SCHOOL IS COOL STELT NIEUWE SINGLE 'UH-HUH' VOOR!
Beluister 'Uh-Huh' HIER
We openen met een overstuurde baslijn over een bedje percussie, tot een donderende drumfill alles openbreekt. Daarna geeft de band niet meer af; deze wagon blijft voortdenderen. ‘Uh-Huh’ heeft misschien een lichtjes nonchalant overkomende titel, de song zelf is dat allesbehalve.
“Toen ik een tiener was, werd ik vaak verliefd op meisjes die ik in een flits zag op het openbaar vervoer” zegt zanger Johannes Genard. “Het was een balans zoeken tussen enerzijds uitdrukken hoe intens die ‘crush’ was en anderzijds voorkomen dat ik als een gluurderige gluiperd overkom (lacht)”
Het nummer is opgezet als een energieke ode aan voorbijgaande verliefdheid: “De uitzinnige koorzang in de break geeft best mooi weer hoe ik na zo’n - overigens totaal onbeantwoorde - metro-crush naar huis huppelde.
'Uh-Huh' is de tweede single uit de nieuwe plaat van School Is Cool die zal uitkomen dit najaar.
Songwriter Kenneth “Ken” Williams, who wrote or co-wrote hundred of tunes for a vast array of performers, including Donny Hathaway, The Four Tops and Peaches & Herb, including The Main Ingredient's hit “Everybody Plays the Fool,” has died. He was 83.
Williams died June 17 following a long non-COVID-19-related illness at North Shore University Hospital in Manhasset, New York, said his wife, Broadway actress and singer Mary Seymour Williams.
Williams, along with Rudy Clark and J.R. Bailey penned the-now classic song “Everybody Plays the Fool,” originally recorded in 1972 and covered by numerous artists. In recent years, Williams' output has been sampled by artists like Alicia Keys and Lil' Wayne.
In 1968, Williams founded A Dish-A-Tunes LLC Publishing, a family owned and operated music company. During the last five decades Williams added over 500 songs to his music catalogue.
In 2004, the song “You Don’t Know My Name” recorded by Keys and produced by Kayne West on ”The Diary of Alicia Keys" won a Grammy and so did Williams since it sampled the 1975 song “Let Me Prove My Love to You," co-written by Williams and performed by The Main Ingredient.
Some of his songs include “Love, Love, Love” (Donny Hathaway), “I Can’t See Me Without You” (The Impalas), “Let Me Prove My Love To You” (The Main Ingredient), “Only When You’re Lonely” (Holly Maxwell), “Seven Lonely Nights” (The Four Tops), “Keep on Holding On” (Margaret Reynolds) and “Hoping You Will Come Back” (Sandra Phillips).
Williams is survived by his wife; a sister, Dorothy Jones; sons Kenny Williams Jr., Kevin D. Williams and Kalvin Williams; a daughter, Cheryl Nicholson; a stepson, Kenny J. Seymour; grandchildren and great-grandchildren.
Award-winning Starlite Campbell Band release exciting third album 'Starlite Campbell Band Live!' on July 22nd
Award-winners Starlite Campbell Band Starlite set to release exciting third album 'Starlite Campbell Band - Live'
Flying in the face of disposable music and keeping the roots of rock music alive, award-winning Starlite Campbell Band release their exciting third album 'Starlite Campbell Band Live' on July 22nd, 2022.
Husband and wife Suzy Starlite and Simon Campbell are passionate about the music as well as each other and have been on a thrilling roller-coaster musical ride following the worldwide success of their first two albums 'Blueberry Pie' and 'The Language of Curiosity'.
With their high energy, virtuoso performances, no two gigs are the same with their thunderous groove-ridden rhythm section, mighty tone-filled riffs, strong melodies and poetic lyrics complimented by unexpected, exciting improvisational free-form jamming.
Caring deeply about giving audiences a great time at their live concerts and creating beautifully recorded music, they wanted to capture the sound and spirit of those special concerts for fans of Starlite Campbell Band.
Recorded over a series of dates in the UK at The Met, Bury and The Grange Theatre, Oldham, their new live album features Steve Gibson on drums (The Buzzcocks, Jack Bruce) and a trio of outstanding organists including Jonny Henderson (Matt Schofield, Kirk Fletcher) and Christian Madden (the Liam Gallagher band) on Hammond organ and Wurlitzer electric piano.
'Starlite Campbell Band Live!' features all the band's original songs from their catalogue of work with one exception; when Josh Phillips, Hammond organ player with the legendary band 'Procol Harum' joined Starlite Campbell Band on their 2019 UK tour, there was no question that the iconic 'A Whiter Shade of Pale' had to be included in the setlist and features as the closing track on the new 'live' album.
'A Whiter Shade of Pale; was released as a lead-in single to the album release on June 24th and features live footage of the Starlite Campbell Band filmed at The Met, Bury, UK plus a montage of memories from their worldwide travelling escapades from London to Lisbon, the island of Vis in Croatia to their hometown of Samora Correia in Portugal.
An essential addition to your record collection and a unique gift for your friends, Starlite Campbell Band Live!' is released on July 22nd, 2022
See more at the Starlite Campbell Band website: https://starlite-campbell.com
Wie dacht dat het mooi onthaalde album “Broers” van De Mens al zijn single-geheimen had prijsgegeven, komt met “Mooie verliezers” bedrogen uit.
Deze derde single klinkt minstens even aanstekelijk als “Waar is de liefde?” en heeft, net als “Broer”, meer te vertellen dan de vloeiende muziek lijkt aan te geven.
“Doorvoeld entertainment” noemde iemand datgene waar De Mens nu al dertig (30!) jaar voor staat. Dat blijkt dus weer uit dit nieuw werk, dat blijkt ook uit de speellijst voor de zomer van dit jubileumjaar.
Canadian Roots Blues Duo Blue Moon Marquee Are Ready to "Scream, Holler & Howl" on New Self-Released CD Coming September 9th,
Canadian Roots Blues duo Blue Moon Marquee announce a September 9th release date for their latest CD, Scream, Holler & Howl, on their own Blue Moon Marquee Music label. The new CD was recorded at Afterlife Studios.in Vancouver, British Columbia, and produced by the band, along with multi Blues Music Award-winner Duke Robillard and Erik Nielsen. Scream, Holler & Howl shines a bright spotlight on the prodigious talents of A.W. Cardinal (vocals and guitar) and Jasmine Colette (upright bass/vocals), along with guests Darcy Phillips - piano, Hammond organ; Jerry Cook - tenor and baritone sax; Matt Pease – drums; Paul Pigat – guitar; Bonnie Northgraves –trumpet; and Señor Erik –tambourine. Duke Robillard adds his stellar guitar work on several tracks, too. The album’s “Baker’s Dozen” 13 tracks include 11 original songs, plus two distinctive takes on songs written by the legendary Lonnie Johnson: “Another Night to Cry” and “Long Black Train.”
