30 June 2014

Guitar Legend Carl Verheyen of Supertramp Releases New CD 'Mustang Run' Feat. Simon Phillips, Chad Wackerman, Jerry Goodman and Bill Evans


“Carl is known as a studio guitar player but he’s much more than that. His records have the great feel of a live player. He plays with a lot of feeling” - John Fogerty

Los Angeles, CA - Much to the excitement of guitar players and Supertramp fans worldwide, guitarist Carl Verheyen has released his new CD 'Mustang Run'. In his 40-plus years of playing the instrument, Carl Verheyen has created a wildly successful, multi-faceted career. He is a critically-acclaimed musician, vocalist, songwriter, arranger, producer and educator with 11 CDs and two live DVDs released worldwide. Carl is commonly regarded as a guitar virtuoso capable of playing any style of music with remarkable mastery and conviction. He has been one of LA’s elite “first call” session players for the past 25 years, playing on hundreds of records, movie soundtracks and television shows. Carl has graced the pages of countless industry publications and been the subject of numerous articles chronicling his rise to the forefront of the modern day guitar scene.

Says Carl about his new CD release, “My goal was to break out of the mold of Carl Verheyen Band CDs and do a progressive instrumental album. I wanted the opportunity to weave thick textures of sound using dozens of instruments and tones. My motivation was the sheer joy of hearing those sounds in the air!”

“We’ve been friends for many years and Carl has always amazed me with his versatility and technique. He’s a fine player.” - Albert Lee

Carl has won numerous polls and musical honors in the US, Germany, France, Italy and the UK. A member of the smash hit British rock group Supertramp since 1985, Carl has played to millions of enthusiastic fans in sold out arenas worldwide. As the creative force behind The Carl Verheyen Band, he has released an impressive and eclectic discography that showcases his endless talents across a wide array of musical genres. Carl's musical influences are just as diverse and range from George Harrison, Eric Clapton, Mike Bloomfield, Alvin Lee, Leslie West to Miles Davis, John Mclaughlin, Steve Morse, Chet Atkins and Andy Summers, among others.

“Every time I start to feel good about my playing and general overall knowledge of the guitar, I will get together with Carl and see truly how far I have to go. I am proud to call him my friend. A master of the guitar and a hellava nice guy to boot.” - Joe Bonamassa

'Mustang Run' features performances by some extraordinary musicians, which includes Simon Phillips, Chad Wackerman, Jerry Goodman, Bill Evans, Jimmy Johnson, Stuart Hamm, and Gregg Bissonette. In regards to the assortment of legendary music artists that grace his new release, Carl explains, “My previous CD called 'Trading 8s' was a collaboration with some of my guitar player friends. I had Robben Ford, Joe Bonamassa, Steve Morse, Scott Henderson, Albert Lee and Rick Vito trading solos with me. On 'Mustang Run' I wanted that inspiration to come from the rhythm section, so I called different bass players and drummers to suit the songs. I love to play with musicians that I have a deep musical relationship with, because the studio scene in LA breeds hundreds of 'casual' musical relationships. The great players on 'Mustang Run' are all friends that I've known and performed with for years.”

“Carl Verheyen is a REAL guitar player!” - Robben Ford

A much sought after studio musician, Carl plays on other artists’ CDs whenever his busy schedule permits. He has recorded and played with a virtual who’s who of the music industry. His vast collection of movie soundtrack and television credits are enviable. Carl was heard by 67, 000,000 people as a featured soloist at the 2009 Academy Awards. He will also be heavily featured in the forthcoming film documentary about the electric guitar, 'Turn It UP!'

“Carl is a true pro and a great player/musician. He can do anything, and as one who is supposed to do this, me (ha-ha), Carl comes through with heart and soul and is really not only an awesome musician but a really good guy. That counts ALOT in this biz, especially these days.” - Steve Lukather

On the educational front, Carl has produced two instructional videos called 'Intervallic Rock Guitar' and 'Forward Motion' as well as various on-line lessons. He also has a book/CD detailing his unique “intervallic” style called 'Improvising Without Scales'. Another book entitled 'Studio City' is a compilation of all the columns Carl wrote for Guitar Magazine between 1996 and 1999. He has written a monthly column for Chitarre, Italy’s #1 guitar publication as well as Guitar World and Guitar Jam Daily, a website devoted to serious guitarists. He currently writes a monthly column for Guitar Player, contributes to other guitar publications, and blogs regularly for GuitarPlayer.com and his own site. Carl also lectures and teaches at clinics and master classes regularly when not on the road.

“Carl is so overwhelming to sit in a room and jam with, let alone his playing on records and stage. You get the impression there is no style or territory he is unable to explore.” - Brad Paisley

Carl recently co-designed a signature guitar with LsL Instruments, the “CV Special,” combining the best elements Carl seeks in his ideal guitar; they are now available for purchase worldwide. As if that weren’t enough, working closely with Dean Markley, Carl developed a line of signature strings for the electric guitar that perfectly balance the tremolo bridge of the Fender Stratocaster, the Carl Verheyen Balanced Bridge Helix HD string set .

“Carl is one of those experienced, great players that you could put in any situation and get a wonderful guitar solo. I personally love the fact that he enjoys what he does and radiates positive energy whenever I have seen him.” - Steve Morse

In support of Carl's new CD release, he will be touring Europe in the fall 2014. His band will feature bass virtuoso Stu Hamm (Joe Satriani, Steve Vai, Ritchie Kotzen, Billy Sheehan, Jeff Berlin), who is featured on 'Mustang Run', and master drummer/percussionist John Mader (Joe Satriani, Booker T, Electronic Arts' “The Sims”, Tony award winners “Rent”, “Lion King” and “Wicked”).

In closing Carl has this to impart, “Before I made 'Mustang Run' I pulled out about 10 CDs that I seem to listen to all the time. None of them were 'shredders' or heavy bombastic music, but none of them were 'easy listening' either. I realized they all had melodic qualities that made them endure the test of time. So my main goal: make a record the bears repeated listening. If you discover new things with each play I've done my job!”

For more info: http://www.carlverheyen.com
http://www.carlverheyen.com/store-cds/

'Mustang Run' CD preview: https://www.youtube.com/watch?v=vFYlBizHAyc

“Fusioneers Disease” from the 'Mustang Run' CD, with Simon Phillips (Toto, Who, Protocol II), Cliff Hugo (Supertramp, Ray Charles) and Jim Cox (Albert Lee, Streisand, Ringo, Aerosmith, Knopfler):
https://www.youtube.com/watch?v=LwxM_aFNXso

“Spirit of Julia” from the 'Mustang Run' CD (same musicians):
https://www.youtube.com/watch?v=nlf1Cu2XS3I

Take One Step: Appreciating Carl and CVB live!:
https://www.youtube.com/watch?v=DtQapyal-js

Management:
Gary Selick
www.talenttothestage.com
PH: 415-999-7067

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

29 June 2014

New Age Instrumental Review: Steven Chesne and the Luminous World Orchestra-Moments from the Life Stories of Strangers - Pt. 1

Release Date: 2013
Label: Independent

Steven Chesne and the Luminous World Orchestra have emerged from four years of silence with a new album titled Moments from the Life Stories of Strangers - Pt. 1. Chesne has a reputation for creating scores for TV series and to date has contributed over 300 episodes of various prime time network shows. The list is long and impressive and his music is as well.

