Hypnotic Heavy Metal Band, SPELL, to Release New LP, ‘Tragic Magic’, October 28! Vancouver Progressive Duo Drops Video for New Song “Ultraviolet”
Fantastical heavy metal band Spell will release it’s new LP, Tragic Magic, on October 28 via Bad Omen Records. Featuring ten tracks of prime, progressive heavy music flooded with mesmerizing atmospheres, Tragic Magic sees Spell take a decidedly grittier lyrical approach, leaning less into escapism, while confronting real life challenges of modern times. Striking use of art by Władysław Podkowiński for the cover. Pre-order ‘Tragic Magic’ at THIS location.
A first taste of what Tragic Magic holds in store can be ingested now as Spell unveils a video for the LP’s radiating first single “Ultraviolet”. Created by Sean Edwards for Ramble Films (Freeways), the eye-catching clip showcases Spell at the height of its powers. Stream Spell’s “Ultraviolet” video HERE.
“Ultraviolet” explores the hidden terror of forces that rule us but cannot be perceived or understood, says Spell vocalist/multi-instrumentalist Cam Mesmer. “Our world is shaped by powers that the limitations of our physical bodies prevent us from directly encountering. Will we fall victim to the lust for that which cannot be ours, or harness them to fulfil our wildest dreams?”
Tragic Magic is the highly-anticipated follow up to Spell’s critically-acclaimed 2020 LP, Opulent Decay, a record hailed as “fantasy rock” by Blabbermouth, “enchanting” by Heavy Blog is Heavy, and “a captivating mix of Rush- and Blue Öyster Cult” by Revolver.
Tragic Magic was written and recorded entirely as a collaboration between brothers Cam and Al (Lester); the record’s songcraft is steeped in the atmosphere of the arcane, yet the hooks are more razor-sharp than ever. While influences like the esoteric charge of the aforementioned Blue Öyster Cult and the elemental expansions of Camel and King Crimson drift through these crepuscular melodies, Spell are as likely to be influenced by the life-affirming energy of ‘60s Motown, the ethereal dimensions of Cocteau Twins, the strident woe of Candlemass, and the classic songwriting chops of Russ Ballard.
“The themes on this album are more concrete, guided by personal experience,” offers Mesmer. “Tragic Magic’ has to do with mental illness, ageing, the death of a loved one, the decay of time… this is what ‘tragic magic’ means to us – loss and tragedy outside of our control, which fundamentally alters our perceived reality. This album is our response to the world as it currently is: music for an ascetic age.”
“And we couldn’t be happier about the result,” Mesmer continues. “The identity of Spell came into sharp focus as it was always intended to be. Music is magic, and Spell is a spell. Fundamentally, it is a forum to make our dreams come true”
1.) Fatal Breath 2.) Ultraviolet 3.) Hades Embrace 4.) Fever Dream 5.) Sarcophagus 6.) Cruel Optimism 7.) A Ruined Garden 8.) Souls in Chains 9.) Watcher of the Seas 10.) The Watching
Out Of The Archives Comes A Vintage Rarities Collection From Legendary British Rock Band HUMBLE PIE!
Fans of classic, hard-chargin’ blues rock take note! A superb collection of mid ’70s rare recordings from blues rock institution Humble Pie is being released this month. I Need A Star In My Life features studio recordings from 1974-1976 with unmistakable HP vocalist Steve Marriott along with bassist Greg Ridley and guitarist Clem Clempson. Together this trio experimented with a variety of styles and sounds as they composed several new songs as well as rearranging songs by soul legend Sam Cooke, blues giant Bo Diddley, and others. King Crimson saxophonist Mel Collins even pops in for a special guest appearance!
These recordings have been completely digitally remastered and packaged with full liner notes from music journalist Dave Thompson. I Need A Star In My Life is available now on all formats including CD, digital and multiple vinyl configurations!
*Also be sure to check out the companion 7” featuring the band’s take on Sam Cooke’s “Shake” as well as an ultra rare track “Bluestalk” featuring the original guitarist of The Rolling Stones, Brian Jones!
Track List: 1. Shake 2. Mona 3. Lend Us A Quid 4. Send Me Some Lovin’ 5. She Moves Me Man 6. Street Rat 7. Captain Goatcabin’s Balancing Stallions 8. High And Happy 9. Be My Baby 10. It’s All Over 11. Bluegrass Interval 12. Don’t Take But A Few Minutes 13. Louisiana Blues 14. You’re A Heartbreaker 15. I Need A Star In My Life 16. Cocaine 17. I’ll Find You 18.Lord Let Me Hold Out 19. Hambone 20. Signed Sealed
I Need A Star In My Life appears to be a reissue (remaster, repackage?) of the The Scrubber Sessions, which features the same track listing, and also includes in the credits – Boz Burrell (bass, ex King Crimson), Ian Wallace (drums, ex King Crimson), Tim Hinkley (keyboards, organ), Joe Brown (fiddle), and BJ Cole (pedal steel guitar). Presumably this will be an upgrade in sound, and the packaging looks nicely done.
Scottish singer Mike Starrs recorded albums with Colosseum II and Lucifer’s Friend in the late ’70s, but prior to that, he had released a number of solo singles, as well as a solo album in 1974.
First ever CD release of Mike Starrs’ only solo album
Remastered by band member Gerry Morris and approved by Mike Starrs and original producer Tony Atkins.