“To say A.W. and Jasmine are old souls is an understatement to say the least,” says co-producer and legendary guitarist Duke Robillard in the album’s liner notes. “They are poised for worldwide recognition in an amazing genre-bending ride through American blues and folk, gypsy jazz, Native American themes, jump blues, swing and more. These century-old traditions have been redefined and delivered in a new light here. They are astounding in their depth, groove and soul on this recording. Written, played, and recorded here in a heartfelt and natural old-school way for the world to hear, feel, dance, drink or be alone with. For me, working with them in the studio was inspiring and a re-confirmation of my own belief in the power of roots music. Special thanks go out to Afterlife Studios, with their long history of great recordings and real echo chambers, vintage gear, and great engineer Erik Nielsen, who converged magically with all these musicians to make some damn memorable music.”
Blue Moon Marquee writes and performs original compositions influenced by anything that swings, jumps or grooves. A.W. Cardinal (vocals/guitar) and Jasmine Colette - a.k.a. Badlands Jass (vocals/bass/drums) - have played for a vast gamut of crowds at jazz clubs, Lindy Hop dance halls, folk venues, blues haunts, hospitals, prisons, markets, motorcycle joints, dive bars and prestigious festival stages.
Jasmine Colette not only commands the upright bass, but also brings the rhythm with her feet on a custom foot drum kit, all while singing in her signature honey-dipped tones. Cardinal’s distinctive and soulful vocals barrel out like a raging bull, while his guitar crackles with the swinging energy of jazz-tinged blues.
The result of nine years of rigorous touring, crisscrossing Europe and North America is a distinct energy and style from this acclaimed duo. Carving a path through blues, jazz, jump jive, folk, country, swing and Indigenous soul with an authentic spirit, their sound does not idle easily in one certain category. It stomps and struts through the wilds, conjuring a blend where Howlin’ Wolf tangos with Django, Earnest Tubb shoots firecrackers with Cab Calloway, and Memphis Minnie throws dice with Screamin’ Jay Hawkins.
Their gift is bringing all these elements together without anything sounding out of step. They collect the roots and smoothly braid them with lyrics that often touch on the underbelly of society, woven with elements of Indigenous storytelling and poetic cadence.
"Blue Moon Marquee have their own completely original style. Modern Blues doesn't really get any better than this. This is a tremendous sound by a hugely talented duo,” says American Roots UK.
With their highly-anticipated 5th album Scream, Holler & Howl, Blue Moon Marquee have captured their most sophisticated collection of songs yet. Recorded live to tape, SHH blazes forward with a full band featuring some of Canada’s finest veteran players. While they have primarily performed as a duo since 2013, over the last couple years Blue Moon Marquee have been performing often as a trio or quartet with Darcy Phillips (Jann Arden) on piano and Jerry Cook (Colin James) on tenor and baritone saxophone.
With 2019’s Bare Knuckles and Brawn, they were nominated as Blues Artist of the Year at the Western Canadian Music Awards and Indigenous Songwriter of the Year at the Canadian Folk Music Awards.
With a “totally unique approach…such a powerful original mix of swing styles with jazz and blues, west coast swing and New Orleans feel” (Sound Guardian) the record topped both the Earshot National Folk/Roots/Blues Charts simultaneously with the National Jazz charts, a rare feat. Starring standout vocals and catchy hooks that speak to music lovers, BNAB instantly charmed first-time listeners and thrilled longtime fans.
News about the band was spreading from heavy touring and old-fashioned word-of-mouth. As word spread, so did interest from talent buyers, allowing Blue Moon Marquee opportunities to open for a range of artists like Lisa Fischer and Mary Chapin Carpenter.
Appreciated for their lyrical candor, outstanding musicianship and vivacious live performances, Blue Moon Marquee was the most-requested band in the country for the Canadian International Jazz Festival Circuit following their 2017 release, Gypsy Blues. That full-length album of original material also garnered the Indigenous Artist of the Year nomination from Western Canadian Music Awards as well as Best New Artist nomination at the Maple Blues Awards.
Gypsy Blues was an ode to their deep influences of jazz manouche and vintage blues, infused with verse having a penchant for poet characters and a heavy dose of atmospheric textures, “Blue Moon Marquee harnessed the best of vintage music that’s practically a century old and brought it into modern times. It’s part haunting, part joyous, and sneakily infectious” said Jim Hynes of Elmore Magazine.
Born of the wild rose country in Alberta, Canada, both Cardinal and Colette played in punk, metal and rock and roll bands. Leaving home at a young age, they both spent years traveling on their own, working a variety of jobs and touring with different acts. At one point Colette was hitchhiking throughout North America performing vaudeville with her act of hula hooping, skateboarding and playing trombone simultaneously, while Cardinal was living in New York City working as a bike mechanic and performing at open mics every night.
It was in 2012 that they came together in Vancouver, B.C., to record Cardinal's original material for his album, Stainless Steel Heart, which he had written while living in Montreal. A mutual old friend was engineering the project and they connected deeply on their taste and obsession over music.
The vast repertoire of this band is a reflection of bounteous years on the road, experiencing life through a wide diversity of lenses. The result is their trademark blend that pulls the different parts of their musical worlds together, taking the tones of early blues, the expressions of jazz, the heart of country, the spirit of folk, the swagger of soul and the rhythm of roll. The way Colette's velvet tones lift Cardinal's mystique is something that enthralls audiences from backroom bars to festival stages.
Unbound by genre or era, Blue Moon Marquee has an edge that demands you take notice. With an authentic mixture of tempo, melody and imagery, they are timeless artists perfect for this time.
“As a long time fan of Blue Moon Marquee, I've had the pleasure of following and appreciating their development over the years. The combination of A.W. and Jazz with Duke Robillard takes their music to another inspired level. 'Scream, Holler & Howl' is a wonderful hybrid of their combined swing, blues, and gypsy jazz influences and unique songwriting often inspired from A.W.'s Metis Cree heritage. It's a joy to hear and to see their on-stage chemistry and natural showmanship. I encourage everyone to get to know them by checking out their website, videos, and original artwork.” - Holger Petersen, Founder of Stony Plain Records and longtime radio broadcaster
“Their presentation is spellbinding and their original songs are unforgettable. To me, they represent the real core of the folk blues tradition. They would not seem out of place if they were on stage beside Lonnie Johnson or the young Memphis Minnie.” - David Vest, Legendary award-winning American Blues Pianist.
“They embrace the retro vein celebrated for decades between ragtime blues, shady mambo and vintage swing. With a smoldering live performance and outrageous vocals…welcome to the baroque cabaret, where the Charleston disjoins itself!”- Paris Blues Magazine, France
"The sound of Blue Moon Marquee is delicious and sacrosanct cross-border blues."
- Philip Verhaege, Keys and Chords, Belgium
Tijs Vanneste was dit voorjaar niet weg te branden van het tv-scherm. Eerst was er het tweede seizoen van 'De Kemping' en onlangs liep zijn laatste programma 'Meneer Vanneste' ten einde. De muziek van 'De Kemping' gooide hij samen op twee platen: 'Hier is 't Goed' en 'Wildgroei'. Onder de noemer 'Kempenverhalen' trekken Tijs Vanneste & De Pelikanen in het najaar van 2022 en begin 2023 erop uit om hun nummers, geïnspireerd op 'De Kemping', live voor te stellen in de Vlaamse culturele centra.