Chesne is not the easiest artist to put in a category as he touches upon several genres with elements of symphonic, world and overall difficult to describe ethereal music that is both relaxing and challenging at the same time. To be more specific coming from the challenging point of view, I mean in regards to enlightening or an awakening within for a perhaps the tired and dulled spirit one may have after a difficult time in life or just a hard day at the office. The music is beautiful, serene and picturesque and you as the listener write the story to all the instrumental tracks.

The lead off track “Invocation” sets the tone for the entire recording. It runs over 5 minutes and brings a sense of calm to the soul. I can see after listening to just one track why Chesne is so adept at creating various soundtracks for any mood or occasion. The symphonic and orchestral movements found on this release are truly a slice of heaven that you can assimilate easily through your speakers. There is a lot going on in each and every song and they somehow are able to mesh all the sounds into one living breathing entity that just sweeps you away to another place, perhaps a spiritual plane you have struggled to reach in the past. It becomes a one way non-stop trip with all the benefits awaiting your mind, body and spirit to renew.

While “Invocation” initiates the sequence of events about to unfold before you, tracks like “Flicker of the Glistening” take a journey through the clouds and beyond the stratosphere and then lets you down easy before the next track begins. “Lumiere Du Soleil” closes out this spiritual journey with a different twist allowing some nice acoustic guitar to lead the way. As Steven’s guitar takes you down yet another path of soul searching and bliss, many other instruments become part of the mix to make it all complete. Actually the only thing that is decidedly different in this track is the prominent acoustic guitar, which is just as beautiful as everything else that was presented prior on the recording.

They say beauty is in the eyes of the beholder, while that is true; in this case it is the ears followed by the mind to the inner spirit that becomes the all-inclusive keys to the kingdom. If you are into practicing Yoga or just like to meditate or relax Moments from the Life Stories of Strangers - Pt. 1 will get you there in a matter of minutes. As a listener and lover of music I could appreciate all the time and effort that went into making such a complex project. I do not think it would be any different than creating a movie score or writing a full scale opera. All the elements and most important factors are in place to make this a new age release that will be appreciated for years to come. This is ear candy that transforms into chicken soup for the soul.

5/5 Stars

Key Tracks: Invocation, Flicker of the Glistening, Lumiere Du Soleil

Tracks: 
1. Invocation        
2. For When the Love Will Rain Down Upon You   
3. Yorkietown        
4. Flicker of the Glistening        
5. Glory Story #2        
6. Coaxed to Grow        
7. Morning Hocket        
8. Change, Your Oldest Friend        
9. Lumiere Du Soleil

 
Keith “MuzikMan” Hannaleck-Write A Music Review Founder

June 29, 2014

Review Provided By New Age Music Reviews

27 June 2014

Learn From The Best - Lang, Coleman, Garstka, Roddy, Borlai and Priester Featured On Drum Channel’s Exclusive, Daily, “Big Drum Bonanza Live” Webcasts, July 2-6, 2014


Special “Big Drum Bonanza” pricing on Drum Channel membership also available

Oxnard, CA - Six of the world’s top drummers will be featured on DrumChannel.com’s live, daily webcasts of Thomas Lang’s “Big Drum Bonanza” drum camp from July 2-6 at 5:30 PM (Pacific Time). The free, hour-long shows— which can be accessed from computers and mobile devices virtually anywhere on the planet— will include appearances by Thomas Lang (stOrk), Chris Coleman (Prince), Matt Garstka (Animals As Leaders), Aquiles Priester (Hangar), Derek Roddy (Hate Eternal) and Gergo Borlai (Tribal Tech) as well as special guest John Tempesta (The Cult). Each show will offer a wrap-up of the day’s educational activities as well as discussions and performances by the all-star faculty.

To celebrate the “Big Drum Bonanza”/Independence Day weekend, Drum Channel is also giving drummers a special, limited time opportunity to become members of the award-winning www.DrumChannel.com community. From July 1 through 7, unlimited access to hundreds of Drum Channel lessons and shows by drummers such as Thomas Lang, Gregg Bissonette, Terry Bozzio, Chad Smith, Stewart Copeland, Tony Royster, Jr., Peter Erskine, Dave Elitch, Luke Holland, Cobus Potgieter and many more is available for a full year at the reduced price of $49.90. The special “Big Drum Bonanza” deal not only provides 2 months of membership at no charge, it also includes a free $25 gift card good for downloads at Drum Channel’s online store. The gift card can be used independently or to augment Drum Channel’s online lessons with downloads of popular DVD content by Daniel Glass, Danny Seraphine, Buddy Rich, JR Robinson, Tony Royster, Jr. and Neil Peart, to name just a few.

Learn from the best and improve your drumming over the Fourth Of July weekend by tuning in to “The Big Drum Bonanza Live” shows and signing up for unlimited Drum Channel membership at a great price at www.DrumChannel.com. For more information on the Big Drum Bonanza or to purchase Guest Passes for the Big Drum Bonanza Live! at Drum Channel studios, please visit www.muso-mart.com

Drum Channel is a state-of-the-art provider of a wide variety of interactive drum education content, including www.drumchannel.com which features 100’s of lessons, lesson plans and live events as well as Drum Channel’s traditional DVDs and Digital Video Downloads (available at http://www.drumchannel.com/store).

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

Rock Review: Jack Bruce-Silver Rails

Release Date: April 15, 2014
Label: Esoteric Antenna
Jack Bruce had not released a solo album in ten years and more recently the man came so close to death that it is was a miracle he survived. We can now enjoy his latest work Silver Rails.

His last solo album was More Jack Than God in 2003, which I had the pleasure of covering and I gave it a 5/5 star rating. 2008’s collaboration with Robin Trower and Gary Husband Seven Moons, was nice return to form however there has been 5 year gap since that release arrived. That space has now been forgotten and filled as we move into a new era for the legendary bass player and vocalist. He is another one of those old rockers that is now 70 and still able to create vital music. Even though I refer to him as a rocker his roots are in blues and jazz and his music always mirrors that but he knows how to make it rock!

A list of guest stars populates this excellent recording. Phil Manzanera, Robin Trower, John Medeski, Cindy Blackman Santana, Bernie Marsden, Uli Jon Roth, Malcolm Bruce and many more. Some lyrics were penned by Cream lyricist Pete Brown, long-term collaborator Kip Hanrahan and Jack's wife Margrit.

This is the kind of album that will grow on you with each listen. Bruce’s voice is so unique and recognized that it seems he is a hands down success no matter what he does, much like his former band mate Mr. Clapton.

“Reach for the Night” is one of my favorites and it clocks in at a hefty 6:19. This is a track that puts on display the complexity and preciseness of a Bruce composition. The musicianship is outstanding as one would expect. Is the track too long or a bit over the top? Absolutely not and the length is just right for what they get accomplished. “Keep It Down” is the bluesy number that old cream fans would crave and it gets the job done in typical Bruce like fashion. 

