​It’s been seven years since the last set of brand-new songs, written by a man who can’t escape being compared to Jim Bob from Carter The Unstoppable Sex Machine*
 
What’s happened in that time? Well, more things than you can write in a press release that’s for sure. Colombia’s President struck a peace deal with Marxist guerrilla group FARC, both Brazil and South Korea impeached their presidents, Pokémon Go was invented, a military coup against Tayyip Erdogan in Turkey failed, Netflix added offline downloads, Russia interfered with the U.S. election and Britain voted to leave the EU. Oh and Donald Trump. All this was in 2016 alone and we haven’t even mentioned David Bowie yet.

None of those events though are linked to Jim Bob’s album that year (Jim Bob Sings Again – old songs reinterprated on the piano) or indeed his last album proper (2013’s That’s What I Think About When I Think About You). It does however lead us seamlessly to his 2020 opus Pop Up Jim Bob. After a successful career shift as an author of both fiction and autobiographies, Jim found himself writing new songs for the first time since 2013.
 
As Jim says himself: “Much of the world seemed to be going to hell in a handcart/basket/bag and people would frequently suggest what was needed was a new Carter The Unstoppable Sex Machine like album to document or make sense of it all. Sting even said it, when he saw my manager at a David Bowie tribute concert wearing a Carter shirt.”
 
The main reason, though, he started writing songs again is because as Jim Bob said “I binge-watched ‘Succession’ and became obsessed with the theme tune. I tried to copy it on my iPad using GarageBand, which I’d never used before.” (Season three is out before this album, just as a fyi).
 
As importantly to us here Jim Bob is simply one of best songwriters in the UK. His ability to connect with everyday life in a thoughtful, funny and compelling way has rightfully earned him a legion of dedicated fans. The time is now right for them to hear new music from him. 
 
One thing Jim has never stopped doing in this time is playing live, including sold out shows in 2018 and 2019 at the Shepherds Bush Empire. Jim Bob gigs remain euphoric, singalong and acoustic affairs. Recently, though, he’s performed a handful of explosive shows with a full band, in Jim’s words: “It was like being in the Sex Pistols.” It’s this band ‘The Hoodrats’ that backs Jim Bob on this album, along with a few other guests to boot.
 
In between the 2019 shows Jim was listening to the audiobook version of James Acaster’s ‘Perfect Sound Whatever’ - a memoir about how he listened to over five hundred albums released in 2016 to help him deal with a breakdown. Jim says: “I was moved by James’s enthusiasm for new music and some of the stories behind how and why many of the five hundred records were made.”
 
The music Jim was inspired to make as a result of James’ book (and indeed ‘Succession’) is a return to his honest and intelligent indie-pop-rock. From the frank, dark humoured lyrics of Jo’s Got Papercuts (“Jo knows it is what it is now, she knows she can’t dance to The Smiths now”), to the much darker meander of Truce, Jim provides us with ten full songs of his most unique views on life. Kidstrike! is a lyrically busy snapshot of modern life in London, while #Thoughts And Prayers is a sardonic number that shines a light on the downtrodden in our society. From TED talks to drinking in the park, Jim’s vivid descriptions of his characters let us in on his world. A place that, deep down, we knew all along – and live every day.
 
This one’s for you Sting.
 
TRACKLISTING
​
SIDE A:
     1. Turn On, Tune In, Pop Up!
     2. Jo’s Got Papercuts
     3. KIDSTRIKE!
     4. Ted Talks
     5. Truce
 
SIDE B:

1. If It Aint Broke
2. 2020 WTF!
3. BIG Boy
4. Barry’s on Safari (In His Safari Suit)
5. #thoughtsandprayers
6. You’re Cancelled and We’re Done

 

THE FURIOUS SEASONS TO RELEASE LA FONDA
(August 7th, 2020)
A Very Personal And Eloquent Tribute To Shared Memories ​

​The Furious Seasons are an acoustic folk-pop trio that creates complete soundscapes with very limited instrumentation.  “The interplay between us sometimes feels a little like jazz in the way we approach it,” David Steinhart explained.  “ We listen to each other carefully and try to honor the negative spaces.” The trio consists of acclaimed songwriter, singer and guitarist, David Steinhart; upright bassist Jeff Steinhart (and also David’s brother), and guitarist, Paul Nelson.  David Steinhart has distilled decades of songwriting on over 20 album releases, and with his brother has toured the US and Europe in the 90’s and ‘00s in the bands, Smart Brown Handbag and Pop Art (both still have cult followings).
 
La Fonda is an album that is inspired by love and heartbreak.  Building on the success of the 2018 album, Now Residing Abroad, David Steinhart became consumed with a new song cycle that deals with the harsh reality of having lost a best friend to the ravages of drink.  “It started out as a more general album with certain songs that dealt with him and others about other subjects,” Steinhart revealed.  “In time it was clear that it should be a more specific album, with the entire song cycle relating to that subject.  Making that decision helped to broaden the scope of the songs. I was able to include songs that talk about when and how we met and why the friendship was important.”
 
By the time David had amassed new songs to the point that an album was inevitable, the band had serendipitously met up with producer and mixing engineer Alfonso Rodenas, whose expert and insightful approach to recording acoustic instruments made him the perfect match for this project.  They recorded live as a 3-piece for the most part, sitting in a semicircle in front of microphones. “I sang and played guitar at the same time on all of the songs,” Steinhart described. “Jeff would overdub an occasional bass line and Paul added his vocals and some overdubbed parts afterward, but the core of the songs are live recordings.”
 
La Fonda begins with “As a Matter of Fact”, a minor key groove in 4/4 that the trio does well, but not often.  “The percussion part is me strumming a muted acoustic guitar, an old Nashville trick,” Steinhart allows.  “The song is a good starting place as it details someone who is letting the LA nights get the best of them.”
 
“Slide Into Sadness” references Steinhart’s guilt and imagined responsibility in his drinking buddy’s demise from alcohol. Now you’re just chatter among friends/ Wine and tall tales/ You me, we were a classic war story/ Ahab and his whale. 
 
“Vast Divide” is the first of two songs about the friend’s funeral. A nice little shuffle, the drums are played with brushes and Paul and David sing a clean tight harmony.  “Your Irish Funeral” is the second, with Rodenas playing percussion and using instruments from all over the world, including Ireland. “The song talks about his funeral in Indiana, where about 10% of the people in attendance knew him,” noted Steinhart.  “At the memorial in Los Angeles, all of his friends were so angry that it became like a horrible therapy session.  On this one, I’m just imagining all of us drunk and happy, playing songs that he loved and saying a proper goodbye.”
 
The trio’s last album, Now Residing Abroad covered a lot of styles within an acoustic framework.  The trio did a fair amount of exploration in both the song structures and arrangements.  One glowing review from No Depression announced, “you are about to find your new musical obsession” while, Jack Rabid of The Big Takeover stated, “NPR should have made stars of these talented everymen eons ago.”
 
La Fonda is the 7th album for The Furious Seasons and the 3rd as an acoustic trio. The subject matter is so specific that it sets it apart from any other album Steinhart has written. “This album feels a lot more traditional to me,” he said. “The subject matter made me want to write more folky and roots sounding chord structures. Production wise, Alfonso brings a balance and confidence to the songs that contrasts with the more experimental approach to the last album.  I appreciate that this is a matter of small degrees for a band like ours, but it still feels pretty significant to us.”
 
Guitarist Paul Nelson’s background as a working musician in Santa Barbara plying his trade in various facets of Americana, afforded him the ability to illuminate David’s songs with melodic and mercurial inventions that create a bespoke blend of blues, folk and country influences. Jeff Steinhart’s upright bass provides the supple underpinning that pulls the songs together with a gravitas that makes the vocals and guitars soar; also in the recording studio he adds subtle washes of organ and piano in just the right places. At the core of the material, David’s modal approach to guitar keeps the songs grounded and at the same time creates with painterly strokes open-ended, sometimes impressionistic sonic landscapes on which the trio builds arrangements. 
 
