 Sting komt in november met een ouderwets rockalbum. Dat bevestigt de ex-frontman van The Police tegenover Rolling Stone. Er is al een teaser op internet te vinden van een van de songs van het album dat 57th & 9th gaat heten. “Het is geen luitplaat”, verwijst Sting naar Songs From the Labyrinth uit 2006. Op dat album liet hij zich inspireren door luitmuziek. “De plaat is veel rockachtiger dan wat ik de laatste jaren heb gemaakt.” De Brit noemt 57th & 9th “een soort omnibus van alles dat ik in de achterliggende jaren heb gedaan”. Sting maakt op zijn nieuwe plaat gebruik van enkele gerenommeerde muzikanten. Zo is drummer Vinnie Colaiuta te horen. Hij was eind jaren zeventig drummer bij Frank Zappa en speelde een belangrijke rol op het album Joe’s Garage. Het laatste rockalbum van Sting is A Brand New Day en dateert uit 1999.
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 Lasers Lasers Birmingham is the brainchild of indie band, Vanish Valley keyboardist, Alex Owen. Royal Blue is LLB’s 2nd EP and it walks the line between classic country and contemporary wry wit  Take the laid back, disaffected, self-referential ennui that hangs thick in the smog of Los Angeles and combine it with the classic swoon of pedal-steel straight from the heart of The Ozarks and you’ll start to approach the foundations of Lasers Lasers Birmingham, the new project from former Vanish Valley multi-instrumentalist Alex Owen.
Imagine a classic sawdust honky tonk populated with cowboy boot clad, line dancing locals tipping their hats to check their latest Snapchat messages. This is the intersection of cultures at which Owen’s new Royal Blue EP begins, but make no mistake; this is plain speaking country music. Having toured the west coast, and headlined such coveted LA venues as The Troubadour, The Echo, and The Satellite, Alex Owen is a seasoned Americana storyteller with a gilded voice. Honing his skills in past projects like Vanish Valley and We Fear The Bees, Owen has taken center stage, evoking contemporary Los Angeles life through the lense of his Springfield, Missouri upbringing. With Hammond organ, steel guitar, and barn-burning swagger, Lasers Lasers Birmingham brings to mind Waylon Jennings and Sturgill Simpson, with the smooth influence of Neil Young and the modern wit of Father John Misty. http://laserslasersbirmingham.com/ https://soundcloud.com/laserslasers-birmingham “LLB just released a four-track EP titled, Royal Blue, which makes me think they will be the next band to watch. Smooth, beautiful harmonies meet country roots, if you will. Don’t miss it. It is smo-o-oth.”—Bob Segarini music blog “His new EP, Royal Blue, the follow-up to the 2014 self-titled EP, features some very cool country and folk music with something of a 1970s country rock vibe at times….These tracks are all original tunes, written by Alex Owen. And all four are really strong.”—Michael’s Music Log "Thoughtful lyrics and a stellar blend of classic influences and modern edginess will make you hunger for far more than the wonderful four tracks here."--Music Morsels “…if you have half an interest in roots music or Americana, it’s almost impossible to not find something to like. ‘Royal Blue’ is on of 2016’s most welcome surprises.”—Real Gone Rocks “This is one great EP folks and you should do yourselves a favour and purchase it come July 22…”—The Dog’s Space "Ozark native Alex Owen brings to life a short collection of songs that captures present day themes coupled with a 70’s country, laid back California vibe... Royal Blue is awash in modern day storytelling that retains true, traditional country sensibilities. Give it a listen."--Daily Country “With a gently, easygoing, loping vibe running through it, this EP displays a modern Americana sensibility that you aren’t really sure where it lands but it’s somewhere between the classic college coffeehouse and the one of today. This is how Firefall and Dan Fogelberg would probably sound today, with a soupcon of Michael Murphey thrown in.”—Midwest Record “Lasers Lasers Birmingham is the musical moniker of a country psych artist from Los Angeles, Alex Owen. “Warning” is a catchy, well-put together song that reminds me of a cross between the spacey canyon jams of Beachwood Sparks and the bouncy pop of, say, Bishop Allen. Lasers Lasers Birmingham are a welcome new addition to the Ball of Wax consortium, I’ll be on the lookout for more of their work.”—Ball of Wax  The UK underground explodes onto US shores with this epic release from punk band 999! Bay Area Homicide, a Limited Edition 4CD box set, features previously unreleased live performances recorded at historic venues around San Francisco during 999’s monumental US tours in 1979 and 1980. This masterful collection includes raucously frenetic versions of the group’s smash hit singles, “Homicide” and “Emergency” plus fan favorites “Inside Out,” “Hollywood,” and “Boiler!” Each of the 4CDs comes in an individually designed wallet and the whole set is packaged with a full-color booklet featuring liner notes by renowned music journalist Dave Thompson. Bay Area Homicide comes to stores July 23rd courtesy of Cleopatra Records. It all started in London 1976 when vocalists/guitarists Nick Cash and Guy Days held auditions and formed the band that included Jon Watson on bass and Pablo LaBritain on Drums. The following year they made their live debut in Northampton and landed a residency. The band gained a following from their constant gigging. “For any week in 1977,” Thompson writes in the liner notes, “chances are 999 were playing somewhere, and most probably on every night you looked.” They released their trailblazing debut album in 1977. Top songs from the album included “I’m Alive” and garage anthem hit, “Nasty Nasty,” which prompted some critics to prophesy that 999 “might conceivably be bigger still than the Sex Pistols.” Their first mainstream success was in 1978 when the single “Homicide” reached #40 on the UK chart. The same year, 999 embarked on their first US tour and by the end, 999’s “popularity had reached almost epidemic proportions.” After the 1985 release Face To Face, Watson left the group, and the band went on an extended hiatus. But 999 returned in the early ‘90s and released a string of well-received studio albums that have kept them in the spotlight even today.