“Hidden Cities” and “Rusty Lady” are standouts as well. The tracks have you travelling down a road of musicality and deeply soulful emotions as all of that reverberates through the music and words. “No Surrender” is the curtain closer and does it ever leave with bang. I would venture to say this is one of the best tracks that Bruce has recorded in a mighty long time. It is the perfect closer and anthem for a man that never gave in or gave up and the very reason he is still here turning us on with his music to this day. It kind of leaves you hanging wondering when the next track is going to start, but alas dear listeners it never happens. You will have to give it another spin and or wait for the next installment of incredible music from the music icon. That is just fine with this music fan.

It’s time to ride the Silver Rails with Jack Bruce and it’s a brilliant trip that you will want to take again, I promise you that.

5/5 Stars

Key Tracks: Reach for the Night, Keep It Down, No Surrender

Tracks:
 
01.Candlelight
02.Reach for the Night
03.Fields of Forever
04.Hidden Cities
05.Don’t Look Now
06.Rusty Lady
07.Industrial Child
08.Drone
09.Keep it Down
10.No Surrender

Keith “MuzikMan” Hannaleck-Write A Music Review Founder

June 27, 2014

Review Provided By Write A Music

26 June 2014

Christian Vander's Offering 'Concert Triton 2013' 2-CD/DVD Set Now Available!


Paris, France - Much to the excitement of Christian Vander and Magma fans worldwide, Seventh Records is releasing Offering 'Concert Triton 2013' 2-CD/DVD! In 1983, motivated by the strong artistic impulse to return to his “Coltrane” roots, with a sound that's more flexible than MAGMA, Christian Vander created “Offering”; a new ensemble that focused on vocals, keyboards and percussion. More experimental, leaving a great part to improvisation, this group allowed musicians to explore new musical avenues.

Offering has remained out of the sight and hearing of the younger generations for the past 30 years. In order that they benefit, too, this wonderful “gift” that was “Offering”, Christian Vander and his musicians decided to celebrate this anniversary musically with candles glowing and a flame burning as bright as the first day. This initiative will delight all fans regardless of their ages...Galaxy Magma!

To purchase Offering's 'Concert Triton 2013' 2-CD/DVD :
http://v2.seventhrecords.com/offering-20/dvd-2cd-offering-concert-triton-2013-1135.html

For more information: http://v2.seventhrecords.com/en/
www.myspace.com/magmaofficial
seventh@seventhrecords.com

Press inquiries: Glass Onyon PR, PH: 828-350-815 (USA), glassonyonpr@gmail.com

25 June 2014

Progressive Rock Review: Corvus Stone-Self-Titled

Release Date: 6th November 2012
Label: Melodic Revolution Records
Website

This must be the longest time that has passed between an album being released and a review taking place, but as they say, “better late than never!” The album in question is from the band, Corvus Stone and is self-titled, being released back in 2012. This is not a new album to me as there have been several tracks aired on the radio show.


The band originally came together by the power of the social networks, when the core trio of the band started to work together and realized that they were producing amazing music through their collaboration. This original trio, Colin Tench (guitars), Petri Lemmy Lindstrom (bass) and Pasi Koivu (keyboards) expanded to include Robert Wolff (drums), Blake Carpenter (vocals) and, whilst not a musician, still an integral cog in Corvus Stone, Sonia Mota (artist). It is Sonia’s stunning artwork that adorns the cover and CD insert of the album. There are also contributions from Stef Flaming (vocals, guitars), John Culley (guitars) and Victor Tassone (drums).


One point that should be made, is that most, if not all, of the music on the album, was put together by musicians recording their parts in various places, before it was seamlessly “bolted together.”


There are many influences listed by the members of the band and include, Pink Floyd, ELP, Camel, Porcupine Tree, King Crimson, David Bowie, Riverside, Jeff Beck, Peter Gabriel and Deep Purple, which certainly indicates a background steeped in classic progressive music.



Corvus Stone is a 21 track single album release (with a further 2 bonus tracks on the early digital releases) with a running time that is only seconds short of 80 minutes, the maximum recommended to maintain the required sound quality. The track lengths are very variable, with four of them, “The Curtain Rises,” “Horizon,” “Intermission” and “Ten Inch Lisa,” all being less than 2 minutes in length, while track 18, “Cinema” is the longest track at 10:50 minutes.


The starting track of Corvus Stone, “The Curtain Rises” (1:32) is an aptly titled track, and is a short instrumental with some excellent acoustic guitar and a middle eastern instrument, which you are just settling into when it is gone and we are onto track 2. “October Sad Song “ (4.57) has some wonderful guitar work throughout and there is amazing synth/keyboard playing which means that this instrumental, together with the odd time changes and interjections by other instruments, maintains the listeners’ attention. Some heavy riffing guitar heralds track 3, “Highway to Emptiness” (2:28), the third instrumental, which motors along with some more superb synth passages. The fourth track, “Ice King” certainly changes the style, as for the first time, vocals appear, and are provided by Blake Carpenter (The Minstrel’s Ghost), which together with the excellent guitar work by Colin Tench produce an atmospheric track, which ultimately seems just too short.


“Corvus Stone” (8:20), the title track, being a longer track allows the ideas in the music to evolve a little more and there is more evidence of the amazing interplay of guitar and synth/keyboards. This is a hugely atmospheric track, shifting this way and that, and at times recalls the superb keyboard sounds produced by the (late) Bo Hansson, with those amazing grandiose swirling techniques. The guitar of Colin is always there, behind the keyboards of Pasi and they paint an amazing aural scene, and if you then throw in some subtle time changes, you have another majestic slice of progressive music.


The longest track on offer, “Cinema” (10:50) has some simply stunning guitar and keyboard passages, and as the track unwinds with similarly changing time shifts, some superb acoustic guitar work and beautiful electric guitar passages, which interchange frequently. This exudes a feeling of taking you on a journey with the music, allowing you to drift into the aural palette they are plucking the sounds from. “Cinema” also reappears as a bonus alternative version on the digital download early release.


It is not possible to detail all the tracks on this 21 track album, but to summarize there is a myriad of different styles on display encompassing more jazzy and blues styles from time to time. One or two of the tracks, especially the very short ones suggest ideas that possibly never really came to fruition and there is a feeling at times of patchiness. A real oddity in today’s musical world must be “The Rusty Wolff Attack,” which is a straightforward drum solo, introducing the new drummer.


After many plays, my overall impression of Corvus Stone is that the band have huge ranges of musical ideas which when they all come together correctly, result in pieces of sublime music, but at times the fusion isn’t perfect. The band were keen to demonstrate the range that they possess, but I feel that with more prudent trimming here and there, Corvus Stone could have been a simply stunning album, whereas, although there are some simply stunning tracks, some tracks don’t hit that musical peak.


As always, grab this album and give it several listens, as I am sure that my personal choices of the lesser successful tracks might not be what others think. I would still award the album a “One to Buy” sticker and I look ahead eagerly to the follow-up album, which has already had some video teasers released.