Tijs Vanneste is een creatieve duizendpoot en goochelaar met woorden. Bij het grote publiek geraakte hij bekend als helft van het collectief Van Echelpoel. Maar daarnaast veroverde hij ook de harten van televisiekijkend Vlaanderen als sympathieke campinguitbater in 'De Kemping', waar hij samen met negen werkzoekende jongeren van nul een camping opstart en uitbaat. Live omringt Tijs zich met een topband van rasmuzikanten zoals: Mario Goossens, Paul Van Bruystegem, Karel Van Mileghem, Serge Feys, Jan Oelbrandt, Sam Vloemans & Andries Boone. Goed volk dus!
Verwacht een zeer muzikale avond waarin de nummers uit 'De Kemping' centraal staan. De heren nemen elk concert op als een unieke jamsessie waardoor geen enkel concert hetzelfde is. Het speelplezier en dito -geluk spat dan ook van het podium. "Ge meugt dat niet overrepeteren hé”, aldus De Pelikanen.
Tickets en info via greenhousetalent.com.
Gent Jazz viert zijn 21e editie in 2022 - dé gelegenheid voor een overzicht van 2002 tot 2022 in boekvorm.
Met een blik achter de schermen, sfeerverslagen en de meest memorabele momenten en sappigste anekdotes, geschreven door programmatoren, vrijwilligers, sponsors en allerlei (ex-)medewerkers, maar ook door journalisten en muzikanten zoals Jan Hautekiet, Lady Linn, Bert Ostyn, Marc Van den Hoof, Ben Van Alboom, Lander Gyselinck, Lies Steppe en natuurlijk Karel Van Keymeulen, die het boek samenstelde en er van bij het begin bij was.
Zo leest u ook een interview van zijn hand met oprichter en bezieler Bertrand Flamang. Aan de hand van tekstbijdragen en veel, héél veel foto’s komt u alles te weten over het festival dat bréder programmeert dan enkel jazz, en daar een goede reden voor heeft. Passeren de revue: Wayne Shorter, Elvin Jones, Herbie Hancock, Sonny Rollins, Diana Krall, David Byrne, Grace Jones, Maceo Parker, Toots Thielemans, Kamasi Washington, Sons of Kemet, Ornette Coleman, Melody Gardot en vele, vele anderen. Ook de nieuwe Belgische scene komt ruim aan bod.
Gent Jazz 2002-2022 is een meerstemmige en gelaagde bundel getuigenissen in woord en beeld en een caleidoscopische ode aan een festival dat dat in wezen óók is.
Karel Van Keymeulen groeide op met jazzmuziek. Meer nog, hij schreef er 24 jaar lang gefascineerd en passioneel over in De Standaard, nam interviews af van legendarische jazzhelden en was vaste praatgast tijdens live-uitzendingen op Jazz Middelheim.
Te koop op het festivalterrein voor 33 €!
Ook te koop op www.snoeckpublishers.be, www.gentjazz.com, het UITBUREAU en Music Mania in Gent en in de boekhandel.
Rockabilly Pioneer LINDA GAIL LEWIS, Sister Of Rock Legend JERRY LEE LEWIS, Shares New Collection Of Early Recordings From The ‘60s & ‘70s!
At a time when most female artists were content with crooning sappy love songs for mainstream audiences, vocalist and pianist Linda Gail Lewis was following her own muse, singing rowdy and rousing versions of early rock classics like “C.C. Rider,” “Jim Dandy” and “Baby (You’ve Got What It Takes).” The latter track might hint at what drove Lewis to blaze her own musical path as it is a duet with Lewis’s brother, well-known raconteur and rabble rouser Jerry Lee Lewis. Lewis would go on to record several times with her brother but also branched out to record several solo albums throughout the years as well as a 2000 album with Van Morrison and, more recently, has appeared on albums by Robert Gordon and Ann-Margret!
But it’s Gail’s early tracks that truly showcase her historic importance as a pioneer of rockabilly music, and these tracks have now been collected on a brand-new compilation, entitled Early Sides 1963-1973, giving fans of vintage rock and rockabilly a chance to discover her unique talents. The audio has been completely remastered by guitar icon Danny B. Harvey who had this to say about the collection “It’s a well-known fact that from 1961 until the late ‘70s, Linda Gail Lewis sang and stood beside her big brother Jerry Lee Lewis, both onstage and in the studio. Not as well-known is during that time she also managed to record her own amazing solo singles in Memphis, Nashville and LA with legendary musicians & producers like Scotty Moore, Jerry Reed, Harold Bradley, Reggie Young & of course her brother backing her.”
Check out the collection’s lead-off track, a fantastic version of “C.C. Rider!”
Stream the single: https://orcd.co/linda_gail_lewis_cc_rider
Early Sides 1963-1973 will be released worldwide July 15 on CD, vinyl and digital!
Stef Kamil Carlens & The Gates of Eden brengen hun eerbetoon aan Bob Dylan live tijdens een tournee doorheen Vlaanderen
Na een uitverkochte Roma gaan Stef Kamil Carlens & The Gates of Eden nu ook in 2023 op tournee met de songs van Bob Dylan
Na een uitverkochte zaal in De Roma op 22 september 2022, kondigen Stef Kamil Carlens & The Gates of Eden aan dat ze met hun 'Play Bob Dylan'-shows op tournee gaan. Begin 2023 brengen ze hun eerbetoon aan grootmeester Bob Dylan naar de mooiste zalen in Vlaanderen. Tickets en info via greenhousetalent.com.
Op 8 december 2019 hield "Dylan’s Never Ending Tour” halt in The Anthem, Washington, DC. Na "It Takes a Lot to Laugh, It Takes a Train to Cry” zou Bob zijn kerstreces aanvatten en na Nieuwjaar richting Japan trekken. Helaas zorgde een virus ervoor dat Dylan deed wat geen Bobcat (fervente Dylan-fan) voor mogelijk hield: (voorlopig) niet meer optreden.
Ondanks het adagio "Nobody sings Dylan like Dylan”, kan je bibliotheken vullen met Dylan-covers. In alle maten, genres en - vooral - soortelijk gewicht wordt de meester gecoverd.
Ter ere van Bob zijn tachtigste verjaardag streamde Stef Kamil Carlens op 24 mei 2021 een vooraf opgenomen concert met een eigenzinnige selectie uit Bobs oeuvre. Het spelplezier spatte van het scherm en de virtuele aanwezigen prezen de verrassende arrangementen unisono. Een verdwaalde luisteraar hoorde in een reggae aandoende "Shelter from the Storm” zelfs een verwijzing naar "Live at Budokan”.
Vijf dagen voor de Olympische Spelen in Japan besloot Dylan om de stilte te doorbreken met het streamen van "Shadow Kingdom: The Early Songs of Bob Dylan”, een vooraf opgenomen concert met bevlogen versies van nummers uit zijn juveniele periode. Toeval bestaat niet.