Includes all four of his non-album singles as bonus tracks; a ‘catch-all’ of his 1970s solo releases.
Featuring 12 tracks Electric Garden was pure 70s pop, featuring plenty of ballads, strings, and songs that would’ve fit a number of AM radio playlists. Most of the songs were written by bass player Gerry Morris, at least half of those with Starrs. Morris had previously been a part of 60s band The Cymbaline, as well as prog band Lodestone – who’s lone 1971 album Time Flies, is also seeing a CD release next month. On Electric Garden, Starrs was also supported by the Rubettes’ John Richardson (drums) & Peter Arnesen (keyboards), as well as Mike Bailey (trumpet + string and brass arrangements), and guitarist Geoff Whitehorn! The latter would go on to Crawler, Bad Company and Procol Harum. Both Whitehorn and Gerry Morris also released his solo albums in ’74, with much of the same support crew (players, producer, engineers). All these albums were produced by Tony Atkins (Marquee Productions). Both Morris and Atkins have also been involved with this Cherry Red release of Electric Garden. I have the original LP version of Electric Garden, on the Telefunken label, and can only find another release for it on Pink Elephant (Netherlands), it is the latter that was used as the base for this CD reissue, as the 2 1974 issues had slightly different tracklistings and running orders. And though it was recorded and mixed in London Electric Garden never got a UK release in ’74! The album’s cover shot of Mike was one of (or The) first to be taken by famous ’70s photographer Barry Levine, who went on to credits with the likes of The Sweet, Kiss, The Runaways and more.
In a 2014 interview with Mike Starrs, he recalled – “In the ’70s I was living and working in London, Singing 6 nights a week in a Pub in Essex the Band was called Spinning Wheel our keyboard player for approximately 2yrs was Rick Wakeman – who as you know went on to become rather well known. A record producer heard the band and offered me a deal with The Marquee Studios which was behind the Famous Marquee Club. I recorded 1 album and a couple of singles.”
Electric Garden originally came with lengthy liner notes, and biography on Mike Starrs on the back cover, the CD reissue includes those, as well as new linernotes from Mike. Electric Garden also includes Mike Starrs’ version of “Da-Doo-Ron-Ron”, originally a hit for ’60s all-female American act The Crystals, (and was later a hit for Shaun Cassidy). It is listed as a ‘bonus’ track here, though it is the first track on my German vinyl pressing, it wasn’t included on the original Dutch LP. The Pink Elephant LP also featured one more track than the Telefunken version, including “Loving You” (Atkins/Morris) and “I’ll Take Good Care Of You” – originally written by American Jerry Ragovoy and became a hit for R & B singer Garnett Mimms in 1966. Highights on the album include the ballad “Beautiful Day” (Starrs/Morris), the upbeat “Electric Garden” (Morris), “Hold One” (penned, but apparently unused by Lodestone), as well an excellent cover of Lesley Duncan’s 1970 hit “Hold On”. The heavier rockin’ B-side “Witches Brew” (Morris) is a great addition, would’ve made a good album cut too. More recently Starrs has recorded with Crossover, and with Peter Hesslein; Gerry Morris went on to success as a songwriter and producer, working with American singer Amii Stewart (among others).
FEEL SO GOOD WHEN IT COMES TO LOVE ELECTRIC GARDEN THE WILL GOOD LIFE TO EVERYONE CONCERNED LOVING YOU BEAUTIFUL DAY LOOKING FOR LOVE I’LL TAKE GOOD CARE OF YOU HOLD ON LOVE SONG *Bonus tracks WITCHES BREW LOST WITHOUT YOU DA-DOO-RON-RON BLUE AND WHITE
CROSSOVER is a British band of veteran rockers put together by guitarist Paul Gaskin (Gaskin) and drummer Gary Pearson (Vardis) in 2017. Originally, the band also featured singer Mike Starrs (ex Lucifer’s Friend, Colosseum II). Kevin Riddles (Angelwitch, Tytan) on bass and Martin Howells on keyboards. Following a couple of years of major health issues, and a few members moving and leaving the band regrouped with a few new faces, and Gaskin & Starrs writing new songs together. Ken Lorenz joined on bass in early 2020, just as the pandemic kicked in. From then the band was limited in their activities – “We literally could do nothing, except write new songs on our own, or Mike would send me lyrics, and I’d come up with the music. As things were easing in 2021, I decided we should get into the studio and start recording some of the songs, so at least we’d have something to work at and aim for. “ recalls Paul Gaskin. As Ken Lorenz left for a bit, Neil Murray (a friend of Mike Starrs) came in to play on a few songs. There are a few clips of the band on youtube, but at present the band has released a very limited (signed) CD single “Shangri-la” & “Gypsy Blood”. “We are currently looking for a label that suits us. In the meantime, I thought it would be a good idea to bring out a limited edition single to get some airplay. I chose a “radio friendly” number, and it’s one of those that Neil plays on.” PG.
The band: Mike Starrs – vocals Martin Howells – keyboards/vocals Ken Lorenz – bass/vocals David Pick – drums/vocals Me – guitars/vocals Guests; Neil Murray – bass Gary Pearson – percussion Kevin Riddles – bass *The single has Neil on bass and Gary on percussion on “Shangri – la”, and the regular band on “Gypsy Blood”.