4/5 Stars


Key Tracks: October Sad Song, Corvus Stone, Cinema 


Jim “The Ancient One” Lawson-Sr. Reviewer Prog Rock Music Talk


June 25, 2014


Review Provided By Prog Rock Music Talk


Tracks:
The Curtain Rises
October Sad Song
Highway To Emptiness
Ice King
I’ll Leave It All Behind
Corvus Stone
Moron Season
Horizon
Intermission
Moustaches In Massachusetts
Pilgrims
Jussipussi
Iron Pillows
After Solstice
The Rusty Wolff Attack
Lost And Found
Scary Movie
Cinema
You’re So Long
The Ice King (Instrumental)
Ten Inch Lisa
The Stones Meet Cheryl In Soundtrack From Hell*
Cinema (Alternative Version)*
*Bonus tracks on early digital download versions.



24 June 2014

Twenty First Century Rock ‘n’ Roll

PUT A FORK IN IT:
Twenty First Century Rock ‘n’ Roll and the Rock Critic
By Erin E. Bruno



CREEM brings you a distinct look at fashion, art, and design and puts them in perspective with other cultural mediums. CREEM tells compelling stories, inspires others to do the same, and provides a platform for emerging and established talent alike…Our audience is made up of rebels, visionaries, and trailblazers.   Join us.  (From Creem Magazine’s “Manifesto” on their current website)


     In March 1969, “America’s only rock ‘n’ magazine” was born. It was called Creem. Barry Kramer and founding Editor Tony Reay were the originators, but it was Lester Bangs, an in-your-face brash Dionysian music critic, who gave birth to the idea of music being evaluated like literature or film. Now, 35 years later, Creemmagazine has officially called it quits as of January 2013, although its level of intimacy with music and its history of honest rock 'n' roll critiques will go down in history as a one of kind publication that helped shaped music from the late Sixties to modern times. 

    I first learned about Creem, and other publications of the "rock critics" heyday, like Crawdaddy! and Rolling Stone, while researching my senior year college thesis, The Role of the Rock Critic in Sixties and Seventies Music. I was inspired to write about this subject for a variety of reasons, which at the time, being 22 and on the verge of graduating college, I thought most of my ideas were grand and unique! I consider myself to be an in your face, honest critic and fan of music and film, by nature; I am also a musician; I love 1960s and 1970s culture/music; and, clichéd enough, one of my favorite films is Cameron Crowe’s Almost Famous

     Why I bring up this film is its relevance to the discussion of the rock critic in today’s world. This film gives visual and harmonic homage to the purpose and life of the rock critic and the times in which they thrived and were both secretly honored by literary geniuses and openly considered "the enemy" by many. Philip Seymour Hoffman impeccably plays the role of Lester Bangs, the real life Iggy Pop-boozing intellect who lays out the role of the rock critic in the crazy rock 'n' roll landscape of the 1970s to William Miller, a 15 year old “wanna be” music journalist (a fictional precocious character loosely based on Crowe’s early personal life), with a passion for writing about the heart and soul of music. During their first conversations in the film, Bangs makes some comments that still resonate today: 

Music, you now, true music - not just rock n roll - it chooses you. It lives in your car, or alone listening to your headphones, you know, with the cast scenic bridges and angelic choirs in your brain. It's a place apart from the vast, benign lap of America. If you're gonna be a true journalist -- you know, a rock journalist -- first, you never get paid much. But you will get free records from the record company….It sounds great, but these people are not your friends. You know, these are people who want you to write sanctimonious stories about the genius of rock stars. And they will ruin rock 'n' roll, and strangle everything we love about it, right? …And the day it ceases to be dumb is the day that it ceases to be real, right? And then it just becomes an industry of cool.”
“I'm telling ya, you're comin' along at a very dangerous time for rock 'n' roll. I mean, the war is over. They won. And 99% of what passes for rock 'n' roll these days, silence is more compelling. That's why I think you should just turn around and go back, you know, and be a lawyer or somethin'. But I can tell from your face that you won't. I can give you 35 bucks. Give me a thousand words on Black Sabbath...Hey, you have to make your reputation on being honest and, uh, you know, unmerciful.”

     Recently, after watching these early scenes between the jaded yet prophetic Bangs and the naive but meekly raw Miller, I was inspired to write a piece about where these ideas fit into the world’s notion of rock ‘n’ roll  several decades later…

“Everything in Music Has Now Been Said”...

     There is a scene in Portlandia (Season 2, Episode 6), in which the fictional band "Catnap," headed by "breaking ground" rock artists/actors Fred Armisen (vocalist/guitarist), Carrie Brownstein (keys, guitar and  back-up vocals), Kristen Wiig (gun "player"), and none other than a cat named Kevin, yes a cat, playing drums. The scene from this episode, which I find most memorable, is the scene in the office of Pitchfork magazine, where a writer is reviewing Catnap's album, and quickly proclaims: "Hey, you guys, this band Catnap, everything in music has now been said. I think we're done; we can shut the site down. Good job everybody. Shut down your computers, shut down the site." (end scene)
 

     "Catnap" has achieved what they set out to do- do something no band has ever done- and in doing so they bring to surface a clearly funny but a painful truth of what music has become in the twenty-first century. Music has become an "industry," where each new band does everything they can, absurd at best, to set themselves apart from other bands, using an addictive mix of marketing, branding, sexy and/or controversial looks and image, “ingeniously original” blending of genres, anything and everything they can do to GET NOTICED, by the fans and the rock critics. 

     But are these bands truly being heard? By the masses, perhaps, as this is what they started out to do- get noticed, get signed, get out on the road, soar to the top of iTunes playlists and the Billboard Hot 100, get the most hits on YouTube, sell copious amounts of MP3s (as albums sales are declining to the point of no return), make money from advertising and touring, and, if their lucky, get reviewed in the good old Rolling Stone…And if you are “really good," get recognition from the likes of Pitchfork, the self-proclaimed “essential guide to independent music and beyond,” a magazine inspired by the real passion of music journalists from the 1960s and 1970s. But, when it comes to Pitchfork and modern “rock critics,” I like to believe that the likes of Lester Bang's is rolling over in his drug-induced grave.

The Medium is the Music
    Moving forward with this discussion, I think of Marshall McLuhan's everlasting philosophy of "the medium is the message," hence, each time the medium has changed from record to 8-track to cassette to CD to MP3, the music’s message has subconsciously changed with it. Today's musicians have more to contend with and the notion of making "good" music has dissipated from the mainstream again to the underground, much like it did in the beginning of rock ‘n’ roll. The masses did not want to “like” the godfather of punk Iggy Pop, Britain’s "pissing on a rock" band The Who, or whacky poet Bob Dylan in electric, at least not at first. At least not until the so called rock critiques deemed it “good,” and the once rebellious nature of rock ‘n’ roll became the message of the masses.

