26 February 2015

The Next Generation Of Psych Bands Bring A New Mind Expanding Perspective To 12 Classic Beatles Songs!


Los Angeles, CA - Their popularity among music fans is undeniable, their status with music critics is unimpeachable, and their influence across a multitude of genres - from pop to rock, world music to country - is thoroughly indisputable. Yet The Beatles’ ubiquity makes us forget that there once was a time when this UK band was truly dangerous, a radical cultural force pushing its way into the mainstream to the shock and horror of many. Now, a new generation of psych rock bands seek to bring back that sense of danger to the Beatles' music, taking twelve classic compositions by the Fab Four and filtering them through modern sensibilities to bring a whole new perspective to these celebrated works. The resulting project, The Magical Mystery Psych Out - A Tribute To The Beatles, will be released on both CD and vinyl by Cleopatra Records on March 3.

German acid rockers Electric Moon kick things off with the song that many consider the defining birth of psychedelic rock music, “Tomorrow Never Knows” from Revolver, here given a new depth and sense of urgency with walls of distorted guitars and haunting female vocals. Sugar Candy Mountain chose a rarer tune from the same era, the B-side single “Rain,” and came up with a version more sinister yet stealthily hypnotic. The band echoed the thoughts of many artists on the album when they declared that recording a Beatles song is simultaneously “fun and intimidating.” Matt Adams, here performing “The Word” as The Blank Tapes, elaborates on this idea saying “The Beatles recordings have always been untouchable to me, but I jumped at the chance to do my own take on one of their songs. I tried staying true to the original but changed some of the sounds and stretched out the ending.” Fellow UK acts such as The KVB and The Underground Youth also turn in inspired versions that would make their countrymen proud, and together with US rising stars The Vacant Lots and Strangers Family Band, recreate for modern listeners the thrill that ‘60s audiences must have felt like hearing such strange, enticing, and far-out sounds for the first time. With an appropriately mind-blowing painting by San Francisco-based artist/illustrator Matt Leunig, The Magical Mystery Psych Out is coming to take you away!

TRACK LIST
1. Electric Moon - Tomorrow Never Knows
2. Sugar Candy Mountain - Rain
3. The Vacant Lots - Julia
4. The Blank Tapes - The Word
5. The Ruby Suns - Martha My Dear
6. The KVB - Taxman
7. The Underground Youth - Come Together
8. Fantasmes - Love You To
9. Quilt - Cry Baby Cry
10. The Lucid Dream - And I Love Her
11. Kikagaku Moyo - Helter Skelter
12. Strangers Family Band - Sun King

Preview The Underground Youth’s version of “Come Together” here: https://www.youtube.com/watch?v=BMkLxc_HspU

To purchase the CD: http://geni.us/2L1C
To purchase the vinyl: http://geni.us/Iu7
To download on iTunes: http://geni.us/AoS

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

CLEOPATRA RECORDS, Inc.
11041 Santa Monica Blvd #703
Los Angeles CA 90025
www.CleopatraRecords.com

Las Vegas Guitarist Jimmy McIntosh Releases New Album Featuring Rolling Stones' Ronnie Wood!


Featuring guest appearances by guitar legends Ronnie Wood, John Scofield and Mike Stern!

Las Vegas, NV - As a follow up to 2006's  'Orleans to London', guitarist Jimmy McIntosh once again finds himself in illustrious company on his new album 'Jimmy McIntosh and...' This collection of funk, rock, jazz and blues originals showcases McIntosh's considerable six-string prowess and features the Michigan native exchanging incendiary licks with his personal guitar heroes John Scofield , Mike Stern and the Rolling Stones' Ronnie Wood. The solid backbeats are supported by Toss Panos (drummer of choice for guitarists Robben Ford and Mike Landau), bassists Dan Lutz, John Humphrey and Keith Hubacher and New Orleans keyboardist Ivan Neville (of The Neville Brothers, Keith Richards' X-Pensive Winos and Dumpstaphunk). This stellar outing was definitely a labor of love for McIntosh.

For 'Jimmy McIntosh and...', McIntosh recruited Scofield and Stern from his home base, Las Vegas. Says Jimmy, “I got to know John and Mike about 12 years ago when there was a Blue Note jazz club in Las Vegas and became good friends with both of them. The Vegas Blue Note was short-lived, but I was there almost every night for the duration of their gigs. I've jammed with Mike several times and asked him, 'If I make another record, will you play on it?' And Mike said 'sure'! Toss Panos, John Humphrey and I went into Toss's North Hollywood studio with Mike when he was in Los Angeles playing with his band at Catalina's. Mike's playing on this album is just brilliant. Then John happened to come through town with Phil Lesh & Friends just a few months ago. I had mentioned to him that I was doing this album and he said, 'Hey, if you still have room on your CD, I'd love to play on it.' So that came to fruition as well. It was a dream come true for me to create this CD with three major heroes of mine and who have also become very good friends over the years.”

McIntosh's friendship with Ronnie Wood goes back to his solo debut, 'Orleans to London'. Jimmy recalls, “I first met Ronnie backstage at a Stones show in Las Vegas. Ronnie and Keith Richards were hanging out with Bobby Womack in the 'Tuning Room' were they Jam to warm up before the show. Art Neville did me a huge favor and called Jane Rose for me to meet Keith and Ronnie. It was a wedding gift as I got married a week before (This was April 1999). Anyway a few years later I recorded my first CD 'Orleans To London' and Art Neville, Ivan Neville, Cyril Neville and Mean Willie Green (Neville Bros drummer) played on it. As I was near the end of the project in October 2004 I got in touch with Ronnie Wood through his stepson (Jamie Wood) who was his manager at the time and told him about my project. Three weeks later my wife and I flew to London and went to Ronnie's house in Richmond were he played on 5 tracks (first takes). Ronnie said, 'I told Jeff Beck about your project and he might come by to play' - I was in shock! About 2 hours later Jeff showed up and ended up playing on 3 tracks. Ronnie said as Jeff was recording, 'You can't believe how lucky you are, he won't play on anything!' I'm not sure what Ronnie told him about the Neville's being on the record but it was amazing having both those guys on the record. Jeff is credited as 'Hot Rod' on 'Orleans To London' because his manager wouldn't let me use his name.

“Ronnie and I hit it off fantastically and stayed in touch so when I started a second record I was hoping he would play on it. I covered a tune from Ronnie's latest album called 'I Gotta See'. Ronnie plays a great solo and outro slide solo on the song. Ronnie and I also played two improvised Jams that open and close the album like bookends. The Jams are just the two of us live in the studio without the band. The Rolling Stones have been my favorite band since I was a kid so getting to work and play with Ronnie is literally a dream come true. Ronnie is truly a great artist. It's amazing that all of the iconic records Ronnie has played on were mostly first takes on his part. He is really underrated as a musician. I wrote six originals for 'Jimmy McIntosh and...' Ronnie wrote one of the Jams 'Fast Blues' and we share credit on the opener 'Slow Blues'. I covered a few tunes... 'I Gotta See' by Ronnie Wood, 'Demon' by Keith Richards, '32 20 Blues' by Robert Johnson and 'Sophisticated Lady' by Duke Ellington. Duke Ellington was a friend of my family when I was a little kid and greatly encouraged my interest in music. When I played French Horn in the Junior High School band I told my mom I was going to change something in the music. She asked Mr Ellington if I should do that and he said, 'I think you have a musician there!'

