of these seven, all drawing inspiration from the band’s symbolic hometown – a place Devon Allman calls “the United States of Americana.”
A conflagration of influences and invention, confidence and ambition, Bless Your Heart captures a vast, panoramic scope throughout a baker’s dozen of modern rock. Ragged and stomping. Heady and frayed. Soaring and scorching. Generational and genteel. West Coast scenes and Gulf Coast shores. Gateways of the Midwest and swamplands of Florida. Wyoming’s Big Sky. New York’s Big Apple. Chicago’s Broad Shoulders.
Over a week’s time, they recorded 13 songs at the legendary Muscle Shoals Sound Studio on 2-inch tape, just as they did with Down to The River. In addition to the time in Muscle Shoals, Bless Your Heart saw additional tracking in Memphis and St. Louis. Within the eclectic repertoire are the familiar: stacks of guitars; electric, acoustic, and slide; a throttling, percussive rhythm section. And the fresh: Bassist and singer Berry Duane Oakley’s ABB vocal debut on his original song (“The Doctor’s Daughter”); Allman’s baritone vocal channelling Johnny Cash (“Much Obliged”); Betts extending the legendary family legacy of incendiary instrumentals (“Savannah’s Dream”). They tapped friends, as well, such as Jimmy Hall, Shannon McNally, Art Edmaiston, Susan Marshall, and Reba Russell for guest contributions. Then, emerged with an undeniable achievement of an album (what sophomore jinx?) worthy of its winking, unabashedly Southern title.
“I think we definitely challenged ourselves, pushed ourselves artistically, and widened the spectrum on all levels. We wanted something that was a little more sweeping. A deeper experience,” says Betts.
Says Allman, “I hope what people hear on Bless Your Heart is a band that’s having a love affair with being a band.”
Er zijn weinig bands die een publiek zo kunnen opzwepen als Rowwen Hèze. De Nederlandse pretband brengt een uniek amalgaam van Tex-Mex, Ierse folk en Limburgse feestmuziek, al 35 jaar en 23 albums lang. Een optreden van Los Limbos (geuzennaam, vrij naar Los Lobos) loopt geheid uit op een feestje.
Op vrijdag 16 juli tovert Rowwen Hèze de Peerse bluesweide om tot een zwierige fiesta. Er geldt dan ook maar één nuttig advies die dag: "Bestel mar, bestel mar, bestel mar!"
Verder hebben Stef Kamil Carlens & Band [BE] en Danny Bryant [UK] hun komst voor de editie van 2021 terug bevestigd.
Early Bird Tickets zijn hier al beschikbaar.
KOOP HIER TICKETS
The Barrett Anderson Band Is Ready to "HypnoBoogie" You on New Live CD Out September 25 on Whitaker Blues Records
The Barrett Anderson Band announces a September 25 release date for their exciting new live album, HypnoBoogie, on Whitaker Blues Records. Captured during one show at The Fallout Shelter in Norwood, Massachusetts, on February 1 (by special arrangement with Bill Hurley), HypnoBoogie packs all the energy and passion of the band’s legendary live shows their fans have come to expect on the new disc.
The Barrett Anderson Band is Barrett Anderson – vocals and guitar; Charlie Mallet – guitar and vocals; Doug MacLeod – drums; and Jamie “Black Cat Bone” Hatch – bass and vocals.
HypnoBoogie features seven blazingly original songs that also allow the band excursions into the outer edges of the blues/roots genre, as well as four scintillating covers of songs from Bo Diddley -“Mona;” Magic Sam - “Lookin’ Good;” Son House - “Grinnin’ In Your Face;” and The J. Geils Band - (“Ain’t Nothin’ But a) House Party.”
“We brought it,” Barrett Anderson says of that special night’s recording. “The Barrett Anderson Band delivered. We managed to capture the entire album in front of an audience that night - one take of each song - and we played hard. We boogied. We moved. We grooved. We let it all out, and once it’s out, it can’t go back in.”