    But where does rock ‘n' roll fit in today's culture? With so many subgenres and auto-tuned generations of musicians relying on tour sales to even make a cent, if any money at all, the place for the authentic musician is now between a rock and a hard place. And where does the rock critic fit in today's music scene, if anywhere?

    At age 29, a previous Staff Writer for www.muzikreviews.com, I predominately listen to music from the late 1960s, early 1970s, early-to-mid 1990s, and an occasional fresh of breath air from the 2000s. For me it is classic rock and alternative all the way. Anytime I hear a twenty-first century artist playing real music, I'm all open ears. Aimee Mann, Elliott Smith, The Black Keys, Norah Jones, Pete Yorn, Ryan Adams, Eminiem (yes, I'll argue to anyone he is our generation's greatest rapper and boo hoo to those Tupac and Biggie bangers), Cage the Elephant, Jack White, Adele, Amy Winehouse, and the list, although limited, goes on. All of these artists have done one thing right— they kept playing their music, regardless of the price and the media's criticism or lack of it. For as is in many art forms, it is more important to get recognized and positively critiqued than to not be heard at all or be underappreciated by the press.

The Aimee Manns, The Gagas, The Project Autumns, and the Dylans



Aimee Mann: Driving Sideways with Elegance
    There's another episode of Portlandia (Season 1, Episode 3) entitled "Aimee," in which Aimee Mann plays the real life prolific singer songwriter forced to fictionally make money as a regular house maid alongside Sarah McLaughlin, a house gardener. This episode is absurdly indicative of the state that even talented musicians have been reduced to. I am by no means saying that cleaning houses or gardening is not an honest living. But when you have some of the few great songwriters left of our generation, struggling to make it in the music industry, while Lady Gaga is free to strut whatever Madonna meets Marilyn Manson costume of the week and be called a genius artist, then I believe we have a problem. And I find it a troubling one. 

Project Autumn: Quite the Project
     So what is my beef with Lady Gaga? It is pretty simple. I see myself in her. I could have been her in all reality (well maybe). Well if I didn't have a soul. Let me explain further... She grew up in NYC and recorded her first tracks in Parsippany, New Jersey, (only about 20 miles outside the Big Apple), the same city where my band, HYPERLINK "http://www.reverbnation.com/ProjectAutumn"Project Autumn, recorded its first demo. Our self-titled album, released in 2010, received great praise from anyone who heard it, but we did not have the capital to market it and like a Gwen Stefani-kind of drama, with me dating the guitarist and person I shared the copyright with, I kind of subconsciously derailed the entire blood, sweat, and tears of three years of work. We still sell several MP3s a month, even with limited Internet marketing; we make a mere nine cents a download after CDBaby and all the music download sites get their cut. I could probably buy a meal for three off the dollar menu with all the money I made off what I thought  would be my "great masterpiece."


     I even tried out for American Idol and got my 15 minutes of fame on the front page of my local newspaper wearing a goofy hat I thought would make me "different" singing Fiona Apple's "Criminal." After trying out at the jam packed Izod Center in Rutherford, New Jersey, with hundreds of thousands of dreamers, waiting for hours just to stand in line hearing one excellent vocalist after another filed like a bunch of soldiers in twelve different lines to step in between two pitched curtains like a giant triage center to sing for thirty seconds in front of an unknown "producer" for American Idol, I was told, "Thank you for trying out, but we’re looking for something a little different. Have a nice day." I handed this "producer" a copy of my band's CD, which probably landed in the garbage and currently wastes away in one of New Jersey's hundred superfund sites. Now if I had worn some outrageous outfit maybe I would have made the cut—like I saw at the Idol audition, a superwoman costume actually landed a girl a ticket to the next round...Ok, so enough about me, back to Gaga...




Stefani Germanotta (Lady Gaga) with Former Producer Rob Fasari: During Her Early Recording Days in Parsippany, New Jersey


Gaga: The Ultimate Poker Face
     A few years ago I read a couple articles about Gaga's early days in my home state of New Jersey. She had dark hair, her real name is/was Stefani Joanne Angelina Germanotta (quite a mouthful), she is a natural Italian brunette and liked to write and sing rock ‘n’ roll. But she was convinced that this "kind of music" would never make her a star. And thus the alter-ego of Lady Gaga was born. Also, it is alleged that Gaga ripped off her producer Rob HYPERLINK "http://www.nj.com/entertainment/index.ssf/2010/03/lady_gaga_sued_by_producer_for.html"FusariHYPERLINK "http://www.nj.com/entertainment/index.ssf/2010/03/lady_gaga_sued_by_producer_for.html", who guide her and gave her, her start.

     I hate the term "sell out" because I think the term has lost its original meaning. I mean if you are really in the music business, it is a business, and you need to sell something, even if actual quality music is not on the top of the list. But I believe that it is an entertainer’s job, first and foremost, to sell. I believe it is the mission of a musician, to rock out instead of sell out regardless of compensation or fame. I mean, who knows, the guitarist singing songs written on a napkin at the local bar, might have been/be the next Bob Dylan.



But First There Was Dylan
     But there's no room left for another archetypal poet/songwriter like Bob Dylan. Or is there? Ironically enough, Bob Dylan and Lady Gaga similarly fit into the discussion I am attempting to articulate. Bob Dylan was just a curly haired Jewish boy from a small Northern Minnesota coal mining town with a guitar and a dream. Sure, Dylan is one of the best songwriters and lyricists of the past fifty, maybe even the past hundred years. But what did he have to do to get there? After watching eye-opening Martin Scorsese’s No Direction Home (2005), a detailed biopic of Bob Dylan from his meager beginnings to his rise to the top, you really get an insight to what is behind the genius… a homegrown folk rock cocktail of ego, the too close to call plagiarizing "influence" of Woodie Guthrie's folk guitar style, and the love entangled "running over the bus" of Joan Baez, Dylan's once girlfriend and, still unknown to many of my generation, the sole woman responsible for introducing Dylan to American audiences and an amazing song writer genius in her own right. Who is to say if Dylan would be the icon he is today whether these things happened or not. No one can deny his talent and artistry, but the road he took to get there, well it is curious to see how this "rolling stone" became the king of Rolling Stone and every music critic's wet-dream. 


     When it comes to the existence of the musician, sometimes it is all about "becoming" rather than "being" a musician. Music is not just about the verse and chorus, it is about showmanship, costumes, branding, flashy stage sets, reputations and rumors, love affairs and taking ideas from others before you and reinventing them while using others as stepping stones towards the great grand world that some call fame and others call recognition.



Rock Music is Still Alive (The Old Meets the New)
     As 2013 comes to an end and 2014 unfolds, the increasing trend of local and underground successes popping up everywhere is meeting the demands for diehard music fans. But with a guitar, amp, an iMac, and ProTools at the hands of anyone and everyone whose pipe dream is to be the next rock star, it is becoming increasingly difficult to define "good" music. With publications like Pitchfork and Rolling Stone telling us what good music is, who are we to argue? I will not call it a hopeless plight, as true music fans can smell, feel, taste, and hear authentic music whether it reverberates from a small club, a college radio station, on Pandora, or through any other channel. It courses through their veins, elegantly and hauntingly, while the pop hits of today are mostly like a puff of smoke dissipating and fading into the morning after a bad night of drinking.