  We Used to Make Things are a Hackney-based eight piece Indie-Pop band brimming with melodic hooks, fat grooves, big horns, incisive lyrics and vocal harmonies that the Beach Boys would be proud of. Their story begins four years ago when singer Matthew, a Yorkshireman, lost his job as a youth worker running a successful music project for young people in one of the most deprived parts of North London. The result of the austerity that came in the aftermath of the financial crash of 2008. Left disillusioned, Matthew started to write lyrics that helped him poke fun at the absurdity of the world we live in. This was the catalyst for 'We’re All Fucked Up', the post-watershed title for new single 'We're All Messed Up'. An early incarnation of the band took shape around Matthew, in the form of Ben (drummer & producer) and Marv (guitarist) - the band’s songwriting team. Together they had a dream of combining their own original mix of The Specials horn section; The Kinks’ worldview; The Beatles’ hooks; The Beach Boys’ harmonies; Divine Comedy’s wit and Elbow’s grandeur. They chose a name that hints at both the disillusionment within post-industrial Britain but also more personally at the danger - as adults - of losing the ability to play, make mistakes, be creative and ultimately, make things. The lineup of musicians grew forming an unlikely set of friendships. We Used to Make Things spent the coming years developing a rich sound and an infectious sense of family - both onstage and off - which established them as a superb live act playing in festivals around the country. Their specialty became taking negative feelings and making these a joyous and cathartic experience for their live audiences and themselves. Very early on the band were approached by various music industry figures but over the course of time felt more inclined to pursue a DIY ethic, one where they could fully realise the sound in their heads. This proved to be challenging at first but they learnt a lot during this period; their perseverance and commitment to their own vision resulted in their forthcoming self-titled and self-produced debut album. The songs on this album are shaped by warm, witty lyrics about dissatisfaction, personal politics, open plan offices and the kind of characters Mike Leigh and Pinter would be proud of. It is in turn funny, poignant and angry but also very good to dance to. We’re All Messed Up is their debut single - and their state of the nation address - The world is unhinged. People are always looking for differences so why not celebrate our similarities. It’s magnificent and fucked up, but aren’t we all? Links: www.weusedtomakethings.com www.facebook.com/weusedtomakethingsmusic YouTube: We're All Messed Up https://youtu.be/9ngslNoyg0E We're All Fucked Up https://www.youtube.com/watch?v=FVTSx-RdAPo YT Soundcloud: https://soundcloud.com/we-used-to-make-things/sets/we-used-to-make-things-we-used/s-UJcEJ  Chicago drummer/ composer/ lyricist Jon Deitemyer debuts as leader with Tall Tales featuring Matt Ulery, Justefan, Rob Clearfield & Leslie Buekelman! In-demand sideman/drummer Jon Deitemyer propels into his own scene with this collection of original music and no one is left disappointed How does someone that supports the introspective lyricism of Patricia Barber, the epic whimsy of Matt Ulery, and the modern virtuosity of Zach Brock funnel his musical life into one coherent original album? Tall Tales is the unique manifestation of drummer/composer Jon Deitemyer's genre wanderlust, and it represents a compact of sorts; an attempt to merge the restless creativity of instrumental jazz with the clarity and sincerity of lyrical song-writing. "I have the good fortune to interpret other people's music so often as a sideman," says Deitemyer, "and the time came for me to prioritize those disparate experiences into something personal; something akin to spinning a yarn for friends." He invited his long-running musical collaborators to create the sympathetic and creative force that drives Tall Tales in the prolific bassist Matt Ulery and the imaginative pianist Rob Clearfield. The trio fuels Matt Ulery's Loom, Grazyna Auguscik's band, and Russ Johnson's quartet, and plays with the uncanny familiarity that emerges only after years of mutual aspiration. Jon continues, “Matt, Rob, and I began playing together about a decade ago, and the appeal for me was immediate. Rob plays with such beautiful vulnerability; he’s never afraid to bare his soul for the sake of the music. And in short, Matt is my musical brother. There is a level of wordless trust between us that I find rare in life, let alone music.” Tall Tales required more than the aforementioned trio to fulfill its promise, and Leslie Beukelman was the immediate choice as the album’s vocalist. Leslie has long been respected for her gorgeous voice and sublime delivery, whether in Miss Remember, the Oh Yeahs, or her own project Brite Lite. But on Tall Tales she manages to effortlessly shift between roles: from the patient sensitivity of “Midnight Guide” to the wordless post-bop melodies of “Stretch,” Leslie fully embraces each musical offering. Rounding out the ensemble is the inimitable Justin Thomas, who injects every composition with his singular brand of sly virtuosity. Justin is fast becoming known to the larger jazz community through his work with Marquis Hill, Dana Hall, and Dee Alexander. “I have admired Justin’s playing for so long,” remarks Deitemyer. “As a drummer I am always drawn to musicians with a highly-developed rhythmic concept, and Justin is the quintessential example of just that. He has a ferocity to his improvising that raises up the band around him.” The music on Tall Tales covers a wide swath of emotional territory. Songs such as "Deep Breath" and "Gratitude" blend the narrative qualities of a pop song with energetic improvisation. Justin brings a bit of odd-metered funkiness to “Fifteen”, while Rob imbues "A Little South" with his gospel-tinged touch. "I wanted to write and create an album that felt transparent," Deitemyer continues, "so often instrumental jazz is rewarding but in a sort of vague way, and I sought to translate the joy I feel playing music into a more literal message for the listener." “...what a GREAT CD Jon Deitemyer's 'Tall Tales' is! Every track has something to offer... superb… gifted drummer/band leader...doing a really wonderful job... certainly captured my attention... I started listening to one song and before I knew it the whole album was over... it's great to get lost in music like that.. I certainly can't wait to hear what this young man will do next...” - Michael Ambrosino (The Fringe, SoulandJazz.com) "Anyone who has admired the music of vocalists Patricia Barber and Grazyna Auguscik, bassist-bandleader Matt Ulery and many other major Chicago figures likely has heard Deitemyer at the drums. He provides remarkably flexible, empathetic accompaniment in all these settings, his playing generally light, lithe and keenly responsive to the music around him." - Howard Reich, Chicago Tribune "One must listen to how gracefully all the elements come together on ‘Over Under Other’ and take into account the various ways that Deitemyer influences the pace and intensity of the music." - Richard Kamins “Jon Deitemyer is the drummer everyone wants right now.” - Patricia Barber “Jon Deitemyer has earned a reputation as a must-hear drummer and doesn't disappoint” - Tim Gault, Chicago Jazz.com "Deitemyer exhibits his elegant and reserved touch with the quiet whispers of the brushes... anchoring the group's orchestral sounds." - Hrayr Attarian, ChicagoJazz.com Recorded at Transient Sound by Vijay Tellis-Nayak in Chicago, IL USA Mixed and Mastered by Brian Schwab in Chicago, IL USA Production and editing assistance by Paul Mutzabaugh
 Guitarist Eric Clapton will appear on the Rolling Stones' blues-inspired new album, Keith Richards has confirmed.
The new album was confirmed by the band earlier this year at the launch of Exhibitionism, a career retrospective at London's Saatchi Gallery. The recording sessions have included both new material and a number of blues covers, including songs by Little Walter and Howlin' Wolf. Richards said the album would feature "a lot of Chicago blues" and would be "coming out in the autumn some time".  Lewie Steinberg, the original bass player for Booker T. & The MGs, has died in Memphis. Lewis was 82 years old and battling cancer in recent years. Steinberg was an MG for Booker T from 1962 to 1965 and played on the classic ‘Green Onions’. Steinberg played on the first two MGs albums, ‘Green Onions’ and ‘Soul Dressing’ before leaving. He was replaced by Donald ‘Duck’ Dunn. Lewie Steinberg was inducted into the Rock and Roll Hall of Fame in 1992 and received a Grammy Lifetime Achievement Award in 2007. He also has a Brass Note on Beale Street’s Walk of Fame in Memphis. The death of Lewie Steinberg means the only two remaining original members of Booker T & The MGs are Booker T. Jones and Steve Cropper.   To be released worldwide on september 9 Apple Corps Ltd. and Universal Music Group are pleased to announce global release plans for The Beatles: Live At The Hollywood Bowl, a new album that captures the joyous exuberance of the band’s three sold-out concerts at Los Angeles’ Hollywood Bowl in 1964 and 1965. A companion to The Beatles: Eight Days A Week - The Touring Years, Academy Award®-winner Ron Howard’s authorized and highly anticipated documentary feature film about the band’s early career, The Beatles: Live At The Hollywood Bowl will be released worldwide on CD and for digital download and streaming on September 9, followed by a 180-gram gatefold vinyl LP on November 18. The album includes a 24-page booklet with an essay by noted music journalist David Fricke, and its cover art features a sunny photo taken on August 22, 1964 by The Beatles’ then-U.S. tour manager, Bob Bonis, as John, Paul, George and Ringo boarded a chartered flight from Seattle Tacoma Airport to Vancouver, BC for their first concert in Canada. Documenting The Beatles’ Hollywood Bowl concerts on tape was no easy feat, as producer Sir George Martin explained in his album notes for 1977’s The Beatles At The Hollywood Bowl: “The chaos, I might almost say panic, that reigned at these concerts was unbelievable unless you were there. Only three track recording was possible; The Beatles had no ‘fold back’ speakers, so they could not hear what they were singing, and the eternal shriek from 17,000 healthy, young lungs made even a jet plane inaudible.”