“My friend who passed, who is also named David, was such a big part of my wife and I’s lives.  His ex-wife is our best friend and his daughter is our goddaughter. Our circle of friends and family merged into a very central community in our lives with years of shared memories.  To have Jeff and Paul embrace these songs that are of such a personal nature feels amazing. Playing music with The Furious Seasons and recording with Alfonsi is a gift and I hope it came out in the recordings.
 
With vocal harmonies abounding, instruments soaring and clear-eyed storytelling, you can hear the band’s joy in making La Fonda.
 
For more information:  https://www.thefuriousseasons.com/

Reactie band:
‘We kijken enorm uit naar deze samenwerking. We hebben het afgelopen jaar flinke stappen gezet en we willen stappen blijven zetten. Hierdoor waren op zoek naar een boeker die onze plannen begrijpt en met ons de volgende stap wil zetten. Ed heeft zijn sporen in de muziek ruimschoots verdiend en vanaf het begin was er een klik. ​

​Bio:
Electric Hollers is een blues/rock-sensatie uit Noord-Nederland. Maak je klaar om weggeblazen te worden door een muur van vintage sound en energie! Zware bastonen, donderende drums en gitaarsolo’s die je meeslepen naar vervlogen tijden.
 
De band laat zich inspireren door bands als Led Zeppelin, Santana & Ten Years After en bracht in 2018 hun eerste plaat ‘Rise’ uit. Het uitbrengen van dit album leverde lovende recensies en een volle agenda op met als hoogtepunten een finaleplaats van de Dutch Blues Challenge, een voorprogramma van Ten Years After en een show op Waterpop.
 
In februari 2020 bracht de band het nieuwe album ‘Electric Hollers’ uit. Op dit album staan een rauwe sound en een live-feel centraal. Het album is verkrijgbaar op CD, vinyl en de streamingdiensten.
 
Bezetting:
Tim Birkenholz – Leadzang/gitaar
Inge de Vries – Basgitaar/zang
Max Mollema – Drums/zang

​Youtube:
www.youtube.com/watch?time_continue=7&v=aROaKJDBrxE&feature=emb_title
https://www.youtube.com/watch?v=M0Qnvtb4b_Y&feature=emb_rel_pause
https://www.youtube.com/watch?v=KN3dzcti8fw&feature=emb_title

Being the blues-singing daughter of B.B. King has earned Shirley King the title “Daughter of the Blues,” but she is an outstanding singer and performer in her own right and capable of singing any kind of music that comes her way. Just witness her newest full-length album, Blues For A King, which crosses musical genres from blues to rock to soul and back again. Even next to such high wattage guests as Joe Louis Walker, Robben Ford, Junior Wells, Pat Travers & Elvin Bishop, King absolutely shines as she performs spectacular version of the blues classics “Gallows Pole” and “Hoodoo Blues Man” as well as the soul hit “Johnny Porter” (originally by The Temptations) plus two songs by British rock band Traffic, “Can’t Find My Way Home” and “Feelin’ Alright?.” The album closes with a powerful version of Etta James’s unforgettable “At Last,” which signals that, at long last, Shirley King is finally getting the attention and recognition she so richly deserves. 
 
“I’m so thrilled that these great artists lent their amazing talents to my new album. I can’t thank them enough for believing in me. I’m so proud of this album and can’t wait for the world to hear it. I feel it’s my best work yet,” enthuses Shirley. Blues Hall of Fame guitarist Joe Louis Walker, who guests on two tracks on the new album, says, “I’ve had the honor of performing on two B.B. King albums. Now I have the distinct honor and pleasure of playing on his daughter’s album, Shirley King, who is also my dear friend. Keep the thrill goin’ on, Shirley….”
 
Blues For A King will be available on both CD and vinyl starting June 19 from Cleopatra Blues, a subsidiary of Cleopatra Records, Inc.
 
To purchase the album: https://orcd.co/shirley-king
 
Track List:
1. All Of My Lovin' feat. Joe Louis Walker
2. Feelin' Alright feat. Duke Robillard
3. I Did You Wrong feat. Elvin Bishop
4. That's All Right Mama feat. Pat Travers
5. Can't Find My Way Home feat. Martin Barre
6. Johnny Porter feat. Arthur Adams
7. Feeling Good feat. Robben Ford
8. Give It All Up feat. Kirk Fletcher
9. Gallows Pole feat. Harvey Mandel
10. Hoodoo Man Blues feat. Junior Wells & Joe Louis Walker
11. At Last feat. Steve Cropper
 
BIO
Born and raised in Memphis, Shirley began singing in the church choir at age nine. When she was thirteen, she met another music legend – Etta James. Young Shirley was so impressed by Etta’s performance that she made Etta her musical role model. Ruth Brown and the late Mahalia Jackson also greatly influenced the fledgling singer. Shirley says, “I grew up around the stage watching my dad become famous, but I never imagined I’d become a blues singer too.” Ms. King came late to the blues, first trying it on in 1990. Within six months, she was a regular performer at famed Chicago blues club Kingston Mines. Two years later she saw the release of her first CD, “Jump Through My Keyhole.”
 
In 1999, Shirley released her highly acclaimed blues album, “Daughter of the Blues,” which featured her soulful, bluesy versions of classics like “Wang Dang Doodle,” “Sweet Home Chicago,” “Every Day I Have the Blues” and, fittingly, “The Thrill is Gone.” Once her father caught her act he lent his full support to Shirley’s efforts at carrying on the blues. She admits that having a legendary father helped open some doors for her, but it was her talent, charisma and high-energy stage presence, along with her big, beautiful singing voice, that put her on the musical map. From traditional blues to gospel to funky R&B to smooth soul, Shirley defies genre and her singing and stage antics never fails to excite her growing number of fans worldwide. 
 
Shirley also believes in giving back. She has worked with kids as an artist-in-residence with the highly acclaimed Urban Gateways Arts in the Schools Program at Chicago Public Schools and continues to expose school children to the history blues has played in American culture. All in all, Shirley King continues to be the quintessential ambassador for the blues - and that’s something that would certainly make her daddy proud.
 
For more info, visit Shirley’s Facebook page: https://www.facebook.com/shirley.king.790
​

De wereldwijde uitbraak van het coronavirus (COVID-19) heeft een ongeziene impact op onze zomer. Verschillende festivals en tal van andere evenementen, nationaal en internationaal, zijn geannuleerd. Lokerse Feesten 2020 is daar helaas geen uitzondering in.
 
Tickets 2020 worden een waardebon voor edities 2021 en 2022De tickets van de 2020 editie worden automatisch omgezet in een waardebon met dezelfde waarde als het aangekochte ticket. Met deze waardebon kan je in 2021 of 2022 dus vrijuit kiezen welke dag je wil komen: het bedrag dat je reeds hebt uitgegeven kan integraal gebruikt worden voor een aankoop in 2021 of 2022.  Deze waardebon is twee jaar geldig en kan gebruikt worden bij elke toekomstige on-line aankoop. 
 
