28 February 2020

Hard Rock Review: Ozzy Osbourne - Ordinary Man

Release Date: December 21, 2019
Label: Epic
Website
From the graveyard fog, The Prince of Darkness has reemerged with his first set of solo material in a decade. With a little help from his friends, Ozzy Osbourne has managed to pull together a respectable assembly of tracks that will satisfy the pop-metal audience he helped to define after striking out on his own in the early '80s. One look at the artwork on Ordinary Man and song titles such as "Under the Graveyard," "Scary Little Green Men," and "Straight to Hell," and you'll appreciate that Ozzy is serving up more of the same delights you've come to love over the years. On the other hand, you know what you're getting, and the menu hasn't changed much. It is not entirely Ozzy's fault. When you make your bed (or dig your grave) by defining a genre, it is hard not to lie in it.  

Overall, the sound on Ordinary Man is both dense and tight. Ozzy's all-star band includes Guns N' Roses alum Duff McKagen and Slash, Red Hot Chili Peppers drummer Chad Smith, and guitarist Andrew Watt.  The sound fuses Ozzy's signature confessional soliloquies with the expected onslaughts of heavy metallic riffing. The resulting formula will scare demons from the darkness and into the light of day where they burn to ashes in the heat of the sun.   Then, out of nowhere, Elton John appears, dueting with Ozzy on the oddest song on the album, the title track, "Ordinary Man." The pairing reminds one of an old Rodney Dangerfield joke. "I was an earth sign; she was a water sign. Together we made mud." The song pastes together so much of the past; it is hard to see the present or the future. Jeff Lynne of ELO might want to pay attention to the closing orchestral sequence, which borrows directly from his 1974 hit "Can't Get it Out of my Head."

Ordinary Man steers itself back onto the road with a handful of solid metal standards. "Straight to Hell" is textbook Ozzy with driving riffs, staccato bass, and drums.  His lyricism remains poignant on this track and prominent throughout the album. Ozzy calls back to "Sweet Leaf" peppering in a few "alright now"'s into the proceedings for old time's sake. "All My Life" is a thoughtful rumination that rises from a sentimental strumming reminiscent of "Goodbye to Romance" to a thrashing crescendo.  

"Under the Graveyard" is a flat-out metal anthem and worthy of inclusion on any Ozzy Greatest Hits collection. The inventor of the heavy-metal hook takes hold on this haunting canticle. "It's a Raid" is the one collaboration on the album that works well and finds Ozzy breaking at least a bit out of his comfort zone. The vocal riffing with Post Malone over the punk/hardcore metal backdrop is a blend of old and new, which is less like water and earth making mud and more like the pleasure, one derives after kicking a trash can over or smashing a mailbox.  Yet there are moments on this song and others where Ozzy appears as a cartoon parody of himself.  It is as if, the record execs took a listen and said there isn't enough ghoulishness or tacky Halloween decorations to scare the kids off the front yard.  This mischaracterization has followed Ozzy throughout his career, and the man and the music deserve better.  Trick or treaters were never quite Ozzy's audience.  Leave that to KISS. Kids in hoodies smoking cigarettes in the graveyard are.  

As the final track on Ordinary Man faded, I realized that the struggles of an aging rockstar are not unlike those of the disaffected and marginalize youth whom Ozzy influenced in his own youth. Even at 71, Ozzy skillfully pens lyrics to which either end of the spectrum can relate. This time, however, he's further from the cradle than the grave. With the recent cancellation of his 2020 tour due to health (Parkinson's) issues, this could potentially be the last new music he releases. If so, I give thanks to the Prince of Darkness. His legacy of hauntingly inviting demons into my soul and then exorcising them all within the constraints of a five-minute song will endure forever. 

- Tom Endyke | Guitar & Pen | MuzikMan.net Staff

'80s New Wave Icons MISSING PERSONS Featuring Vocalist DALE BOZZIO Announce New Studio Album & First Single!


Los Angeles, CA - New wave icons, and one of the most influential electronic musical acts of all-time, Missing Persons featuring original vocalist Dale Bozzio, are readying a new studio album. Bozzio's inimitable vocal style, as heard on such classics as “Words,” “Destination Unknown,” and “Walking In L.A.,” is the heart and soul of Dreaming, the astonishing new studio album of cover songs and original tunes. Produced by the multi-talented Adam Hamilton (David Hasselhoff / William Shatner), Dreaming offers lush keyboards and atmospheric interpretations of some classic rock/pop songs by fellow '80s legends The Cars, Joy Division, and The The as well as The Rolling Stones, The Mama's & The Papas, and more - all brought to life by Bozzio's unmistakable voice. The album also offers 3 original compositions - the dark and moody “Lipstick,” the haunting title track “Dreaming” and the compelling “This Time” - that demonstrate Missing Persons' relevance to the modern electronic scene.

Listen to the first single, a wildly imaginative and infectious cover of Strawberry Alarm Clock's '60s classic “Incense And Peppermints”: https://www.goldminemag.com/news/audio-premiere-of-missing-persons-cover-of-incense-and-peppermints

Bozzio offers these thoughts on the making of the album saying “This was such an easy, breezy album to make, even though it’s been a long time coming. I think fans will really appreciate the sultriness of this direction of the music and the honesty of the vocals.”

Dreaming will be available on both CD and in a limited-edition PINK vinyl as well as on all digital platforms beginning March 20.