While The Beatles: Live At The Hollywood Bowl references the long out of print 1977 album, it is an entirely new release, directly sourced from the original three track tapes of the concerts. To preserve the excitement of the shows while unveiling the performances in today’s best available clarity and quality, GRAMMY Award® winning producer Giles Martin and GRAMMY Award® winning engineer Sam Okell have expertly remixed and mastered the recordings at Abbey Road Studios, including the thirteen tracks from the original album produced by Giles’ father, plus four additional, previously unreleased recordings from the momentous concerts. “A few years ago Capitol Studios called saying they’d discovered some Hollywood Bowl three track tapes in their archive,” says Giles Martin. “We transferred them and noticed an improvement over the tapes we’ve kept in the London archive. Alongside this I’d been working for some time with a team headed by technical engineer James Clarke on demix technology, the ability to remove and separate sounds from a single track. With Sam Okell, I started work on remixing the Hollywood Bowl tapes. Technology has moved on since my father worked on the material all those years ago. Now there’s improved clarity, and so the immediacy and visceral excitement can be heard like never before. My father’s words still ring true, but what we hear now is the raw energy of four lads playing together to a crowd that loved them. This is the closest you can get to being at the Hollywood Bowl at the height of Beatlemania. We hope you enjoy the show…”  Featuring rare and exclusive footage, Ron Howard’s The Beatles: Eight Days A Week - The Touring Years is based on the first part of The Beatles’ career (1962-1966) – the period in which they toured and captured the world’s acclaim. The film is produced with the full cooperation of Paul McCartney, Ringo Starr, Yoko Ono Lennon and Olivia Harrison. The Beatles: Eight Days A Week - The Touring Years touches on the band’s Hollywood Bowl concerts and includes footage of the “Boys” performance featured on The Beatles: Live At The Hollywood Bowl. White Horse Pictures’ GRAMMY Award®-winning Nigel Sinclair, Scott Pascucci, and Academy Award® and Emmy Award®-winner Brian Grazer of Imagine Entertainment are producing with Howard. Apple Corps Ltd.’s Jeff Jones and Jonathan Clyde are serving as executive producers, along with Imagine’s Michael Rosenberg and White Horse’s Guy East and Nicholas Ferrall. Following a world premiere event in London on September 15, the film will roll out theatrically worldwide with release dates set in the U.K., France and Germany (September 15); the U.S., Australia and New Zealand (September 16); and Japan (September 22). In the U.S., Hulu is the presenting partner for Abramorama’s theatrical release of the film, which will be available to stream exclusively to Hulu subscribers beginning September 17. Studiocanal and PolyGram Entertainment are also anchor partners on the film, having acquired U.K., France, Germany and Australia and New Zealand rights. For more information about the film, visit www.thebeatleseightdaysaweek.com.
Meer info: Universal Music BE
 Award-winning jazz chanteuse Robin Barnes will release “Songbird Sessions” on August 26 Having conquered hearts locally and captured media acclaim as “The Songbird of New Orleans,” award-winning jazz singer Robin Barnes is preparing to spread her soulful song beyond The Big Easy. On August 26, the powerfully-voiced siren who was named the Favorite New Orleans Musician earlier this year by New Orleans Magazine will issue her second EP, “Songbird Sessions,” on the Rhythm Elevation Records label. Barnes and bassist Pat Casey produced the intimate five-song acoustic jazz date of standards and gems made famous by her seminal influences such as New Orleans icons Allen Toussaint and Irma Thomas. The first track being serviced to radio is Barnes’s smoldering and sultry rendition of Thomas’s “Ruler of My Heart.” Backed by Casey, drummers and percussionists Herlin Riley and Shannon Powell, and guitarists Steve Masakowski and Danny Abel, Barnes soars mightily on “Songbird Sessions.” Confident and assured, the twenty-something chanteuse unveils unadulterated passion with poise and in complete command on the rousing spiritual “Great Day” and the gentle jazz lullaby “Little Jazz Bird.” Barnes’s arresting take of Van Morrison’s “The Way Young Lovers Do” haunts. On the classic “My Funny Valentine,” her aching, delicate croon depicts an intrepid artist confronting her fragility head on. “’Songbird Sessions’ is about spreading my wings and singing with my soul. This little jazz bird is taking a leap and following a dream. The EP is made up of songs that I've been passionate about while growing up in New Orleans. This music helped me express my heart though song. I wanted to do something more intimate for this record with just vocals, bass, guitar and drums. Sometimes it was scary because it's just me and my vocals. There’s no big band or sounds to help cover my vulnerability or distract the listener. The tracks are open and powerful, but it's just me. As a young artist, I'm finding my voice and my self. Jazz has impact and power. I want to remind the world how amazing jazz music is,” said Barnes, who begins a six-week residency at the House of Blues in New Orleans on July 28 and will celebrate the EP at a hometown record release concert at Peaches Records on August 27. Barnes has come a long way since she started singing in church as a six-year-old and going on to performing in her family’s jazz band. Two years ago, she won Offbeat magazine’s Outstanding Millennial in Music Award. Her weekly gigs in New Orleans have not only endeared her to the city, but have brought national fanfare including a performance on “NCIS: New Orleans” as well as an abundance of press coverage in the pages of ESPN, Forbes, Ebony, Southern Living , Travel + Leisure and Southwest Magazine. Having become synonymous with the distinctive sounds of New Orleans by being featured in various media and marketing campaigns promoting the Crescent City, Barnes has adorned the cover of area newspapers and magazines and maintains a regular presence on local television. Her leadership role includes her running club, “Move Ya Brass,” which counts over 200 runners in the fitness program she created to help motivate her to get fit after recovering from a near fatal kidney ailment four years ago. Barnes’s first EP, “Me,” was a soul-pop effort released in 2013. For more information, please visit www.RobinBarnesMusic.com
 DON HENLEY Don Henley’s 2016 North American Tour kicked off July 17th in Ridgefield, WA and will continue through September! Don will perform songs spanning his entire career from the Eagles and his vast solo catalog, including songs from his latest release, Cass County. See a full list of dates and get tickets HERE. JOE WALSH
Joe kicked off his solo "Walsh Toor" at PNC Pavilion at Riverbend Music Center in Cincinnati, OH on July 16th! Walsh's touring band includes his Barnstorm bandmate Joe Vitale on drums as well as Chad Cromwell, Waddy Wachtel on guitar, Larry Young on bass, Jimmy Wallace on keyboards and DJ Clayton Janes. Special guests JD & the Straight Shot will be opening select dates. Tickets and VIP packages are still available for the Toor, including premium tickets, meet & greet, exclusive merchandise and more. VIP sales close approximately 10 days prior to each event. See a full list of dates and get yours HERE.