“The record was recorded at Toss Panos studio in North Hollywood. Toss is a great drummer I first heard with Michael Landau. John Humphrey (Scott Henderson Trio) is on bass on most of the record. Keith Hubacher is on bass on two tracks and Ivan Neville plays organ and Piano. Albert Wing who played with Frank Zappa among others plays Tenor Sax on 'I Gotta See' and 'Demon', a Keith Richards cover. Ronnie and Ivan are on both of my records which I'm very proud of. It connects the two projects.”

Born on October 14, 1958 in Sao Paolo, Brazil, Jimmy McIntosh grew up in the small town of Temperance, Michigan. After graduating from high school in 1976, Jimmy attended the Berklee College of Music for two years. Over the years McIntosh has played with R&B singer Doris Troy, Billy Preston, Little Anthony & The Imperials, and backed up Buddy Hackett and Ben Vereen, Since 1990, McIntosh has played regularly in the popular Lon Bronson All-Stars Band, a powerhouse horn band. The Lon Bronson band had a longstanding weekly residency at the Riviera, where they entertained crowds 'til the wee hours and featured such special guests sitting in as former Doobie Brothers guitarist and producer Jeff “Skunk” Baxter, guitarist Joe Walsh, Members of TOP, comedian (and sometime trumpeter) Drew Carey, bassist-magician-comedian Penn Jillette and former “Tonight Show” guitarist, bandleader and Jay Leno sidekick Kevin Eubanks. In 1999, following his longstanding engagement with the “Legends” show, McIntosh moved to the Rio Hotel to perform in a show with pop stars Sheena Easton and David Cassidy, then worked for the following two years in Cassidy's touring band. He has subsequently played with pianist-composer David Foster, Donna Summer, Kenny Logins, Gloria Gaynor and played in musical theater productions of “Mamma Mia” and “Jersey Boys.”

And now, after several years, Jimmy's long awaited sophomore album is now available! In closing Jimmy has this to impart, “My new album 'Jimmy McIntosh and...' is a real labor of love and hope people enjoy it!”

To purchase:
https://itunes.apple.com/us/album/jimmy-mcintosh-and.../id921784705
http://www.amazon.com/Jimmy-McIntosh-feat-Ronnie-Scofield/dp/B00NV7QOM2
http://www.cdbaby.com/cd/jimmymcintosh2

For more information:
www.jimmymcintosh.com

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

Progressive Rock Review: Aisles-4:45AM

Release Date: October 29, 2014
Label: Presagio Records

Who is Aisles? Aisles is one of the greatest, most creative and talented bands that you have probably never heard of.  Hailing from Chile, the band consists of Sebastián Vergara (Vocals), Rodrigo Sepúlveda (Guitars), Germán Vergara (Guitars), Juan Pablo Gaete (Keyboards), Daniel Baird-Kerr (Bass), and Felipe Candia (Drums).  A progressive rock band with art rock, world, fusion, and other influences, Aisles have created themselves a unique sound that is not soon forgotten.  4:45 AMis their third album and it is nothing short of a masterwork of art.  It is the reason people fall in love with music in the first place.

 “4:45 AM” is a stunning opener that will have you falling in love with this band.  From the rhythmic and soulful music to the emotional and distinct vocals that jump out at you, it is hard not to stand up and take notice of the talent on display.  The music is fresh, popping, and invigorating, or everything that progressive world music should be. “Gallarda Yarura” might as well be the soundtrack to the fantastical dreams of an imaginative child. The music is light and hopeful, making for a very pleasant sounding instrumental.

Do not be fooled by the seemingly upbeat melody, because “Shallow and Daft” can be seen as a tale of what happens when an artist gives up his artistic integrity, as well as a biting commentary on the state of modern popular music.  It is dark, it is lyrical, and it is spot on.  “Back My Strength” is a musical tour de force.  The music rises and falls with the naturalness of an ocean wave, and is grand and majestic as a snow-capped mountain.

A low-key approach is used with great effect on “The Sacrifice.”  The acoustic guitar lingers in the background as the passion and pain in the vocals steal the show.  It is a somber song with the dark beauty of a romantic painting.  “The Ship” is a short interlude that leads into the spacey and hypnotic instrumental “Intermission.”  “Sorrow” is simply breathtaking.  The vocal performances are top notch, as the male and female vocals complement each other so well, in addition to be sounding so beautiful and powerful on their own.  The Latin/Jazz influences present in the song make it stand out that much more. 

With its dark and ominous sounding opening, “Hero” has me thinking a bit of Pink Floyd’s Dark Side of the Moon.  It becomes a bit brighter as the tempo picks up and the keyboards kick in, while the guitar and drums razzle and dazzle. Another change in tempo slows it back down and the atmosphere becomes more mystical.  It is definitely a stand-out song and the one that comes to mind when I think of this album.  The finale, “Melancholia”, is pure genius.  It is a work of art that will take you on an emotional journey that is very reflective.  As the song winds down, there is a calm of looking out into an ocean after a storm has passed and it is magnificent.

If you are in any way a fan of progressive rock, than I cannot recommend Aisles’ 4:45 AM to you enough.  If there is a band to take a risk on, then Aisles is that band to do so, because this album is everything that this type of music should strive to be.  It is fresh, challenging, inspired, touching, and so much more.  A complete experience from start to finish, 4:45 AM is an astounding piece of work for the ages. 

5/5 Stars

Key Tracks: 4:45 AM, Sorrow, Hero, Melancholia
  
Tracks: 
01.4:45 AM
02.Gallarda Yarura
03.Shallow and Daft
04.Back My Strength
05.The Sacrifice
06.The Ship
07.Intermission
08.Sorrow
09.Hero
10.Melancholia

Brian McKinnon - Write A Music Review Sr. Staff

February 26, 2015

Review Provided By Prog Rock Music Talk

22 February 2015

Classic Rock Legends Wishbone Ash To Undertake Pilgrimage North America Tour!


Tour to span West Coast, South in April/May 2015

Wishbone Ash, one of the most influential guitar bands in the history of rock, returns to these shores in April 2015 for the first leg of their Pilgrimage North America Tour. Following spring and fall tours in 2014 that featured the group's best-selling “Live Dates” album, this year Wishbone Ash will present classics spanning their 46-year career and showcase selections from their latest release, “Blue Horizon.”