     Yet another interesting trend is occurring now. Popular hits are reinventing the old and introducing music from past decades. An example is Flo Rida's 2012 hit "Good Feeling," an upbeat hip hop celebration of life. With an astounding 150 million views on YouTube, this song is what it is because of the powerful hook from the original, Etta James' 1962 "Something's Got a Hold on Me" (although this video barely has 200,000 hits on YouTube). Christina Aguilera also covered this song for her movie "Burlesque," (2010) and her official YouTube video has 11 million hits. 


      Unfortunately, Etta James died after years of illness and addiction issues in 2012 and never felt the amount of success of this same exact song, which brought millions of viewers to Aguilera and Flo Rida. Which begs the questions: Must a true artist suffer for their art to be authentic? What makes music authentic? Is using another artist’s music, a form of artistic expression, similar to the folk rock tradition? Is translating classics into modern hits a form of reinvention or an expression of lack of creativity? The questions are as endless as the songs we play in our heads throughout our lives.

Music in Television, Commercials, and Movies: The New Wave

     As I've written in past commentaries, the newest trend-- the branding of music in commercials, movies, and television--I was previously opposed to, until faced with the reality of it with my own music. Questioning myself of whether I would want my music heard, even if it was selling cars in commercials, or as it has currently been featured in a local New Jersey film, "Dealer," (2012, Feenix Films), a low-budget film about the symbiotic relationship between two drug addicts, well I assume this is the premise, since I never even got a copy and I never saw a cent (this is what happens when you date and write music with the same "lovely man"). Yet I can't help but be a little bit happy that my music was at least heard, by somebody, anybody who watched the film. And I believe that is what it has boiled down to. Being heard, even if in an absurd or previously branded "selling out" way, is better than never being heard at all.


     The Portlandia episode "Aimee," as overdramatic as it may have been, still does not take away from the fact that Aimee Mann is an amazing musician, who actually wrote the majority of the soundtrack for Paul Thomas Anderson's 1999 film "Magnolia." I heard Aimee play at First Avenue in Minneapolis about a year ago to a packed audience, mostly a thirties and older group, but it was great. So at the end of the day, I guess we need to appreciate the commercialization of music, otherwise, we wouldn't hear it in the first place. 


     Like the 1967 Friend and Lovers’ classic, "Reach Out of the Darkness" covered by Jocelyn Alice in the form of "So Groovy (Finally Getting Together)" in a recent Target commercial. I never would have known it was a cover. It was catchy and resonated with me and then my mother told me about the original from the 1960s, which I later looked up on YouTube. I think that this brings up perhaps the most important lesson to us all: Teach younger generations where modern music came from. If you hear a rapper sampling a snippet from an original song like Aerosmith's 1973 haunting classic, "Dream On," tastefully sampled by Eminem's 2003 smash hit, "Sing for the Moment," bring your children or another adult to YouTube and play them the original, or better yet, if you have a record player, get out the original. There is nothing like the sound of a record spinning and resonating the way it was originally intended to. Educating future generations and even current generations about the origins of today's hits is vital to keep the soul of rock ‘n’ roll alive. And at every opportunity, support your local artists, or artists who make true music, whether they are on tour or not, whether some hipster journalist deems them hot or not. 


     As far as I am concerned, marketing geniuses and music journalists' mission, to discover the "next big thing," has been done already as Portlandia points out so blatantly. Or just turn on your local pop music station in your car and nine times out of ten you will know exactly what I am talking about. But this leads my point: I believe that the music’s most dominant medium has changed. It is no longer the radio, the Billboard Hot 100, or Rolling Stone. The main medium for new and/or exciting music is the music itself, which now dominates films, television, and the Internet on web sites, such as YouTube. Case and Point: "Orange is the New Black," a surprisingly addictive Netflix original, which features Regina Spektor's, "You've Got Time" (2013). I love the song and the show. This is an example in which good music was brought to life by the medium of television.


I Love Rock ‘n’ Roll…So Put Another Dime in the Jukebox Baby
     Once a critique of the commercialization of music, I have now accepted the fact that although there are artists that commercialize themselves as artists and do anything to cut-throat their way to the top, I do advocate that film, television, and the Internet is now the medium where authentic artists can heard. I am done with the notion of "finding" or "discovering" an artist. Yes, you can happen upon a new song or an artist, but a music critique who thinks they have "found" the next big thing, that is completely unique and original, is only in it for the attention and if they are lucky, the money. A true rock journalist, like Lester Bangs, a person who lives, breathes, starves, and dies for rock 'n' roll is a thing of the past, but a true blue rock 'n' roll fan and the music itself, in all heart and soul, will never perish.


23 June 2014

Physical Distribution of Your Music

Last week I discussed an overview of distributing your music online. This week’s article is a discussion about the physical distribution of your music.

Today, physical music is more than just the CD.  The packaging that goes with your music conveys your style and the style of your music.  Make it eye catching, add some images from a stock library, add some effects to the images, and then layer them one on top of the other.

I use these three main software programs to do the graphics on my CD cases.
·         Adobe Illustrator
·         Adobe Photoshop
·         Perfect Photo Suite
·         A variety of effects from Photomorphis

I usually use a photo that I take of myself, and then add a bunch of effects to it, add some text like my name and the album title, and then convert that to a PDF or JPEG for printing.  You can do that for the cover jacket, the back jacket,  and the inside cover. Don’t forget the image for the CD itself. Try something that matches the album cover so that they all tie in together.

Don’t forget liner notes as a possible addition.  These printed pages could engage your listener by telling your story, and you can include your lyrics.  You may even consider a nice 8 x 10 glossy of your face for someone’s wall!

You could distribute physical copies of your music by putting it on a CD and selling it at performances, or you could sell it though Amazon’s warehouse, and a host of other similar warehouse-stores willing to store and ship your CD.

I mentioned CD’s above, but you could also press your music to vinyl.  The record players that are out there today are portable and gorgeous.  Vinyl could be a good way to find a niche audience for your music.

And talking about niche audiences, you could even rip your music to cassette tape or 8-track.

Now that’s cool!


Guitar Virtuoso and Former Supertramp Member Marty Walsh Releases New CD Featuring Guest Appearances By Members of YES, Rufus and a Host of LA Studio Legends


Boston, MA – Much to the excitement of guitar aficionados across the globe, celebrated guitarist Marty Walsh released his eagerly awaited debut instrumental solo album 'The Total Plan' on June 16th 2014! Making the release even more thrilling is the array of guest artists appearing on the release – Billy Sherwood (YES/CIRCA:), John “JR” Robinson (Rufus, Eric Clapton, Mike Oldfield/Steve Winwood) and a multitude of LA Studio Legends.

Says Marty, “Everyone on the album are musicians that I have close personal and working relationships with. Billy and I did an album that was released in 1996 under the band name The Key. People like John Robinson, Abe Laboriel, Michael Ruff and everyone else on the album I have worked with for years. When I came up with this idea I asked all of these wonderful musicians if they would play on one track for me. Graciously they all accepted.”