To support this release, Neal will be embarking on a nationwide tour!
Featuring music written by Taj Mahal, Neal’s performances garnered a prestigious Theater World Award for “The Most Outstanding New Talent On and Off Broadway,” and he concurrently set two Hughes poems to music on the album Walking With Fire. The Chicago Tribune pegged Kenny as “one of a mere handful of truly inventive young contemporary guitarists, Neal has something fresh to say and the chops with which to say it,” while AllMusic said his “gruff-before-their-time vocals retain their swamp sensibility, while assuming a bright contemporary feel that tabs him as a leading contender for future blues stardom.” Blues Revue agreed, calling Kenny "one of the brightest young stars on the blues horizon, and a gifted artist."
EDENSONG: New York City Quintet Signs With Laser's Edge For Release Of Years In The Garden Of Years21/7/2016  Laser's Edge officially welcomes New York City-based progressive rock quintet EDENSONG to the label's roster for the release of their impending second full-length album, Years In The Garden Of Years.
EDENSONG's self-released 2008 The Fruit Fallen debut was hailed as "a masterpiece" by critics, and helped to pave the way for live shows and notable festival appearances throughout North America, including Progday in Chapel Hill, North Carolina, Three Rivers Progressive Rock Festival in Pittsburgh, Pennsylvania, and Festival Terra Incognita in Quebec City, where they shared the stage with acts ranging from Ozric Tentancles to Kings X to Discipline. While the current lineup of the band wasn't crystallized until 2009, EDENSONG's roots reach back two decades, to Echoes Of Eden, a progressive metal band comprised of three of EDENSONG's core members. For their 2016 follow-up, Years In The Garden Of Years, a concept album where EDENSONG further explores the intricately composed eclectic orchestral rock style of their debut, and infuses it with the energy and sheer power of the music of their roots in Echoes Of Eden. Whereas The Fruit Fallen was the creative voice of singer/guitarist James Byron Schoen, Years In The Garden Of Years was composed more collaboratively by the full band, and the diverse musical contributions and influences can be heard across the record, from metal to symphonic, atonal to melodic, acoustic to electronic, meticulously structured to fully improvised. Issues Schoen of the signing, "EDENSONG is psyched to be a new addition to the Laser's Edge lineup. So many of my favorite prog bands in recent years have deep ties to this label, and Laser's Edge has been supportive of our music since we released the Fruit Fallen back in '08. I think it will be a great collaboration." Years In The Garden Of Years is to be released on September 30th through Laser's Edge, EDENSONG's first title for the progressive music powerhouse. Stand by for further details on the album and audio samples to be released in the weeks ahead. EDENSONG has recently made a return to live performances and plan to play extensively in support of the Years In The Garden Of Years  Bay Area music ensemble On Dolphin will be releasing their debut album “LAYERS” on vinyl on July 22, 2016! Fronted by Melissa Lyn, the band's music has been described as “Indie rock for people that are hopeful and curious.” The band's new album explores the evolutions of ideas from curiosity and experience to beliefs and knowledge. And, finding comfort within the structures of family and community while making space to be. After years of playing solo acoustic shows, Melissa dusted off her electric guitar and teamed up with her husband, engineer and producer Ryan Clark to create On Dolphin's debut full length album “LAYERS” to be released on vinyl July 22, 2016. The band's influences include Spoon, Aimee Mann, Cat Power, Billie Holiday, Jets to Brazil, Belle & Sebastian & Des Ark. “The sounds range from straight forward rock on the opening track 'more good days', the thick drum beat and dreamy soundscape of 'dance in the kitchen', to the textured and orchestral dynamics of 'New York' and title track 'Layers'.” - FalafelRockNews “LAYERS” - This album was born in a barn - Melissa Lyn “Fresh out of a relationship and laid off from my day job, I left the city on a series of travels and adventures, landing in a Barn in Northern California. I was settling into my new home, reflecting on poems and sounds from my trip to Africa, when I finished writing the title track 'Layers' and the following song 'Worth the Drive'. I was exploring the contrasting layers of traditions and comfort amidst new beliefs and landscapes. “In The Barn, I was surrounded by 360 degrees of nature, with horses downstairs and chickens outside. It was peaceful and inspiring and I was writing a lot. The songs 'Dance in the Kitchen' and 'Inventing Fences' are stories of my assimilation into the new space and the community that was quickly growing around me. I became very active in the local music scene attending weekly open mics. One night, at Bazaar Cafe I met Ryan Clark. It was a pleasant meeting, though neither of us predicted that we would marry exactly one year later. “Ryan was building his recording business and helped me prepare and complete my first solo EP 'Roads'. We set up a part-time recording studio in the bedroom at The Barn. Friends and band mates joined us for retreat-style recording. 'Together' and 'Laugh it Off 'are a tribute to a community of musicians working together to bring songs and ideas to life. “We married and moved into a tiny room in the city of San Francisco, a huge transition from the country space that The Barn provided. Writing continued to be the best way to identify new feelings and reflect on joys and pains. 'Slowdown' and 'More Good Days' represent the challenges of a crowded city life. I made space for myself in Yogic chanting and joined the Vak Choir project. 'Let a Little Light' was born as I explored my breath and sound in a new way. “We found more space in a larger apartment down the road and began building our life, and this album, together. Ryan is an amazing producer and multi-instrumentalist. His arrangements and vision really brought these songs to life. “To say that our friends' vocal and instrumental talents added color and texture to these recordings is an understatement. These folks add color and texture to our lives. The support in the San Francisco songwriting community is like super food to a developing musician. The contrasting layers culminate in New York. A 'coming home' song about Love & Frustration, Wanderlust & Home.” “Worthy of a Quentin Tarantino film, 'Worth The Drive,' by On Dolphin is worth the listen.” - Indie Shuffle On Dolphin is: Melissa Lyn - guitar & vocals: An active member of the SF songwriter scene since 2008, Melissa Lyn hosted and curated, Songwriter Saturdays at the Exit Theatre. She has booked and shared the stage with over 150 bay area songwriters and bands between 2011 and 2015. She released her debut solo EP Roads in 2012 and started On Dolphin in 2015. Anderai Maldonado - bass: Anderai has performed in numerous musical projects from ska to jazz... From Puerto Rico to San Francisco. Crafting bass lines that move you. Nathan Dennen - keys: Born and raised in the small country town of Oakdale, California, Nathan started learning piano at the age of six. Though he took a couple years off to teach himself guitar he eventually fell back into his old piano playing ways and started writing songs. His music has been described as a mash-up of old saloon style, mixed with a little jazz and a touch of folk funk; if such a thing exists. www.nathandennen.com Ryan Clark - drums: Ryan Clark is a Bay Area music producer and recording engineer. He's a muti-instrumentalist currently playing drums in On Dolphin, Say Disaster, and Invisible End. He is also the singer, songwriter and guitar player for Obstacle Course. http://obstaclecourse.bandcamp.com In closing On Dolphin has this to impart, “Peel away the layers, live truth!”