We zijn allemaal getroffen door het coronavirus, zo ook de hele festivalsector. Voor artiesten, podiumbouwers, technici, enz., en vele anderen wereldwijd heeft deze crisis een belangrijke financiële impact.  “We stonden te popelen om onze bezoekers een onvergetelijke editie te brengen, maar het mag helaas niet zijn. We willen heel graag van Lokerse Feesten 2021 meer dan ooit een kick ass jaar maken, maar daarvoor hebben we jouw hulp nodig.”, zegt Timothy Heyninck, voorzitter Lokerse Feesten. “De beste manier om ons te helpen is om er gewoon volgend jaar terug massaal te zijn en je gekochte ticket bij te houden voor onze 2021 editie, waar we ons al met veel goesting hebben aangezet. Zo bouw je mee aan de toekomst van Lokerse Feesten en kunnen wij ons blijvend inzetten om je memorabele edities te bezorgen.”  Dit volgt de richtlijnen van het Ministerieel besluit van 17 maart 2020 (meer informatie over deze richtlijnen vind je op https://www.saveyourticket.be/
 
Barcodenummer van je 2020 ticket is waardebon
Om je oude ticket/waardebon te verzilveren heb je het barcodenummer op je aangekochte ticket nodig. Bij je volgende online-aankoop voor 2021 of 2022 kan je het barcodenummer van je ticket intikken als kortingscode. Je vindt dit 20-cijferige barcodenummer op je ticket rechts van de QR code. Meer informatie hierover is te vinden op de website van Lokerse Feesten: https://www.lokersefeesten.be
 
Registreer je combiticket
Iedereen die reeds via onze website een ticket, combiticket of drankvoucher gekocht heeft, heeft reeds een e-mail ontvangen met alle instructies en barcodenummers. “Wie bij een fysiek verkooppunt tickets heeft gekocht, zoals bij FNAC of tijdens de early bird combiticketverkoop bij Dranken Van Eetvelde, kunnen we niet rechtstreeks bereiken.”, vervolgt Heyninck. “We vragen die personen dan ook om hun tickets te registreren via www.lokersefeesten.be/registreer. Op die manier kunnen we hen makkelijker op de hoogte houden in de toekomst omtrent het inwisselen van de waardebon.”
 
Lokerse Feesten 2021
De 46e editie van Lokerse Feesten vindt dus niet plaats in 2020 maar wordt verschoven naar 30 juli tot 8 augustus 2021. “De voorbereidingen voor editie 2021 zijn reeds volop aan de gang”, vermeldt Heyninck nog. “Verschillende artiesten van onze 2020 editie hebben reeds aangegeven dat er interesse is om terug te komen in 2021.” Op finale bevestigingen is het echter nog even wachten. “Later dit jaar kondigen we onze eerste namen aan en kunnen de waardebonnen verzilverd worden. Wij - en onze honderden vrijwilligers - zullen onze uiterste best doen om terug  onvergetelijke edities in 2021 en 2022 voor te schotelen.”

​De Rotterdamse zanger en producer Clifton Giersthove, bekend van de R&B-formatie Roméo, is vorige week vrijdag 8 mei op slechts 47-jarige leeftijd overleden. Hij stierf aan de gevolgen van een hersenbloeding. Clifton richtte Roméo samen met Milton Wijngaarde op. Dat gebeurde in de muziekschool aan de Pieter de Hoochweg in Rotterdam-West. De twee namen hun eerste demo op met de tweeling Julian en Spencer Barry. De interesse bleef aanvankelijk uit, maar na de vierde demo toonden verschillende platenmaatschappijen wel belangstelling. Roméo besloot met Dureco in zee te gaan. De eerste single ‘Always Fall For Love’ werd nog geen hit, maar daarna ging het snel. Eind jarig negentig scoorde Roméo een viertal hits, waarvan ‘Secret Love’ (zesde plaats in de Nederlandse Top 40) en ‘Coming Home’ (tweede plaats in de Top 40) hoge ogen gooiden. De viermansformatie maakte met het nummer 'Flying' (samen met Gwen Dickey) ook de soundtrack bij de film ‘Abeltje’ en maakte een liedje met Gordon, dat een bescheiden hit werd. Het succes hield na enkele jaren op, maar in 2014 werd Roméo nieuw leven ingeblazen, al was dat zonder Clifton. De overige drie leden gingen zonder hem verder, omdat Clifton met andere zaken bezig was. Acht jaar eerder had Giersthove een rap gemaakt over luchtvervuiling in Rotterdam door vlieg-, weg- en vaarverkeer voor het milieucentrum, om jongeren bewust te maken van de milieuproblematiek. De video werd opgenomen in het Jan Evertsenplantsoen in het centrum van Rotterdam. Clifton Giersthove ruste in vrede!
 
Met dank aan Leo Weijers.

Alan Davey, the brilliantly creative musician/songwriter/producer perhaps best known for being the protégé of Motörhead’s Lemmy as well as filling Lemmy’s leather boots as the bassist for space rock icons Hawkwind, is an astoundingly exhaustive artist. Just this year, Davey has overseen the release of new singles by his superstar project Hawkestrel that featured Rick Wakeman, Pat Travers and electronic violinist Shankar (Peter Gabriel, Frank Zappa) as well as the release of a 3-album set from his side project Pre-Med. And now comes the release of a 4CD collection of home studio recordings, awesomely dubbed Four-Track Mind. With recordings that date back to the mid-‘80s all the way up to this decade, Four-Track Mind will give the listener a glimpse into the creative evolution of this amazingly adventurous artist. Packaged in a deluxe clamshell box with individual wallets for each disc along with a 12-page booklet with detailed liner notes and vintage photos, this is a box set that no Alan Davey fan should be without!
 
Davey has this to say about the collection: “Rarely do musicians ever release their learning curves of writing, mixing, and production skills, with all the clicks and pops and unedited flaws, but I thought people would find it interesting to see how I evolved my style and sound over the years. From a 4-track cassette machine, here are 60+ demos of many of my songs and some not yet used!”
 
Four-Track Mind will be available on both CD and digital everywhere starting May 22!
 

 
Tracks:
DISC 1
1. Spiritual Modulator (1986)
2. R.E.M. Time (1986)
3. Chinese Whispers (1986)
4. Transient (1986)
5. Slumber Head (1986)
6. Dragon Chaser (1986)
7. Hypno Trip (1986)
8. In A Sphere (1986)
9. E-On Strings (1986)
10. Wind Of Ghosts (1987)
11. Dark Light (1987)
12. Moody Motion (1987)
13. Flight To Andromeda (1987)
14. Sunrise Assassins (1988)
15. Moonstone (1988)
16. Dragon Chaser (1988)
17. Sword Of The East (1988)
18. A Shot In The Dark (Motor Pink Head) (1988)
 
DISC 2
1. Spiritual Modulator
2. The Call
3. Fire Tribe
4. Return To...
5. Simulator
6. Chased
7. Dragon Chaser
8. Drive
9. On Acid Bass!
10. Hitze Seeker V
11. Of Wings
12. Out Of My Box
13. Robby's Rap
14. Jigging
15. The Noise
16. Abab Fed
17. Backwards Thru Water
18. Tribal Daze
 
DISC 3
1. Lost In The Smoke
2. Snake Charmer
3. Up And Up
4. The Animal
5. Deep Space Rock
6. Don't Fret
7. From The Deep
8. Blue Shift
9. OSC Squared
10. Stan's Middle 8
11. Astron Belt
12. Special Place
13. Received
14. Fear At Night
15. Endoparasitoid
16. Wave Upon Wave
17. Space To Go
 
DISC 4
1. Greenback Massacre
2. Shahadah
3. Many Voices
4. Bird Nebula
5. Creamy
6. Holosuite Program
7. Assimilation
8. Alien Fingers
9. The Wind
10. Be Still
11. Magic B
12. LGM
13. In The Game
14. Reality Foil

​Betty Wright's cause of death was not announced when her niece confirmed the passing. Something was clearly wrong though because 2 days ago, Chaka Khan made a plea ... "Calling all my #PrayWarriors. My beloved sister, Betty Wright @MsBettyWright, is now in need of all your prayers."
Wright, whom some in the music industry called one of the most underrated singers of her time, was recently honored on TV One's, "Unsung."
Betty recorded so many songs, including her 1971 hit, “Clean Up Woman”. She was only 18 when the song was released, and it turned out to be her biggest song ever. Other hits included "Let Me Be Your Lovermaker," "Shoorah Shoorah," "Tonight is the Night," and "Where is the Love."
Betty made a bold move in the '80s, launching her own independent label ... it had not been done before by a female artist. That's when she recorded "No Pain (No Gain)." Ever heard that phrase? Later she recorded "Mother Wit," and it went gold -- the first time an African-American female singer went gold on her own record label.
Wright became an inspiration to so many singers, including Mary J. Blige, The Roots and Joss Stone. Wright performed with Joss on her song, "The Art of Love and War."
In 2005, her 21-year-old son, Patrick, was shot and killed. She had 4 other children.
Betty was 66.