And watch for Bozzio’s exciting, tell-all autobiography “Life Is So Strange” coming later this year!

Track List:
1. California Dreamin'
2. Lipstick
3. Dreaming
4. We Gotta Get Out Of This Place
5. Playing With Fire
6. Just What I Needed
7. This Is The Day
8. Love Will Tear Us Apart
9. Images Of Heaven
10. Incense And Peppermints
11. This Time
12. In The Rain

To purchase/pre-save: https://orcd.co/missingpersonsdreaming

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
Facebook @Cleopatrarecords
https://www.facebook.com/CleopatraRecords/
Instagram @cleopatrarecords
https://www.instagram.com/cleopatrarecords/
Twitter @cleopatrarecord
https://twitter.com/cleopatrarecord
Youtube @Cleopatrarecords
https://www.youtube.com/channel/UCopQ0616Fpfrq8Gt0N-0zOQ
Soundcloud @cleopatra-recs
https://soundcloud.com/cleopatra-recs
Dailymotion @Cleopatrarecords
https://www.dailymotion.com/CleopatraRecords
Vimeo @cleopatrarecords
https://vimeo.com/cleopatrarecords
Spotify  @cleopatra_recs
https://open.spotify.com/user/cleopatra_recs
Linkedin @cleopatra-records
https://www.linkedin.com/company/cleopatra-records

23 February 2020

Blu-ray/DVD Review: ZZ Top-That Little Ol’ Band From Texas

Release Date: February 28, 2020
Label: Eagle Rock Entertainment

That Little Ol’ Band From Texas is a documentary of three men from Texas that grew up listening to the same radio stations. Billy Gibbons (guitar, vocals), Dusty Hill (bass, vocals) and Fran Beard (drums) eventually became the international superstars ZZ Top. This is their story from the beginning.

This Blu-ray/DVD set is a no-fluff story that gives you all the important facts that made ZZ Top who they are. And 50 years later the same three men are together as the longest-standing rock band in history. They never had any new members join or leave. I would have to say that they rate right up there with some of the best rock trios like The Jimi Hendrix Experience and Cream.

They took chances, experimented with their music and partnered with all the right people, and everything just fell together. Not to mention, of course, being around when MTV became a phenomenon and they released Eliminator with some very eye-catching colorful videos.

I learned so much watching this film, things I never knew before. It made me realize the long history and beginnings I never realized. I have always been a fan of the band, not a huge fan mind you, but enough to be curious enough to want to know more. My introduction to them was in the 70s when I heard Fandango for the first time then Tres Hombres. I was sold and those two releases remain my favorites to this day. It was in that period I should have caught them live but never did. Fortunately, they are still touring so maybe I can catch them live before they hang up their boots once and for all.

I enjoyed the up-close jam sessions presented in Gruene Hall with just them and the people shooing the videos. I also enjoyed the footage of the early years and the concert clips. Once I got to the bonus section the clips became the full performances.

50 years is a long time to do anything or be so close to anyone, regardless of what your profession is. Even though they are legends they still consider themselves blues interpreters and it looks as though any of their success has changed them much. They come across as down to earth men from Texas that have had a very successful career that genuinely appreciate everything they have gained over the years.

That Little Ol’ Band From Texas
gave blues a bigger name and more respect than it ever had. It was a joy to watch the film and it held my interest from beginning to end. That is a win any day of the week and if you appreciate the music of ZZ Top you’re going to love this Blu-ray/DVD set.

Keith “MuzikMan” Hannaleck
February 22, 2020

Founder Of:


Review Provided By MuzikMan.net

Tracks:
Gruene Hall Bonus Performances (21 minutes):
Shuffle In C / Fannie Mae
La Grange
Brown Sugar
Blue Jean Blues
Ham Estate Archives Bonus Performances (22 minutes):
Thunderbird
Tush
Beer Drinkers & Hell Raisers
I’m Bad, I’m Nationwide
Manic Mechanic

Indie Rock Review: Duster - Duster

Release Date: December 13, 2019
Label: Mudguts
Website
After Duster’s droned out experimental lamentations helped bury the 20th century, the band took an extended break, which lasted a decade and a half. Founding member Clay Parton explains, “We didn’t feel like we belonged in this world before,” he said. “And the world is only an even bleaker hellscape now.” Duster’s latest release, Duster delivers a pounding, pulsating battle march through this bleak hellscape. It is a sound that Parton aptly describes as “purring distress”.  

There is an element of pain that these tracks bring forth, yet it is a bearable and oftentimes pleasing torment, like a mild sunburn or ankle sprain. Duster skillfully walks the thin line of pleasure and pain, stepping from one side to another, yet maintaining their balance throughout.  

The opening track, “Copernicus’ feels like an interrogation lamp turning off and on and off and on again, blasting into your brain in forcefull, mind-numbing 2-second intervals. “I’m Lost” deliberately cuts the vocals lower than the thundering fuzz of the guitar, drum, and bass blend. Straining to make out the lyrics is part of the experience. “Don’t you know I’m lost? Don’t you know I’m lost without you here.” 

Other angst-ridden gems include “Summer War,” “Damaged,” and “Ghoul.” “Go Back” evokes the most haunting and terror-ridden vibe on the album. Even the more seemingly optimistic “Lomo,” with its rich sonic texture and evocative atmosphere lyrically pull the listener under its spell. “Late into the night. When it’s still and calm. And the mind slows down. Is this death? Maybe. It’s alright.”