“We simply did exactly what we had hoped to,” Charlie Mallet chimes in. “We tuned in, closed our eyes, and played our music the only way we know how – with everything we have.” “This is a live band,” Doug MacLeod adds. “We improvise every night, striving for a feel or a spirit while letting the music guide us there. We couldn’t have captured this in a studio. This soul, this energy, this vibe is something we all tune in to when we walk on stage.” “HypnoBoogie is a mix of influences,” Jamie Hatch summarizes. “It’s not blues, although there are blues influences. It’s not rock, although we’ve taken plenty of cues from The Rolling Stones.”
Barrett Anderson started playing the guitar at 13, and shortly thereafter discovered and fell in love with the blues. His first professional experience came at age 15, backing up the legendary Pinetop Perkins and “Steady Rollin’” Bob Margolin. When he was 16, Anderson joined Ronnie Earl & The Broadcasters, who he played with from 1999-2002. During this period, he was also heavily immersed in country blues, studying with Paul Rishell, and was particularly taken by Son House and Skip James. From 2002-2005, Anderson was a member of The Monster Mike Welch Band, and is featured on the 2005 recording, Adding Insight to Injury.
In 2007, Barrett Anderson released his debut album, All The Way Down, recorded in North Mississippi and produced by Jimbo Mathus of Squirrel Nut Zippers. His second album, The Long Fall, was released in 2012 and featured an organ trio lineup consisting of Anderson, Ron Levy and Per Hanson, which had a five-year run. In 2013, Anderson won a Boston Music Award as “Blues Artist of the Year,” edging out Roomful of Blues, and James Montgomery.
“I’ve always valued originality in music,” Anderson states. “ I love the early days of Chicago blues, when Muddy, Wolf and Walter were inventing the genre every night in sweaty clubs full of people there to get down to business. I love Magic Sam and Junior Wells in the ‘60s, pushing the music forward by adding soul and R&B to the mix. I love Jimi Hendrix somehow synthesizing everything that came before into a beautiful squall of sound you could feel. Find influences where you can and celebrate them. Drive the music forward. Don’t treat music like a museum piece. We were striving to play songs that feel vital and alive on this album. We didn’t want to just play 12-bar blues shuffles all night. We wanted to play groovy music to get down to – music that makes you move, makes you swing and sway. Music that makes you feel something deep down, deep down. That is HypnoBoogie.”
The sounds of Boston are embedded in the band’s DNA. “While I was a teenager in the ‘90s, there was a vibrant blues scene here,” Anderson recalls, “and it was easy to see national touring acts and local legends every night of the week - and I did. I took in all I could.”
In addition to the blues influences he was soaking up, Anderson absorbed all the sounds of the diverse scene around him. “Morphine (the ‘90s “low rock” band led by 2-string slide bassist Mark Sandman) is one of my favorite bands,” Barrett says, “and you can especially hear that influence in the swampy, sultry groove in our song, ‘Emma Lee’.”
The Barrett Anderson Band also acknowledges another one of Boston’s great groups, the mighty J. Geils Band, with a red-hot cover of a classic, “House Party,” that closes the album. “We all grew up with The J. Geils Band,” Doug MacLeod says. “Regardless of what decade we grew up in, The J. Geils Band was part of it. It’s an honor to include ‘House Party’ on our album”… It just seems fitting.”
“We’re trying to make something new; something that can stand tall next to our influences,” Anderson says. “We all get intense joy from making this music together and that joy is at the heart of this recording. This is the best music I’ve ever been a part of. This is a crystallization of everything - all the influences, emotions, sounds, and styles - I’ve been trying to capture since I first picked up the guitar 24 years ago.”
Intensity, originality, creativity, and passion are at the heart of what The Barrett Anderson Band does, and they’ve managed to document all this on their powerful new release, HypnoBoogie.
THE RADAR STATION is één van de 3 winnaars van Studio Brussels DE NIEUWE LICHTING, dé springplank voor de meest beloftevolle Belgische bands. Met hun rijke, gelaagde synth- en gitaarpartijen en prominente drums een eigen, uniek geluid: weidse, eigentijdse indierock in de school van The War On Drugs en The National, met echo’s van Peter Gabriel en Daniel Lanois.
Kenmerkend voor de band is de opvallende, warme en bezwerende stem van zanger Brent Buckler, die ook live uitstekend tot haar recht komt en doet denken aan Eddie Vedder, Tom Smith van Editors of Liam O’Maonlai van Hothouse Flowers.