After logging more than 20,000 miles touring North America last year, the group will begin their 2015 spring tour in Vancouver, British Columbia, winding down the West Coast of the US and then heading across the South – hitting cities that include Portland, Seattle, Oakland, San Juan Capistrano, Ramona, Phoenix, Austin and Dallas. Visit www.wishboneash.com/tourdates for the complete schedule.

“The 'Live Dates Tour' went just great,” says bandleader and founding member Andy Powell. “To play Texas and California out West, and Mississippi in the Deep South, for example, was really nice. You realize just how popular guitar-based rock is in these places. We aim to repeat the experience and build on it this year.”

The title of the 2015 tour is a nod to the Wishbone Ash's beloved “Pilgrimage” album, but it's also a fitting way to describe what has become an annual journey filled with familiar faces and places. “Each year when we tour countries on our world circuit, these visits feel like pilgrimages to all our old haunts,” says Powell. “We visit venues we've performed in multiple times over the years. We know the staff there, we often stay in the same hotels, visit the same restaurants, we see the same folks thousands of miles apart. The fans, of course, are the major component. We catch up on their stories and their lives.”

In 2014, Wishbone Ash released “Blue Horizon” (Solid Rockhouse Records) to international acclaim. Praised for its stylistic variety and masterful performances, the album features guest artist, Ireland's Pat McManus, on fiddle for two tracks. “Blue Horizon” also includes two songs written by Aynsley Powell (Andy Powell's son) and one by former Wishbone Ash guitarist Roger Filgate.

According to Powell, the album's diversity reflects the culmination of several factors. “The band basically lives together year-round, so we have a very strong level of communication that translates in our performances and recordings,” he says. “We've come to an era where the industry has to pigeonhole a band as Classic Rock, Prog Rock, Heritage Rock and so on. The truth is that we have always kept our options open and always relied on the musicianship of the players to lead the way. It's fun to be stylistically diverse and this has, in its way, contributed to our longevity.”

While they're making pilgrimages to various parts of the globe, Wishbone Ash will undertake some live recording projects, as well: one a vinyl-only limited release direct from Metropolis Studios in Chiswick, London; another to be recorded over a three-day residency at Le Triton in Paris for a DVD release.

Powell also plans to publish his autobiography this fall. “It's quite an undertaking to put 45 years of being a touring musician in this one band into book form,” he says.

Formed in 1969, Wishbone Ash has to its credit 24 original studio recordings, 10 live albums and four live DVDs along with a DVD rockumentary (“This is Wishbone Ash”). The band is led by founding member Andy Powell on guitar and vocals, trading licks with Finland’s guitar wizard Muddy Manninen. Bassist Bob Skeat, an 18-year veteran of the band and in-demand studio musician, sets the pace with Joe Crabtree, one of the best of Britain’s new breed of drummers whose performance credits include Pendragon and David Cross of King Crimson.

Lynyrd Skynyrd cites Wishbone Ash as a primary influence on their style along with Thin Lizzy, Iron Maiden and, more recently, heavyweights like Opeth. All have been transformed by the original, legendary twin-guitar approach of Wishbone Ash. There is no other rock band in history that has done more with the twin guitar concept than The Ash.

Longtime fans and new converts will find that Wishbone Ash offers an undeniable concert experience.

Tour dates and more information can be found at www.wishboneash.com .
To download electronic press kit: www.wishboneash.com/epk

Press Inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com
Interview requests: Kate Goldsmith, kate_goldsmith@wishboneash.com
North American Booking: Steve Ozark, Ozark Talent (785) 760-3143, OzarkTalent@gmail.com

21 February 2015

Audio Fidelity To Release “The Best Of The Guess Who” Album On Limited Edition 4.0 Quad Hybrid SACD


Great classic rock...All their major hits!

Camarillo, CA – Marshall Blonstein's Audio Fidelity will be releasing The Guess Who's “The Best Of Guess Who” album on Limited Edition 4.0 Quad Hybrid SACD in April 2015. They didn't have street cred; they didn't look like stars; and they weren't considered "cool" by the ultra hip and snooty underground FM rock crowd. But over the course of their career, The Guess Who created some of the most transcendent and electrifying pop music of the Seventies. The Guess Who stubbornly flew in the face of fashion, trends, and the flourishing progressive rock movement, and built an enduring body of work that illuminates their status as immensely gifted pop rock practitioners.

Though influenced by the British Invasion, The Guess Who were purely Canadian rockers. The band scored a string of Top Ten hits in the late '60s and early '70s, including the psychedelic-romantic smash "These Eyes" and the riff-rocking anthem "American Woman." The band was a huge success in the States and even performed at President Nixon's inaugural ball (with the acerbic "American Woman" conspicuously omitted from the set list).

Burton Cummings' throaty baritone vocals and guitarist Randy Bachman's theatrical riffs gave the band their versatile sound - and their rocking classics sound as vital today as they did when they were first released.

As a special bonus that audiophiles and fans alike are sure to enjoy, Audio Fidelity has included in each package a miniature version of the coveted psychedelic poster that was contained in the original 1971 vinyl album release!

Track Listings
1. These Eyes
2. Laughing
3. Undun
4. No Time
5. American Woman
6. No Sugar Tonight/New Mother Nature
7. Hand Me Down World
8. Bus Rider
9. Share The Land
10. Do You Miss Me Darlin'?
11. Hang On To Your Life

Mastered dual Channel SACD from all original masters by Steve Hoffman at Stephen Marsh Mastering

Original Recordings Produced by Jack Richardson for Nimbus 9
Recording Engineer: Brian Christian

For more information: https://audiofidelity.net/product/guess-whothe-best-guess-who

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

Progressive Rock Review: Malcom Smith-We Were Here

Release Date: 25thNov 2014 
Label: Trope Audio

This review deals with one of the artists I have been unaware of thus far, one Malcolm Smith, who I discovered is the guitarist and founder of the American symphonic prog band, Metaphor. This is his first solo album produced while Metaphor were undergoing a hiatus and is entitled We Were Here.

As with many solo albums, there are guest musicians aplenty helping out on tracks. The musicians involved in We Were Here are, Malcolm Smith (electric/acoustic guitars), Mattias Olsson (drums), Marc Spooner (keyboards), Loren Gustafson (bass), John Mabry (vocals) with Rich Longacre and Craig Launer guesting guitarists on 2 tracks. Marc and John are members of Metaphor, and Mattias is associated with Anglagard, White Willow and NecroMonkey.

We Were Here is a 6 track album, lasting around 48 minutes, with only one track featuring “real” vocals. The longest track offered up is track 5, “Sykiatry” made up of 9 parts and running on for 13:31 minutes. At the other end of the scale, the shortest song, “Peyronie’s Angle” still stretches out to just under 6 minutes (5:58).