​Cristina Monet-Palaci, known also by her stage name of Cristina, has died at the age of 61.
Cristina, best known for her contribution to the new wave movement which boomed in the 1980s in New York City, worked closed with ZE Records and released four studio albums.
With releases such as ‘Disco Clone’, which was produced by John Cale, Cristina also earned success with her cover of Peggy Lee’s ‘Is That All There Is?’ and The Beatles’ ‘Drive My Car’ along with other popular singles of the time. After marrying Ze Records founder Michael Zika, Cristina would step away from recording music and focus predominantly on writing.
Her death was confirmed by Michel Esteban, co-founder of her label ZE Records, who wrote on Facebook, “Wake up this morning with this devastated news, dearest Cristina past away. So sad..”
Those closest to her have paid tribute, Joanna Pickering wrote: “Saddened at the death of Cristina Monet Zilkha she said she was sick last evening but not so worried as her lungs were clear and she always battled with underlying health issues so bravely. I can’t believe this sad news this morning. A rock star. I grew up on her music.”
She added: “I soon found she wasn’t just a rock star, she was a gorgeous, caring, super smart (incredibly wonderful to debate with), beyond generous and hilarious eccentric friend. Margaritas, taco dinner uptown. The infamous Christmas party invite, always her soirées or openings. One of the greatest lyricists for all these reasons. She was an inspiration when I was younger and fabulous through and through onwards. Sending love to her family and many mutual friends who she abundantly introduced me to. She will be missed. How sad. The world just lost a brightest light.”

Little Richard, in de jaren 50 een van de pioniers van de rock-’n-roll, is op 87-jarige leeftijd overleden. Dat heeft de zoon van de muzikant, Danny Penniman, zaterdag aan het Amerikaanse tijdschrift Rolling Stone laten weten. De oorzaak van zijn dood is nog onbekend.
Little Richard liet het eerst van zich horen met ‘Tutti Frutti’, in 1956. Dat nummer werd zijn grootste hit. In de drie jaar daarop volgde een reeks hits, onder meer ‘Long Tall Sally’, ‘Rip It Up’, ‘Lucille’ en ‘Good Golly Miss Molly’.
Er volgden geen grote hits meer na het einde van de jaren 50, maar zijn invloed bleef nog jaren doorwerken. Onder meer The Beatles gaven meermaals aan sterk beïnvloed te zijn door de Amerikaan.
Behalve The Beatles coverden ook The Kinks, Creedence Clearwater Revival en Elvis Costello nummers van Little Richard.

Brian Anthony Howe, known for his time as the lead singer of the UK rock band Bad Company, has died, , Howe died May 6 at his Florida home from cardiac arrest. The singer had previously suffered a heart attack in September 2017. Brian Howe was 66 years old.
Brian Howe gained notoriety when he sang lead vocals on Ted Nugent’s 1984 album Penetrator, which reached No. 56 on the Billboard 200. Shortly after his Nugent stint, Howe joined Bad Company, replacing original vocalist Paul Rodgers.
Howe sang on Bad Company’s Fame and Fortune (1986), Dangerous Age (1988), Holy Water (1990), and Here Comes Trouble (1992), as well as the 1993 live album What You Hear Is What You Get. After leaving the band in 1994, Howe released three solo albums: 1997’s Tangled in Blue, 2003’s Touch, and 2010’s Circus Bar.
​

​TK Russell staat voor een innovatief, fris geluid, gecombineerd met een vleugje old school, Hij mixt probleemloos Disco, Pop, Funk, Techno en Afro tot een one-of-a-kind sound, geînspireerd door de grote performers van weleer zoals JAMES BROWN, CURTIS MAYFIELD, TABU LEY ROCHEREAU, PRINCE en PAPA WEMBA... om er maar een paar te noemen. Zijn stem is zijn troef, dansen en performen zijn leven:
"Op jonge leeftijd al waren zingen en dansen voor mij de vorm van zelfexpressie die ik nodig had als ontsnapping en veilige plek waar ik mijn levenslust kon tonen. Ik ontdekte na verloop van tijd dat optreden de beste manier was om mijn vreugde over te brengen. Ik wou muziek maken die het publiek hun dagelijkse zorgen doet vergeten door op de dansvloer te komen. Deze filosofie vormde mij tot de artiest die ik vandaag ben en in het bijzonder kon ik met ‘Lovely’ mijn droom uitvoeren: met muziek mezelf en mijn publiek van het hier en nu laten genieten."
Bio
Gedurende zijn reeds rijke carrière heeft TK met en naast artiesten met verschillende achtergronden gewerkt, waaronder AKON, DAMON ALBARN, ROKIA TRAORE, FERDINAND RICHARD, LOKWA KANAZ, FABRIZIO CASSOL, PUGGY BAND, SALIF KEITA, DAVID GILMORE, MARIE DAULNE (Zap mama), ALAIN PLATEL (Les Ballets C de la B), AKA MOHOMBI, BANA C4, PAPA WEMBA... en meer.
 
A natural born entertainer.”  (Jan Hoozee, artistiek directeur Trefpunt Festival)
"Tk is niet alleen een geweldige en unieke muzikant en performer, hij is ook een zeer creatieve artiest, warm, intelligent en zeer geëngageerd mens .... Ik heb hem ook gezien als een solo-muzikant en ik garandeer je dat hij er staat." Alain Platel (Artistiek directeur van Les Ballets C de la B)
​

watchoutforthegiants' EP "Extended Play" 
Out 08/05/20 on 62TV Records / PIAS

including 
"None Of It", new single & clip

​“Extended Play” is the rebirth of watchoutforthegiants into the realm of curvy pop. It twitches and twirls into different directions, eventually finding the center between rock with an edge and artsy synth-pop. It is a story about rising up to the occasion. After all: the show must go on, hence “Extended Play”. (watchoutforthegiants)

Over de EP:
Watchoutforthegiants zijn vier jonge mannen uit Ninove en Gent, indierock fans, kunstzinnig - maar niet te - en ze vergeten nooit dat een goeie melodie altijd welkom is.  In hun muziek waart de geest rond van XTC, Midlake of zelfs Wire, ten tijde van ‘154’.
 
In 2018 haalde de band de Humo’s Rock Rally finale, en aansluitend namen ze een mini super-album ‘Extended Play’ op dat officieel (en fysiek) zou worden uitgebracht & voorgesteld ter gelegenheid van het 25-jarig bestaan van hun label - 62TV Records - tijdens het festival Les Nuits Botanique, op 29 april...
 
De plannen zijn ondertussen radicaal veranderd: het release-concert wordt uitgesteld tot 5 oktober en hun Extended Play wordt momenteel alleen digitaal uitgebracht omdat de band al nieuwe songs heeft opgenomen die aan het eind van het jaar worden gereleased. Maar deze eerste EP was dus goed en wel klaar, dus …. hier is ie !
 
Ps Het is “grappig” hoe sommige van hun songtitels een beetje klinken als een voorgevoel: Patient Zero, Taking Back Time, Get Over You, None Of It, of Dear Friends ...?
 