The Radar Station overtuigde in korte tijd tal van concertorganisatoren. Zo speelde de jonge band in 2018 gesmaakte sets op o.m. Linkerwoofer, De Effenaar (NL), Gigant (NL) en het IZUG Festival in Breda (NL). Vorig jaar waren er opgemerkte passages op o.a. Kneistival, de Fonnefeesten en het OLT in Antwerpen. Hun ijzersterke live reputatie vertaalt zich dan ook dit najaar in vele tientallen geplande shows.
Ook op de radio werden de eerste hoofdstukken geschreven. Singles ‘Voices’, ‘Subtle Science’, 'Zanzara', 'Pictures of You' en “The Giant” kampeerden weken in de playlist van Radio 1 en Studio Brussel. Medio 2019 werd The Radar Station uitgenodigd voor een beklijvende live- sessie op NPO Radio 5 (NL). Ook NPO Radio 2 (NL) en de Belgische Franstalige Rockzender Classic 21 sloten de band in de armen.
Op 4 september verschijnt hun langverwacht debuutalbum op CD en vinyl, een straffe, sfeervolle plaat die zondermeer bevestigt dat The Radar Station thuishoort in de hoogste afdeling van de Belgische rockscene.
Om de spanning erin te houden houdt de band titel en artwork nog even geheim maar zeer binnenkort hoor je hier zeker meer van !
Clarence Clemons’ Guitarist/Vocalist Billy Livesay & The Livesays To Release New Album “The Rhythm of Love and Dysfunction”
Billy Livesay, best known for his work with E Street Band legend Clarence Clemons as his Guitarist & Vocalist, is releasing a new album with his group The Livesays, independently. The majority of The Livesays' new album “The Rhythm of Love and Dysfunction” was recorded in 2018 and was set to be released early in 2019. Tragically, on November 2nd, 2018, the band experienced unimaginable sorrow when their drummer, Eddie Zyne, passed away from a heart attack. Eddie, who began his illustrious career as the drummer in Hall and Oates, was an original co-founding member and integral part of The Livesays.
Eddie had been so excited about the upcoming release of The Livesays’ fourth album, particularly the new songs which showcased his solid metronome-like drumming style. Losing Eddie was not only a tremendous setback, it caused the band members to cancel all of their upcoming shows and contemplate calling it quits. Instead, the band persevered and, in turn, decided to dedicate this album to their fallen musical brother Eddie Zyne.
Finding a replacement for Eddie would prove to be no easy task as he left tremendous shoes to fill. In the Spring of 2019, along came Howard Goldberg, formerly of the indie funk band “Rudy.” Says Billy Livesay, “Howard knew us from playing around South Florida through the years. He was a tremendous fan of Eddie’s, knew of his passing, and asked if he could audition for us. Much to our surprise and delight, he turned out to be a great fit. He brought a revived energy to our band. We were back up and running in a few months."
The songs were recorded in Billy Livesay's home studio in Pembroke Pines, FL, mixed by Grammy nominated engineer Steve Gordon and mastered by Grammy winning engineer Mike Fuller at Fullersound in Ft Lauderdale. The original plan was to have the song “The Rhythm of Love” be the title cut, and the album was to include songs written and recorded over a two year period after the release of The Livesays' 2016 release “Hold On…Life Is Calling.”
Circumstances changed after losing Eddie. Turmoil set in due to ongoing political unrest, the upcoming election, protests, the Covid-19 pandemic, unemployment, isolation, and having to quarantine. The general feelings of uncertainty and uneasiness, and the ever-changing dysfunctional social and political climate, inspired some fresh new songs and a reevaluation as to which songs to release. Armed with twenty songs, the band narrowed it down to thirteen that reflected a congruent theme, which gave birth to the adjusted title “The Rhythm of Love and Dysfunction.”
Billy explains the meaning and inspiration behind the songs…
“When I Dream” - Everyone has some sort of aspiration; being successful playing music has always been mine. Even when the odds seem stacked against me, I have never given up on my dream. 'It may be a leap of faith but it's a leap I’m going to take, when I dream'. I’d be remiss if I did not mention that I wrote this song while mourning the loss of my bandmate Eddie Zyne who I know would be disappointed if his passing had led to the demise of the band and the end of my dream.