The BEATLES Revolver is being issued next month in a box set, with loads of extra material and a new mixes. Originally released in August of 1966, Revolver featured the hits as “Taxman” and “Eleanor Rigby”, and was #1 (almost everywhere). Read on for press details and tracklistings.
GET THE BEATLES’ REVOLVER INTO YOUR LIFE WITH THE NEWLY MIXED AND EXPANDED SPECIAL EDITION
– AVAILABLE EVERYWHERE OCTOBER 28, 2022 –
Revolver Album Presented in New Stereo and Dolby Atmos Mixes + Original Mono Mix;
Expanded with Never Before Released Session Recordings and Demos + “Paperback Writer” and “Rain” EP
Turn off your mind, relax and float downstream…
On 28th October, ‘Revolver’ will be released worldwide in a range of beautifully presented, newly-mixed and expanded Special Edition packages.
Revolver: The Beatles’ 1966 album that changed everything. Spinning popular music off its axis and ushering in a vibrant new era of experimental, avant-garde sonic psychedelia, Revolver brought about a cultural sea change and marked an important turn in The Beatles’ own creative evolution. With Revolver, John Lennon, Paul McCartney, George Harrison, and Ringo Starr set sail together across a new musical sea.
On October 28, Revolver will be released worldwide in a range of beautifully presented, newly mixed and expanded Special Edition packages by Apple Corps Ltd./Capitol/UMe. The Special Edition’s new stereo and Dolby Atmos mixes of the album’s opening track “Taxman” make their digital release debuts with today’s announcement and preorder launch.
Revolver’s 14 tracks have been newly mixed by producer Giles Martin and engineer Sam Okell in stereo and Dolby Atmos, and the album’s original mono mix is sourced from its 1966 mono master tape. Revolver’s sweeping new Special Edition follows the universally acclaimed remixed and expanded Special Editions of Sgt. Pepper’s Lonely Hearts Club Band (2017), The BEATLES (‘White Album’) (2018), Abbey Road (2019), and Let It Be (2021).
All the new Revolver releases feature the album’s new stereo mix, sourced directly from the original four-track master tapes. The audio is brought forth in stunning clarity with the help of cutting edge de-mixing technology developed by the award-winning sound team led by Emile de la Rey at Peter Jackson’s WingNut Films Productions Ltd. The physical and digital Super Deluxe collections also feature the album’s original mono mix, 28 early takes from the sessions and three home demos, and a four-track EP with new stereo mixes and remastered original mono mixes for “Paperback Writer” and “Rain”. The album’s new Dolby Atmos mix will be released digitally.
Across all the configurations, Revolver’s Special Edition showcases the GRAMMY-winning original album artwork created by The Beatles’ longtime friend, German bassist and artist Klaus Voormann. The Super Deluxe CD and vinyl collections’ beautiful book features Paul McCartney’s foreword; an introduction by Giles Martin; a thoughtful, enlightening essay by Questlove; and insightful chapters and detailed track notes by Beatles historian, author, and radio producer Kevin Howlett. The book is illustrated with rare and previously unpublished photos, never before published images of handwritten lyrics, tape boxes, and recording sheets, as well as 1966 print ads and extracts from Voormann’s graphic novel, birth of an icon: REVOLVER.
Following the December 1965 release of their groundbreaking album, Rubber Soul, and after wrapping up that year’s tour dates, a late decision to cancel shooting plans for a third Beatles film, A Talent For Loving, would have a significant effect on the creation of Revolver. The time allocated for filming and recording songs for a soundtrack was removed from the band’s schedule, allowing the group to take a four-month break before the Revolver recording sessions began. “One thing’s for sure,” John said a few weeks before the band’s return to the studio, “the next LP is going to be very different.”
On April 6, 1966, The Beatles gathered in Studio Three at EMI Studios (now called Abbey Road Studios) for their first Revolver recording session. With their producer George Martin flanked by recording engineer Geoff Emerick and technical engineer Ken Townsend, they went in blazing, starting with “Tomorrow Never Knows”. John’s ethereal vocals (fed from his mic through a rotating Leslie speaker), innovative tape loops – including Paul saying ‘ah, ah, ah, ah’, which when sped up produced a sound similar to a seagull’s screech – converge with Ringo’s thunderous drum pattern, George’s tambura drone, and a backwards guitar solo. “Tomorrow Never Knows” propelled The Beatles and popular music into exciting new terrain. In an interview before Revolver’s August 5, 1966 release, Paul explained to NME, “We did it because I, for one, am sick of doing sounds that people can claim to have heard before.” Revolver’s Special Edition also features The Beatles’ first take of “Tomorrow Never Knows” from the April 6 session and a mono mix that was issued on a small number of records before the LP was recut with the correct version.
The next day, The Beatles returned to Studio Three, completed most of their “Tomorrow Never Knows” recording, and started work on the first version of “Got To Get You Into My Life”. As heard on the Special Edition’s Sessions One, this recording sounds very different from the released track. Revolver’s Special Edition also spotlights two more stages of the finished track’s evolution: an unreleased mono mix and a special mix highlighting the overdubs of three trumpets and two tenor saxophones.