​As the world continues to be consumed by the COVID-19 pandemic, Jethro Tull’s Ian Anderson sings and plays flute with Mandoki Soulmates leader Leslie Mandoki. Mandoki has found inspiration and a new spark of hope amidst the chaos. He has penned a powerful new song in appreciation for the heroes who have emerged in this global crisis, the nurses, doctors, and other health care providers as well as the grocery store clerks and food delivery personnel who have stepped up to serve their communities. The new song, entitled simply “#WeSayThankYou,” expresses so clearly the feelings of gratitude many of us have felt in these troubled times.

Mandoki explains, “As an artist, I feel it is my duty to contemplate ideas for a better world. Now, like so many of us, I suddenly have the time. Let us grab this uncommon moment of pause together and take a new approach to the problems of the world. And let’s take a hard look at who this crisis is casting in a heroic light, and who comes out the villain.” 

The duet is being released as an EP on Thursday, May 7, 2020, through the Purple Pyramid imprint of indie giant Cleopatra Records, Inc. and is Mandoki Soulmate’s first release in the recently inked partnership with the L.A.-based label. Additional Mandoki releases are set to follow later this year.

There are three different versions of the song on the EP:
 
1. Duet with Ian Anderson.
2. New Version with Ian Anderson and Leslie Mandoki featuring Soulmates: Supertramp saxophonist John Helliwell, multi Grammy Winner Randy Brecker (on trumpet), Chair of Berklee´s Bass Department Steve Bailey, Simon Phillips (drums, along with Leslie),and backup singers: Bobby Kimball (Toto) and Chris Thompson (Manfred Mann´s Earth Band).  
3. Unplugged, Acoustic, Living-Room-Concert, with Ian & Leslie, Randy, Steve, John.
 
Leslie will be donating the royalties from the sales, syncs, and airplay of “#WeSayThankYou” to a To-Be-Announced Charity.
 
“#WeSayThankYou” was written in the context of Leslie’s own isolation in Germany, where his doctor wife, Eva, is a first contact physician.
 
Ian and Leslie have worked together for over 25 years on various collaborations with his jazz-rock band Soulmates featuring the good and great of classic rock and jazz. Mandoki’s Soulmates toured North America in 2018.
 
VIDEOS
Ian Anderson & Leslie Mandoki #WeSayThankYou
https://youtube.com/watch?v=l0Y6XFZw7Hk

Statements of the Mandoki Soulmates on the crisis: Leslie, Ian, Randy, Al DiMeola, Bill Evans, Jesse Siebenberg, Nick Van Eede, Steve, John, Simon, Chris talking about the “#WeSayThankYou”’ mission.
https://youtube.com/watch?v=5EK2LEZIBiA

Ian Anderson & Leslie Mandoki with the Mandoki Soulmates #WeSayThankYou with John Helliwell of Supertramp, Chris Thompson of Manfred Mann, Bobby Kimball & Simon Phillips of Toto, Jazz-Icon and Grammy-Winner Randy Brecker, Chair of Berklee´s Bass Department Steve Bailey
https://www.youtube.com/watch?v=NNScHWwFNqA

Landing Page with Advance Music and Digital Media Links   https://orcd.co/mandoki-soulmates-with-ian-anderson
 
Social Media, including Hashtags
#WeSayThankYou #TogetherAtHome
 
http://www.twitter.com/lesliemandoki
https://www.mandoki-soulmates.com
https://www.instagram.com/themandokisoulmates/
https://www.facebook.com/mandoki.soulmates
​

​There’s a family of musicians carrying the torch and leading the way for integrity and soul in music; Chris Robinson (The Black Crowes), Ethan Miller (Howlin’ Rain), Brent Rademaker (Beachwood Sparks), or pretty much any artist you would find on Britt Govea’s “Folkyeah Presents” calendar.  These are the newer statesmen of the Cosmic California sound following the path of bands before them; The Byrds, The Flying Burrito Brothers, and Buffalo Springfield (to name a few).
 
Now, Lee Gallagher’s own brand of cosmic American rock and roll takes a seat at the table with his new album, L.A. Yesterday.  “The music I play is always centered on rock and roll,” said Gallagher.  “It’s very much rooted in what was a period of awakening—the late 60’s/early 70’s.  So many obscure artists, so many mega artists, just a lot of great art.”
 
A Midwestern transplant, Gallagher’s music took a turn when he moved to San Francisco and also began spending time in Joshua Tree, CA collaborating with artists such as Victoria Williams, Bobby Furgo (Leonard Cohen), and Wally Ingram (Eric Burdon) which resulted in his solo EP, Valley of a Dying Breed. 
 
In San Francisco he put together a group of musicians dubbed “the Hallelujah” and recorded an eponymous debut release (2015).  It was a band that struck swift and wild and left an impression. Relix magazine praised the record and named the band, “one of the 5 artists you should know about” claiming “Gallagher’s vocal power may remind you of the late Steve Marriot or a young Robert Plant”.
 
Following the release, the band toured the US even opening for legendary artist, Leon Russell.  “He is a musical giant and a big influence on me,” Gallagher notes.  “It was surreal standing next to his piano and looking at his master song list.  He died not long after, but he toured to the very end.  His bus driver and longtime friend, Mikey, used to send me pictures from the road.”  In 2017 the band recorded two singles at the famed Light Rail Studios, “God of War” and “David Crosby” which were recorded on Jerry Garcia’s old tape machine and mastered by Betty Cantor-Jackson of Grateful Dead lore. The band was also invited to perform for the Grateful Dead’s 50th anniversary Jambase special, Songs of Their Own.
 
Before beginning L.A. Yesterday, Gallagher made the hard decision to part ways with a couple of band members.  As he was contemplating his next move, he was contacted by Jason Soda of Palamino Sound studio who suggested he come down to L.A. to record.  “I asked him about using some LA musicians and he immediately offered himself up for lead guitar, said Gallagher.  “Jason was an integral part of the SoCal band, GospelbeacH and their most recent release at the time, Another Summer of Love was recorded at Palomino and sounded fantastic.”
 
Gallagher enlisted the help of two longtime collaborators Jimmy Dewald (bass) and Kirby Hammel (keyboards). Will Scott (GospelbeacH, Mooney Suzuki) was drafted on drums.  “That was a little nerve-racking,” admitted Gallagher.  “I loved his playing and Jason recommended him, but what if we didn’t click?  Drummers are the backbone and Will is the backbone on this record.  Once we started playing, I think the first song was ‘Lullaby for the Acid Queen”, we a loosened up and really leaned into the songs.”
 
The ten songs of  L.A. Yesterday kick off with bright piano and heavy guitar licks of “Highway 10”.  “Highway 10 goes out from LA to the Mojave desert. I spend a lot of time in Joshua Tree, so I’ve driven these roads countless times.” Gallagher’s dynamic vocal range is clear and present on all songs, from the sonic sledgehammer “Goodnight Sweet Maria” to the apocalyptic and eerily prescient, “Astral Plane Blues.” Slide guitar makes an appearance on “County Line” and “Gone Today” is a straight up rock and roll song.
 
Gallagher says that one of the best things that came out of this recording was a friendship with his co-producer, Jason Soda. “He was in the band, Everest which was the first band signed to Neil Young’s Vapor Records, so naturally there were some good stories floating around the studio.  He even has a tiny bottle of Tabasco from Ben Keith’s funeral sitting on top of the mixing console. His inviting me to record at Palomino Sound and the offer of his guitar was the exact lift I needed to dive into my next project.”
 