“Another Mile” and “Better Than You” - Many couples are quick to dissolve their relationships after disagreements. I view relationships as a constant work in progress. It’s hard for people to admit when they're wrong. Admittedly, it took me awhile, but I have learned to take the blame when I realize that I am wrong. I wrote the song "Another Mile" for my wife. It was my way of apologizing after an argument over something petty. My wife, Vicki, is also the inspiration behind the song “Better Than You.” She has stood by me and supported me throughout my career. Her mother once said that our “love affair was hanging on by a wing and a prayer.” To this day, I’m glad my wife “took that dare.”
“Can I Have (What You Have)?” -
This song was inspired by a newspaper article I read about a man convicted of armed robbery. In his own defense and to lessen his sentence, he blamed his own reprehensible behavior on having been raised by a father who beat him and a mother who was a drug addict. With pen in hand as I began crafting the lyrics, I happened to look out the window and noticed the sky had turned gray. I wrote down the line “looked out my window storm clouds coming, I don't know how long they will last.” I tasked myself with writing this particular song without a rhyming pattern, which is something that I don’t normally do.
We ended up recording this song at Power Station Studios, in Pompano Beach, FL and released a video of the recording session filmed and edited by Miami-based award winning film maker David Liz. Watch the video here: https://youtu.be/Dlpm0bpPfek
“Book Of Rules” - One evening, while at a restaurant eating dinner, I witnessed a group of people acting asinine and causing a ruckus. The line “a jester holding court is something that I ain't” popped into my head and I wrote it down on a napkin. I went home and wrote a “Book of Rules,” a dark rocker with verses that are vignettes about how people seem to have their own codes by which they live.
“That's The Trouble With Love” actually started out as two separate songs. I was working on a song about a guy who experienced love at first sight after offering an umbrella to a girl in the rain, and another song intended to be called “Whole Lot of Trouble,” both of which included lyrics sent to me by a Nashville artist named David Graham with whom I have co-written multiple songs in the past. The concepts were similar in nature in both songs and blended together nicely into one acoustic song which sounds a bit Santana-esque.
“Better Than He Ever Was” is autobiographical in nature, but more so, it's a shout out to my musical peers who, like a fine wine, have improved with age. Too often in the entertainment industry, we are cast aside as we grow older, when in many cases, our maturity lends itself to a better, more polished performance.
“Let It Flow” is a song about addiction, inspired by a close friend’s father who was a train-riding hobo who was always down on his luck as a result of his alcoholism.
“The Rhythm Of Love” is a bluesy dance song about the magic and emotional power of love that sometimes takes control of our senses.
“There’s Something Coming Now” - My drummer and I co-wrote the lyrics to this song, inspired by the current dysfunction of our government, the upcoming election, the country-wide protesting, and overall sense of turmoil we are all feeling during the pandemic. With so much misinformation circulating, we’re all left wondering what’s coming next.
“How Can I Be?” was inspired by a close friend who went through a painful breakup with a domineering woman who cheated on him. It’s a song about love-gone-bad in a dysfunctional relationship that left a man questioning his own self-worth and trying to rediscover himself.
Gospel pioneer and legend, Mahalia Jackson’s legacy is going to be treated by a made-for-television biopic from Lifetime.
The network, which in the recent years has built a reputation of curating numerous biopics on African American musicians and influencers, has now picked the late songbird as their latest subject of exploration.
Ms. Jackson – who is highly regarded and revered for her gigantic vocal talent, will be played on-screen by singer and actress – Danielle Brooks, known for her role in Orange Is the New Black.
The flick is being produced in partnership with Good Morning America anchor Robin Roberts, who’s set to help helm 3 other projects for the network.
Een bijzondere gitaar van Elvis Presley heeft bij een onlineveiling in de Verenigde Staten 1,32 miljoen dollar opgeleverd (1,12 miljoen euro). Dat heeft entertainmentsite TMZ gisteren bekendgemaakt. Volgens het veilinghuis Gotta Have Rock and Roll is nooit eerder zo'n groot bedrag betaald voor een item van The King.
De koper wenste anoniem te blijven. Hij bezit nu een Martin D-18 uit 1942, die tussen 1954 en 1956 in handen was van Elvis. De Amerikaanse zanger (1935-1977) had het instrument naar eigen wens aangepast en er in metalen letters zijn voornaam opgeplakt. De S is echter in de loop der jaren verdwenen.