One of George’s most important songwriting influences is heard in “Love You To”. The previous year, his deepening interest in Indian music and learning how to play sitar had brought him together with Ravi Shankar, who became his close friend and occasional musical collaborator. The Beatles began recording “Love You To” in Studio Two on April 11, the third anniversary of the UK release of “From Me To You”. Taken with the whole of Revolver, the short three-year span between these songs illuminates the band’s astonishing creative progression.
“It was one of the first tunes I wrote for sitar,” George later recalled. “This was the first song where I consciously tried to use the sitar and tabla on the basic track.” With George on sitar and vocals, Paul on tamboura and vocal harmony, and university student Anil Bhagwat on tabla, the song’s intricate arrangement began to take shape over several takes. Overdubs included an additional harmony vocal by Paul, omitted from the released version but now faded up in a mix of Take 7. Revolver’s Special Edition also features Take 1 and a previously undocumented and only recently discovered rehearsal for the song with George playing sitar and Paul on tambura.
Between April 13 and 16 in Studios Two and Three, The Beatles recorded their chart-topping “Paperback Writer” single (with layered harmonies, riffing guitars, and Paul’s booming bass lines) and its B-side “Rain” (achieved with tape machines slowed down for the recording and mixing processes). Prior to the single’s release on June 10 (May 30 in the U.S.), The Beatles spent a couple of days away from recording to shoot several promotional films for both songs with director Michael Lindsay-Hogg, who would later direct the Let It Be film. In addition to the songs’ new stereo mixes and original mono mixes, Revolver’s Special Edition features “Paperback Writer” Takes 1 and 2 – Backing track and two versions of “Rain” Take 5: one at the actual speed The Beatles played it and the other, a slowed down evolutionary mix used to create the master tape.
The album’s opening track, “Taxman”, was recorded across three Studio Two sessions in April and May. One of three songs on the album by George, in “Taxman” he expresses his frustration with the UK’s ‘super-rich’ tax rate at the time (90%), with a vocal wink to the “Batman” TV theme song. In a 12-hour session on April 20, The Beatles recorded and mixed the first version of “And Your Bird Can Sing” (for this song, the Special Edition features two Version One/Take 2 recordings and Version Two’s Take 5), then began recording “Taxman”. They returned to the song the next day, laying down George’s foundational guitar, Paul’s bass and his dynamic, raga-style guitar solo, and Ringo’s drums and cowbell. Revolver’s Special Edition also features Take 11, with falsetto backing vocals by John and Paul with different words from the released version.
“Yellow Submarine” was recorded on May 26 and June 1 in Studios Three and Two, respectively. The iconic, sunny rite of singalong passage for children everywhere and a favorite for the young-at-heart began quite differently than it finished. Parts 1 and 2 of the Special Edition’s songwriting work tape for “Yellow Submarine” reveal the song’s evolution from a rather sad verse sung by John over acoustic guitar – “In the town where I was born / No one cared, no one cared…” – to its adaptation by John and Paul to suit the jollier subject matter of the chorus. Revolver’s Special Edition also includes “Yellow Submarine” Take 4 and highlighted sound effects (a complex and merry sonic seascape, including Mal Evans’ sand-shoveling and Brian Jones’ glass-clinking) for listeners to journey with The Beatles through the song’s progression. “We were really starting to find ourselves in the studio,” Ringo explained later. “The songs got more interesting, so with that the effects got more interesting.”
The Beatles’ final Revolver recording session took place in Studio Two on the evening of June 21, 1966 into the wee hours of June 22, just one day before the band traveled to Munich to start their international summer tour. The lyrics for “She Said She Said” drew upon the memory of a disorienting day of misadventure The Beatles had experienced in Los Angeles. Having received George’s help to create a whole new song from some unfinished fragments, John led the group through the rehearsals and recording while the clock ticked away the last remaining session time. Revolver’s Special Edition also features John’s home demo for the song and Take 15 – Backing track rehearsal, with its introductory speech revealing convivial banter between The Beatles as they worked out the arrangement (later praised by composer and conductor Leonard Bernstein as “remarkable” with “real inventions”).
By 4am on June 22, The Beatles finished “She Said She Said”, wrapping up their Revolver recording sessions. The album’s final mono and stereo mixes were completed that evening, and the next day The Beatles were once again off and running on tour. They would next return to Abbey Road in November 1966 to begin recording Sgt. Pepper’s Lonely Hearts Club Band.
Released on August 5, 1966, Revolver spent seven weeks at number one on the UK albums chart, and a double A-side single with “Eleanor Rigby” and “Yellow Submarine” topped the UK singles chart for four weeks in August and September. In the U.S., Capitol released an 11-track version of Revolver, which spent six weeks at number one on Billboard’s albums chart. “I’m Only Sleeping”, “And Your Bird Can Sing”, and “Doctor Robert” had been previously plucked from the sessions for Capitol’s North American release of the Yesterday And Today compilation album in June. That album’s sleeve was originally printed with the infamous “butcher cover” before pre-release controversy resulted in Capitol recalling and re-covering well over one million mono and stereo LPs with an innocuous photo of The Beatles gathered around a trunk.