Marty Walsh is an assistant professor in the Ensemble and Music Production departments at Berklee College of Music in Boston, MA. A veteran of the LA studio music scene, he has worked as a guitarist with some of the biggest names in the business. The early 1980s found him on the hits “9 to 5” by Dolly Parton, “She Works Hard For The Money” by Donna Summer, and “Heartlight” by Neil Diamond, to name a few. He also recorded with John Denver, Eddie Money, Kenny Rogers, Sheena Easton, and Julio Iglesias, among others. In 1985, Marty played guitar on the Supertramp album 'Brother Where You Bound' and then toured with the band in 1985-86 and again in 1988 after playing on their 1988 release 'Free As A Bird'. Continuing to do recording sessions into the 1990s, he also was a part of the live band on the Nickelodeon Television show 'Roundhouse' which was critically acclaimed and ran from 1992 through 1994. In the late 90's Marty played guitar on numerous Curb Records releases including three of Leann Rimes' albums, 'Sittin On Top Of The World', 'Leann Rimes' and 'I Need You', whose title track set the record for weeks (54) in the top 40.

Most recently, he can be heard on the Freddie Jackson single “Until The End Of Time”, which reached the number 1 spot on Billboard's R&B charts and stayed on the charts for 26 weeks. And now much to the anticipation of guitarists and musicians everywhere, Marty is releasing his first (instrumental) solo album 'The Total Plan'!

Says Marty, “Being an instrumental album it is simply about the music. There are a few things conceptually that I was trying to achieve with this recording though. The first being the fact that I wanted to make an album of music that I felt would appeal to the masses. The album is not a Jazz album necessarily, it's really more of a pop record. While there are improvised solos, the focus of the record is much more about the melodies and arrangements of the songs, which hopefully are memorable. The second thing that I wanted to achieve was making a record with many of the people that I've worked with over the years. I literally enlisted musicians for this project that I had worked with closely going way back to when I first started touring and doing recording sessions, and then also tapped into some of the faculty and also young musicians that I have worked closely with at the Berklee college of music. There are ten songs on the album and each song has different groupings of personnel. I also feel that stylistically the album is quite diverse, which actually came about from tapping into all of these various musicians who brought their own identity to the project.”

Marty's new album showcases a variety of styles, which is a reflection of his vast musical influences. He explains, “While I am primarily a guitarist, and my guitar playing is the focus of the record, I don't feel like my approach to the instrument is like a lot of other guitarists. As a young musician growing up, of course I was influenced by people like Eric Clapton and Jimi Hendrix, but then growing up in Los Angeles, guys like Larry Carlton, Jay Graydon, and all of the other LA studio guitar players that I had so much respect for certainly were extremely influential in my development. But even more influential than all of the great guitar players are a host of other musicians. I have always had the tendency not to focus on guitar players and their approach to the instrument. Music that has influenced me over the years has tended to be from piano players, songwriters, people that compose memorable music and also many of the great producer/arrangers that I have worked with. Guys like Michael Omartian, the late Michel Columbier, and the late Tom Dowd. I had the good fortune to actually work with these people closely in the recording environment and learned so much about composing and arranging. That's the kind of thing that I feel is really so important in moving people emotionally with music. Hopefully that's what this album will do, move people emotionally.”

“Marty Walsh has made a fine album, featuring some red-hot musicians beside his heartfelt guitar playing – the sounds he wrings from his guitars are strong, melodic and exciting.” - John Anthony Helliwell (Supertramp)

“Marty Walsh is an amazing guitarist and songwriter. I had the pleasure making a record with him called 'The World Is Watching' (the band was called The Key). We met in 1986 when he was on tour playing guitar with Supertramp for their 'Brother Where You Bound' record. My band Lodgic opened for them and so we hung out backstage and became fast friends and have been ever since. I'm very happy to see Marty going for it with his new record and was honored he asked me to be a part of it too!” - Billy Sherwood (YES/CIRCA:)

“Marty Walsh is one of the most soulful musicians I have known. His musicality shines through any band he has ever been in. This new solo CD reflects his funk, soul and rock roots. It's a must have for all.” - John “JR” Robinson (Rufus/Eric Clapton/Steve Winwood/Mike Oldfield)

“I have been good friends with the near legendary Marty Walsh since our Glendale/Burbank, California days. He was always known as the 'Boy Wonder' on the guitar back then. And still is today. If you're ever stuck for the next part of your song... don't worry, Marty's got it covered.” - Scott Gorham (Thin Lizzy / Black Star Riders)

“Over the years I have had the good fortune to work with some of the greatest guitar players in the world. It runs the gamut. Rock, Funk, Jazz, Pop. There are a handful that can shred in all these fields. Marty is one of them! On 'The Total Plan' Marty went to 'The Shed', with a few friends, and came out with a real gem. It rocks, it inspires, it grooves, and Now is the Time, to check it out!” - Tommy Vicari (Grammy award winning engineer and producer)

In support of his new CD release Marty has been working with a videographer, trying to determine which songs would be good choices for music videos and how to approach that. He is also currently working on putting together the personnel for a live band. Although, since the record has so many different people on it, putting a band together that can play all of his music live is a bit of a challenge. The good news is that being in Boston and teaching at Berklee, Marty has access to some unbelievable young talented musicians that will most likely be the members of this group. Also his son Ian played some keyboards on the record, and wrote a few of the pieces with Marty, so he is kind of a cornerstone to the live band.

In conclusion, Marty has this to relay to his fans and listeners, “Just sit back, relax and enjoy......put this album on when you have people over. I do feel that it is the kind of record that you can put a set of headphones on and listen intently to, as I feel that it has a real 'flow' to it in terms of taking you on a bit of a journey from song to song. But it's also one that you can put on in the background and just let it be a 'feel good' record. Hopefully if people put this album on for friends in the background over casual conversation the question will be 'What is this music that's playing?' and then 'Where can I get it?'”

To purchase: Marty Walsh's 'The Total Plan' go to:
http://cdbaby.com/cd/martywalsh

For more information: www.martywalsh.com

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

22 June 2014

Drum Legend Corky Laing Is Presented The 'Bonzo Bash Legend Award' At John Bonham's Bonzo Bash By Kiss's Peter Criss!


“As the drummer for Mountain, Corky Laing shares the title as one of the best players of his genre. He's also the same good guy he used to be.” – Levon Helm

NYC - Much to the excitement of drummers worldwide, one of rock's icons, drum legend Corky Laing, recently received the prestigous 'Bonzo Bash Legend Award' at the Bergen PAC in New Jersey on May 31st. The award was presented by original Kiss drummer Peter Criss!

Corky says, “It was a tremendous honor and a total surprise when Peter Criss (from Kiss) presented the 'Legend Award' to me at the John Bonham 'Bonzo Bash'. And to receive the award in front of all these brilliant drummers was a real rush. There seems to be a kind of 'magical crazy glue' that keeps the drumming community tightly wrapped. It's not like the 'Super Bowl of drumming', there is no competition. Every drummer has his/her own uniqueness. We aspire to reach out while digging deep with a passion to become the very best. I humbly believe in receiving this award I'm being recognized for doing just that. Every day for me is another downbeat, and what a joy it is to live and breath it. It may sound a bit out there, but that's exactly how I feel when I play. I am sincerely in love with my 'all consuming mistress', my beautiful drum kit!”