The opening track to We Were Here is the shortest on offer, “Peronie’s Angle” (5:58) and has a gentle keyboard opening before an excellent guitar passage fires up, and what sounds very much like a trumpet, but this is not an instrument that is listed, so my thought is that it is keyboard generated. The keyboards get free rein to produce a superb passage with lots of little hooks and riffs that constantly engage the listener. This track motors along and is an excellent vehicle for the skills of Marc Spooner on keyboards. Excellent guitar work takes over around the 4:50 minute mark and takes the track out with a burst of (keyboard generated) “strings.”

“Cavity Research” (6:18) has a very jazzy influenced start, again highlighting the keyboards of Marc. This track builds up layers of sound over some excellent keyboard motifs which propel the track along. There are hints at times of the early jazz rock sound of Chicago (when they were still known as Chicago Transit Authority) floating in and out of the track. The over-riding memory of this track is the stunning contribution of the keyboards.

Track 3, “Monkey Signature” (8:56) leads with a blast from the band and into a keyboard motif, swirling synths and then layered keyboards. Just around 1 minute, the guitar enters and the song just takes off from that point. There is some excellent interplay between the guitar and keyboards, and again the song is littered with those little hooks and catchy riffs. Just prior to the 4 minute mark, there is a stunning sequence with a “flute” and guitar before the electric guitar and keyboards take over the reins of the musical journey. The constant shifting of emphasis between keyboards and guitar together with the subtle and not so subtle, time changes keep the listeners’ ears firmly at attention. There are more of the “trumpet/saxophone” keyboards as the track makes its way out. This is a stunning track on an album that has up to this point, set the bar very high.

“Still-Life” (6:20) is the only track that contains a “proper” vocal and it is provided by John Mabry. Starting with a flurry, the track quickly settles down to an acoustic strum with a burbling synth in the background. The crystal clear vocals by John simply glide over the sparse background. This is a generally slower tempo track than previously shown over the tracks. Around 4 minutes there is a burst of acoustic guitar before a brief keyboard passage, but I feel that this track is all about the vocals. The keyboards do take over around the 5:30 minute point, but that is simply to escort the track out.

The long track, “Sykiatry” (13:40) is built up of nine interconnecting parts. This track has an almost carnival style start with multiple keyboards setting out the themes and at times sounding amazingly like a vibraphone. Some vocalizations appear before the time signature changes and the keyboards are off and running. More of the characteristic keyboards and guitar interplay sweeps through the track and the “flute” returns. The main parts merge together very well and the skill of the musicians is a joy to hear. This is yet another track which just “hits the spot.”

The final track, “Les Canards du Guerre” (6:25) has a very jazzy vibraphone intro with excellent drumming heralding the entry of the keyboards and guitar, although the keyboards again add layer after layer to the sound. I did say that “Still-Life” was the only non-instrumental track, but there is a chunk of spoken word in this track. The track segues into a gentle undulating acoustic guitar and keyboards passage then the electric guitar appears over the top and a time change in the track moves it towards its finale. The final sound that is heard as this track fades is the sound of ducks.

This is simply a stunning album which deserves to be given many accolades, but in reality may not, as it may simply get passed by. I had not been aware of Malcolm Smith, nor his band, Metaphor, and this is an oversight that must be righted. My advice for the album, We Were Here, is very simple, and that is, go out and buy it, at once! Listen to the album many times and appreciate what a tremendous example of progressive rock it is.

5/5 Stars

Key Tracks: Peyronie’s Angle, Monkey Signature, Sykiatry

Tracks: 
Peyronie’s Angle
Cavity Research
Monkey Signature
Still-Life
Sykiatry
Les Canards du Guerre


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

February 21, 2015


Review Provided By Prog Rock Music Talk

20 February 2015

Drum Legend Billy Cobham To Release Two Live Albums From 1992 Tokyo Concert


Los Angeles, CA – Much to the excitement of drummers and jazz aficionados worldwide, drum legend Billy Cobham will be releasing two live albums on Cleopatra Records. The first is 'Mirror's Image' on February 17 (CD & VINYL), follwed by 'Reflected Journey' on April 28 (CD). The albums are 2 parts of the same show recorded in Tokyo on February 15, 1992

What an amazing career Billy Cobham has had. From his auspicious start in the late '60s touring and recording with the great Miles Davis to his groundbreaking work with John McLaughlin and the Mahavishnu Orchestra in the early '70s, Cobham built a reputation for complex and soulful drumming. But it wasn't until 1973 and the release of his first solo album 'Spectrum' that he took the title of jazz fusion's preeminent drummer with a style and technique all his own, one that has been a major influence on drummers worldwide ever since.

A stream of further albums would follow, both under his own name and in partnership with a host of allies. And each one pushed towards fresh frontiers as Cobham marched on through the 1970s and 1980s. He played with Jack Bruce, Mark-Almond, a revived Mahavishnu, Bob Weir and the Grateful Dead, and was even behind a Dead tribute band, Jazz is Dead, realigning the sound of the Dead for a whole new audience. Cobham's own band, Glass Menagerie, cut two truly luminous albums, and as a new decade, the 1990s, dawned, the drummer was as busy as he had ever been.

In 1992, working under the auspices of UNICEF, Cobham set out for Brazil, where he would be working with autistic outpatients and street children in Santos, a suburb of Sao Paulo. “The street children fell into my realm of operations almost by chance, as it was not part of my original mandate,” he explained. “But due to the unavoidable specter and shadow cast by so many little personalities with big hearts and so much time to ponder life without parental direction, it was inevitable that I would find myself working with them… some of the brightest minds harboring raw talent that I have ever witnessed to date. The shame of it all was that many would never have the opportunity to use their gift.”

A new project came into being, a band in which the voices and talents of the street children would be harnessed alongside the talents of Cobham's latest combo, the visionary trio that he put together with the then all-but unknown Ira Coleman on double bass; and Australian Joe Chindamo on piano. This was the grouping captured together on 1993's so-acclaimed 'Traveler' album. But another song informed by the Brazilian sojourn, “Street Urchin,” found its way onto 1992's 'By Design', and it was with that album fresh on the shelves that the trio set out on tour.

February 1992 saw Cobham, Coleman and Chindamo arrive in Japan, and it was there, in Tokyo on February 15, that they performed the breathtaking show from which these two albums have been drawn. Japanese audiences, says Cobham, are among his favorite in the world, and the feeling was clearly mutual. The audience's enthusiasm never lapses, and he rewarded them with a selection of songs that traveled back across his entire career - “Crescent Sun,” reaching all the way back to 1974's sophomore effort, 'Total Eclipse'; “Shabazz,” from the 1975 album of the same name.

The evening also looked towards the future - “Reflected Journey,” a magnificent piece that would later title one of Chindamo’s own solo albums; “Prime Time,” “Key Jane”…. And all of them reworked and rearranged for the demands of the night, and the skills of the three piece. On record, Cobham habitually introduced fresh players, fresh instrumentation, and allowed their interpretations to flavor the individual compositions. In concert, whole new rearrangements were called for, and it was a mark of the talents with which he surrounded himself that every fresh revision felt somehow definitive; every one opened new doors through which the improvisations could stroll. Tonight in Tokyo, those doors were open as wide as they have ever been.