The production L.A. Yesterday takes the approach of balancing acoustic-based songs with super heavy rock to allow the album to flow seamlessly.  “Jason would layer mandolin, Nashville-strung guitar, and 12 string acoustic and electric,” Gallagher explains.  “This is a snapshot in time, recorded during turmoil and change, but beautiful things came out of it including lifelong friendships. Play it very loud rolling down the highway or simply melting into your favorite chair.”  ​

“Music Unites” is the new CD by Italian guitarist Rocco Zifarelli, for more than 20 years alongside the famous movie music composer Ennio Morricone with whom he has recorded many award winning scores (Academy Award, Golden Globe, Bafta etc) and performed in many tours around the world. Published 20 years after the acclaimed “Lyndon” (Via VenetoJazz-Universal) this CD continues on the same musical concept, that concerns instrumental electric jazz and jazz-rock in general, with 10 tracks describing a series of experiences of musical life in Rome, New York and especially in Paris.

For “Music Unites” Rocco brought together a number of great musicians with whom he collaborated in the last years, primarily Paco Sery (Ivory Coast) on drums and Linley Marthe (Mauritius Island) on bass, the rhythm section of Joe Zawinul Syndicate, then italian bass stars Dario Deidda and Pippo Matino, Russian trumpeter Alex Sipiagin and two DJ’s and sound designers Freddy Jay (Paris) and Yassin Africancuts (Brussels), and many others. A lot of musical variety, original and non-original compositions, including two revisited Morricone's themes “The Untouchables” and “Le clan des siciliens,” in a dynamic succession of electric and acoustic moods combined with samples and electronic loop, well conducted by Rocco's eclectic guitar. A CD that put together people, cultures, sounds, musical life and experiences…because “Music Unites”! 

Says Rocco, “This record is the story of my musical and private life, through the ten tracks, like the chapters of an autobiographical book. It’s also a journey, a long journey in all senses, was conceived from the point of view of the compositional ideas many years ago, shortly after the release of my first and only album 'Lyndon' but had a very long gestation, due to many factors both external and personal, changes of human and artistic life mainly influenced by the massive events that have affected the whole world in the last twenty years. During this time I traveled a lot, for tours and concerts, and lived in some world great musical cities. Expecially my three years in Paris, after joining the Defunkt, where I met many African artists who were able to express depths of their native cultures. Even now Paris absorbs these important influences and, in musical terms, trains generations of extraordinary esteemed all over the world. All that already happened in New York since forever, but not with African born artists, really hard to arrive in the US… it is not a coincidence that Joe Zawinul has taken so many musicians of the last Syndicate in Paris, even if they were not originally from France.”

Rocco Zifarelli's “Music Unites” showcases the energy and power of Rock, the expressiveness of Blues, the improvisation, the harmonies and the interplay of the Jazz of Miles and Coltrane, the groove of Funk and Black Music, the timbres and the colors of Mediterranean acoustic music and the synthesis of Electronic music.

In the meantime, thanks also to his friend Marco Massimi, he managed to create Rocco's recording studio in Rome, the “ZETA STUDIO,” where “Music Unites” was almost entirely recorded; it is Rocco's “refuge,” a kind of laboratory where he can experiment with music ideas with his friends, and a comfortable place to record guitar tracks for various external works. The need to manage, protect and produce the best ideas has led Rocco to develop the concept of his own music production company, “ZETA STUDIO PRODUCTIONS,” which will report to some divisions such as the record label “ZETA RECORDS,” of which this CD is the first product, publisher with which his guitar methods and other types of productions will come out.

For more information:
Website: www.roccozifarelli.com
F.B. artist page:  www.facebook.com/Rocco-Zifarelli-Guitarist-143486242343992/
Instagram:  www.instagram.com/roccozifarelli/?hl=it
​

Seven-time Grammy Award-winning Singer, songwriter, actress and author TONI BRAXTON scores a top 10 entry at No. 10 this week on Billboard's Adult R&B Airplay chart with her new single "Do It" via Island Records.
Produced by Babyface & Antonio Dixon, "Do It" follows after Braxton's 2018 album Sex & Cigarettes which feature the Billboard Adult R&B Airplay hit "Long As I Live", "Deadwood" & "FOH".
www.tonibraxton.com

Nocona is a band that is comfortable inhabiting the nebulous space you find between psychedelic rock and classic country music.  “We don’t neatly fit into any pop, country or ‘alt’ country category,” explains Chris Isom. “We tip our hats to a lot of traditional music and have a tremendous amount of respect for the varied and storied forms of Americana music, but we also do a lot of weird far out stuff. We take a lot of chances musically and we like it that way.”
 
Fronted by the husband and wife team of Chris and Adrienne Isom playing lead guitar and bass respectively, Nocona takes full band form with Justin Smith on drums, Elan Glasser on harmonica, Dan Wistrom on steel guitar, and Xander Hitzig on fiddle.  They also recruited notable Los Angeles keyboardist, Carl Byron to play on Los Dos. All songs were written by Chris Isom with the exception of “Post Apocalyptic Blues” which was co-written with Jay Braun. Isom sings all leads with vocal backing by Adrienne Isom and Justin Smith.
​
 
Los Dos was co-produced and mastered by Adrienne Isom and New York friend and recording engineer Jay Braun and mixed by Kevin Jarvis at his Sonic Boom Studios.  Recorded live in the Isom’s garage with no click tracks, the record captures the feel of people playing in a room together live.
 
“We took more chances on this record,” said Isom. “Adrienne and Jay had a lot of input in terms of dynamics, tempo and vibe.  Because we recorded in our garage, we weren’t on the clock as we were with our other records during the recording process, and we could record more takes and choose from the ones we liked or retake after listening more.  I think that provides a powerful dimension to the overall vibe of the record which diverges from some of our other recordings.”
 
Los Dos begins with the track “Stabby Mike” a surreal ode to a fictional character who may or may not resemble figures in real life.  “I got this character in my head of someone who just walks around with a switchblade in his back pocket and stabs people for fun…ya know? Stabby Mike…kind of like a “Gangs of New  York” type character.” Chris says.  “There are a few people who don’t seem to be so far off from this kind of caricature to me these days, unfortunately.” Sonically, the song explores some tried and true rock n’ roll psychedelic Americana punk territory, but has a soaring unexpected chorus and interesting instrumentation featuring Wistrom’s masterful pedal steel and Glasser’s harmonica work.
 
“Chasing Your Shadow” is a more upbeat track with a bluegrass or country feel, while “Free Throw” evokes a more laid-back 70’s sun-soaked rock n’ roll vibe. 
 
“Unseen Hand” is perhaps one of the record’s most ambitious songs instrumentally, incorporating aspects of heavy blues verging on psychedelia.  The long instrumental middle of the song has a series of very unexpected twists and turns.  “Never Come Back” features some of the most incredible fiddle work from Hitzig. “It’s just a real straight forward song with a lot of bluegrass roots, but some dark undercurrents.  It was pretty much made for the fiddle and Xander has one of my favorite solos of the whole record on it.”
 
“Ace In The Hole” is a lush closing ballad with soaring symphonic choruses and beautiful pedal steel, dealing with the issues of existential ennui.  “It’s about learning to live in the moment and appreciate the now, but knowing our inner demons are always lurking. I wanted to write something that would make someone who might be really depressed see the beauty in life and not dwell on their demons,” explains Isom. 
 
Los Dos is being released on Mule Kick Records, which is a small label created by Adrienne Isom and her partner at Mule Kick Productions, KP Hawthorn.  Adrienne is a filmmaker and is currently working on a documentary on the legendary LA nightclub, The Palomino (She also directs and edits many of the band’s videos).  “This is the production company we created to support our documentary,” she describes. “I hadn’t planned making Nocona’s record our first release, but with the changed world, it was the thing to do.  I was in production with the documentary and I couldn’t release the album and make the documentary at the same time…then we all went into quarantine so the documentary is what ended up being temporarily paused.  The record was done and I realized I wouldn’t be traveling and interviewing people for awhile, so it seemed obvious that now was the right time to release the record.” 
 