Tijdens dezelfde veiling gingen ook onder meer een oude Ferrari van Eddie Van Halen (voor 133.000 euro) en een concertposter van The Beatles (58.500 euro) onder de hamer.
It’s been 13 years since one of the most well-known and best-loved punk bands from the vaunted Orange County punk scene has released a full-length studio album. But don’t expect a tepid or tired version of the band on Flashback Favorites, their new set of studio recordings set to be released August 14, shows the band hasn’t lost an ounce of energy or edge. Indeed Casey Royer and company are still chugging out classic, high powered pop punk just like they did back in the mid-‘80s when the band became the talk of the Orange County punk scene with singles like “Richard Hung Himself” and “Johnny’s Got A Problem.” For this new set, however, the band shows its arranging skills putting their signature twist on timeless tracks some of all-time favorite ‘70s and ‘80s rock bands such as Deep Purple, Depeche Mode, KISS, Blondie, Fleetwood Mac and more!
The band had this to say about the project, “We’re stoked to be working with Cleopatra again to do some of the songs we grew up listening to. Rock n Roll!”
Flashback Favorites will be available on CD, digital and gorgeous vinyl in your choice of white or classic black!
1. Highway Star
2. The Chain
3. For What It's Worth
4. I Think I Love You
5. Don't You (Forget About Me)
6. Never Let Me Down Again
7. Hot Child In The City
8. American Woman
9. Joy To The World
10. Heart Of Gold
11. Girl U Want
12. Rock And Roll All Nite
13. Don't Change
Legendary proto-punk guitar heroes, James Williamson & Deniz Tek, have joined forces for a brand new, odds-defying studio album, Two To One, set to be released September 18 by Cleopatra Records. An inductee into the Rock N Roll Hall of Fame, Williamson was the guitarist and co-songwriter for one of the most iconic and influential albums of all-time, Iggy & The Stooges Raw Power, while Tek launched and occupied the same role for what became Australia’s ground zero for the punk movement with his band, the revered Radio Birdman. The album features 11 all-new original compositions highlighted by the first single “Stable” and the explosive lead-off track “Jet Pack Nightmare.”
Watch the video for “Stable”: https://www.youtube.com/watch?v=5OwkUzeJzpo
Williamson had this to say about the project; “It was really a lot of fun working with Deniz to make a no-frills, good old-fashioned guitar album. Took me back to Raw Power and Kill City days. Deniz comes from a very similar approach to music that I do, both of us have had many years of experience in Detroit and Ann Arbor, Michigan.”
Tek adds: “Raw Power shaped my path as a young guitar player. It was great to partner up with James to make this album. Everything fell into place beyond expectations - the songs, the band, the production, and even the timing. I am very happy with it."
Two To One will be available on CD, digital and in your choice of red, blue, yellow or classic black vinyl!
“High School (Don’t Like Them)” is de nieuwe single/videoclip van het nieuwe album “The Shadow” van
In 2018 verscheen Naked Giants’ debuut-album “Sluff”, dat werd geproduceerd door Steve Fisk (Nirvana, Soundgarden, Car Seat Headrest). Bij “The Shadow” zat Chris Funk van The Decemberists achter de knoppen. Gebleven is de ‘feelgood’ mix van springerige pop punk en fuzzy alternative garage rock. De band uit Seattle bestaat uit drummer Hendry LaVallee, zanger/bassist Gianni Aiello en zanger/gitarist Grant Mullen. “The Shadow” is een ‘energetic and exhilarating musical rollercoaster ride’ vol ‘singalong blitz party anthems and some dreamy psychedelic moments looking at the shadow-y parts of life’.