Cobham remembers the night, hot and tight before one of his favorite audiences in the world. His latest album, 'By Design', was still fresh on the shelves and of course it would dominate the show, the epic “Mirror's Image,” the raucous “Street Urchin” and the playful “Kinky Dee” taking off from the CD for fresh destinations unknown. On record, Ernie Watts' sax was an integral part of the show; on stage, the trio moved in fresh directions and the music soared accordingly.

MIRROR'S IMAGE
1. Mirror's Image
2. Street Urchin
3. Kinky Dee
4. Leeward Winds
5. Mirror Crack'd [CD ONLY]
6. Layed Back Lifestyle [CD ONLY]

To purchase Mirror's Image on CD: http://geni.us/48fl
To purchase Mirror's Image on vinyl: http://geni.us/44oP
To download Mirror's Image on iTunes: https://itunes.apple.com/us/album/mirrors-image-live/id960483862

REFLECTED JOURNEY
1. Prime Time
2. Key Jane
3. Reflected Journey
4. Crescent Sun
5. Shabazz
6. Improvisation

Billy Cobham's official website: http://www.billycobham.com

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

CLEOPATRA RECORDS, Inc.
11041 Santa Monica Blvd #703
Los Angeles CA 90025
www.CleopatraRecords.com

19 February 2015

New Age/Pop Review: David Arkenstone and Charlee Brooks-Inamorata


Release Date: February 3, 2015
Label: Green Hill
Website



Some performers stick in your heart long after the last note is played. David Arkenstone and Charlee Brooks are two of those. After their last album, Lovéren, I fell in adoration and was thrilled to find out about Inamorata. David Davidson performs the violin and his contributions as always are beautiful. The release in February 2015 couldn’t have been timelier. Just in time for Valentine’s Day, this album is a spell of love and longing with eight original tracks along with renditions of the Game of Thrones main theme as well as, “Did I Make the Most of Loving You” from Downton Abbey, Zedd’s “Clarity” and “Harem” from Sarah Brightman. The last song on the album is dedicated to Arkenstone’s niece who was born during the recording of the album. 

Inamoratabegins with the earth shattering song, “Believe.” Stains of gorgeous multi-instrumentation paint a celestial canvas of fairy tale proportions. Twinkling bells and piano sequences make way for Charlee’s angelic voice. Strong and clear, her singing brings to mind Disney princesses and epic journeys. Castles in the air filled with love and optimism radiate outward with these transcendent lyrics and seamless harmonies. 

The second song on the album is the theme from Downton Abbey. “Did I Make the Most of Loving You” is presented flawlessly with orchestral quality sound and Charlee’s gossamer vocals. Radiant and vibrant with percussive elements that inspire imagination, the piece is magnificent.

“Inamorata” is the title track for the album. A ballad of love and hope, this song is the light in the window of the soul. This is an original work and personifies a love that lasts forever. It leads into the “Main Theme” from Game of Thrones. I found it fitting that they were next to each other on the track lineup. With the Celtic strains and magical imagery invoked, this piece brings to life a world of adventure just in time for a new season to arrive on DVD. Every fan of the show will love this rendition. Clear and melodic with harmonies that reach up and grab you, this piece will make your blood pound and your fingers itch to grab the remote to watch more of this epic series.
“Clarity” is filled with breathy wisps in the background, piano and multi-instrumentation. Charlee’s sparkling vocals echo in the heart. We don’t always want to fall in love but sometimes the very person we fight against is the one who will be our salvation. Poignant and full of emotion, this piece will warm the heart of romance readers everywhere. It reads (sounds) like a romance novel and that makes this one of my favorite songs on the album. Love. Angst. Love. Can’t get much better than that.

David Arkenstone has been making music for twenty five years and is a performer that gives nothing less than perfection. The love and care he put into this album is truly beyond the pale and he surrounds himself with artists that give only their best. Love songs are always well met and this album takes eight original pieces along with four favorites and weaves a fairy tale mix of epic proportions that will hook you in the first few minutes of listening. 

5/5 Stars

Key Tracks: Believe, Inamorata, Did I Make the Most of Loving You, Game of Thrones, Clarity

Tracks: 
01. Believe
02. Did I Make The Most Of Loving You? (Theme From "Downton Abbey")
03. Never Forget
04. Inamorata
05. Main Title (From "Game Of Thrones")
06.Clarity
07. Beautiful Storm
08. Don't Let Me Go
09. Harem
10. Invisible
11. Great Love
12. Lullaby For Belina


DanaWright, Sr. Staff Writer

February 19, 2015

Review Provided By New Age Music Reviews



18 February 2015

Progressive Rock Review: District 97 with John Wetton-One More Red Night

Release Date: 6thOct 2014
Label: Cherry Red Records




This is a very interesting release by the collaboration of District 97 and John Wetton, entitled One More Red Night (Live In Chicago). As the sub-title suggests, this is a live album and features songs from the King Crimson back catalogue, John Wetton being a member of the said band for the release of Larks Tongue In Aspic (1973), Starless and Bible Black (1974) and Red (1974), from whence all bar one track on this release originate. The sole exception to this era is the track, “21st Century Schizoid Man,” which hails from the King Crimson debut album, In The Court Of The Crimson King.

District 97 comprises 5 members, Leslie Hunt (lead/backing vocals), Rob Clearfield (keyboards/guitars), Jim Tashjian (guitar/backing vocals), Patrick Mulcahy (bass) and Jonathan Schang (drums/percussion) with John Wetton providing lead vocals as well.

The album One More Red Night is a 9 track release with a total running time of around 43 minutes. The longest track on offer is “Fallen Angel” at 5:47 minutes and the shortest is “Book of Saturday” at just over 3 minutes (3:07).

The opening track, “One More Red Nightmare” (4:41) starts with some applause and a voice stating “ we are going to do some King Crimson for you right now” and plunges into some heavy riffing guitar and pulsating, pounding drums. The vocals are far forward in the mix, but appear slightly strained at times and a little “flat” when harmonizing. Some good guitar passages drive the track along through its 4+ minutes and the track is a good opener without being outstanding. At this point, I just realized who the vocal style reminded me of, and that is the early Cream vocals, by the late Jack Bruce.

Track 2, “The Great Deceiver” (3:38) has a very similar style sound to the previous track, when the guitar and drums are thrashing away, but there are sections when the tempo switches. The vocals are shared on this track, giving different vocal shadings.

“Lament” (4:19) is a gentler strummed intro behind the clear vocals which again are switched between John and Leslie. Some excellent guitar and bass riffing backed by the two vocalists carry this song along. “The Night Watch” (5:31) has a spoken introduction before a longish instrumental section prior to the appearance of the vocals, just before the 2 minute mark. A true “story telling” style vocal almost struggles to get the lyrics into the spaces available. There are some more excellent guitar passages, but I found the vocals disappointing, the wah-wah vocalizations, which seemed at odds with the atmospheric music taking place.