Revolver: Special Edition:
SUPER DELUXE [5CD + 100-page hardbound book in slipcase | digital audio collection]
CD1: Revolver (New stereo mix)
1. Taxman (2022 Mix) 2. Eleanor Rigby (2022 Mix) 3. I’m Only Sleeping (2022 Mix) 4. Love You To (2022 Mix) 5. Here, There and Everywhere (2022 Mix) 6. Yellow Submarine (2022 Mix) 7. She Said She Said (2022 Mix) 8. Good Day Sunshine (2022 Mix) 9. And Your Bird Can Sing (2022 Mix) 10. For No One (2022 Mix) 11. Doctor Robert (2022 Mix) 12. I Want To Tell You (2022 Mix) 13. Got To Get You Into My Life (2022 Mix) 14. Tomorrow Never Knows (2022 Mix)
CD2: Sessions One 1. Tomorrow Never Knows (Take 1) 2. Tomorrow Never Knows (Mono Mix Rm 11) 3. Got To Get You Into My Life (First Version / Take 5) 4. Got To Get You Into My Life (Second Version / Unnumbered Mix 5. Got To Get You Into My Life (Second Version / Take 8) 6. Love You To (Take 1) 7. Love You To (Unnumbered Rehearsal) 8. Love You To (Take 7) 9. Paperback Writer (Takes 1 & 2 / Backing Track) 10. Rain (Take 5 / Actual Speed) 11. Rain (Take 5 / Slowed Down For Master Tape) 12. Doctor Robert (Take 7) 13. And Your Bird Can Sing (First Version / Take 2) 14. And Your Bird Can Sing (First Version / Take 2 / Giggling)
CD3: Sessions Two 1. And Your Bird Can Sing (Second Version / Take 5) 2. Taxman (Take 11) 3. I’m Only Sleeping (Rehearsal Fragment) 4. I’m Only Sleeping (Take 2) 5. I’m Only Sleeping (Take 5) 6. I’m Only Sleeping (Mono Mix Rm1) 7. Eleanor Rigby (Speech Before Take 2) 8. Eleanor Rigby (Take 2) 9. For No One (Take 10 / Backing Track) 10. Yellow Submarine (Songwriting Work Tape / Part 1) 11. Yellow Submarine (Songwriting Work Tape / Part 2) 12. Yellow Submarine (Take 4 Before Sound Effects) 13. Yellow Submarine (Highlighted Sound Effects) 14. I Want To Tell You (Speech & Take 4) 15. Here, There and Everywhere (Take 6) 16. She Said She Said (John’s Demo) 17. She Said She Said (Take 15 / Backing Track Rehearsal)
CD4: Original Mono 1. Taxman (Mono) 2. Eleanor Rigby (Mono) 3. I’m Only Sleeping (Mono) 4. Love You To (Mono) 5. Here, There and Everywhere (Mono) 6. Yellow Submarine (Mono) 7. She Said She Said (Mono) 8. Good Day Sunshine (Mono) 9. And Your Bird Can Sing (Mono) 10. For No One (Mono) 11. Doctor Robert (Mono) 12. I Want To Tell You (Mono) 13. Got To Get You Into My Life (Mono) 14. Tomorrow Never Knows (Mono)
REVOLVER – SPECIAL EDITION SUPER DELUXE VINYL BOX SET 180g 4LP/1EP (Apple Corps Ltd./Capitol/UMe)
LP One: Revolver (new stereo mix) Side 1 1. Taxman 2. Eleanor Rigby 3. I’m Only Sleeping 4. Love You To 5. Here, There And Everywhere 6. Yellow Submarine 7. She Said She Said
Side 2 1. Good Day Sunshine 2. And Your Bird Can Sing 3. For No One 4. Doctor Robert 5. I Want To Tell You 6. Got To Get You Into My Life 7. Tomorrow Never Knows
LP Two: Sessions One Side 1 1. Tomorrow Never Knows (Take 1) 2. Tomorrow Never Knows (Mono mix RM 11) 3. Got To Get You Into My Life (First version) – Take 5 4. Got To Get You Into My Life (Second version) – Unnumbered mix – mono 5. Got To Get You Into My Life (Second version) – Take 8 6. Love You To (Take 1) – mono 7. Love You To (Unnumbered rehearsal) – mono
Side 2 1. Love You To (Take 7) 2. Paperback Writer (Takes 1 and 2) – Backing track – mono 3. Rain (Take 5 – Actual speed) 4. Rain (Take 5 – Slowed down for master tape) 5. Doctor Robert (Take 7) 6. And Your Bird Can Sing (First version) – Take 2 7. And Your Bird Can Sing (First version) – Take 2 (giggling)
LP Three: Sessions Two Side 1 1. And Your Bird Can Sing (Second version) – Take 5 2. Taxman (Take 11) 3. I’m Only Sleeping (Rehearsal fragment) – mono 4. I’m Only Sleeping (Take 2) – mono 5. I’m Only Sleeping (Take 5) – mono 6. I’m Only Sleeping (Mono mix RM1) 7. Eleanor Rigby (Speech before Take 2) 8. Eleanor Rigby (Take 2)
Side 2 1. For No One (Take 10) – Backing track 2. Yellow Submarine (Songwriting work tape – Part 1) – mono 3. Yellow Submarine (Songwriting work tape – Part 2) – mono 4. Yellow Submarine (Take 4 before sound effects) 5. Yellow Submarine (Highlighted sound effects) 6. I Want To Tell You (Speech and Take 4) 7. Here, There And Everywhere (Take 6) 8. She Said She Said (John’s demo) – mono 9. She Said She Said (Take 15) – Backing track rehearsal
LP Four: Revolver (original mono master) Side 1 1. Taxman 2. Eleanor Rigby 3. I’m Only Sleeping 4. Love You To 5. Here, There And Everywhere 6. Yellow Submarine 7. She Said She Said
Side 2 1. Good Day Sunshine 2. And Your Bird Can Sing 3. For No One 4. Doctor Robert 5. I Want To Tell You 6. Got To Get You Into My Life 7. Tomorrow Never Knows
Revolver EP (7-inch) Side 1 1. Paperback Writer (New stereo mix) 2. Rain (New stereo mix)
The latest from Australia’s CROSSON, Ready, Aim…Rock! is a fun album full of ’80s influenced hair metal, and anthems. Lots of great rock and riffs here, such as “Fallen From Grace”, “One Way Love Affair”, and the title track. Lots of thought put in to the whole production with big intros, choruses, and solos, and backing vocals, check out tracks like “United”, “Take On The World”, and lighter cuts like “The Way It Is”. Well worth checking out!