All in all, Los Dos catalogs a rich musical journey for Nocona and an interesting departure from some of their previous work.  While many aspects of the record are more raw and gritty than previous releases, much of the songwriting is more mature and fully realized.  If you were a fan of their previous work, you will definitely enjoy this record, however, you may find yourself pleasantly surprised by some of the unique twists and turns it takes which really push the bounds of the genre.  ​

​“Their musicality and stage presence remind me of the glory days of vaudeville. Kim and Connie are kind of like the Bert Lahr and Al Jolson of modern music.” - Victor De Lorenzo, Violent Femmes
 

​MRS. FUN plays nu jazz. Complex, sophisticated and adventurous, their music is a unique blend of off-center jazz, ultra-funk, spoken word rap, and their own brand of neo-cabaret. Intelligent lyrics, stellar musicianship, and a dynamic stage presence are hallmarks of their music. The MRS. FUN sound is derived from Connie Grauer's funky bass-driven keyboard playing, combined with Kim Zick's skillful in-the-pocket drumming. 
 
“Their music is a blend of my favorite things. Especially cool jazz. They also remind me of beatniks. I'm from Berkeley and I know my beatniks!” - Martha Davis, Motels
 
“Grauer is a piano player with few equals whose drive and energy spills across the stage and into the audience like nitrous oxide. She's got a left hand that doesn't quit, the mark of any great pianist, and a right hand with limitless boundaries.” Zick holds court as a “heart-stopping drummer” whose “grooves get so far out, most people need a map to get back.” Voted Best Contemporary Jazz Group by the Wisconsin Area Music Industry(WAMI) three consecutive years, Grauer and Zick have also received WAMI awards for Best Instrumentalist: keyboards and drums. Grauer has also received awards for Best Female Vocalist and Best Stage Entertainer.
 
Improvisation is the driving force of MRS. FUN. The duo's very first gig was all improvisation. Some of the improvisations became songs. 30 years and five recordings later, they wrote the music for TRUTH and held strong to their original mission statement. In every recording, they include one or two cover pieces, usually a Thelonious Monk song. On TRUTH, “Soulful Strut” and “Light My Fire” were selected being a great fit to their original material. All of the instrumental tracks were recorded live. The only overdubs were vocals.  
 
For more information:
www.mrsfun.com
https://www.facebook.com/MRS-FUN-468335266600579/ 

​Acclaimed vocalist and Was (Not Was) member Hillard ‘Sweet Pea’ Atkinson has died at the age of 74.
Billboard reports that Atkinson died on Tuesday (May 5) at his home in LA after suffering a heart attack.
Guitarist Randy Jacobs, who worked with Atkinson in both Was (Not Was) and the Boneshakers, told Billboard that Atkinson was a “one of a kind”.
“He had that aura,” he said. “He could walk on stage and win everybody over, without singing a note… because he’s Sweet Pea. I saw him do that so many times. And then once he sings… forget about it.”
Atkinson was best known for his work in Was (Not Was), who formed in Detroit in 1979 and recorded such tracks as ‘Walk The Dinosaur’ and ‘Shake Your Head (Go To Bed)’.
Praising him as “the most flamboyant character I ever met,” Don Was told Billboard that Atkinson “had the voice I always wished I had”.
“When I was writing songs, I was always writing with him in mind,” he added.
Atkinson recorded two solo albums, 1982’s ‘Don’t Walk Away’ and 2017’s ‘Get What You Deserve’. Upon the release of the latter, Atkinson commented: “I’m old as dirt — but I can still sing!”

From the makers of Sharon Signs To Cherry Red , further inspired by its own Junkshop Glam series and genre defining box set “All The Young Droogs”, RPM follows up with Super Sonics. A celebration of the multi-faceted British alt. rock/pop scene which flourished 1992-1998, midway through attracting the term Brit Pop.
 
Compiled by DJ, curator and contemporary scenester Martin Green, who ran the London club Smashing during the period. Artists such as Blur, Oasis, Pulp were all attendees, and the club became a breeding ground for many future bands. In parallel Martin compiled and co-produced the genre defining Loungecore compilation The Sound Gallery released on EMI in 1995, using many tracks which had populated the early club sets. Martin tells the full story in the booklet.
 
Capturing the scene then as Time Out’s nightlife editor, and representing it now with his images on our front cover and inside the booklet is renowned pop culture journalist and club photographer Dave Swindells.
 
The scene was a fusion. Grunge was out Glam was in. 70’s charity shop tops, jeans went skinny, fringes floppy and sportswear vintage donned. Soundtracks, TV themes, Moog grooves, Punk, Indie, Hi Nrg, Glam and New Wave hit the decks. Different aspects of 20th Century musical culture collided to create something new. Super Sonics is a slice of ‘single’ heaven from across the range of musical styles which sprouted. Such styles were referred to as the New Wave Of New Wave, The Scene That Celebrates Itself and more until Brit Pop was coined to cover it all.
 
The criteria for a successful collectors ‘Junkshop genre’ to evolve is a music scene happening when ‘singles’ were currency, and a tier of artists who didn’t necessarily progress up the charts or into albums but who were fully involved in the scene. Super Sonics includes representations from other key scene clubs such as Blow Up (the label from which is still going today) and Fantasy Ashtray whose nightly host was Davina McCall. Other scene alumni include radio presenter Lauren Laverne – famously emerging from Kenickie; Louis Elliott from Rialto who founded the Port Elliott festival; Ella Guru of the Voodoo Queens – a leading artist of the Stuckist art movement; We Are Pleb (whose track here is previously unreleased) begat TV sensation Dennis Pennis by way of singer Paul Kaye and Paul Jones guitarist with Linoleum and later Elastica who now guides today’s artists as A&R at Rough Trade Records.
 
In Super Sonics Martin Green has compiled a compelling listening experience. And it’s very Brit: Dave Devant is the 90s Alan Klein (the 60s Londoner whose LP “Well At Least It’s British” inspired Damon Albarn’s “Modern Life is Rubbish”); other songs dwell on London Girls, the virtues of Pimlico and a Penthouse in Belgravia; and Earl Brutus request Take me to your Harvester…

TRACK LISTING
 
Disc One
1. Afrodisiac – Powder
2. Marquis – Linoleum
3. Rough Lover – Posh
4. Sad – Mantaray
5. Revolve – Pimlico
6. So Small – Showgirls
7. Come Out 2nite – Kenickie
8. We Don’t Care – Shampoo
9. Charlotte’s Party – Peepshow
10. Goldmine – Spearmint
11. Inelegantly Wasted In Papa’s Penthouse Pad In Belgravia – The Weekenders
12. Don’t Turn This Love Into Sorrow – World Of Leather
13. Nosebleed – Chest
14. Change Me – Jocasta
15. Entertainment – Speedway
16. Plastic Ashtray – Urusei Yatsura
17. Monica Webster – Delgados
18. Her Jazz – Huggy Bear
19. Trophy Girlfriend – Heavenly
20. Supermodel-Superficial – Voodoo Queens
 
Disc Two
1. London Girls – Duffy
2. Sometimes The Kids Are Not Alright – The High Fidelity
3. Inevitable Fast Access – Add N To X
4. Pit Stop – Va6
5. Mood Music – We Are Pleb *
6. Strip Polka – Velocette
7. Pimlico – David Devant And His Spirit Wife
8. Conker Fight In Wendy’s House –
Sexton Ming And Steady
9. Chrysalis – Pram
10. Vdt – Scala
11. On Me Not In Me – Earl Brutus
12. [email protected] (Student Union Mix) – [email protected] *
13. Edit Life Form – Sound 5
14. Curl Up – Sweetie
15. Keroleen – Bis
16. Crawl (Raw Mix) – Elizabeth Bunny *
17. Do You Always Dress Like That In Front Of Other Peoples Girlfriends – Mambo Taxi
18. Steal Steal Steal – Minxus
19. Judy Garland Life – Gretschen Hofner
20. Underdogs – Rialto
* Previously Unreleased
 

​The Icelandic artist teams up with GRAMMY winner Paul Brown for a new EP
 
REYKJAVIK (6 May 2020): Observing the global pandemic from his relatively unscathed northern perch in Iceland, keyboardist Jakob Magnusson follows developments on the virus and its economic impact closely. With less than a dozen deaths directly attributed to coronavirus in this Nordic nation, the jazz-funk artist is focused on dropping his “High North” EP on Friday on the Woodward Avenue Records label. As some astute observers believe that Iceland is in one of the strongest positions to recover and rebound swiftly from the worldwide challenges, Magnusson exudes a sense of national pride, which inspired the title to the five song-set he wrote with two-time GRAMMY-winning producer-guitarist Paul Brown.
 