YES's original singer/songwriter for 35 years, Jon Anderson has had a successful solo career, which includes working with such notable music artists as Vangelis, Kitaro, and Milton Nascimento. Jon recently joined musical forces with jazz violin legend Jean Luc Ponty to form the AndersonPonty Band. The duo released their critically acclaimed CD/DVD titled “Better Late Than Never” in 2015 and have completed two successful tours of North America. Jon's new album with Swedish guitarist Roine Stolt titled “Invention of Knowledge” was released on InsideOut Records on July 8, 2016 and it's getting amazing rave reviews worldwide! His latest venture is reuniting with YES alumni Trevor Rabin and Rick Wakeman - ARW. Catch Jon Anderson on tour with ARW this Fall 2016! ARW official website: http://www.arw-tour.com/ ARW FB page: https://www.facebook.com/ARWBand/ For more information: Jon Anderson official website: www.jonanderson.com AndersonPonty Band official website: http://www.andersonpontyband.com/ Jon Anderson & Roine Stolt FB page: https://www.facebook.com/AndersonStolt/ RISING COUNTRY ARTIST AND BANJO PICKER LOCKWOOD BARR RELEASES NEW PROJECT SIGNS ALONG THE ROAD21/7/2016  Award-winning banjo picker and country artist Lockwood Barr is celebrating the release of her new album Signs Along the Road, which is available now on iTunes. The project, which recently earned Lockwood Music Row Magazine’s DisCovery award from renowned music critic Robert K. Oermann, showcases not only the songstress’ vocal prowess, but also authentic songwriting style (Barr wrote or co-wrote all 10 songs on the album) and technical ability as an instrumentalist. “My musical influences range from Nickel Creek and Sheryl Crow to Stevie Nicks and Beethoven, so this record covers a lot of ground,” says the Vanderbilt University graduate. “These songs are packed with the stories and emotions of my life from the past few years.” The album, which was produced by Matt Odmark of the Grammy Award-winning band Jars of Clay, includes everything from soulful, bluesy tracks (“Starve You Outta My Heart”) and heartfelt country ballads (“Forgotten How to Cry”), to folk-influenced melodies (“Indian Summer”) and upbeat love songs (“Can’t Help Lovin’ You”). Behind the California native’s refreshingly whimsical vocals is, of course, a hearty dose of her signature banjo work. This project comes highly-anticipated by both fans and industry tastemakers that met Lockwood at CMA Music Festival’s Fan Fair X this summer. “She has the goods… Extremely promising.” – Robert K. Oermann, Music Row Magazine “[Lockwood Barr’s] voice is gorgeous. I love it.” – Kelly Rippin, Fox 17 Nashville “‘Signs Along the Road,’ takes you on a trip with the windows down and the wind flying through your hair. Lockwood Barr... is a fun artist that incorporates a blues soulfulness and fun-loving tunes throughout the album.” – Nashville Country Club "As you can tell from the clever titles of her songs, Barr has a knack for the cool country hook and is blessed with the ability to write melodies, a rare combination that has served her well...” – Paul Liberatore, Marin Independent Journal Barr has been busy touring and recording this year; fans can watch a video of Lockwood performing the title track of her album recently at Nashville’s Bluebird Café here. About Lockwood Barr: From the moment she steps into the spotlight and begins picking her banjo - her dad’s 1972 Gibson Mastertone to be exact - it’s undeniable that being on stage is where Lockwood Barr feels most at home. With a sister who grew up singing alongside her in church choir, a mother who once shared the stage with Grammy-winner John Hartford and cousin who is the lead man for the Celtic punk band Dropkick Murphys, Lockwood is hard-pressed to remember a time in her youth where she wasn’t around music. Selected as an emerging artist by the Country Music Association in both 2015 and 2016, this Tiburon, CA native songwriter and Vanderbilt graduate was also awarded an Independent Country Music Association award as banjo player and vocalist for the NashVegas Ramblers. The blue-eyed blonde has just released her new album Signs Along the Road, which was produced by Matt Odmark of the Grammy Award-winning band Jars of Clay. For more information, visit www.LockwoodBarr.com or find Lockwood on Facebook, Twitter or Instagram.   Mexican metal quintet, Excellion, has debuted a video single from their upcoming EP titled Unsean, due on August 6th, 2016. This 5-track EP was mixed and mastered by Luke Martin (Plini, Nick Johnston) in Peterborough, United Kingdom. The video for “Unlucky Charms” was directed by Sofia Ptacnik.
Unsean features only two concept songs — the opening “Unsean Pt. I – In Search of Infinity,” and closing piece “Unsean Pt. II – The Heart of the Sapphire.” “‘Unlucky Charms’ is not a part of this concept, along with the other two remaining songs on the EP, so it has nothing to do with the title but for us it meant a fresh air in our new sound and is an important part of Excellion’s evolution,” Vilbel admits. Excellion’s plans for the future are known. “We’re planning on taking the international scene for the very first time with this new material and from there, hopefully get to share the stage in every space we get around the world. And of course we’re starting to write Unsean Pt. II too but that’s another story.”
Although nowadays lots of countless sound fusions and textures in the whole world are converged, few are the ones that own the true capability of achieving expressions so distinctive, and at the same time displaying a vast surrounding energy like the one introduced in Excellion’s most recent material Unsean.