*for more info check out the bio below, as well as the clips I’ve included, and links…
If it’s fist- pumping, uplifting, catchy stadium rock anthems that you are looking for, then it’s time to turn it up to eleven as Aussie Theatrical Glam Rockers CROSSON return all-guns blazing, with their sixth studio album Ready, Aim…. Rock !! Once again mixed by legendary U.S engineer / producer Duane Baron (Ozzy Osbourne, Motley Crue, Alice Cooper, Poison) and mastered by U.S mastering giant Dave Donnelly (Aerosmith, KISS, Whitesnake), Ready, Aim…. Rock !! punches you in the face from the opening chords and erupts with ten infectiously catchy, highly addictive rock tunes.
Writer, vocalist and producer Jason Crosson stated: ” ‘Ready Aim .. Rock !!’ is definitely the most sophisticated and mature CROSSON album to date. It still includes the catchy, stadium rock anthems that you’d expect, but being careful not to repeat ourselves and also grow musically, my admiration and respect for Jim Steinman ( writer for Meat Loaf / Bonnie Tyler) was channeled during the writing process which can be heard on songs like ‘United’, ‘The Way It Is & ‘Love Is Endless’ .
The album was tracked in Sydney at 3By3 Studios and introduces guitar virtuoso Marko Rado, whose solos will definitely raise eyebrows. The band’s long term live drummer Kyle Barr, provides an explosive backbeat, whilst the Queen-esq backing harmonies send chills down the listener’s spine.
Directed and edited by Lord Tim (Lord), the first video from the album, ‘United’, shows CROSSON in all their glory unleashing their electrifying, energetic, choreographed stage moves while showing the band’s history with archival footage. The second video ‘Fallen From Grace’ depicts a horror movie setting with the CROSSON dancers appearing as fallen angels and casting their demonic spell over the band that transforms them into rock ‘n roll demons.
CROSSON will commence their Australian National tour in October with Sweden’s Crashdiet and Australia’s Sisters Doll.
Finnish blues rock slide guitarist and singer songwriter Erja Lyytinen is pleased to announce the release of “Last Girl”, the second single taken from her upcoming ninth studio album Waiting For The Daylight.
The single, released Wednesday September 7th, is available to stream and buy on Spotify, Apple Music, Tidal, and Amazon Music via https://ffm.to/ylyrxan. Watch the Last Girl music video
In November, Erja heads out on a co-headline UK tour with the award-winning Belfast-based blues guitarist Dom Martin. Tickets are available from https://erjalyytinen.com/tour and www.dommart.in/tour. Dates include Southampton, The 1865 (Nov 7), Bilston, The Robin (Nov 8), London, The Grace (Nov 9) and Grimsby, Yardbirds (Nov 10).
“Last Girldeals with the subject of bullying in schools and the feeling of being left out of a friendship group, says Erja. “This song is for those who feel as if they are outsiders, which is a current topic as the new school year is about to start. A lot is happening in the song, and it is quite intense and energetic, just like the school world is.”
“Continues Erja, “Making the music video for ‘Last Girl’ felt essential because it’s such an important topic to me. A young girl features in the music video, and at the end, she is playing an electric guitar with me as part of the group and having a good time. The song speaks out on many levels.”
“It was fascinating to create guitar parts for ‘Last Girl’. It has some vibes from rock bands like Iron Maiden, but I also wrote twin-part guitar harmonies to the C – part in the style of an Allman Brothers Band. I wanted to create a song with an old classic rock feel but executed with modern sounds and techniques.”
“The intro has pull-offs and some fast licks and flute notes combined which creates the main guitar theme for the whole song. This song has probably one of the most challenging guitar parts I have written so far.”
For musicians, the last two years have been a period of reflection and soul searching. What to do with oneself in the absence of life on the road? And would live music ever be able to return to the way it was pre-pandemic? Artists and music fans alike waited for that glimmer of hope and the return of some semblance of normality. Written largely during the pandemic era Erja Lyytinen’s new studio album Waiting For The Daylight encapsulates these emotions.
With time on her hands, Lyytinen was able to pause, dig deep and fully process her feelings. Some of which she had been carrying for a long time. This journey of self-exploration proved to be a source of inspiration for the artist’s latest offering. Carrying on from the gifted guitarist’s last two studio albums, Stolen Hearts, and Another World, respectively, Lyytinen continues to explore themes such as love, loss, heartbreak, and sometimes even revenge. Events transpiring around the world occasionally fed into the storyboard of Lyytinen’s songwriting.