All said, If you’re looking to have your soul musically eviscerated, give Duster a listen. The depths you’ll reach are impossible to arrive at with other bands. The mastery of this record lies in how skillfully Duster takes the listener to the depths of their own soul, returning them emptied and expunged, ready to start anew.
Tom Endyke | Guitar & Pen | MuzikMan.net Staff

February 22, 2020

22 February 2020

Progressive/Rock Review: Bernie Shaw & Dale Collins -Too Much Information

Release Date: September 13, 2019
Label: Bernie Shaw / Dale Collins
Website
Kicking off the album Too Much Information, Bernie Shaw is very bright and uplifting as "So Many Times" begins. The album reminds me a lot of the band Journey and their unique sound to 80's Rock. Longtime friends Bernie Shaw and Dale Collins team up to produce an album of seismic proportions. With the assistance of Ron Restall on drums and Jason Gardenits on the keyboard, the perfect blend of Blues and Progressive Rock chemistry.

The depiction of the artwork can be interpreted as a dawn of a new day, or as the light in the sea of gray. It sizes up to the tone of the record as it avails the roughness of the waves and the heaviness of songs like "Alone" and "Hey Jimi," while that glimmer of light shone beyond the sea reflects on a more positive note of "Here We Go" and "Rock On."

Running back on "So Many Times," the song captures a lighter side of Bernie Shaw, where he typically adheres to more of an intense Metal sound. It is an excellent battle between letting the light in, feeling good, and thinking there was more one could have made a better choice along the way. "Alone" is an immediate stark contrast. The song proclaims how the singer will now be operating daily life on his own, he cannot continue to carry the weight of his other half with no sign of change or improvement.

"Here We Go," keeps the beat of every traveler's anthem. However, the song speaks of an irritating, repetitious situation that he finds himself caught in the middle of. To me, it feels very much like hiking up an endless trail or mountain; albeit, it even reminds me of the scene in Rocky, climbing the Philadelphia stairs.

"Too Much Information," the title track, is a great bridge-like track. It is not too detailed or overly emotional. Rather, it is a pleasant earworm for guitar lovers everywhere. Contrary to the title, it doesn't feel like overload at all. I probably stand alone in this thought, however, it is nice to see an artist not make the title of the album his or her main focus.

We turn now to a darker note, but, it turns out to be my favorite track of the album. "Sad Song" possesses a great blend of Shaw's vocals and both Shaw's and Collins' instrumental technique. The song has a great way of rocking like the sea, building up like a solid wave and crashing into the shore, at the height of Shaw's chorus lines.

An excellent ode to the late, great Jimi Hendrix follows up a solemn track. Upon initial listening, one is safe to assume, this might be a more somber or even heartwrenching tribute. As the song progresses it is anything but. The song calls out to the spirit of Hendrix and does his honor well by majoritively dedicating this track to being an instrumental piece. One of the great kings of Rock music would be jamming right alongside Shaw and Collins if he were able to hear this today.

"Just A Little Bit" is a great in-your-face anthem of how someone can just try to break another person down in every possible way. The person being tormented wants nothing more than to see the damage right in front of their face. You can tell as the song progresses, the singer won't let this irritation get the best of him and builds upon the harm caused by the other party.

With that rise-from-the-ashes tune, we arrive at the final song of the album, "Rock On." It is a steady, fun track emphasizing the carefree spirit of the duo. The song solidifies what every musician, band, and concert-goer have in common; and that's to simply – rock on. When everything around you seems to be on sensory overload or you might just be feeling a bit down about something in life, the message is clear; rock on with Too Much Information.

Key tracks include: “Sad Song,” “Hey Jimi,” and “Rock On.” 


Gregg Keniston- MuzikMan.net Staff
February 19, 2020

Reviews Provided By:

Track Listing:
1. So Many Times
2. Alone
3. Here We Go
4. Too Much Information
5. Sad Song
6. Hey Jimi
7. Just A Little Bit
8. Rock On

21 February 2020

Instrumental Rock Review: Sammy Boller-Kingdom of The Sun

Release Date: March 20th, 2020
Label: Candyrat Records
Website


It takes a lot of talent and some good promotion to cut through all the noise of social media and the zillion other artists out there vying for your attention. If you do not have a hit on today’s radio stations and you play instrumental rock, well, let’s just say the chances of you becoming the next Joe Satriani are slim to none.

There are some exceptions to that rule and every once in a while, then some young six-string gunslinger gets my undivided attention. Let me introduce you to Sammy Boller. Never heard of him? Well, I didn’t either but now that has changed and it will for you too once you hear his killer new album Kingdom of The Sun.

Make no mistake, this guy is smokin’ hot people! He is one of the best I have heard in some time. The single and title track “Kingdom of the Sun” was released on January 17, 2020. It is an amazing track that rocks start to finish with some great melodicism albeit at lightning speed. The album drops on March 20th and a limited vinyl run will be available as well. It will sound amazing on vinyl, considering how great my digital copy sounds right now, I would not give it a second thought getting the 33rpm platter.