Watch the video of Corky receiving the 'Legend Award': https://www.youtube.com/watch?v=0lKT_tMYsi8

As well as Mountain, Laing has recorded with a long list of legendary artists including Eric Clapton, Mick Jagger, Bo Diddley and Ozzy Osbourne. He has performed with Meat Loaf, Gov’t Mule, the Allman Brothers, Voivod, Teenage Head and dozens of others. And according to Modern Drummer magazine, Corky Laing “has done as much as anyone in Western culture to turn the cowbell into a rock ’n roll staple”.

This prolific artist is busier than ever. His latest project, 'Playing God', a rock opera created with Matti Häyry and Tuija Takala from Finland, premiered in Basel, Switzerland, and Paris, France in 2013. Recently, in the early spring of 2014, the rock opera was performed in Helsinki, Finland. Laing wrote the music for the album, and is the Musical Director in the stage performances where he also performs a key role, LUKE, who plays drums and sings. The 'Playing God' CD was released on GONZO Multimedia on July 15, 2013.

'Playing God' CD is available at:
http://www.gonzomultimedia.co.uk/search/product_details/15579/Corky_Laing_and_the_Perfect_Child-Playing_God.html

Check out Corky's upcoming appearance!

Corky Laing “Under The Rock”
Friday June 27 2014 at 8pm
Guild Hall- East Hampton, NY

Corky Laing flies solo… recounting his rock ’n roll life in words and music.

Montreal native Corky Laing, co-founder of iconic supergroups Mountain and West, Bruce & Laing, comes out from behind the drums and spills all about the Golden Age of Rock, which wasn’t always quite so golden… An era when rock stars were bigger than life, in spite of the fact that many of their lives spun out of control.

Laing, who wrote the platinum-selling rock anthem, “Mississippi Queen”, chronicles his life from his innocent early days on the Montreal sock-hop circuit (Bartholomew Plus 3 and Energy) to the pinnacle of rock 'n roll.

On June 27, 2014, Laing, whose skills on the skins are matched only by his wit and candour, will relate how he climbed up and fell down with some of the rock world's most prominent luminaries… but it's not all talk. Corky will show us exactly how and why he is one of the most acclaimed drummers in the music business. And he took it all in from UNDER THE ROCK!

When: June 27, 2014
Where: Guild Hall - East Hampton, NY (in The John Drew Theatre in the Dina Merrill Pavilion at Guild Hall)
158 Main Street
East Hampton, New York 11937
631-324-0806
Tickets online at GuildHall.org or at Box Office 631-324-4050; theatermania.com; or 866-811-4111

For more information:
www.playinggodrocks.com/corky_bio
www.ucantalktome.wix.com/corky
www.facebook.com/pages/Corky-Laing/450016148385577

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

21 June 2014

Badfinger Legend Joey Molland Releases 'Demos Old And New' and 'This Way Up' CDs On Gonzo MultiMedia


London, UK – On the heels of his critically acclaimed new solo album 'Return To Memphis', Bandfinger legend Joey Molland has released two hard to find, sought after albums on UK's Gonzo Multimedia - 'Demos Old And New' and 'This Way Up'! Signed to the Beatles' Apple label in 1968 as The Iveys, the band quickly changed their name to Badfinger by 1969. The group would go on to score four consecutive worldwide hits from 1970 to 1972: “Come And Get It” (written and produced by Paul McCartney), “No Matter What”, “Day After Day” and “Baby Blue”. In 1971, a cover of the Badfinger song “Without You” by Harry Nilsson became a number one hit on the Billboard charts. Though the band suffered major tragedies throughout its career, surviving member Joey Molland has continued to keep the Badfinger flame alight through concerts and recordings over the past 30 years. And now he is back with a fantastic new album 'Return To Memphis', which was produced by Carl 'Blue' Wise and recorded at Willie Mitchell's Royal Studios in Memphis.

Joey Molland - Demos Old And New (CD)

This collection of demos from various parts of his long career only proves to confirm what an extraordinary songwriter Joey Molland is.

Tracks:
1. I Said It's Alright '92
2. Borderline '84
3. Birdsong '92
4. Cadillac Blues '88
5. Can't Stop '84
6. Clouds of Love '80
7. Isn't That A Dream '95
8. It's True '88
9. Mirrors '95
10. Miss Misunderstood '72
11. Moonlight
12. Panning Gold '82
13. Sometimes
14. Walkin' The Floor '83
15. What You're Doin '73
16. When '80
17. Miss Misunderstood

http://www.gonzomultimedia.co.uk/product_details/15679/Joey_Molland-Demos_Old_And_New.html

Joey Molland - This Way Up (CD)

In 2001, Joey Molland released the critically acclaimed album 'This Way Up' independently. CD Universe describes the album as: “…one of the best solo discs that ex-members of the Beatles never made. It bears repeating - 'This Way Up' contains the essence of what was great about those early solo Beatles albums, not surprising because Molland played on some of them. The surprise is that a sideman from those sessions has created a mini-masterpiece rivaling, and on some songs equaling, those classic and important recordings. 13 perfectly constructed songs by Molland do more than just carry on a tradition - they combine to give proof that this style of music is still so very vital.”

Tracks:
1. Mirrors
2. Happy
3. A Way To Be
4. The Bust
5. This Must Be Love
6. Moonlight
7. Another Honeymoon
8. When I Was A Boy
9. Angels Like Us
10. What Else (Nothing)
11. Tell Me
12. 2 Minute Warning
13. Isn't That A Dream
http://www.gonzomultimedia.co.uk/product_details/15576/Joey_Molland-This_Way_Up.html

Joey's latest CD 'Return To Memphis' has been garnering major press worldwide and follows the major buzz surrounding the Badfinger track “Baby Blue” being played during the finale of A&E's hit TV series 'Breaking Bad'.

Says Joey, “I did the record in Memphis and so it's called 'Return To Memphis'. I started out loving Memphis music...Elvis and all that. A lot of great rockers came from there. So I opted to go down there and make a record and it was a great experience.”

Originally from Liverpool, Joey now resides in the US, where he continues to perform with Joey Molland's Badfinger. Along with Joey on guitar and vocals, the current lineup features Mark Healey (bass/vocals), Steve Wozny (keyboards/vocals), Mike Ricciardi (drums). For updated tour information check Joey Moland's official facebook page at https://www.facebook.com/OriginalBadfinger

To purchase Joey Molland 'Return To Memphis' CD: http://www.gonzomultimedia.co.uk/product_details/15625/Joey_Molland-Return_To_Memphis.html

For more information: http://www.badfingersite.com/
https://twitter.com/BadfingerJoey

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com
Joey Molland is available for interviews – contact Billy James at Glass Onyon PR