Track 5, “Fallen Angel” (5:41) settles back into the superb guitar playing and powerful, driving drumming, but again the vocals aren’t up to scratch and hit very close to being discordant at times. Next up is the shortest track, “Book of Saturday” (3:07) which sits more into the gentler style with simple guitar runs behind the vocals. The attempts to harmonize with vocalizations through this track unfortunately fail to hit the mark. When “normal” vocals are in use, the track starts to come alive, but at only 3+ minutes, it can only hint at being a great track.

From the King Crimson debut album, “21st Century Schizoid Man” (5:25) is a fair cover of the original, and indeed is the only track that I recognize from the album. This reviewer is well aware of the impact King Crimson has had on the progressive music scene, but my fascination with the band tended only to last for the first couple of albums, In The Court Of The Crimson King and Wake of Poseidon.

“Starless” (4:47) has a spacey keyboard intro with great drums and then some gentle guitar string bending joins in. The vocals for once fit this track very well, although there is still the hint of straining from time to time.

The final track, “Easy Money” (5:27) certainly gets the crowd appreciation although the harmonies at the start are a bit rough sounding. The characteristic guitar and drums drive the track along with the keyboards providing a foundation behind everything.

One More Red Night is an album I think will appeal to fans of King Crimson who collect all releases related to the band, but as to the wider appeal of the album, I remain less confident. Sound-wise, as a live album, it certainly is a “good un” with clear sound throughout and regular readers of my reviews will be aware that I always approach live albums with a little apprehension. One More Red Night I would describe as an album I found okay, in that there were passages of excellent guitar/drums, but counterbalanced at times with slightly “iffy” vocals resulting in this album probably being an album I would be unlikely to revisit. As always however, this is a very personal view and I would suggest you give the album a listen and decide for yourself.

3.5/5 Stars

Key Tracks: One More Red Nightmare, Lament, Starless


Tracks:

One More Red Nightmare
The Great Deceiver
Lament
The Night Watch
Fallen Angel
Book of Saturday
21st Century Schizoid Man
Starless
Easy Money

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

February 18, 2015

Review Provided By Prog Rock Music Talk



17 February 2015

New York City Based Serbian-Japanese Instrumental Duo Yagull Greatly Expands Their Post Rock Chamber Soundtrack Concept On Second Album 'Kai', Featuring Extraordinary Multicultural Line-up Of Guests


“These super chill yet richly evocative instrumentals achieve a transporting, cinematic quality.” - Time Out New York, USA

“Instrumental music doesn't get much classier.” 
- Raymond Benson, Progression, USA 

“Pure, moving, cinematic, and unearthly beautiful!” - RootsTime, Belgium

New York, NY - Yagull's official debut for MoonJune Records, 'Kai', finds the band expanding its post-rock chamber soundtrack concept to great effect. The result is a simmering sonic bouillabaisse, chocked full of choice ingredients which delectably merge to blur the lines drawn by traditional genres - delightfully teasing the palette, while appealing to an expansive range of music aficionados! The group delivers twelve songs on this joyous outing: eight brand new compositions; two tunes from Films, reworked and revisited; plus, two tastefully-revised classic rock covers. The tracks showcase Yagull's considerably potent stylistic capacity, making for a savory, finely-polished sophomore release. This new effort finds Yagull now launching itself from a duo framework - with Sasha Markovic being joined by the extraordinary pianist, Kana Kamitsubo - this most special of occasions is perfectly accentuated by a host of guest contributors; featuring fellow MoonJune international recording maestros, Beledo (guitar, lute), Dewa Budjana (guitar) and Marko Djordjevic (drums), and many other great musicians. With 'Kai', Sasha, Kana & company have embarked on a majestic journey that will appeal to a broad range of listeners... and carry them along for the ride!

'Kai,' represents big musical and personal changes for group founder, composer, producer, and guitarist, Sasha Markovic. Yagull has officially became a duo with the addition of Sasha's most challenging collaborator up until this time, pianist extraordinaire Kana Kamitsubo. Sasha and Kana's partnership went further as they became husband and wife. Album 'Kai' and the title track are named after their son born in 2014.

Picking up where the first Yagull CD, 'Films' left off in 2012, 'Kai' expands the post rock chamber soundtrack concept exploring new structures written around acoustic guitar, bass, percussion and acoustic piano. Yagull as a duo has an increased crossover potential for attracting listeners that may not be dialed into any of the specific genres baked into this release.

Yagull delivers eight brand new compositions, two tunes from 'Films' revisited ( Dark, Sound Of M ) plus two covers for this sophomore release. The tracks range from “North” which exploits Kana's mastery of creating evocative mood and space for Sasha to play, folksy “Z-Parrow” while “Omniprism” drifts into progressive rock ambiance. Methenyesque tune “Blossom”, leaves space for special guest Dewa Budjana to shine with another beautiful, lyrical solo. The title track for their son emotes a melody that can easily go alongside “Waltz for Debby” by Bill Evans in any play list. Sasha once again wears his affection for classic rock as a badge reworking the Free song, “Wishing Well”, which was also passionately performed by the late Gary Moore, as well as Deep Purple's “Burn”. Beledo's majestic lute introduction pays a homage to Deep Purple's live version from the 'Made In Europe' record.

Regarding the cover material, Sasha recently explained to DME, “My first serious music love was Deep Purple, since I heard the 'Deepest Purple' compilation along with ‘Rainbow Rising' at age of 11. I’ve been playing 'Burn' in the similar arrangement for fun for many years now. It started as a joke when I was a teenager, and played it along with a friend of mine in a two-guitar arrangement with Zappa-like kind of vocal approach. When I presented this idea to Kana [Kamitsubo] last year, she gave the song completely new dimension with her playful piano solos. We are having a lot of fun playing it live these days. As for 'Wishing Well', I am a huge fan of Free and Bad Company and had to do the tribute to them on this album. I still consider Free the best teenage band that ever lived - since they were all between 16-18 when they started. 'Wishing Well' is one of those songs I grew up on and always liked singing for fun with my acoustic guitar. I just experimented with replacing the vocal parts with classical guitar, and at the end Wen Chang added her violin playing the main riff, so the basic album arrangement was born. Always loved Gary Moore's and Blackfoot's take on it, too. I had a chance meeting with Simon Kirke this summer, and got to play him the song, and he loved it.”

Yagull are also joined by several guest musicians, the extraordinary and diverse line up hailing from eight different countries, including fellow Moonjune international recording artists Beledo (guitar), Dewa Budjana (guitar) and Marko Djordjevic (drums), as well as the long time collaborator flutist Lori Reddy, Anthony Mullin from The Blackfires (guitar), Jackson Kincheloe from Sister Sparrow & The Dirty Birds ( harmonica ), Gabriel Nat (clarinet), Wen Chang (violin) and Yoshiki Yamada (upright bass). 'Kai' has set Yagull on a journey that will appeal to wide range of listeners. This is essential MoonJune music.