In one of the statements in his one sheet one person says “He is a state-of-the-art rock guitarist.” I would agree with that 100%. A lot is going on with those fingers and he sounds like two players going full tilt instead of one. The sound he creates is crisp, clean and it is always filled with rhythm, and every track offers something different with sound, emotion, color, and atmospheres. When I hear talent like this it sounds so pure, like the man was born to do this and nothing else. His gifts are obvious after one listen to Kingdom of The Sun. Sammy grew up wanting to be Randy Rhodes and Eddie Van Halen, well it sure looks as though he is showing a powerful combination of both of those influences.

Sammy also is a regular contributor with his article Secrets of Shred with Guitar World Magazine, which has a loyal following. So, he is willing to share his knowledge with his readers so they can learn how to play as he does. I wish you the best with that and you had better get a Metronome!

On 11 tracks of superb guitar virtuosity, Sammy takes a listener on an instrumental rocket ride. His playing is on a level few ever attain. I felt immediately turned on with his sound but also found familiarity with what I was hearing. I am a big Satch fan so it was easy for me to dive into this but it had to be exceptional right out the gate without it subsiding. The energy level of every track is top-notch, it just comes at you in many different paces with different spaces being filled in the most superlative way.

One of my favorite tracks and a great example of Sammy’s talent is “Temple of Time.” He coaxes some amazing sounds out of his well-worn electric six-string. The track exudes a power that is simply electric with pinpoint accuracy. If you enjoy guitar-oriented instrumental rock you will be playing Kingdom of The Sun a lot, I can guarantee it. Check out the stream provided of the title track single and video of Sammy playing “Cloak of Light.”

Kingdom of The Sun is an instant classic as far as I am concerned and you need to hear it if you like to rock, it is as simple as that.

Keith “MuzikMan” Hannaleck 

February 21, 2020

Review Provided By MuzikMan.net

Tracks: 
01. Kingdom of the Sun
02. Sunrise/Sunset
03. Cloak of Light
04. Iolite
05. For Madmen Only
06. Dark Night of the Soul
07. Illusions
08. The Empress
09. Mirror of the Heart
10. Temple of Time
11. Awakening From The Daydream

 









Founder of:

20 February 2020

THE FOLSOM PROJECT Releases Their Debut Cinematic Concept Album THE WOLF & THE SKULL


San Francisco, CA – From the mind of composer, producer, and multi-instrumentalist Romsam Malpica, a new way of presenting cinematic atmospheres through an audiovisual experience has been born under his moniker THE FOLSOM PROJECT. A mix of Orchestral Rock, Trap, and Trip-hop, THE FOLSOM PROJECT draws inspiration from Romsam’s experience with film scoring and dark sound design, which he explores on his debut cinematic concept album THE WOLF & THE SKULL, releasing online February 21 everywhere music is streamed and sold, followed by an official CD release on March 13, 2020.

THE FOLSOM PROJECT was conceived in 2015 while Romsam was studying music production for a year at Pyramind in downtown San Francisco, CA. Originally from Jalisco, Mexico, Romsam was inspired by his new surroundings, and he took the name of the street where his SF Music Academy was located for THE FOLSOM PROJECT.

It was here that Romsam Malpica began to develop the concept of an “audible action thriller.” The resulting debut album THE WOLF & THE SKULL is a soundtrack to the story he tells of a sick and troubled doctor in charge of a biochemical lab in the middle of the woods. The doctor works on the mysterious Folsom Project, which hides a dark truth. The story is told through the eyes of  “The Wolf,” an animalistic creature that awakens in the woods with no memory and a thirst for vengeance, and explores The Wolf’s journey to unravel the truth about his past and stop the doctor at all costs.

The first single to introduce the album’s concept was “Dr. Schmidth,” which was released digitally in the summer of 2019 and is, as Romsam calls it, “the villain’s ballad.” Following that release was “Iceland,” the next single that explores a conversation between the secondary characters Ali and Bob, aka The Skull. Ali is in her mid-twenties and was abducted by the Project, while The Skull is a biogenetic scientist and the doctor’s partner.

These first two singles culminated with the digital release of The Wolf & The Woods EP, which featured the first five songs off the new full-length album. Romsam also designed visual elements across all the artwork and videos for the project to help establish the main color and tone of the album’s story, set amongst the dark imagery of the woods and featuring characters like The Wolf, The Lady in White, or The Skull with his mysterious yet unknown intentions.

Get a taste of the cinematic audiovisual experience provided by THE FOLSOM PROJECT and the new debut album THE WOLF & THE SKULL, releasing online February 21 everywhere music is streamed and sold, followed by an official CD release on March 13, 2020.



To order THE WOLF & THE SKULL on digital services please visit: https://smarturl.it/TFPWolfandSkull

To order THE WOLF & THE SKULL on Bandcamp please visit:  https://thefolsomproject.bandcamp.com/

For more information about THE FOLSOM PROJECT please visit: www.thefolsomprojectmusic.com

For Press and Interview inquiries please contact Billy James of Glass Onyon PR: (828) 350-8158 or glassonyonpr@gmail.com

For Digital Marketing please contact Jerome Forney of Independent Distribution Collective: jerome@independentdistro.com

19 February 2020

Prog Legends Gentle Giant To Release First 4 Albums On Vinyl April 3, 2020


Gentle Giant is happy to announce the release of the first 4 albums on vinyl April 3rd.

After the positive response to the box set “Unburied Treasure” many fans asked whether the vinyl albums would ever be available. The band has responded and decided to make these albums officially available for the first time in decades.