With great resolve, the band is getting ready to get into worldwide scene on August 6th, 2016 with the release of their highly anticipated upcoming release Unsean. Excellion – “always evolve, always excel” – is part of a new wave of Mexican projects with quite a unique sound, since it expresses a fusion from a full-energy Math Metal to modern progressive djenty rock. It should be pointed out that Unsean represents Excellion’s fourth music effort throughout their 8 year career, right after the release of Until Hope Collapses in 2012, Welcome Home My Son in 2011 and Haunted Days in 2009, all unique albums constantly evolving and living up to the band ́s name. Over the years, Excellion played with great well-known international bands like Black Veil Brides, TesseracT, Haken, and Miss May I, among others. Links: https://www.facebook.com/excellionband https://www.youtube.com/excellionband https://twitter.com/excellionband http://instagram.com/excellionband http://soundcloud.com/excellion  Ian Hunter’s latest studio album, 'Fingers Crossed' unveils ten new, self-penned songs including his much-anticipated homage to David Bowie ‘Dandy’. Recorded at HOBO Studios in New Jersey, and co-produced by Hunter and Andy York, the record features his magnificent Rant Band and is the follow-up to 2012’s acclaimed 'When I’m President'. As leader of ‘70s British rock legends Mott the Hoople and as a hugely influential solo artist, Ian Hunter is widely revered as one of rock’n’roll’s most compelling performers and one of its most articulate songwriters. As author of such immortal anthems as, 'All The Way From Memphis', 'Once Bitten, Twice Shy' and 'Cleveland Rocks' and the voice of such landmark albums as, 'All The Young Dudes', 'Mott', 'Ian Hunter' and 'You’re Never Alone With A Schizophrenic', he remains a hero to fellow musicians and fans around the world. The compositions on 'Fingers Crossed' see Hunter covering typically wide-ranging subject matter. 'Dandy', his fond tribute to David Bowie reflects on a relationship cemented in 1972 when Bowie produced Mott’s album All the Young Dudes and provided its hit title track. “I think ‘Dandy’ might be my favourite track on the album,” Ian admits “I like the line – ‘and then we took the last bus home’. David was an incredible artist with an insatiable curiosity for everything.” ‘Ghosts’ was inspired by a November 2014 visit to Union Avenue in Memphis where Ian and the Rant Band were invited to jam in rock ‘n’ roll pioneer Sam Phillips’ legendary Sun Studio. Title track ‘Fingers Crossed’ is a 1750’s sea-faring tale of impressment, when men were taken into the Navy by compulsion and forced recruitment. “’Fingers Crossed’ was not inspired by a book” Ian comments, “actually it wasn’t inspired by anything material. I’ve no idea where it came from as I simply woke up one day with the line – ‘I was pressed into service, through no fault of my own’ – and from there the song took its own course. It could only go one way. It’s great when you get a strong opening line!” ‘White House’ injects a fun element, based on real-life … and a real beaver … while ‘Bow Street Runners’ tells the 18th Century tale of the Fielding Brothers. Hunter explains: “In the 1700s half-a-million people lived in London and there were no cops, so crime was rampant. It was crazy. One of the Fielding brothers was known as Blind Beak – he couldn’t see but he could smell crime and recognized thousands of criminals by the sound of their voices - so the story goes. The brothers Henry and John Fielding formed the Bow Street Runners … Britain’s first Bobbies!” ‘Morpheus’ is framed around the Ancient Greek god who had the ability to mimic human form and shape people’s dreams and has proved “the instant favourite of many people who have heard the album,” Hunter reveals. “I’m delighted with ‘Fingers Crossed’,” he adds; a sentiment sure to be shared by fans far and wide!
Maxwell is vooral bekend geworden vanwege de rol die hij heeft gespeeld in de ontwikkeling van het muzikale subgenre neo-soul. Hij is één van de bekendste vertolkers van R&B en soulmuziek die Amerika sinds de jaren ’90 heeft voortgebracht. Zijn bekendheid heeft hij voornamelijk te danken aan zijn debuutalbum ‘Urban Hang Suite’ en het album ‘Embrya’. Beide albums drukten een stempel op de muziekscene in de jaren ’90. Hij werd meerdere malen genomineerd voor een Grammy Award.
Mary J. Blige is één van de meest succesvolle hedendaagse R&B zangeressen. Mary werd in The Bronx (New York) geboren en debuteerde in 1992 met “What’s the 411?”, een perfecte mengeling van hip hop, soul en goudeerlijke teksten. De singles “You Remind Me” en “Real Love” waren de pijlsnelle start van een carrière die haar tot nu toe negen Grammy Awards, vier American Music Awards en meer dan 50 miljoen verkochte platen opleverde. Tot haar meest bekende singles behoren oa. “Family Affair”, “No More Drama”, “Be Without You” en “Just Fine”. Eind 2014 verscheen haar laatste album “The London Sessions” waarop naast Blige ook Disclosure, Emile Sandé, Jimmy Napes, Naughty Boy en Sam Smith te horen zijn. Deze plaat kwam ze vorig jaar voorstellen in een uitverkochte AB. “Mary J Blige toont waarom ze de ‘Queen of Hiphop soul’ is in AB” Het Laatste Nieuws Maxwell en Mary J. blige zullen voor het eerst samen touren en komen naar Vorst Nationaal op 17 oktober. Tickets vanaf nu vrijdag 22 juli om 10u via Sherpa en Fnac. .  As that noted hipster Plato once observed, when the mode of the music changes, the walls of the city shake. And there was certainly a whole lotta shakin’ goin’ on in 1967. A distended Summer of Love saw psychedelic pop emerging from the underground clubs to infiltrate the home-grown music scene mainstream, with the vast majority following in the footsteps of perennial market leaders The Beatles in surrendering to the new genre. As the year progressed, it seemed that more or less every element of the British pop world had been swept up in the blissed-out UFOria. Beat boom survivors, R&B stalwarts, sharp-suited mods, Swinging London soul revues, earnest acoustic folkies, Denmark Street hustlers, traditional pop acts… all abandoned or refined their previous identities to make music that reflected the ubiquitous influence of psychedelia in its myriad paisley-patterned guises. Across four hours and eighty tracks, the all-singing, not-much-dancing Let’s Go Down And Blow Our Minds anticipates the fiftieth anniversary of the Summer of Love to chronicle a tumultuous twelve-month period of music-making within the British Isles. The dizzying breadth of the set incorporates everything from key names such as The Move and Procol Harum, both represented with less obvious choices (surely nobody needs to hear ‘I Can Hear The Grass Grow’ or ‘A Whiter Shade Of Pale’ yet again?!), to the likes of mondo obscuro West Country quintet T. J. Assembly, who pressed a mere 25 copies of their self-penned November 1967 album as a strictly personal memento of their time together. Along the way, we encounter all aspects of the scene, from the first generation psychedelic bands that took part in subterranean London ‘happenings’ to the shameless bandwagon-jumpers who were nevertheless an integral part of psychedelic pop’s rich and varied tapestry. We also feature a clutch of previously unreleased nuggets, alternative versions, pseudonymous releases, first-ever CD appearances, a couple of inspired novelty discs and even a football supporters freak-out. Housed in a clambox that includes a lavishly annotated and illustrated 40-page booklet, Let’s Go Down And Blow Our Minds is nothing less than the story of the British rock and pop scene of 1967: music made half-a-century ago that, as can be seen from the number of hitherto unknown recordings featured, is still slowly revealing its secrets. As some righteously obscure band confidently promised during that epochal year, a splendid time is guaranteed for all...