Stef Kamil Carlens brengt samen met The Gates of Eden live zijn eerbetoon aan Bob. Of Dylan nu ook zijn terugkeer naar de podia zal aankondigen, weet alleen Bob.
Wie op 23 mei 2021 om middernacht de 'Bob, Till We Drop - A Midnight Special (Stef Kamil Carlens & The Gates of Eden play Bob Dylan)’ livestream bekeek, is ongetwijfeld al overtuigd. Anderen raden we aan deze spoiler link aan te klikken. Geniet zonder mate!
Julian James has been around Melbourne’s live music scene since before he was allowed to drink in bars. The sound of his band ‘Julian James and The Moonshine State' mixes a love of moonshine-drinking finger picking country with the southern swamp wail of a back porch fiddle. Julian has released three well-received albums to date, all of which he’s road tested on frequent laps of our wide brown land.
Recorded at the Star Hotel, Yackandandah on a late February afternoon, the band’s new album 'Live at Star’ features some favorite old timey songs, furious fiddle, finger picking and foot stomping grooves.
The beers were flowing, the sun was shining The Moonshine State was in full flight and you can hear it on every track.
Paying homage to some of the greats like Muddy Waters, Howlin’ Wolf, and Jimmy Reed along with more modern influences like The Steve Miller Band ‘Live at The Star’ presents some classics through an Americana lens.
Says Julian of the album
“I was very lucky to base myself for a few months in the town of Yackandandah which just happens to host some of Australia's best pickers. I've really fallen in love with the Americana sound and vibe - that combination of the blues sound and the country twang."
To escape the recent challenges of being a performing artist in these times, Julian has been living in his bus and continues to seek out a good festival, a shady spot and a friendly ear.
'Live at the Star' is available from the 10th July 2022 and can be found all over the internet.
De LF affiche is compleet! ZWANGERE GUY is de gedroomde headliner op vrijdag 5 augustus. Zwangere Guy is de meeste relevante Belgische hiphop ster van de laatste jaren en hij zorgt voor dé climax van een feestelijke openingsdag, samen met de eerder aangekondigde DAMIAN ‘JR GONG’ MARLEY, ’T HOF VAN COMMERCE, JOOST, CHUKI BEATS, DIKKE, USED, CHIBI ICHIGO, RAMZI, FLAVOUR DROP en GLADDE PALING. En WHISPERING SONS vervoegen de line-up van dinsdag 9 augustus met KINGS OF LEON, THE VACCINES, HIGH HI, HAIRBABY en ILA.
In de Club StuBru tenslotte vervolledigen LIL SKID en UNREGULAR de Chuki Beats Invites night op zondag 14 augustus (eerder aangekondigd hier: SEVN ALIAS, sor en K1D). Hiermee is het programma compleet.
Alle info over tickets en timings via www.lokersefeesten.be
De 47e editie van de Lokerse Feesten vindt plaats van vrijdag 5 tot en met zondag 14 augustus 2022. Andere headliners zijn KINGS OF LEON, KRAFTWERK, BLACK EYED PEAS, JUDAS PRIEST, CLOUSEAU, LOUIS TOMLINSON, BAD RELIGION, BLACKWAVE., BAZART, FLOGGING MOLLY en SNOW PATROL.
Zwangere Guy komt op zaterdag 30 juli zijn welgemikte punchlines spuwen over ons nieuwe terrein! En daarmee is het indrukwekkende programma van ons hoofdpodium volledig.
ZG, Papa Guy, Zwangere of echte naam Gorik (van Oudheusden) kroonde zich op korte tijd tot koning van de Brusselse -en bij uitbreiding Belgische- hiphopscene. Zijn optredens zijn verpletterend, brutaal, luid, maar ook eerlijk en rechtuit. Zwangere Guy is deze zomer voornamelijk op tour met zijn hiphopcollectief STIKSTOF, maar op zaterdag 30 juli komt hij in zijn imposante solo gedaante ons nieuwe terrein aan de Tiense Suikerraffinaderij platwalsen! Headliners The Chemical Brothers mogen daarna de genadeslag toedienen, en met Chibi Ichigo, Froukje, The Compact Disk Dummies en The Subs wordt uw dansvermogen die zaterdag zwaar op de proef gesteld!
Tickets zijn onmiddellijk beschikbaar via de Suikerrock ticketshop
Zwangere Guy, en geef toe, dat bekt veel beter dan zijn echte naam Gorik van Oudheusden, is op korte tijd een zwaargewicht geworden (no pun intended) binnen de Belgische hip-hop scéne.
Zo goed als elk record liet hij in de voorbije drie jaar sneuvelen: eerste goud voor een Nederlandstalige hiphopplaat, eerste Nederlandstalige hiphop nummer 1 in de charts. Hij raasde als een wervelstorm over festivals als Rock Werchter, Down The Rabbit Hole, Dour, Lowlands en ook Suikerrock. Hij verkocht zalen uit in België en Nederland. Ondertussen speelde hij 5 keer na mekaar de AB vol, werd hij 5 keer genomineerd voor de Red Bull Elektropedia Awards 2019, waarvan hij er 4 won. Hij ontving 5-sterrenrecensies in de kranten en stond aan de basis van 5 platen in minder dan 5 jaar.
Vanuit de goot verwierf hij zijn eerste faam als lid van de Brusselse hiphop posse STIKSTOF. Maar met het zeer persoonlijke ‘Gorik Pt.1’ plaatste hij zich als soloartiest op het voorfront. De ijzersterke albums ‘Wie Is Guy’, ‘BRUTAAL’ en ‘BRUTXXL’ volgden elkaar razendsnel op, met teksten die rauw zijn maar ook eerlijk en gaan over armoede, partnergeweld, verslaving…
Deze zomer is de Brusselse Ket in zijn imposante solo-gedaante slechts op vier Belgische podia te zien, en laat Suikerrock er daar nu één van zijn… Zaterdag 30 juli komt hij vakkundig ons nieuwe terrein aan de Tiense Suikerraffinaderij platwalsen! BXL fo' life
Tickets zijn onmiddellijk beschikbaar via de Suikerrock ticketshop
De line-up van het Suikerrock hoofdpodium is daarmee rond. Binnenkort volgen nog nieuwe namen voor de overige podia: DJ-stage en Acoustic stage. Dj’s en (akoestische) bands/artiesten kunnen zich ook nog kandidaat stellen voor deze podia via het platform VI.BE.
Suikerrock 2022 vindt plaats van donderdag 28 juli tot en met zondag 31 juli, op het nieuwe terrein: het Bietenplein aan de Tiense Suikerraffinaderij.
Donderdag 28 juli:
De selectie voor de Belgian Blues Challenge 2022 is achter de rug.
Artiesten kregen dit jaar opnieuw de mogelijkheid om zich via vi.be (Poppunt) te registreren.
Vertegenwoordigers van de Belgische leden van de European Blues Union hebben de 15 kandidaten gewikt en gewogen.