The band’s first album “Gentle Giant” was first released in October 1970. Produced by Tony Visconti it marks the 50th Anniversary of the recording and live appearances of the band. Tony Visconti produced the follow up album “Acquiring The Taste” in 1971.

The band oversaw the production of the third album “Three Friends” in 1972 and was the first official release in North America. Strangely the N.A. version featured the artwork from the U.K. “Gentle Giant” album.

This album was followed up with their milestone album “Octopus” in 1972. Once again the North American artwork was different to the Roger Dean U.K. version and featured a dye cut Octopus in a jar.

Released on the Alucard label, the albums will be manufactured in 180 gram vinyl with the original gatefold artwork from the U.K.

The band hopes that their friends, followers and fans will enjoy these albums in their original form 50 years later!

For more information:
Twitter: @GGIANTMUSIC
Facebook: https://www.facebook.com/gentlegiantband/
Instagram: @gentlegiantband

Press inquiries (North America): Glass Onyon PR, PH: 1-828-350-8158, glassonyonpr@gmail.com

17 February 2020

Bass Legend Tony Newton Releases Timely New Single “Stop That Sh*t”


Bass legend Tony Newton is releasing a timely new single “Stop That Sh*t” from his newly released acclaimed new album “White Light Collection.” Says Brett David Stewart of JukeboxPodcast, “Lyrically, the single takes aim at those who only want to benefit themselves, often at the cost of those around them and future generations. 'Stop That Sh*t,' Newton croons funkily as he points the finger at a 'bad cancer' of society - those with endless greed.”

Not too long ago, the world of music found a revelation in Tony Newton, a virtuoso hailing from the historic city of Detroit, Michigan. Tony took keen interest in the art of music right from the days of his childhood. At the tender age of 7 years, his passion for music drew him closer to the piano. Although Tony is highly adept in playing keyboards, there is no denying the fact that he has carved out quite a history for himself in the field of electric bass.

Newton officially launched his bass guitar career along with the likes of esteemed blues musicians, such as John Lee Hooker, T-Bone Walker and Little Walter then moving on quickly to Motown. Tony has sealed a permanent berth for himself in the souls and minds of music lovers not only across the USA but also in different parts of the world by recording on over 100 hit recordings with innumerable world-renowned artists, including The Funk Bros., Tony Williams Lifetime, Smokey Robinson, Stevie Wonder, Michael Jackson, Supremes, Allan Holdsworth, Gary Moore's G-Force, Robbie Krieger of the Doors, Aretha Franklin, Mamas & Papas, Chuck Berry,& Little Richard, to name a few.

TONY STILL HERE. Scores of musicians, producers and one hit wonders have hit the dust. Tony's music has evolved from the turbulent and riotous sixties and seventies to the current plethora of crises of the 21st century. This legendary talent and rare phenom rose with white lightning speed to the top of American music artistry, to become an iconic trendsetter and innovator. What's different and unique about TN that distinguishes him from other music artists.

His fans say this:
“He is a powerful musical history coupled with current innovative sound”
“He’s not trying to fit into slots”
“He is a trendsetting, artist who forges his own way” 
“His great song writing and arrangements!” 
“A fresh new music, doesn't sound like anybody else, is original, Groove, depth of music, honesty, very uplifting” 
“He is multifaceted, not only musically but personally and professionally in all that he does”
“Tony sees the bigger picture and beyond and succeeds in bringing it all together for the betterment of humanity”

Says Newton, “My music tells life stories – Within my music there is a unique and special story for each listener as well as a journey for both you and I. If I can write and perform music which helps you get through a bad time, good time, inspires, or gets you thinking, then I have fulfilled my mission”



“Newton's Motown roots are immediately apparent on 'Stop That Sh*t,' a lengthy nine minute excursion through his thunderous style of bass performance. It has a slick, cinematic style to it that's scored with searing electric guitar, bass, and keys solos, cataclysmic string sections, and waterfalls of bombastic percussion and backing vocals. Much like Motown, it's sharply produced and immensely suave, but never sterile or inauthentic.” -  Brett David Stewart (BrettDavidStewart.com) - JukeboxPodcast

“Antonio (Tony) Newton, super genius, will go down in history as one of the most vital path forgers of our era” - Randali, Music Critic - Mean Streets Magazine.

WHAT TONY NEWTON IS DOING NOW!

Along with promoting his new album and single, currently Tony is writing and producing theme song for DNA National Homeless Soulutions! He is also preparing for “RARE” concert series in colleges and theaters across the US in addition to “Personal Enrichment, Technology and Music” speaking events, produced by Seaside Music Management.

To purchase: https://beatcha.in/tonynewtontntxtreme/stopthatshit

For more information:

WEBSITE
https://TonyNewtonMusic.com

FACEBOOK
https://www.facebook.com/TonyNewtonMusicArtist
https://www.facebook.com/TonyNewtonTntXtreme/

YOUTUBE CHANNEL
https://www.youtube.com/c/antoniotonynewtonmusic

EMAIIL SIGNUP & BIO
https://sites.google.com/view/tnewtonwlc/home

US - PR and Events
SeaSide Music Management
Inside MusiCast
www.seasidemusicmgmt.com
PH: 1-561-350-3867

Press inquiries: Glass Onyon PR, PH: 1-828-350-8158 (US), glassonyonpr@gmail.com

15 February 2020

Progressive Rock Review: Art in America - Cloudborn

Release Date: August 1, 2019
Label: Art in America



Like a book, music can catapult you into an imaginative adventure. Art in America most definitely built their latest LP, Cloudborn around the concept of an alternate universe where all your troubles just disappear and the listener cannot wait for what may lie ahead.