The album was recorded during the first half of 2022, between Erja’s hectic touring schedule, with the bulk of the sessions taking place at The Hollywood House in Helsinki, Finland. Lyytinen was joined in the studio by long-standing bass player Tatu Back and drummer Iiro Laitinen. Having played on every one of Lyytinen’s albums since 2008, Harri Taittonen features once again on Hammond and keyboard. Waiting For The Daylight illustrates a new chapter in Erja’s musical and artistic trajectory. The album was proudly produced by Lyytinen herself. Subsequently, Erja simultaneously explored sounds on the periphery of the blues-rock genre. She fearlessly pushed herself and the band further than previously before.
During her formative years, Erja was schooled on the sounds of the ’60s and 7’0s by her mother, and with her latest offering, she pays homage to rock greats such as Led Zeppelin, Deep Purple, and Uriah Heap. With its heavy groove, atmospheric textures, and passionate delivery the title track is a testament to this. The song Waiting For The Daylight also features perhaps one of the artist’s most mesmerizing and emotive solos to date. Lyytinen further showcases her chops during the album’s hook-laden opening number and lead single, “Bad Seed”.
The artist pours her heart and soul into the cathartic number “Last Girl”. Erja describes the latter a cross between Satriani meets Iron Maiden. Says Erja, “The song talks about bullying in schools and how you can be left out of a friendship group. I always put something of my own in the songs as well, so it became a very important song on many levels.”
Just as the title dictates, at approximately seven minutes long, “The End of Music”concludes the release to great effect. “The song talks about missing being back on stage and the audience, as many of us musicians did during the pandemic,” explains Erja.
For Erja and her fans alike, the new studio album and her return to touring the UK is worth the wait.
Bad Seed (5:13) Last Girl (5:28) Run Away (5:00) Waiting For The Daylight (6:12) Never Really Had You (5:15) Diamonds On The Road (4:25) You Talk Dirty (6:17) Love Bites (3:58) The End of Music (6:55)
Erja Lyytinen – Vocals, Guitars, Violin, Keyboards Harri Taittonen – Keyboards, Hammond Tatu Back – Bass Iiro Laitinen – Drums
Recorded and mixed by Matias Kiiveri at Hollywood House in Helsinki Finland 2022 .
Produced by Erja Lyytinen Executive producer Erja Lyytinen for Bluesland Productions Photographer and digital design by Antti Karppinen, Alias Creative Graphic design by Jan Yrlund, Darkgrove Design . All songs, lyrics, and music by Erja Lyytinen
Joanne Shaw Taylor’s new breakthrough studio album Nobody’s Fool releases on Joe Bonamassa’s KTBA Records worldwide Friday, October 28th.
The album is available to pre-order on CD, Vinyl, and digital – HERE
The new album, recorded at Sunset Sound in Los Angeles, is produced by Joe Bonamassa and Josh Smith and features Joe Bonamassa on “Won’t Be Fooled Again,” guitarist Carmen Vandenberg (Bones UK) on “Figure It Out,” cellist Tina Guo on “Fade Away” and music legend Dave Stewart on a cover of the Eurythmics classic “Missionary Man.”
The first single from the album, “Just No Getting Over You (Dream Cruise),” released today and can be streamed and downloaded HERE.
Joanne as born and raised in the UK and was discovered at the age of 16 by music icon Dave Stewart of the Eurythmics. Right from the get-go, Joanne’s incredible guitar playing, and distinctive sultry vocals set her apart from the rest of the crowd.
Nobody’s Fool is her most personal album to date. Joanne’s writing lays bare love, loss, and the desire to be free of the past through the vessel of catchy hooks and infectious guitar riffs.
Her vocal style, writing prowess and guitar skills take the listener on a journey into the wasteland of love and back into the light of hope and redemption. Nobody’s Fool takes Joanne into new territory that can be described as retro pop with a modern flare, yet still encompasses the emotion of her blues roots.
“The title track opens the album and sets the mood with JST’s signature husky, soulful vocals embellished with some powerful guitar lines,” says Guitarist Magazine.
Joanne wrote all the songs on the album except “Missionary Man,” which is written by Annie Lennox and Dave Stewart of the Eurythmics.
Joanne co-wrote “New Love” with Josh Smith, Calvin Turner, and Dylan Altman, “Then There’s You” with James House, “Fade Away” with Sharon Corbitt, and “The Leaving Kind” co-written with Joe Bonamassa, Leslie Satcher, and Beth Nielsen-Chapman (Willie Nelson, Sheryl Crow, Bonnie Raitt).