De volgende acht finalisten (in alfabetische volgorde) zullen het tegen elkaar opnemen op 15 oktober in OC De Djoelen in Oud-Turnhout, in een productie van Goezot:
OZGUR HAZAR’S BLUES SYNDICATE
PD MARTIN BAND
THE FAST FOOD KINGS
TRAVELLIN’ BLUE KINGS
De winnaar zal België vertegenwoordigen op de 11de European Blues Challenge in Chorzow in Polen op 2 en 3 juni 2023.
Urges Fans – and Himself – To Stay Strong On New Song,
"Waiting For The Dawn"
Walter Trout’s New Studio Album Ride Will Be Released 19 August 2022
Via: Provogue / Mascot Label Group
On his latest single “Waiting For The Dawn,” released today via Provogue/Mascot Label Group, the iconic blues-rock guitarist Walter Trout urges fans – and himself – to stay strong, in light of all of the challenges we’ve faced over the past few years. “There were times in this pandemic where I have sunk into some pretty deep depressions, sitting around, wondering whether life has a point,” Trout recalls. It’s the latest single from Trout’s new studio album 'Ride,' out August 19th. Written in his beloved and often-missed home in Huntington Beach, California, the album is filled with pointed reflections from Trout, informed by his decades of stardom in the blues world.
As long-standing Trout fans know, the Golden State has been the bluesman’s home for 47 years. Trout joined John Mayall’s Bluesbreakers lineup in ’85, before embarking on an acclaimed solo career from ’89 onwards. But before that came his chaotic, self-destructive years as a jobbing lead guitarist, whether for revered-but-tricky blues pioneers like John Lee Hooker and Big Mama Thornton, or an unhinged tenure in an ’80s Canned Heat line-up controlled by the Hell’s Angels.
Trout’s well-documented excess in this era was darker than a young rock star cutting loose. It could all be traced back to his troubled childhood in New Jersey, he explains, where an unstable stepfather – himself the victim of shocking cruelty as a prisoner of war – was a terrifying presence. As 'Ride' took form, such memories couldn’t help but flavor the music. “This album is obviously what I was going through mentally and emotionally,” he considers. “All I did was express it. I spent a lot of time crying, because I would dig down into my emotional core. I want my songs to have some sort of truth to them.”
Some memories that Trout examines on 'Ride' are long-distant but eternally poignant. Try the deceptively upbeat title track, another song that began as a poem, recounting the locomotive that rattled past his childhood home each night and enticed him to freight-hop to freedom. “That song is about what it felt like to lay there in bed and dream about escaping on that train. I also wanted to express that music has always been another sort of virtual escape for me.”
The stormy "Hey Mama" takes inspiration from the same period, with Trout debating whether his trauma could have been averted. “I’m not pissed off with my mom and I love her memory,” he says, “but my wife says, ‘Your mom probably could have done more to protect you from your stepdad’. Yeah, maybe she could have. But it’s easy to say that looking back.”
Walter Trout is the beating heart of the modern blues rock scene. Respected by the old guard. Revered by the young guns. Adored by the fans who shake his hand after the show each night, and after five decades in the game, Trout remains a talismanic figure.
But, however fast or far a man travels, he can never truly outrun his past. On the new album he found himself eyeing the horizon and the green shoots of his triumphant late career. There was a new record deal with Mascot/Provogue. A temporary move from California to Denmark to be with his beloved family. Even now, aged 70, Trout was still writing fresh chapters of his life story.
By now, Trout knows that nobody ever really leaves their old selves behind. But with 'Ride' providing an emotional release-valve – both for its creator and his loyal listeners – perhaps this veteran artist can reconcile with his past, accept his future and live in the present as it unfolds. “I think you can interpret this album title a few different ways,” he concludes. “I mean, this album is definitely a musical ride and I certainly tried to cover a lot of ground. But, really, life is kind of a ride too, isn’t it? And I want to live mine to the fullest.”
COME OUT AND PLAY
NIEUWE SINGLE UIT VANDAAG!
De karakteristieke, vrolijke gitaarriff en groovy beat van haar man en bassist Filip Vandebril vormde de eerste aanzet voor ‘Come Out and Play’. De relaxte en opbeurende sfeer deden Lady Linn denken aan de zomer, aan alles loslaten, samenkomen met vrienden en muziek spelen. Het refrein was geboren: Come Out and Play in alle mogelijke vormen.
Ze werkte de song af met Jonathan Jeremiah, Joris Caluwaerts (productie) en Frederik Heirman (blazersarrangement). Het werd opgenomen met haar groep The Magnificent Seven en twee fantastische zangers Gustaph en Monique Harcum. ‘Come Out and Play’ is een uitnodiging tot blijdschap en samen zijn, tot ten volle genieten van het leven!
‘Come out and Play’ is de voorloper van de tweede EP Sea of Trees die later dit jaar verschijnt.
Bekijk de video voor 'Come Out and Play'
De (voormalige) leden van rockband Pink Floyd zijn van van plan hun muziekcatalogus voor een recordbedrag te verkopen. Volgens ingewijden van Bloomberg moeten de muziekrechten voor 500 miljoen dollar (bijna 475 miljoen euro) aan een van de geïnteresseerde partijen verkocht worden.
De band verkoopt naast de muzikale rechten ook de mogelijkheid tot verkoop van producten die aan de groep gelinkt kunnen worden, zogenoemde merchandise. Potentiële kopers zouden onder meer Warner Music, Sony Music en BMG zijn. Patrick McKenna, die de band vertegenwoordigt, wilde niet ingaan op de geruchten.
Het feit dat de bandleden het eens zijn geworden over de verkoop is op zichzelf al uniek te noemen. Nadat de groep in 1965 werd opgericht onder leiding van toenmalig zanger Syd Barrett, volgden er heel wat drama's.
Barrett vertrok zelf na drie jaar, waarna bassist en zanger Roger Waters de band in 1985 vaarwel zei. Hij klaagde zijn oud-collega's vervolgens aan voor het gebruik van de naam Pink Floyd. Het aanstellen van McKenna als vertegenwoordiger moet de groep zonder kleerscheuren door het verkoopproces leiden.
Gilmour en Mason zijn de enige nog levende bandleden, samen met Pink Floyd-stichter Roger Waters. Laatstgenoemde hoeven we voorlopig echter niet op een reünie te verwachten. Hij heeft al decennia ruzie met de twee. Zo noemde Waters de band waarin hij speelde van 1965 tot en met 1985 een “giftige omgeving”.
Junior Wells is a towering figure among blues legends, the kind of multi-talented artist that would signal the direction of modern soul and R&B for generations to come. Wells was a thrilling performer, a mesmerizing harmonica player, and a captivating vocalist who blended numerous styles of soul, gospel and even early rock as can be heard on the very first sides that Wells cut in the mid-‘50s including “Cut That Out,” “Lawdy! Lawdy!” and “Tomorrow Night.”
These singles as well as Wells’ incredible run of late-‘50s and ‘60s singles, some of which still remain his most identifiable songs including "Hoodoo Man," "Lovey Dovey Lovey One," "Messin' With The Kid" and more, are being collected on a fantastic new compilation entitled Blues Legend. Set for release on July 8, this collection will be available as either a 2CD package or a gorgeous 2LP vinyl set. Both come packaged with detailed personnel listing and extensive liner notes written by music critic and historian Dave Thompson. The audio has been digitally remastered to give these classic tracks the highest fidelity sound possible.