The theme of experimental simplicity is fitting for this band as the band members started, as they state on their site, “in their living room kicking around some musical ideas with guitar, bass and some unusual instrumentation - … and a Japanese Koto.” Band members and siblings, Chris Flynn – lead vocals and guitar, Shisonee Flynn – harp, koto, tamboura, and vocals; and Dan Flynn – on drums and percussion, began the venture of artistry and bringing together the framework of a band. Soon, after adding Jim Kuha – on bass guitar and backing vocals, and Garry Galloway on the keys; the band was finalized and two albums later, Art in America is on the rise to become a part of every Progressive Rock N’ Roll lover’s collection and earworm.

“A Tale of the Unexpected” sounds like that of a videogame cut scene. It offers the listener a way to both, relax and get introduced to a realm of unusual instruments that typically is not included within Progressive Rock album concepts. The harp, an Indian piece called a tambura, and a Japanese koto are fused throughout the track list.

Much of the rest of the album gives off a blend of 80’s and 90’s Progressive Rock/Pop vibe. As soon as I heard the first few lines of “I Am I,” I felt like I was inside a Classic Progressive Rock or Action movie soundtrack music video. “Someday” hits right in the heart of any listener with half a sense of aspiration and hope. It proclaims that one day soon he (the singer), will get to where he needs to be.

Just take a look at this particular album art. It is of a vast and new unexplored world that leaves an imprint of a powerful image on the listener’s mind. “Drool,” on the other hand, gives the feel of a traveler that is in search of something but; no one quite knows what. The singer may just be wandering down an endless road. Rounding out the first half of the track list, “The New Swami” is one of those songs that you just cannot exactly place your finger on how to react. It contains elements of the tambura giving the tune some peacefulness. It is sung so brightly but, if you listen to some of the lyrics: “The new Swami smiles, as rubies turn to rubble;” the Swami is not as peaceful as proclaimed.

“Someone Called My Name,” is all about looking for answers. It’s a journey where all but, the voice he keeps hearing over and over again remains a constant in his life. We never do learn if he discovers who or what he has been searching for. Art in America goes back to a wild-western-type of a theme on “For Shelly.” It sings of coming to a realization of whom he had however, now she’s gone out of his life
Trying to find any remnants of back to when he and his friend or lover back to simpler times, the singer is in a daydream-like state and the rhythm remains constant to maintain that feel of flashbacks. It’s a very mellow peace to bridge the album together, it almost becomes instrumental.

Going from an almost monotone beginning to an action-packed four minutes and twenty-one seconds, “Facelift” is a fun changeup from the rest of the record. It feels like the singer or the listener could be charging up to something blending with a somewhat mystical sound towards the end. It becomes one of the standout tracks on the album for the simple reason that it brings some life and rejuvenation back into the record; like a reawakening of sorts.

The last three tracks create their own personalities. “Don’t Look Down” keeps with the upbeat sequence of the prior track. It’s guitar solo, is on the shorter side but, still offers what every Progressive Rock lover desires, a pure shred of the strings through your speakers. “No Wonder” finds its way on this record perfectly as its unique sound, almost like a movie scene, or story time sequence. The lyrics do not reflect much in terms of positivity because the man in question has made some mistake that he cannot seem to identify but, she knows quite well what he did. It’s the typical couples’ flare-up of arguments, disagreements, and sometimes breakup. Finally, taking a look at the last track “Goodbye My Love / Mind’s Eye / Peace of Mind,” it is truly an ideal finale to a perfect Progressive Rock album. It begins slow and swing-like, then, by the time it gets to “Mind’s Eye,” it blossoms into an up-tempo grand finish to make the listener feel as though they are leaving the concert of their life.

Cloudborn is that album that defines experimental. It pushes all types of Progressive Rock boundaries and draws the ear of various listeners. If you are looking for a record that makes you daydream, that makes you feel good overall, and that can turn any day around; this is the album for you. Often, Progressive Rock is misconstrued as angry – when commonly dealing with Metal, or disturbed when playing a bunch of Alternative artists; there’s a third avenue of eclectic and experimental sound that can accompany a typically positive intonation.

Key tracks include: “A Tale of the Unexpected,” “The New Swami,” and “No Wonder.”

Gregg Keniston- MuzikMan.net Staff
February 15, 2020

Reviews Provided By:

Track Listing:
 

01. A Tale of the Unexpected
02. I Am I
03. Someday
04. Drool
05. The New Swami
06. Someone Called My Name
07. For Shelly
08. When We Were Young
09. Facelift
10. Don't Look Down
11. No Wonder
12. Goodbye My Love / Mind’s Eye / Peace of Mind

14 February 2020

Curved Air Original Founding Member Darryl Way Announces the Release of His New Solo Album "Destinations" - Out Now !


Darryl Way is the co-founder of CURVED AIR, a trailblazing rock violinist and composer.

“Destinations” is the new studio album by Darryl Way and features ten new rock instrumentals, with a variety of influences and sound effects enriching the style and delivery of the pieces.

Darryl Way said of the new instrumental album “'Destinations' a collection of 10 pieces that set out to conjure up images of far off and exotic locations like Antigua, or imagined settings like Metropolis or Mystic Mountains. Like my previous album 'Vivaldi's Four Seasons in Rock', 'Destinations' could be described as programme music, music that evokes atmospheres and impressions.”