Here's what the press have raved about Yagull:

“Pure, moving, cinematic, and unearthly beautiful!” - RootsTime, Belgium

“Killer stuff the adult ears can't help but love. Hot Stuff!” - Midwest Record, USA

“Delectable acoustic collage of melody and subtle nuance. 'Kai' is a winner!” - Sea Of Tranquility, USA

“Reinvention or revelation, 'Kai' is inviting in both extremes” - Modmove, Australia

“Wonderful album! Captivating like a magical dream...” - Rocktimes, Germany

“These super chill yet richly evocative instrumentals achieve a transporting, cinematic quality.” - Time Out New York, USA

“Instrumental music doesn't get much classier.” - Raymond Benson, Progression, USA

“Fabulous! Gorgeous guitar playing.” - Gayle Austin, Curved Radio, Australia

“Tasteful intelligent music to dream away on.... Beautiful!” - Moors Magazine, Netherlands

TRACK LISTING
1. North 05:33 (Kamitsubo/Markovic)
2. Dark 06:58 (Markovic/Kamitsubo/Thomas)
3. Heiwa 03:18 (Markovic/Kamitsubo)
4. Blossom 05:06 (Kamitsubo/Markovic)
5. Mio 05:20 (Markovic/Kamitsubo)
6. Wishing Well 04:39 (Free)
7. Burn 03:55 (Deep Purple)
8. Sound Of M 04:31 (Markovic/Kamitsubo)
9. Z-Parrow 01:50 (Markovic)
10. Kai 04:05 (Kamitsubo/Markovic)
11. Omniprism 05:50 (Markovic/Kamitsubo/Beledo)
12. Oyasumi 01:54 (Markovic/Kamitsubo)
Produced by Sasha Markovic
Executive production by Leonardo Pavkovic

To purchase Yagull's 'Kai' CD: http://www.moonjune.com/mjr_web_2013/catalog_mjr/067_YAGULL_Kai_MJR067/

For more info:
www.yagull.com
www.moonjune.com
All inquiries to: noanoamusic@moonjune.com

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

Hard Rock Review: Red Hot Rebellion-The Mission

Release Date: February 3, 2015
Label: Solid Arts and Science

With the self-described genre of “Soundtrack To A Bar Fight,” Red Hot Rebellion certainly has the right attitude for playing hard rock music. And it is not all bravado either, because it is hard to overstate the brilliance of their new album, The Mission. Formed in 2010 in Dayton, Ohio, The Mission is Red Hot Rebellion’s second full-length album (which comes with a 64 page comic book). Consisting of Jim Tramontana (bass, leading vocals), Doug Spencer (guitar, backing vocals), and Andris Devine (drums, backing vocals), these guys are at the top of their game of their new, concept album. With a great sense of humor, catchy riffs, and a hard rock sound with plenty of punk and metal influences, The Mission is one of the first great albums of 2015. 

“Super Epic Intro” gets The Mission rocking and rolling with the sounds of some blazing guitar work and rhythmic drums. Things definitely get off on the right foot, as this grand opening builds anticipation for the rest of the album. If the intro left any doubt in your mind, then “The Mission” will wipe them all away. It is one fantastic rock song. There is so much power and passion here that I am left thinking that these guys could level walls with their music. With its hellraising attitude, “The Mission” is gets the blood pumping and the heart racing. The music rolls right along with “Alright Alright.” The sound is a bit lighter, a bit catchier with its punk rock influence. Heavier and harder, “Prepare to Be Destroyed” delights with great guitar parts that really shred.

“You Bring the Thunder, I’ll Bring the Lightning” has great manic energy running through it, kick started by its opening riff. The music is just relentless, and backed by the lyrics, the song makes for a great party anthem. “Black Magic Dynamite” is a song that has it all. Everything about it is just on point. The lead and backing vocals just play off each other so well, while the guitar and drums never miss a mark. It is one of the best rock songs that you will hear all year. If you need to hold up a song that showcases the catchy riffs of Red Hot Rebellion, then “Battle Royale with Cheese” is that song. It is another pulse pounding song to start a bar fight to.

Promising that they are “Gonna get blitzed tonight,” “Dirtbags and Halfwits” is a great example of Red Hot Rebellion’s humorous and party sides coming together to make one romping rock song. With its electrifying energy, “The Seething Horde” is a sweet mix of punk and hard rock, with the album’s catchiest chorus that you will just want to belt out. Going into the home stretch, “Hellabyte” and “Victory Is Ours (For Now)” keep things energetic, fresh, and interesting. “Melt the Sky” and “The End (It Begins)” bring the album to a close with two memorable hard rocking tracks, especially the latter with the all the quintessential ingredients that have made this album so fantastic. 

Red Hot Rebellion’s The Mission is a marvelous achievement for many reasons. Not only are the performances nothing short of top notch, but also it is a complete album, which seems like something of a rarity these days. There is no filler to found here, making for an album that you will want to listen to from start to finish. I would be very surprised if The Mission is not in my top 10 rock albums at the end of the year. I cannot recommend it enough right now. 

5/5 Stars

Key Tracks: The Mission, Black Magic Dynamite, The Seething Horde, The End (It Begins) 

Tracks:
01.Super Epic Intro
02.The Mission
03.Alright Alright
04.Prepare to Be Destroyed
05.You Bring the Thunder, I’ll Bring the Lightning
06.Black Magic Dynamite
07.Battle Royale with Cheese
08.Dirtbags and Halfwits
09.The Seething Horde
10.Hellabyte
11.Victory Is Ours (For Now)
12.Melt the Sky
13.The End (It Begi)
ns

Brian McKinnon - Write A Music Review Sr. Staff

February 17, 2015

Review Provided By Write A Music Review



16 February 2015

Prog Legends Van Der Graaf Generator Release New Live Album 'Merlin Atmos' On Esoteric Antenna


London, UK - ESOTERIC ANTENNA, are pleased to announce the release of the marvellous new live album by VAN DER GRAAF GENERATOR, 'Merlin Atmos' on February 2, 2015. Recorded in 2013, the limited edition 2CD Digipack features the first ever full live performance of “FLIGHT” and “A PLAGUE OF LIGHTHOUSE KEEPERS”

In June 2013, Peter Hammill, Hugh Banton and Guy Evans took to the road in Europe to present a series of live concerts that featured a set list that excited devotees of Van Der Graaf Generator like no other for many years. The band had decided the time was right to present their epic classic piece “A Plague of Lighthouse Keepers” in its entirety on stage for the first time, along with Peter Hammill’s equally epic “Flight”. As the centerpieces of the band’s live set, a series of wonderful concerts took place, drawing on the classic material from the band’s past, as well as their more recent albums such as “A Grounding in Numbers”.