Check out the track “Cut That Out” along with a rousing video that has been created in anticipation of the release.
Singer and actor DAN OLIVO is a regular on the Southern California jazz scene. He performs with his combo at such high-end venues as The Bar Nineteen12 at The Beverly Hills Hotel, The Ritz Carlton at Corona Del Mar and Rancho Mirage, The Riviera Hotel, and the Frank Sinatra House in Palm Springs. For his debut album, DAY BY DAY, Olivo wanted to blend his sophisticated, elegant sound with the feel of a big band recording but performed by a smaller combo. DAY BY DAY contains a mix of styles, from pop songs, like “This Guy’s in Love with You,” featuring Joe Bagg on organ, to bluesy rock including Fats Domino’s “I’m Walking.” Some songs go back a long way. "How Come You Do Me Like You Do?" was written in 1924 by a vaudeville comedy duo, while "It's Only a Paper Moon," written in 1932 for an unsuccessful Broadway play called The Great Magoo, features vocals by Medeiros and Cibelli. "It Had to Be You" was composed in 1924 by Isham Jones with lyrics by Gus Kahn. Other songs are straight out of the Great American Songbook, including the title track “Day by Day,” “Sway,” “Time After Time,” “All the Way,” and “More,” which was the theme song from the movie Mondo Cane. “L.O.V.E.” has not been recorded by many singers. It was written in 1965 and appeared on Nat “King” Cole’s last album of the same name. Because Harry Connick, Jr. has been such an important influence on Olivo, he recorded Connick’s “Come by Me,” as an homage to the singer and bandleader. Olivo knows how to swing and delivers the lyrics with clear enunciation and a lot of feeling. His training in stagecraft allows him to tell the story of a song directly and honestly, much like the crooners he so admires. The musicians on this album put forth a superb performance and successfully created the deep, rich big band sound that Olivo envisioned for his debut.
DAN OLIVO vocals
IAN ROBBINS guitar
LYMAN MEDEIROS bass, ukulele & vocals (6)
JOE BAGG piano & Hammond organ
KEVIN WINARD drums & percussion
KYLE O’DONNELL tenor sax & flute
JAMELLE ADISA trumpet
GARRETT SMITH trombone
RENEE MYARA CIBELLI vocals (6)
Producer, musical director & arranger IAN ROBBINS
I’M WALKIN’ arrangement inspired by GREGG FIELD
L.O.V.E. arranged by LYMAN MEDEIROS
Vocal arrangement of IT’S ONLY A PAPER MOON by LYMAN MEDEIROS
Sue Foley, Colin James and Steve Marriner take home multiple awards
The Maple Blues Awards is Canada’s national blues awards program. Its goal is to promote blues music across Canada and to recognize outstanding achievement in the field. The nominees are selected by a distinguished panel of blues DJs and journalists from across Canada. Members of the Nominating Panel are not eligible for any of the awards. The winners are selected by the votes of blues fans from across Canada.
Sue Foley, Steve Marriner, Colin JamesOn Monday night, June, 20th, the awards were held at Koerner Hall, Toronto. Three artists walked away with multiple Maple Blues wins. Toronto-born, Texas-based Sue Foley won in the categories of Guitarist of the Year and Entertainer of the year on the heels of her Mike Flanigin produced album, Pinky’s Blues. Colin James won in the categories of Male Vocalist and Electric Act of the Year following the release of his 17th studio album, Open Road. Steve Marriner won four awards, including Acoustic Act of the year (shared with David Gogo), Harmonica Player of the Year, Recording/Producer of the Year and Songwriter of the Year. This gave Marriner a total of 10 MBAs as a solo artist and 10 more as a member of Monkeyjunk.
Monday night’s gala event was hosted by Angelique Francis and included performances by Bobby Dean Blackburn, Kat Danser, Sue Foley, Angelique Francis, Crystal Shawanda and Colin Linden.
Winners of the 2022 Maple Blues Awards:
Male Vocalist of the Year: Colin James
Female Vocalist of the Year: Miss Emily
Drummer of the Year: Lindsay Beaver
Keyboard Player of the Year: David Vest
New Artist /Group of the Year: The Lowdown Dirty Mojos
Blues Booster of the Year: Claude Cloutier & Terry Parsons (tie)
Acoustic Act of the Year: Steve Marriner/David Gogo
Electric Act of the Year: Colin James
Harmonica Player of the Year: Steve Marriner
Horn Player of the Year: Allison Young
Guitarist of the Year: Sue Foley
Bassist of the Year: Keith Picot
International Artist of the Year: Bonnie Raitt
Recording/Producer of the Year: Steve Marriner – Hope Dies Last
Blues With a Feeling Award (Lifetime Achievement Award): Shakura S’Aida
Songwriter of the Year: Steve Marriner
Entertainer of the Year: Sue Foley
BLUES GUITARIST/VOCALIST JIM SCHWALL: NOVEMBER 12, 1942 - JUNE 19, 2022
Co-Founder of the Siegel-Schwall Band
Performed With Howlin' Wolf, Muddy Waters, Janis Joplin, The Jefferson Airplane And Countless Others
Famed Chicago blues guitarist and vocalist Jim Schwall -- co-founder of the influential and popular Siegel-Schwall Band -- died of natural causes at his home in Tucson, Arizona on Sunday, June 19, 2022. He was 79. Known for his distinctive guitar sound -- he played an amplified Gibson B-25 acoustic -- Schwall helped introduce the blues to the rock and roll audience with his easy-going, good-natured music. He was also a political activist, a teacher, a photographer and a writer.
Schwall was born in Chicago in 1942. He played drums and accordion in grade school before picking up a guitar in high school. He first met fellow musician Corky Siegel in Chicago in 1964 while both were in the Roosevelt University Jazz Band. The pair soon discovered their mutual love for the blues and eventually began performing as a duo, with Corky on harmonica and piano and Jim on guitar. They auditioned at Chicago's famed Pepper's Lounge on the South Side, and were hired to play every Thursday night. According to Siegel, "The audience went wild, probably because we were so different." This led to a long-term musical residency at the club, and the pair played with several blues luminaries (who also became personal friends) including Muddy Waters, Howlin' Wolf, Little Walter, Otis Spann, Willie Dixon, Junior Wells and James Cotton. "We really got an education at Pepper's," Siegel says. After the Paul Butterfield Blues Band moved on, the Siegel-Schwall Band took over their residency at Big John's on the city's north side.
The band was signed to Vanguard Records by blues music historian and writer Sam Charters in 1965, and they released a total of five albums for the label. They toured coast-to-coast, and were instrumental in bringing blues to a whole new audience, performing at the famous Fillmore West, sharing the stage with rock royalty including Janis Joplin and The Jefferson Airplane. They next signed with RCA's Wooden Nickel imprint and released five more albums.