Mostly set in the 'Rock' genre, Darryl introduces himself as a guitarist on this album, as well as performing in his more familiar role as a violinist

The album is available to order here: Amazon CD: https://geni.us/Destinations

For more information: http://www.darrylway.com/

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

11 February 2020

Keyboard Legend Rick Wakeman & The English Rock Ensemble Return To Prog On New Album "The Red Planet"


Keyboard Legend Rick Wakeman & The English Rock Ensemble will be releasing “The Red Planet” on April 3, 2020. The album features 8 newly composed pieces, especially for this project, and harks back to Wakeman's critically acclaimed debut album “The Six Wives of Henry VIII” where there were 6 heavy keyboard pieces based around a central subject matter. It is a serious return to “Wakeman Prog”...

Rick has blown the dust off his favourite analogue keyboards and along with his with the latest keyboards, has used the same formula he devised when making his legendary albums “The Six Wive's of Henry VIII” and “Criminal Record.”

Upon being asked about the expectations of his Prog Fans, that they are hoping he will have shoved the “Prog Fader” up to 11, he replied, “That could be a problem.... as it's already at 14!!!”

The first 1,000 units of vinyl come in 180-gram red double vinyl, signed and numbered, in a special “Pop-Up” album cover. The first 2,000 units of the CD edition signed and numbered, in a special “Pop-Up” CD album cover. These collectors items are sure to sell out quickly, fans are advised to pre-order to avoid disappointment, or worst still buy copies from auction sites.


The English Rock Ensemble (ERE) features:
Rick Wakeman - Keyboards
Dave Colquhoun- Guitars
Lee Pomeroy - Bass
Ash Soan - Drums

Produced by Rick Wakeman and Erik Jordan

This is the first release on the newly formed R&D MultiMedia, which is a transatlantic partnership between music business veteran and long time Wakeman sidekick Rob Ayling and rock journalist and producer Doug Harr.

To pre-order Rick Wakeman's “The Red Planet” and other special offers: www.musicglue.com/rick-wakeman-the-red-planet

Play Back event package: https://www.musicglue.com/rick-wakeman-the-red-planet/products/star-vice-admiral-star-playback-event-at-the-national-space-centre-with-bag-of-goodies-signed-event-programme-and-signed-cd-slash-dvd

Rick Wakeman's official website: www.rwcc.com

R&D Media: www.RNDmultimedia.com

Press inquiries: Glass Onyon PR, PH: 1-828-350-8158 (US), glassonyonpr@gmail.com

10 February 2020

Eclectic Music Ensemble Deep Energy Orchestra to Release Second Album The Return on Feb. 21, 2020


The Return, the highly anticipated second recording by the eclectic music ensemble, Deep Energy Orchestra will be released on February 21, 2020 on Trey Gunn's 7D Media record label. Deep Energy Orchestra blends sounds and rhythms from Prog Rock, Classical, funk, Indian, and Flamenco styles and showcases the compositions of Jason Everett aka Mister E.

Featured artists on the record include, Fareed Haque (Billy Cobham, Zawinal Syndicate), V. Selvaganesh (Shakti with John McLaughlin), Trey Gunn (King Crimson), Neyvili Radhakrishna (Jonas Hellborg), Ujwal Nagar (Advaita), Suhail Yusuf Khan, and the Seattle Metropolitan Chamber Orchestra.

Following the acclaimed first release, Playing With Fire, Jason was commissioned by the Seattle Metropolitan Chamber Orchestra to score his music as well as pieces from Ravi Shankar, Anoushka Shankar, and Paco deLucia for a full-length concert called “From Spain to India” and one of the pieces from that concert series is included on The Return.

Another piece on The Return is an example of Jason's compositional “sonic-storytelling” called “Moksha: The Elimination of All Duality.” This nearly 17-minute piece is in four movements and tells the story of a soul, from starting in a traditional village, to a battle with death, to a liberated soul, and then the Return to this world with musical echoes of the past and present.

Jason Everett is a performer, composer, and producer who plays a variety of stringed and percussive instruments with his primary instruments being his seven-string fretless bass and acoustic six-string bass. Jason attended Northern Arizona University on a full scholarship for bassoon and started playing jazz professionally at sixteen years old.

Jason has played music outside of the mainstream for most of his career including with the avant-garde space-jazz ensemble, Little Green Men; Flamenco fusion groups, Machete', Deseo Carmin, and Acoustic Fantasy; world fusion groups, Avaaza, Tarana, and Andre Feriante; and Kirtan artists, Gina Sala’ and Girish. Jason has also been recently performing and recording with Bay Area world jazz fusion groups, Facing East and Ancient Future. Jason has created his own groups including Taal Maya, a Shakti inspired Indian fusion project and Pandamonium, which is described as “Prog Rock Jazz Funk.”