Fortunately, some of these shows were recorded for posterity and have now been gathered together to form 'Merlin Atmos'. Arguably the finest live album in the history of the band, 'Merlin Atmos' confirms Van Der Graaf Generator as a continuing musical force and explains the loyalty and respect they continue to receive from devotees the world over. 'Merlin Atmos' is a stunning musical statement from a stunningly innovative band.

“The most important thing to note and/or get across about 'Merlin Atmos' is the fact that we played both the long-form pieces 'Flight' and 'A Plague of Lighthouse Keepers'. The former, of course, had been in the repertoire since the last North American Tour. The latter had only ever been played live once before, as far as we remember, back in the seventies. It was a pretty major commitment to say we'd be doing it even before we'd actually rehearsed together.... We were also, of course, doing it as a trio whereas the original recorded version was as a quartet with David Jackson. It took quite a bit of work to make it stageworthy!

“I suppose the mere fact that the record is being released proves that we were pretty satisfied with our efforts in the end!” - Peter Hamill

This strictly limited edition 2 CD digipack edition features a 70 minute CD of “Extras” recorded on the 2013 European tour including such classic tracks as “Scorched Earth”, “Man-Erg”, “Meurglys III, the Songwriter's Guild” and “Your Time Starts Now”.

released 2nd February 2015

TRACK LISTING:

DISC ONE

1. FLIGHT
2. LIFETIME
3. ALL THAT BEFORE
4. BUNSHO
5. A PLAGUE OF LIGHTHOUSE KEEPERS
6. GOG

DISC TWO

1. INTERFERENCE PATTERNS
2. OVER THE HILL
3. YOUR TIME STARTS NOW
4. SCORCHED EARTH
5. MEURGLYS III, THE SONGWRITER'S GUILD
6. MAN-ERG
7. CHILDLIKE FAITH IN CHILDHOOD'S END

http://www.cherryred.co.uk/shopexd.asp?id=4934

Van Der Graaf Generator official website: http://www.vandergraafgenerator.co.uk/
Peter Hammill official website: http://sofasound.com/

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

New Age Instrumental Review: David Wahler-Spiritus

Release Date: February 15, 2015
Label: Independent

David Wahler is an award winning musician. He began his musical career playing by ear and has since grown to become an important and respected member of the musical community. He has been involved in Broadway, symphonies and has worked with disadvantaged and handicapped children. In his fourth and newest album Spiritus, he takes all of his hard won knowledge as a music reviewer and artist and brings us an album of deep reflection and spirituality. 

From the onset of “Spiritus” I was sucked into a vortex of elemental proportion. The crisp sensation of the atmospheric music gave way to texture and electronic multi instrumentation that led me on an inner journey of peace and tranquility. Breathless wisps of sound and deep imagery of the vastness of the universe brought home the feeling that we are not alone, no matter how much it can feel that way sometimes.
 
“Devi” made me feel like I was sitting in the middle of a church pew waiting for the homily to begin. The sense of belonging and contentment from the outset of the piece overflowed into a tender spiritual working. Delicate keyboarding morphs into electronic bursts of wonderment like the sun setting dust motes ablaze with light when they fall in front of a stained glass window. Essences of flute echo through the piece, bringing serenity and wonderment. A young girl sits next to her father and listens as the world opens up to all the possibilities of the future. School, her first date, marriage, a child of her own…life lived one day at a time. The tender moments are the most pure and stay with us as the days march on. 

“Chela” begins with a toe stepping into a pool of forever. The twinkling sound of chimes and the sound of water rushing by blends with elegant keyboard compositions and percussive elements to bring a tapestry of sound and a landscape to sink yourself into. This has to be my favorite piece from the album. If ever you wanted the sounds of a spa this would be the piece to play. Close your eyes and feel invisible fingertips drift over you body and soul and with them all the cares of the world fall away. 

David Wahler is a musical force to be reckoned with. Spiritus is a journey into the infinite universe, one human soul at a time. The compositions are fluid and each piece is done with care and precision. I highly recommend this album to anyone who needs a bit of respite after a particularly tough day. It will refresh you both body and soul-and that my friends I can attest to by experience.

4.5/5 Stars

Key Tracks: Spiritus, Devi, Chela

Tracks: 
01. Spiritus
02. Mystic Voyage
03. Bhakti Heart
04. Whispers from Eternity
05. Ananda
06. Metamorphose
07. Devi
08. Veil of Maya
09. Spirit Dance
10. Chela
11. Ocean of Light

 
DanaWright, Sr. Staff Writer

February 15, 2015

Review Provided By New Age Music Reviews

14 February 2015

Guitar Virtuoso and Supertramp Legend Carl Verheyen To Release Second Acoustic Solo Album 'Alone'


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

Los Angeles, CA - Guitar aficionados worldwide are eagerly awaiting the release of the new album by guitar virtusoso and Supertramp legend Carl Verheyen on February 14th. Titled 'Alone', this is Carl's second acoustic solo album. 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 13 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.

The idea for Carl's acoustic solo albums was established many years before he became a guitar hero. Carl relates, “When I was 11 years old and 3 months into guitar lessons, my Dad came into my room and said, 'Play me something, son.' So I played the riff to 'Satisfaction' by the Rolling Stones and he said, 'No, play me a song!' When I argued that this was a song he asked, 'Where's the melody?' I replied that the singer sings the melody and he's not here! But he wouldn't buy that answer and said, 'You should be able to play an entire song.' From that day onward I've endeavored to arrange and play solo guitar and compose original music for it. Since this instrument is one of the few that can accompany itself, I believe every serious guitarist should have music they can play alone. I count my father as a major influence in my development as a musician.”

The music on 'Alone' comes from a variety of sources. Says Carl, “Most of the material on this album is covers of songs I like. Three John Lennon tunes form a little suite in the middle of the set. I recorded some jazz standards, a Peter Gabriel song, a few originals, a movie theme and a Pat Metheny tune. My goal is simple: I only cover a song by another composer if I feel I have something new to say about it. A good musician makes music sound different and the object is to make the standards your own. The recording process was easy! As a few songs come together I'd book some studio time and knock out three or four at one sitting. One phone call, zero cartage trucks full of my amps, just a single guitar case!”

Carl Verheyen 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. His 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.

“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

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!'

On the educational front, Carl has produced two instructional videos called 'Intervallic Rock Guitar' and 'Forward Motion' as well as three master classes for Truefire. 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 and Bass in both Germany and France and Guitar Techniques in the UK. 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 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 his new CD release, Carl has several west coast shows scheduled for the spring. In closing Carl has this to impart about 'Alone', “Most of these arrangements came about while improvising on the songs during practice sessions. I like to state a melody and see where it takes me, which is the improvised part. The sheer joy of hearing the music in the air can take you to places you've never been as a musician, and I live for that!”

To purchase Carl Verheyen's 'Alone' CD: http://www.carlverheyen.com/store-cds/

For more info: http://www.carlverheyen.com

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

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