In 1968, they collaborated with conductor Seiji Ozawa of the Chicago Symphony Orchestra, combining for the first time blues with classical music. They recorded an album, Three Pieces For Blues Band And Symphony Orchestra, for the Deutsche Grammophon label in 1973. The album went on to sell over 300,000 copies.
After a hiatus, the Siegel-Schwall Band reformed in 1987 and released the first of two albums on Alligator Records, 1988's Siegel-Schwall Band Reunion Concert and 2005's Flash Forward. Schwall, who had previously relocated to Madison, Wisconsin, received a PhD in Musical Composition from the University of Wisconsin in 1993. Schwall released three solo albums beginning in 2007, including 2014's Bar Time Lovers for the Conundrum InterArts label. He recently relocated to Tucson, Arizona.
According to Corky Siegel, "People should know, Jim was a beautiful humanitarian and a one-of-a-kind musician."
Schwall is survived by brothers William "Chico" Schwall and Steven Schwall, nephew Douglas Schwall and niece Esme Schwall Weigand.
Funeral arrangements are pending.
Brett Tuggle (70), de pianist van Fleetwood Mac en een voormalig lid van The David Lee Roth Band, is op zondag 19 juni gestorven na een lange strijd tegen kanker.
Brett Tuggle kwam voor het eerst in de spotlights toen hij in 1970 toerde met Mitch Ryder en gitaar speelde op diens album Detroit. Vervolgens belandde de keyboardspeler bij rockband Steppenwolf en Rick Springfield.
Een volgende grote sprong kwam er toen Tuggle in 1986 ging touren met Van Halen-frontman David Lee Roth. Samen schreven ze de single ‘Just like paradise’. In 1993 kwam Tuggle bij David Coverdale van Whitesnake terecht toen die een eenmalig soloproject opzette met gitarist Jimmy Page.
De grootste stunt uit de muzikale carrière van de Amerikaan vond plaats in 1997, toen hij als toetsenist bij Fleetwood Mac belandde. Na 21 jaar dienst werd Tuggle in 2018 uit de groep gezet.
De muzikant ging ook scheep met gitarist Steve Lukather van Toto, Chris Isaak en Whitesnake zelf (in het bijzonder op het album Restless heart). Tuggle overleed op zeventigjarige leeftijd aan de gevolgen van kanker.
Denmark's premier roots-rockers Thorbjørn Risager & The Black Tornado have announced they have signed to Provogue / Mascot Label Group; home to Joe Bonamassa, Beth Hart, Kenny Wayne Shepherd, Walter Trout and more.
"We’re super thrilled and proud to announce that we have signed with legendary Provogue/Mascot Label Group. Looking forward to a long and fruitful cooperation starting out with the release of our forthcoming album Navigation Blues" says Thorbjørn Risager.
The multi-award-winning band will reveal their brand-new song, "Watch the Sun Go Down," on 1st July - which is taken from their brand-new album. More information on that to follow soon. You can pre-save the first single here.
With its rolling rhythms and yearning guitar licks, it's the soundtrack to a glorious dusk desert sunset with a fizzing coolness that puts its foot on the pedal and rides off into a Tarantino horizon.
The septet has been blazing a trail across Scandinavia, wider Europe, Canada, the US and Asia for the past 20 years. They've been captivating crowds with their dynamic stage presence and a sound that fuses soul, Chicago blues, boogie and rock 'n' roll with a voice where Ray Charles, Van Morrison and Billy Gibbons meet in the middle. They've brought dancing shoes to Europe's largest festival stages, low-light noir-ish blues to Jazz clubs around the globe and shared stages with the likes of Buddy Guy and Tedeschi Trucks.
Highlighting their pedigree, they've once again been nominated in this year's Danish Music Awards (for the seventh time), this time for the "Best Blues Live Band," which is due to take place on 17th August. The band have already taken two awards home as the "Best Band" in the European Blues Awards and the winner of the German Preis der Deutschen Schallplattenkritik Jahrespreis.
With an impressive cannon of material, Risager and his orchestra have already released twelve previous albums, including the award-winning Too Many Roads and last year's critically lauded Best Of.
On their prolific travels around the globe, they've swept-up fans across every corner, including non-other than Elwood Blues himself, Dan Ackroyd! Who hailed their "Hot rhythm and blues", saying Risager has "got a great voice, great delivery and feels the blues…. The songs are original, but sound like they come from a Stax recording session circa 1965."
At twenty years in, the band are in white-hot form and will be showcasing their new material across Europe for the rest of 2022 and 2023
Keep your eyes peeled for more news soon.
Thorbjørn Risager & The Black Tornado are:
Thorbjørn Risager – vocals and guitar
Emil Balsgaard – piano and organ
Joachim Svensmark – guitar and back-up vocals
Kasper Wagner – ten/alto/baryton saxophone or Hans Nybo – saxophone and back-up vocals
Peter Kehl – trumpet/flg horn and back-up vocals
Søren Bøjgaard – bass / synthbass / samples
Martin Seidelin – drums and back-up vocals
Chicago Soul/Blues Belter Derrick Procell Dials Up His "Hello Mojo!" On Catfood Records Album Debut Coming August 1
Catfood Records announces an August 1 release date for Hello Mojo!, the label debut from Chicago-based soul/blues belter Derrick Procell. Hello Mojo! was produced by award-winning blues singer/guitarist and fellow Catfood labelmate Zac Harmon, recorded at Sonic Ranch, Tornillo, Texas, with The Rays as the backing band: Johnny McGhee - guitar; Dan Ferguson - keys; Bob Trenchard – bass; Richy Puga – drums; Frank Otero – trombone; Andy Roman - tenor and alto sax; Nick Flood - baritone and tenor sax; Mike Middleton – trumpet; plus SueAnn Carwell, Meredith Colby and Jessica Ivey – background vocals. Zac Harmon is also featured as special guest for three tracks on guitar.
Derrick will celebrate the release of Hello Mojo! with a special Chicago-area outdoor appearance August 6 at the Arts on the Green:
“I wrote or co-wrote all of the original material on the record,” Derrick Procell says about the new disc. “Four of the songs were co-written with Grammy winner Terry Abrahamson, who’s known for his work with Muddy Waters, and has been my writing partner for the last 10 years.
“Three of the tracks were co-written with Catfood Records owner and bassist Bob Trenchard, including ‘Broken Promise,’ which features me on harp and a sweet Motown-style chorus. Another Procell/Trenchard original is a ready-made blues/rocker track for the next great boxing themed movie, ‘The Contender!’”
Procell explained how the recording sessions came about. “The whole process got underway when Bob flew up from El Paso to Chicago and we spent a very busy weekend previewing songs of mine and writing several new songs together. After demoing a number of them at my home studio we had more than enough solid material for the record.
“The original plan had been to tap Jim Gaines as producer for my record. Jim has worked with Catfood on a number of projects in the past including their last release, Zac Harmon‘s BMA-winning Long As I Got My Guitar. But circumstances made it so that Jim passed the production torch on to Zac.
“Zac and I had not met but we spent a couple of months of preproduction by phone tossing around song suggestions, arrangement ideas, etc. By the time we finally met up in El Paso at the end of February we had a pretty good idea of the direction of Hello Mojo!