 "The verses are built on the feet-shuffling groove of jazzy drums and keys as Waterhouse bewails his life's stagnation ... He refuses to sit still for long, however, as the funky refrain kicks everything into fifth gear with driving guitar riffs that bring to mind classic rhythm and blues bandstands, all decked in golds and blacks and blues." - LISTEN TO THE NEW TRACK "IT'S TIME" : HERE "Swoony vocals that recall jazz singers like Cab Calloway and Jack Jones, Waterhouse has been hailed as the second coming of soul, infusing a distinctly California surf-rock spin to the genre.' - VOGUE "Waterhouse's show of intensity arrived through an incendiary combo of momentum-building saxophones...riding a grand, Spector-esque wave, punctuated with start-and-stop pacing, a love of musical space and Waterhouse's utilitarian voice singing structured three-minute rockers." - Los Angeles Times "Waterhouse straddles the line between rock grit and smooth, sultry R&B. It's sexy, it's smart, and it's definitely worth another round in a bar in the middle of a dark and stormy night." - Esquire On September 30th, California rhythm and blues revivalist Nick Waterhouse will return with his third full-length studio album, Never Twice. The first track off of the album was unveiled today via Bandcamp. Never Twice will be released via Innovative Leisure digitally on CD and 180 gram vinyl. Today, Nick Waterhouse has also announced a fall U.S. Tour. Highlights include Music Hall of Williamsburg in Brooklyn on October 8th, The Bottom Lounge in Chicago on October 4th and The Rock and Roll Hotel in Washington DC on October 12th. More tour dates to be announced soon. With Never Twice, Nick Waterhouse returned to his original collaborator, producer Michael McHugh (Black Lips, Ty Segall, Allah-Las). McHugh was a local legend in the oft-underrated Orange County music scene that Nick grew up in. McHugh was the first person to ever put Nick on tape and in an effort to re-capture the vibrancy of the Huntington Beach scene of Nick's youth, he invited McHugh up to his current home of San Francisco to work the boards once again. Once he had McHugh on board, Nick began cold-calling his favorite players, all of whom miraculously said yes. Jazz musician Bob Kenmotsu's contributed flute, Tom Waits and Elvis Costello collaborator Ralph Carney on sax, Dr. Lonnie Smith protege Will Blades on Organ and a virtual whose who of muso legends on horns, bass and guitar. The result is an exuberant and impeccably recorded album of songs, showcasing Waterhouse's prowess as a musician and a band-leader.
More About Nick Waterhouse By Jonathan Toubin Many moons ago Primo Pitino, the DJ of San Francisco's legendary Oldies Night, passed me a copy of his friend Nick Waterhouse's "Some Place." Nick was a local vinyl DJ and the kid working at our Shangri-la, Rooky Ricardo's Records. Though he didn't have a band at the time, Waterhouse assembled some local musicians to cut a one-off 45 in the vein of the electrifying mid-century modern rhythm and blues he loved. I threw "Some Place"on the Technics during sound check a few cities down the line and was blown away from the howling falsetto all the way to the end! I gave it a whirl every night from Texas to Tennessee and all the way back home to New York. Not only were the dancers' feet responding, but they were also asking about the track on a nightly basis. The Nashville Scene was so blown away that they printed a piece on Nick after that single listen. DJs and collectors everywhere wanted it so bad that the little record with the big sound started fetching upwards of $300 on Ebay. The immediate and unprecedented underground dance party success of Nick's DIY record resulted in a full band, gigs, and, after a number of obstacles, the widely acclaimed 2012 LP Time's All Gone. Nick's music, vision, and fully formed aesthetic caught on globally and he was instantly a fixture at nearly every major nightclub and festival on both sides of the Atlantic, Australia, Japan, and Russia -hitting stages everywhere from Primavera to Montreux Jazz Festival and charting on college, public, and commercial radio. Only a year after self-releasing his first single, Nick Waterhouse was thrust into the chaos of leading a band, touring, and recording in the big leagues! Pummeling high speed down a bumpy hill of lineup changes, economic problems, and general chaos without any breaks, Nick made it through and the challenges made him more focused. 2014's Holly captured a more experienced artist upping the ante in writing, performance, recording, and production, inspiring a new level of critical and commercial success. In addition to a jam-packed five years on the road, in the studio, and in the practice space, Waterhouse also produced septuagenarian soul legend Ural Thomas, Los Angeles Latin stars the Boogaloo Assassins, and garage rockers the Allah-las. He's currently collaborating with the likes of young Grammy-nominee Leon Bridges and Steven Colbert bandleader Jon Batiste. The Rolling Stones blast Nick's version of "I Can Only Give You Everything"at stadiums before they go onstage. Vogue hired him to pose with Kendall Jenner. He hipped her to Little Willie John while Anna Wintour complimented his shoes. While a lesser artist would get lost in these distractions, Nick Waterhouse's acclaim only seems to energize him and make him work harder and push his music to the next level. Nick's latest Never Twice is a culmination, intensification, and realization of everything he's been developing throughout this prolific frenzy. Catchier and loaded with more hits than its predecessors, Nick's new LP is at the same time harder hitting, more rhythmic, more harmonic, more diverse, and more adventurous than any of the excellent work that already separated him from the pack. A cool and elegant post-post-modern cocktail of 1950s r&b and club jazz, mixed with 1960s soul and boogaloo, and shaken with a minimal contemporary sensibility, Never Twice finds the artist taking his time, refining his vision, and speaking with new authority. In five short years Nick Waterhouse has come a long way and it looks like he may have just painted his masterpiece. www.nickwaterhouse.com www.facebook.com/nickwaterhousemusic www.twitter.com/nickwaterhouse  Het gratis festival Bruksellive houdt er na elf edities mee op. Dat maakt de organisatie woensdag bekend op hun Facebookpagina. Het Brusselse festival groeide in die jaren uit tot een vaste waarde in het Brusselse, maar wil zijn concept nu herbekijken.
"De laatste jaren werd duidelijk dat de omvang van het festival een te zwaar engagement vroeg van een steeds wisselende groep vrijwilligers. Daarom zal het festival in 2016 niet plaatsvinden. Zo kan een frisse groep vrijwilligers uit de Brusselse Jeugdhuizen de tijd nemen om een nieuw verhaal uit te werken", laat de organisatie via Facebook weten. Hoe dat nieuwe concept er zal uitzien wordt in de loop van de volgende maanden bepaald. Er zal wel een ruimer aanbod komen dan enkel het muzikale. Ook kinderanimatie, straattheater, workshops en zelfs sport komen mogelijk aan bod. Het groene karakter van het festival - het werd van 2005 tot 2015 georganiseerd in het Ossegempark en Groentheater in Laken - moet behouden blijven. Bruksellive was een gratis festival dat garant stond voor uiteenlopende muziekgenres. De editie van 2015 lokte nog 12.000 muziekliefhebbers naar het Ossegempark. (Bron: Belga)  Another day at the Republican National Convention, another act unhappy about the “unauthorized use” of their music.