"Indeed, the title ‘High North’ refers to my Icelandic origins. I come from what used to be considered the outskirts of the habitable world. Iceland used to be seen as a very remote, cold little island somewhere between Moscow and Washington, but thanks to international aviation, telecommunications and social media, it is now more and more seen as the most ideal and desirable location in the whole world. Living here gives you a different set of values and the musical life in Iceland has for years been blessed by free musical education for all, the presence of American radio and television networks, and some great American musicians and producers like Paul Brown who have been coming here for years to play and produce local talent. I´ve certainly benefitted from this," said Magnusson, who has also released recordings under the name Jack Magnet.
     
“High North” was created as an international collaboration between the Reykjavik-based Magnusson and the Los Angeles-based Brown utilizing musicians from both countries. Flugelhorn player Snorri Sigurdsson, trumpeter Ari Bragi Karason and vocalist Ragnhildur Gisladottir are among the Icelandic musicians contributing to the collection with most of the grooves anchored by the Icelandic rhythm section formed by bassist Johann Asmundsson and drummer Thor Thorvaldsson.   
 
"We were lucky to have one of the world´s foremost bass players here to lay the foundations with us, jazz-funk maverick Johann Asmundsson, who has provided some of the key elements to the sound of renowned groove-jazzers Mezzoforte,” said Magnusson, who went on to reveal the inspiration for the EP opener, “Karlsson’s Arrival,” a toss around the musical horn that affords each player the moment to shine by offering clever retorts in response to Magnusson’s deft keyboard calls.
 
“One of the songs on the EP is aptly named ‘Karlsson´s Arrival’ due to the fact that Mezzoforte guitarist Fridrik Karlsson volunteered to come to the studio and lend his magic guitar touch to some of the tracks together with his longtime American friend, Paul Brown, with whom he has frequently performed in Iceland and London.”
 
Among the other American players are horn men Greg Vail and Lee Thornburg, percussionist Lenny Castro, keyboardist-drummer-songwriter Lew Laing, and Billboard chart-topping saxophonist Jeff Ryan, who was featured soloing on the EP’s “Hook, Line & Sinker,” which dropped in 2018, Ryan’s breakthrough year. Cowriting the energizing jam with Magnusson and Brown was British hitmaker Chris Standring.      
 
Serviced to radio and set to begin collecting playlist adds on Monday (May 11) is “Caption This,” a retro cool vibe that opens with a slick 1970s guitar riff from Brown that churns away in the background as Magnusson dispenses soulful keyboards throughout the cut. While citing the song’s message, Magnusson offers the track as a state of the union on the future of the contemporary jazz-funk genre.       
 
"‘Caption This’ refers to playing within certain musical concepts and commenting on them with our own rather personal musical phrasings - mostly short and sharp. It means creating your own musical phrases as a response to a given musical setting. In this case, we are referring to the rephrasing and repositioning of a friendly retrospective genre that now may have been granted a new lease on life.”
 
Magnusson & Company playfully embark on the quirky “Reykjavik Romp.” One of the most interesting EP credits is credited to Thor Thorvaldsson and Einar Scheving on the haunting “Next To You,” an atmospheric number showcasing Magnusson’s nimble keyboard explorations. 
 
"We spice up our rhythms with local human elements like Polar Beat. The Icelandic Polar Beat involves some mouth & body percussion,” Magnusson explains.
 
Magnusson is considered one of Iceland’s most original musical exports and a Rhodes keyboard master. He has amassed a versatile body of recordings that include collaborations with jazz royalty (Stanley Clarke, Freddie Hubbard, Tom Scott and Richard Elliot) as well as pop superstars (Elton John and Phil Collins). A dynamic multimedia personality who served as a celebrity judge on “Iceland’s Got Talent,” Magnusson starred in and produced Iceland’s biggest box office success, “Með allt á hreinu (On Top).” For more information, please visit Magnusson on Facebook and Instagram or visit http://woodwardavenuerecords.com/.
 
“High North” contains the following songs:
 
“Karlsson’s Arrival”
“Hook, Line & Sinker”
“Caption This”
“Reykjavik Romp”
“Next To You”

​Florian Schneider, co-founding member of Germany’s electronic music group Kraftwerk, has died at the age of 73. A representative for the group said Schneider had been battling cancer.
Schneider founded Kraftwerk alongside Ralf Hütter in 1970, after meeting at the Academy of Arts in Remscheid in Düsseldorf. The pair were part of Germany’s experimental music underground scene, initially playing together as members of a group called Organisation. However, after Schneider became interested in synthesizers, the duo began recording music under the name Kraftwerk. Their initial two studio albums — Kraftwerk and Kraftwerk 2 — consisted of free-form experimental recordings, created using guitar, bass, drums, organ, flute, and violin, and later distorted with audio-tape manipulation and multiple dubbings. In 1973, after Wolfgang Flür joined the group, Kraftwerk began experimenting more with synthesizer and drum machines, culminating in release of Ralf und Florian.
Kraftwerk achieved mainstream success with 1974’s Autobahn and its 1975-follow-up, Radio-Activity, boasting a refined electronic sound created using new music tech including the Minimoog and the EMS Synthi AKS. At the same time, the band began staging innovative live shows featuring an expanded touring lineup, matching costumes, light shows, and live vocals sung with the use of a vocoder.
Subsequent albums including 1977’s Trans-Europe Express and 1978’s The Man-Machine cemented Kraftwerk’s status as one of the defining groups of their generation, and attracted the attention of fellow music legend like David Bowie and Brian Eno. Bowie was especially smitten with Kraftwerk, calling them his favorite group in a 1976 interview with Rolling Stone. He later re-located to Germany in order to fully immerse himself in the country’s electronic music scene, leading to the recording of his Berlin Trilogy of albums. Bowie’s 1977 album “Heroes” even contained a track named after Schneider.
Numerous other musicians have cited Kraftwerk as a major influence on their own music, including Joy Division, New Order, Depeche Mode, Gary Numan, Björk, and Daft Punk. The group was also famously parodied in The Big Lebowski.

​Jamaican singer Millie Small has died at the age of 73 after suffering a stroke.
The star was most famous for her hit single ‘My Boy Lollipop’, which reached number two in both the US and the UK in 1964.
It remains one of the biggest-selling ska songs of all time, with more than seven million sales.
Island Records founder Chris Blackwell announced her death and remembered her as "a sweet person... really special".
It was Blackwell who brought Small to London in 1963 and produced her version of My Boy Lollipop, showcasing her childlike, high-pitched vocals.
"It became a hit pretty much everywhere in the world. I went with her around the world because each of the territories wanted her to turn up and do TV shows and such, and it was just incredible how she handled it.
"She was such a sweet person, really a sweet person. Very funny, great sense of humour. She was really special," said Blackwell.

​Richie Cole, a renowned saxophonist who was championed by DownBeat early in his career and whose passion for bebop-era jazz dwelt at the heart of his exuberant Alto Madness performances and projects, died May 1 of natural causes in Carnegie, Pennsylvania, according to a report from WBGO. He was 72.