Op 21 augustus verschijnt Naked Giants’ tweede studio-album: “The Shadow”
“The Shadow” is an album of growth. In the years since our first album “Sluff” was recorded, we have toured around the world, honed our musical skills and found our own little place in the music industry. But we have also seen our share of shadows, and it is through acknowledging these shadows that we grow the most. Each song on “The Shadow” examines an aspect of this growth through a different musical lens, adding up to a series of rock-and-roll vignettes of light, shadow, anxiety and responsibility. Frantic punk-scenes of information overload are contrasted by patient drones of introspection; fun, ear-worm musings of life as a young rock band are juxtaposed with the heavier responsibility of having a voice and not quite knowing what to say. The amalgam of information in the songs is complemented with a blend of sonic perspectives - we threw in all our influences, from the usual suspects of punk rock and new wave to spaced-out 80’s balladry, fuzzy garage-metal and psychedelic desert folk (with synths and tape loops added to taste). And with producer Chris Funk leading the way, our somewhat scatterbrained sprawl of musical and conceptual ideas are tied together in an artful way. Chris’ quiet but steady direction pushed us to serve the songs, reigning in the guitar pedal breaks and drum solo freakouts from our live set while leaving just enough unpredictability and experimentation to give the album a liveliness of its own. All of this adds up to a swirling, dynamic, at times disorienting but ultimately honest image of modern life as young, able and anxious people. In order to grow and create positive change in this world, we have to situate ourselves amidst all this chaos - for us this means providing the catchy choruses and stomping riffs with an edge of self-awareness and confrontation, just as the world can’t become more connected without acknowledging its deep divides. With “The Shadow”, we draw inspiration from the chaos and contrast, we admit that we only exist as a balance of shadow and light, and we commit to the responsibility of reflection and growth.
Vijf jaar terug brachten zij hun eerste gezamenlijke single ‘Let’s not give a damn’ uit. Vandaag is de opvolger ‘Love rears’ er. ‘Een fluwelen nummer’ noemt Elsje het.
Elsje Helewaut (ex Humo’s Rockrally winnares met Elisa Waut) en Rudolf Hecke (biograaf van Serge Gainsbourg) werden met enige uren verschil op hetzelfde moment geboren, het hadden tweelingen kunnen zijn. En aan deze single te horen zijn ze dat waarschijnlijk ook.
Duister en verleidelijk, de geest van Charlotte Gainsbourg, Tindersticks en Nick Cave waait doorheen hun nieuwe beklijvende single. Soundtrack voor een herfstige zomer.
Elsje Helewaut: zang
Rudolf Hecke: compositie, zang, Fender Rhodes, programming, percussie
Simon Casier: bas, gitaar
Opgenomen, geproducet en gemixt door Rudolf Hecke @ Studio Factasy, Hofstade
Mastering @ Equus door Pieter Dewagter
JETHRO TULL’s IAN ANDERSON Joins TERRY REID And MANCHESTER STRING QUARTET On An Epic New Version Of BADFINGER’s “DAY AFTER DAY!”
What do you get when add the woodwind talents of rock flutist Ian Anderson and the six-string skills of British guitarist Terry Reid to Badfinger’s unforgettable smash hit “Day After Day”? You get one of the most compelling and riveting reinventions of a classic song you’re likely to hear all year! Throw in a modern string quartet out of Manchester for good measure and now you’ve got one beautifully rendered, symphonic rock masterpiece! All of these elements combine flawlessly, as if the passage of time was merely waiting for them to coalesce around Joey Molland and company’s superb version of the song that originally appeared on Badfinger’s 1971 album Straight Up. Reid, whose ultra-melodic, soulful guitar playing earned him acclaim for his solo albums as well as session work for the likes of Bonnie Raitt, Jackson Browne and Don Henley, adds depth to the emotive string arrangements of the Manchester String Quartet with his subtle playing while Anderson’s flute adds unexpected flourishes that will give listener’s the feeling of hearing this song for the very first time again and again, day after day!
Anderson shares this about the track, “Like many of my contemporaries, I remember ‘The New Beatles,' as Badfinger were unfortunately dubbed by the UK press. Great songwriting and production by George Harrison. [This version is] brought to life here by the Manchester String Quartet, alumnis of the Northern Royal College Of Music. I tried to find a few harmonies and simple counterpoints to interject into their splendid performance. For me, an elegant and nostalgic experience.”
Meanwhile, Reid had this to say, “It was great to go back and listen to this song again and get to play guitar on it as I’ve always loved the band and this song. I got to hang out with Joey back in the day and he’s a really great guy and a fine musician. Playing on this song brought back some great memories of a musical era that will never be forgotten by me and many others.”
Stream the single: https://orcd.co/badfinger_day_after_day