“I arrived in El Paso and finally met the Rays… colorful Johnny McGhee, intense and dynamic Richy Puga and uber-talented keyboardist Dan Ferguson. That’s when I met Zac for the first time and knew I had made a friend for life and a great choice as my producer.
“As we worked through the week at Sonic Ranch, several songs began to take shape as potential hits… at least according to the reactions of the players, singers and engineers.
“The title track, ‘Hello Mojo!’, was an immediate fave. It’s the only song on the record that I played piano on. I handed the rest of the keyboard duties over to the more than capable Mr. Ferguson. However, after a couple of trips out into the studio to show him kind of what I was looking for on that track, he turned to me and said, ‘well then why don’t you just play it!’ Zac seconded that and off we went. I was happy to turn over the rest of the keyboard duties to Dan, who played masterfully on everything from piano to Hammond organ to Hohner Clavinet.
“His Billy Preston – like Clavinet chops on ‘A Tall Glass of You’ puts that one over the top, as well as some mighty background vocals by the legendary SueAnn Carwell.
“The track that may surprise a lot of folks is my reworking of an old Kinks rocker, ‘Who’ll Be the Next In Line.’ Killer horn section work and tasty guitar from Johnny make this one truly special.
“When the week was over we had 10 great rhythm tracks recorded, along with most of the overdubs, background vocals and lead vocals.
“Meanwhile, Zac‘s friend Munyungo Jackson laid down some incredible percussion in Los Angeles. I was able to complete some of my lead vocal work here at home as well as adding my wife, Meredith Colby, on some background vocals.
“I flew back to Texas a month later to work with Bob recording the horns, which figure prominently on half the songs.”
Derrick Procell and Catfood Records founder Bob Trenchard first connected during the early days of the pandemic in 2020. It started with Procell getting a call from another Catfood artist, James Armstrong, who had gotten Derrick’s name from Chicago harmonica legend Billy Branch. James was producing a couple of songs for Catfood that were eventually released as digital singles. Both songs were social/political commentaries: “Rise Up Resist” and “Black Man’s Justice,” and eventually turned into duets with Soul/Blues powerhouse Annika Chambers.
Procell summarizes: “I guess Bob did some more research on me because a year or so later he reached out with the offer to record an entire album on his label, and here we are!”
About Derrick Procell
"...Procell can truly sing up a storm…" - Mike Greenblatt, Classicalite
"...a great blues voice, quite like Gregg Allman or Delbert McClinton...material is intelligent and witty." - John Mitchell, Crossroads Blues Society
"Procell’s stuff is smart, creative and yet as deeply soulful as any."- Jim Hynes, Elmore
"Bottom line...Derrick Procell is every bit the Real Deal." - Bill Wilson, Reflections in Blue
Derrick Procell is a triple threat soul/blues man: a soulful singer with a big, hairy baritone voice; a harmonica player who's melodic and tasty while playing down and dirty; and a two-fisted piano player who drives the rhythm home. He’s also a smart songwriter who digs deep into soul and blues, music you hear and never forget.
Derrick was playing in bar bands before he was legal. He did his first recording as a lead singer in Nashville when he was 16. And that was that. He knew he'd be a performing and recording musician for the rest of his life.
Originally from Milwaukee, he's always been a sought-after front man. For years he wrote and performed with award-winning touring band, Arroyo. Derrick has logged thousands of hours on stage.
In the ‘90s, he moved his career into the recording studio. Derrick provided vocals and voiceover for scores of advertising campaigns, including McDonald’s, Chevy, Ford, Coca-Cola and Kellogg’s. He's the Beer Voice Guy. If it's not a microbrew, he's sung for their commercials.
Derrick's been writing songs for over 40 years. Beginning with writing for his live performances, he later moved to studio recording exclusively. Derrick’s songs have been recorded by artists such as The Brooklyn Tabernacle Choir, Logan Daniels, Melissa Manchester, BigLlou Johnson and The Cashbox Kings, as well as Grammy nominee and BMA Album of the Year winner Shemekia Copeland.
Derrick also writes, performs, and produces music for TV and movies. You've heard his songs on “My Name is Earl,” “True Blood,” “Criminal Minds,” “Boston Legal,” “Saving Grace,” “The Office,” “This Is Us,” “The Americans” and “King of the Hill.” Movie credits include the Oscar-nominated film, Lady Bird, and Netflix original Holidaze.
Derrick’s songs have been included in projects by The American Cancer Society, Music from the Heart and The Children’s Heart Foundation. He has also been the recipient of songwriting awards from the Wisconsin Area Music Institute, Los Angeles Songwriters Showcase and Billboard Magazine.
Why I Choose To Sing The Blues was Derrick's first solo album of original songs. It met with worldwide praise and launched him back into live performing, which led him to recording Hello Mojo!
Pink Floyd’s 10th studio album “Animals” was released almost 10 years on from their psychedelic debut that launched the band on to the world stage. But this release couldn’t be farther from “The Piper At The Gates Of Dawn” if you tried: It was a hard-hitting politically charged heavy rock album. Its three central pieces, “Pigs (Three Different Ones)”, “Dogs” and “Sheep” each extending to over 10 minutes each drew parallels with George Orwell’s dystopian nightmare “Animal Farm”. Its lyrics continued to project Roger Waters’ eternal themes of life’s struggles where the subservient masses are sheep controlled by tyrannical pigs and authoritarian dogs.
Recorded over the summer of 1976, in the space of time it took punk to both explode and promptly fizzle out, at their own Britannia Row studios in north London, it also marked a shift from their traditional base of EMI at Abbey Road. Arguably one of Pink Floyd’s least well recorded works it does however hold a fond place in many fans hearts and Animals has enjoyed a legacy – Roger Waters in particular reviving those tracks to shoehorn into his own politically charged live solo shows in recent years.
The corresponding tour through the first half of 1977 was also not without compromise and built on the stadium spectacular that had been successfully developed over the previous two years of touring. Creatively, there was no limit to their ambition as large-scale inflatable structures, screen films, special effects and state of the art sound reinforcement were utilized that enveloped the audience in an ever-increasing immersive experience. But, despite all this, as their fan base increased exponentially so too did the rowdy nature of the stadium environment which, coupled with band members personal issues, ultimately led to inter-band rifts and Roger Waters’ increasing intolerance of and disdain towards the adulation of the fans.
This all finally came to a spectacular head during their final show of the “Animals” tour in Montreal in July and the events that unfolded became the lynchpin of Waters’ vision of isolation and madness that eventually led to the creation of “The Wall” two years later.
“Pink Floyd – The Animals Tour – A Visual History” By Glenn Povey documents both the history of the recording of the album and the supporting tours which remains one of the most fascinating periods in Pink Floyd’s history.
De videoclip van 'La Vérité' leidt Arno's nieuwe album in aan de hand van beelden gedraaid in OPEX, de wijk in Oostende waar Arno zijn jeugd doorbracht, en die ook zijn naam gaf aan dit nieuwste album.
Geregisseerd door Danny Willems, fotograaf en trouwe compagnon de route van Arno.