Earth, Wind & Fire have spoken out after the Hall of Famers' classic "September" briefly soundtracked proceedings on day two of the RNC without their consent. In a tweet almost identical to one posted the previous night by Queen, Earth, Wind & Fire wrote: “Another unauthorized use (September) at the Republican Convention, against our wishes." On an eventful evening when Doanld Trump was formally nominated as the GOP nominee, the house band cranked out a “lukewarm” of “September,” according to Billboard’s reporter on the scene. The performance was said to be especially popular among the older attendees, who hoisted "Make America Great Again" signs in time with the beat. The previous night, Queen cautioned Trump – not for the first time – for using their anthemic "We Are the Champions" without permission. Earth, Wind & Fire was inducted into the Rock and Roll Hall of Fame in 2000 and were feted with a Grammy Lifetime Achievement Award at the 2016 ceremony, just 11 days after the death of co-founder Maurice White following a decades-long struggle with Parkinson’s disease. (Bron: Billboard.com)  Buffalo, NY - Prog duo Middlesong has release a new three-song EP titled “Directions” featuring YES legend Billy Sherwood. With Joe Schneider (vocals, guitar, keyboards) and Phil Tomczak (keyboards, guitars), Middlesong has heavy Prog and Classic Rock influence, along with hints of Folk, Pop and Americana. Middlesong's eclectic sources produce a universal sound that musicians and non-musicians will appreciate! The three new tracks (“Directions in D Minor (Make Sure That You Learn)”, “See This Through”, “Rain to Sun”) were started at Middlesong Studios in Hamburg NY, followed by mixing and production by Billy Sherwood at his studio in California. Billy, who plays bass, drums, keyboards, guitar on the tracks, is a renowned producer, musician and performer, and is currently the bass player for the progressive rock band YES. Billy has worked as producer and engineer for countless artists in the rock and progressive rock genres. His musicianship and talent is respected world-wide. “It was great fun working on the music with the guys, I'm very proud to have been a part of it all and very much looking forward to having it now get out there for everyone to hear and enjoy.”- Billy Sherwood Says Phil and Joe, “We both love to write music. We were surprised and very pleased by the way the songs evolved. Never having worked together previously as songwriters, we soon found that the music seemed to write itself, and took off into directions all their own (which led us to the title for the EP). Nothing was off the table. We allowed all of our influences to enter into the songwriting process. Billy Sherwood was then able to polish and bring the songs to life while preserving our original tunes.” For all three songs in the EP, Joe and Phil wanted to write songs with a solid musical structure, but take some chances along the way. Most of their songwriting begins with a nylon and steel string guitar, developing a musical theme, and taking shape from there (the “Middlesong Method”). “In particular, with 'Directions in D Minor (Make Sure That You Learn)', we explored the key of D minor, while providing the listeners with different styles within the same song – a classic Prog offering. Each section of the song represents a stage of one’s life; chasing the musical dream; wrestling with the muse. “With 'See This Through', our intent was to write a song that everybody could relate to, tapping their foot along the way. A fun part of the song for us was setting the scene for an old Western saloon in the bridge and lead section – providing a change from the main structure of the song, and a bit of an unexpected adventure. The theme of the song itself is one of perseverance, and speaks to both the whole of humanity, as well as to the individual.” “Rain to Sun” is a great example of the “Middlesong Method”. The song came together quickly, with an instrumental lead melody written by Joe, and an initial arrangement of strings and choir voices written by Phil. In this song (as well as in “Direction in D Minor”), they left plenty of room for producer and performer Billy Sherwood. “In 'Rain to Sun', we were thrilled by his meandering bass line that complimented the dual guitar tracks. Billy precisely interpreted and felt the pulse of all of our songs with his bass and percussion.” Joe Schneider and Phil Tomczak formed Middlesong in 2015. It didn't take long to realize the synergy and soul of their collaborative songwriting! Joe is a veteran of the performance stage. Augmented by his guitar playing, Joe's vocals soar with clarity, smoothness of texture, and deep feeling. Joe finds inspiration from singer-songwriters such as Lennon-McCartney, Tom Petty and Billy Joel. He has great, natural instincts for melody and harmony, and a gift for writing lyrics that touch our souls in just the right place. Phil's love for music stems from the piano, influenced by the likes of Rick Wakeman and Keith Emerson. His versatility extends to the guitar, which plays a significant role in Middlesong's songwriting and distinctive sound. Phil's musicianship evokes imagery and will carry you along on the clear road ahead, or sweep you off into a surprising new direction. As well as Billy Sherwood, Middlesong has worked with renowned mastering engineer Maor Appelbaum. The duo are currently in the studio writing and arranging the remaining tracks to fill out the complete, debut album to be released sometime in 2017. In closing Phil and Joe have this to impart, “We appreciate your listening and at the purest level, we hope you enjoy our music!” OFFICIAL SITE: http://www.middlesong.com Email Contact: [email protected] Facebook: https://www.facebook.com/middlesong/ SoundCloud: https://soundcloud.com/middlesong ReverbNation: https://www.reverbnation.com/middlesong To purchase: CDBaby (main links for purchasing): Full “Directions” EP and Individual Song Download: http://www.cdbaby.com/cd/middlesong4 See This Through: http://cdbaby.com/cd/middlesong2 Rain to Sun: http://cdbaby.com/cd/middlesong Directions in D Minor (Make Sure That You Learn): http://cdbaby.com/cd/middlesong3 SoundCloud: See This Through: https://soundcloud.com/middlesong/see-this-through Rain to Sun: https://soundcloud.com/middlesong/rain-to-sun Directions in D Minor (Make Sure That You Learn): https://soundcloud.com/middlesong/directions-in-d-minor-make-sure-that-you-learn ReverbNation: See This Through: https://www.reverbnation.com/middlesong/song/26150274-see-this-through Rain to Sun: https://www.reverbnation.com/middlesong/song/26150292-rain-to-sun Directions in D Minor (Make Sure That You Learn): https://www.reverbnation.com/middlesong/song/26150294-directions-in-d-minor-make-sure   Bijna 20 jaar geleden bracht Led Zeppelin de ‘BBC Sessions’ uit met daarop een selectie van de songs die ze speelden bij de Britse openbare omroep tussen 1969 en 1971. Op 16 september komt er een nieuwe versie uit die helemaal geremasterd werd. Met daarop ook 8 onuitgebrachte songs inclusief 3 verloren gewaande nummers van een sessie uit 1969: “I Can’t Quit You Baby”, “You Shook Me”, en de enige opgenomen sessie van “Sunshine Woman”. Jimmy Page in Guitar World: “The BBC Sessions show in graphic detail just how organic the group was. Led Zeppelin was a band that would change things around substantially each time it played… We were becoming tighter and tighter, to the point of telepathy.” John Paul Jones voegde daar in Wall of Sound het volgende aan toe: “We’d been on the road a lot by the time those sessions were recorded. The albums were always the starting point of the music, and then we’d take it out and expand it on the road. Then we’d come straight off the road into those BBC studios.” En last but not least Robert Plant in Mojo: “The whole thing was very quaint: the politeness of the audience, the technicians fumbling about, proper hallowed low-key introductions. Like there was some sort of holy moment about to occur.”
 Ben Caplan is een charismatische charmeur en bespeler van de piano. Een gek en een ernstige poëet. Een schrijver van delicate akkoorden en een liefhebber van gebroken melodieën. Caplan heeft dankzij zijn songs al een stevige fanbase uitgebouwd in continenten die gaan van Australië tot Europa en Noord-Amerika. Niet verwonderlijk, want Ben Caplan is onvergetelijk met zijn gigantische baard en wilde manen.
Caplan's muziek is geïnspireerd door Oost-Europese en Joodse volkstradities. Zijn nieuw album ‘Birds With Broken Wings’ bevat zowel oude als nieuwe sounds, met meer dan 30 muzikanten en zelfs meer instrumenten gecombineerd met akoestieken van over de hele wereld. De Canadese folkmuzikant betreedt op 26 september ons podium in de foyer en is hiermee meteen het eerste Depot Café van het najaar! Meer info Het Depot Foyer | Martelarenplein 12 20u | Gratis |