Here's what's been said about Jason Everett:

“Through his performance and compositional work, Jason has built respect with major members of the Indian music community and has been hailed by influential guitarists and bassists.” – Geoffrey Larsen, Musical Director of Seattle Metropolitan Chamber Orchestra

“Everett delivers memorable melodies rendered with Eastern vocal vibrato, and engaging ensemble improvisation – all over a spectrum of ever-shifting world grooves and natural-sounding odd meters.” – Bass Guitar Magazine

“Jason’s impressive bass work will dazzle, but his playing transcends the instrument to become a pure source of expression. His compositions are equally full of wonder and atmosphere for a sonic journey. A top-notch musician!”– Kevin Johnson NoTreble Bass Magazine

To purchase Deep Energy Orchestra's The Return: https://deepenergyorchestra.bandcamp.com/album/the-return



For more information:
www.deepenergyorchestra.com
www.facebook.com/deepenergyorchestra

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

09 February 2020

Instrumental Rock Review: Joe Satriani-Shapeshifting

Release Date: April 10, 2020
Label: Sony Music/Legacy Recordings
Website: http://www.satriani.com/


I always wonder what Satch will come up with next when he releases another album. You have to be a very creative guitar player to constantly come up with something new and exciting for your listeners. He manages to do that consistently. With Shapeshifting due out on April 10, 2020 he is sure not to disappoint.

There are thirteen tracks of instrumental ear candy to consume on this latest recording. Joe’s sound is distinct and very familiar to millions of rockers worldwide. I am among the longtime fans that stretch back to the 80s. When I was first turned on to his music, I could not forget it and wanted more. Joe has served us instrumental rock freaks well in his long and successful career.

Some notes from the press release FYI:
Shapeshifting was co-produced by Satriani and Jim Scott (Foo Fighters, Red Hot Chili Peppers, Tom Petty & The Heartbreakers) with longtime associate John Cuniberti onboard handling the mastering duties. Satriani enlisted a wide range of collaborators, both old and new, to help him bring the songs to life. Legendary drummer Kenny Aronoff (John Fogerty), bassist Chris Chaney (Jane’s Addiction) and keyboardist Eric Caudieux were the core musicians on the new album with additional contributions coming from Lisa Coleman (The Revolution) and Christopher Guest.

So, there is no surprise that so many names in the industry are part of this. Just remember he is the guy that taught Steve Vai a few things, who is no slouch on the six-string either.

The production values of Shapeshifting are superb and what you would expect. Every song has a different style and pace to it, making sure every listener gets the variety they need to stay interested from beginning to end. Joe delivers the goods track to track. The album leads off with the title track and a high energy blast of some guitar magic that sets the right tone right from the start.

One of the more eclectic and interesting tracks is “Ali Farka, Dick Dale, an Alien and Me.” It gives thanks to those artists that Joe has admired and you certainly can hear the Dick Dale reference. Surf instrumental is so recognizable and Dale was one of the first innovators of the genre. I am not familiar with Farka’s work but because of that song I will have to do some investigating. If Joe likes him, chances are his work will be of great value to his listeners. As far as the Alien, I think it was that silver dude he was surfing with back in the early years of his career.

The first single “Nineteen Eighty” has some Eddie Van Halen types of riffs running through and it packs a punch through to the end, it is pure energy and excitement. After that explosion of six-string virtuosity, Joe slows things down a bit with “All My Friends Are Here.” It’s not slow but in terms of the way he plays, it is a few notches down from the previous track. It has some great hooks that are hard to ignore. It sounds like the kind of track you may hear sound bites of accompanying a sporting video, albeit in a sport that has plenty of movement.

All that energy and creativeness Joe has in his soul never subsides during this instrumental treasure trove of masterful six-string displays. This is vintage Satriani doing what he does best, just flat out jamming and bending those strings with a fluidness and command that few players can muster. He is and has been one of the premier rock guitarists for a long time and this recording takes its place alongside one of the great releases such as Surfing With The Alien for consistency of quality. I must reiterate, with the level of difficulty involved in putting out yet another all-instrumental album, this sets the bar extremely high for an artist like Joe. He is up for the challenge and plays like a man that is recording his swan song.

Diversity is the key to success. Tracks like the beautiful “Falling Stars” step away from the hard-charging rockers to show that he can do tasteful slower paced tracks with some funky licks interspersed between the rhythm section action. “Waiting” is even more expressive and a nice ballad that relates to the title with its slow start and pensive build-up that intimates some impatience but in a very nice way. It is one of the shorter jaunts clocking in at 2:37. Now if that wasn’t enough of a change, he kicks into high gear with some reggae chops on “Here The Blue River.” He also mixes in the rockin’ side of his playing to the blend with the reggae back beat which continues as the foundation. The multi-layered tracking is amazing with some great effects, making the track the most varied sounding on the entire album.

And just when you thought you heard just about every style imaginable he closes out with “Yesterday’s Yesterday,” a country-fried journey that rings true with the jangling strings and the old western atmosphere it hints at. In many ways, if you played this for long time fans, they may be hard-pressed to peg Joe as the artist.

In the end, the curtain closes and Joe Satriani wins you over again with the superior quality and all the incredible guitar playing on display on this fine album. His ongoing maturity is evident with each subsequent release and he surely is the ultimate Shapeshifting guitar man.

Keith “MuzikMan” Hannaleck
February 8, 2020



Founder of:



Review Provided By MuzikMan.net

Tracks:
01. Shapeshifting
02. Big Distortion
03. All For Love
04. Ali Farka, Dick Dale, an Alien and Me
05. Teardrops
06. Perfect Dust
07. Nineteen Eighty
08. All My Friends Are Here
09. Spirits, Ghosts and Outlaws
10. Falling Stars
11. Waiting
12. Here The Blue River
13. Yesterday’s Yesterday