1. Nobody’s Fool (3:36) 2. Bad Blood (3:49) 3. Won’t Be Fooled Again feat. Joe Bonamassa (4:54) 4. Just No Getting Over You (Dream Cruise) (4:40) 5. Fade Away feat. Tina Guo (4:52) 6. Then There’s You (3:23) 7. Runaway (3:49) 8. Missionary Man feat. Dave Stewart (3:08) 9. Figure It Out feat. Carmen Vandenberg (3:48) 10. The Leaving Kind (4:03) 11. New Love (4:03)
Musicians: Joanne Shaw Taylor – Vocals & Lead Guitar Joe Bonamassa – Rhythm Guitar Josh Smith – Rhythm Guitar Lemar Carter – Drums Calvin Turner – Bass Deron Johnson – Piano/Wurlitzer/B3 Danielle De Andrea, Gaby Moreno & Jeff Young – Background Vocals Tina Guo – Cello (“Fade Away”) Carmen Vandenberg – Guitar Solo/Lead Guitar (“Figure It Out”)
Finnish heavy metal band Thy Row will celebrate the one-year anniversary of their debut albumUnchained with the release of a limited edition vinyl along with a brand new digital single entitled “Blue Blood”, a cover of one of the biggest hits by the biggest Japanese metal band of all time X Japan. The band comments:
“We were so proud of how our debut album turned out, that we knew that it deserved a vinyl release with a bonus track as well as a brand new vinyl master. The bonus track which was initially released only in Japan is a cover of the country’s biggest ever metal band X Japan. We’ve had a ton of fun performing the song ‘Blue Blood’ live multiple times, and while recording ‘Unchained’ we decided to record that one as well! The result is energetic and heavy, just as the speed metal classic should be! Join us and our wonderful label Rockshots Records who were open to realizing these wishes in celebrating the one-year anniversary of our first album, and we hope you enjoy what we have to offer with these releases!”
The vinyl was mastered by Svante Forsbäck (Rammstein, Volbeat) at Chartmakers Studios, and will be released together with the digital single ‘Blue Blood (X Japan Cover)’ on October 7th, 2022. Recommended for fans of The Scorpions, Megadeth, and Queen, Thy Row’s vinyl of Unchained is available for pre-order at – bit.ly/ThyRowVINYL
Founded in 2017, Thy Row made their first entry on the Finnish scene with their 2019 independently released self-titled EP. The record’s lead single “The Round” reached over 110K streams on Spotify and added to the EP’s overall praise that gave the group the opportunity to tour Japan in 2019 with Beast In Black and Swallow The Sun.
Following the success of that EP, Thy Row’s offered up their first full-length, a fresh mix of the finest heavy metal with modern hard rock that every metalhead can bang their heads to. With ten tracks, there are lots of great melodies spiced up with shakin’ riffs that are sure to encourage fans to turn up their stereo knobs all the way to eleven and enjoy.
Unchainedfeatures guest artists Ben Varon (Oceanhoarse, ex-Amoral), Ilja Jalkanen (Raskasta Joulua, Kiuas), and Teemu Mäntysaari (Wintersun, Smackbound) plus was mixed by Jussi Kraft (Starkraft Studio) and partly by Nino Laurenne (Sonic Pump Studios).
Thy Rowis: Mikael Salo – Vocals Jussi Laulainen – Guitar Ville Vase – Guitar Juho Jokimies – Bass Teemu “Snake” Laitinen Drums
The God Of Hellfire ARTHUR BROWN Invites You To His MONSTER’S BALL, Releases New Single LUCIFER SAM With DEEP PURPLE’S IAN PAICE & STEVE HILLAGE!
Features performances by James Williamson, Ian Paice, Mark Stein, Nik Turner, Shuggie Otis & More
Los Angeles, CA – Fans of dark and ghoulish rock & roll are all cordially invited to attend what is sure to be the biggest party of this year’s Halloween season, Monster’s Ball, the new album from the one and only God Of Hellfire and theatrical rock visionary, Arthur Brown! For his latest macabre-themed masterpiece, Brown is joined by a murderer’s row of talented co-conspirators including the album’s producers Alan Davey, who also co-wrote several of the songs, and Fernando Perdomo, all of whom have helped Brown craft one of the most energetic and thrilling albums of his long and distinguished career. From The Stooges’ guitarist James Williamson, who brings the heat on a new version of Brown’s iconic 1968 hit “Fire” to the killer collaboration with Vanilla Fudge’s Mark Stein on “Zombie Yelp,” Monster’s Ball promises to be one hell of a good time!
Today, Brown is proud to share another song from the album, the psychedelic opener to the album “Lucifer Sam,” penned by none other than Syd Barrett and featuring ripping performances by Gong guitarist Steve Hillage and Deep Purple drummer Ian Paice. Brown had this to say about the song, “As a prelude to the album launch on October 21st here’s a mysterious track by the enigmatic Syd Barrett. Fernando Perdomo’s bold production, the song’s adventurous structure, and the input of Steve Hillage and Ian Paice make this a delight of spooky fun. Shadows flickered and felines howled as I sang this portrait – Happy Halloween!”
Track List: 1. Lucifer Sam feat. Ian Paice & Steve Hillage 2. Screamin’ Ball (At Dracula’s Hall) feat. Alan Davey 3. I Feel Free feat. James Williamson & Rat Scabies 4. Bucket O’ Blood feat. Nik Turner 5. Zombie Yelp feat. Roye Albrighton & Mark Stein 6. Whistlin’ Past The Graveyard feat. The Sinclairs 7. Fire feat. James Williamson, Brian Auger & Carmine Appice 8. The Monster Hop feat. Shuggie Otis 9. Curse Of The Hearse 10. Mad Witch 11. The Vampire feat. The Coffin Daggers 12. Late Last Night feat. Steve Hillage, Roye Albrighton, Gilli Smyth & Joel Vandroogenbroeck BONUS TRACK [CD ONLY] 13. Karn Evil #9 feat. Jordan Rudess