American band MAD PAINTER have recently released their 2nd album Splashed. Consisting of 17 (!) songs, including covers of Uriah Heep’s “Stealin'” and “Highway Driver”, originally by German band Randy Pie. Splashed touches on various classic rock & pop influences, so it’s a bit of mish-mash of a number of good songs, however I will say I prefer the old 40+-minute / 8-10 track restraints. The band’s sound revolves around Alex Gitlin’s lead vocals, and keyboards (largely Hammond organ & piano), which works fine on the more ‘progressive’ rockers, like lead off track “Illusion”, which kicks off with a big Hammond organ intro reminiscent of old Uriah Heep or Argent. It’s a good rocker, which features further keyboard & guitar exchange as the song comes to a close. “Samurai” is another one that fits into this Hammond organ intro / driven rock tunes, and I dig the Randy Pie cover. Also of interest is “Parting Line”, which takes it’s title and lyrics from an old John Sloman ballad and puts them to big guitar opening riff, courtesy of Alan Naha.
But after that Splashed features a number of lighter songs, ballads, even a few ‘show’ tunes. And I mean that in a good way, because I think this is where the vocals and band (performances & production) are even better, with ballads “Lie To Me”, and “I’ve Been A Fool”, more poppy tunes like the late ’70s sounding “Love Is Gold”, and theatrical pieces “Friend In France” and “The Moon” . Splashed is a fine collection of songs, but I think there’s a lot going on, almost like there’s more than one album here. Overall a fun sounding band, who (I imagine) are a good live act; hope to hear more Rock from them in the future!
*For more info, check out the Bio below, as well as links!
Mad Painter is a new band in the Boston area, deeply rooted in the melodic rock tradition of the 1970s. They play mostly original music, ranging from Woodstock-era psychedelic rock to glam tinged rock’n’roll a-la Mott the Hoople and the Faces and to epic heavy anthems in the vein of Uriah Heep. It consists of four individuals with wildly ranging backgrounds. At the center of Mad Painter is Alex Gitlin, the songwriter and creator of the concept. He is backed capably by drummer Al Hendry (Bubba Loaf, Tokyo Tramps), as well as bassist Kenne Highland, a true veteran of the Boston rock scene (ex-Gizmos, Hopelessly Obscure, Johnny & The Jumper Cables, Africa Corps.) and the newest addition is guitarist Al Naha (Thighscrapers), who plays with Kenne in Kenne Highland Airforce. They’ve played, in different line-ups and guises, many venues around the Boston area, such as the MIT, Out of the Blue Gallery, McGann’s, Hennessy’s, Club Bohemia, The Jungle Community Music Club and C Note in Hull, as well as the Winter Tanglefest in the Poconos. It’s always a good time when you come to their shows, and you know what to expect – nostalgic 70s rock vibes and stage gear to match, great musicianship and songs that will make you get up and bop around, singing and clapping along. A party.
In Deep would be the 4th album from British band ARGENT. The band was named after keyboard player/songwriter Rod Argent, ex of The Zombies, and also included singer/guitarist Russ Ballard, who would write the band’s biggest hits, as well as make a bigger name for himself as a songwriter years later, as many acts would cover and/or have hits with his songs (Argent & Solo) – including Ace Frehley, America, Three Dog Night, Roger Daltrey, Rainbow, Santana, and Uriah Heep. The rhythm section consisted of bass player Jim Rodford (RIP), and drummer Bob Henrit – both would later join The Kinks, as well as work with John Verity, and various other acts. Anyway, In Deep was released in the spring of 1973, and was the follow up to the band’s highly successful All Together Now, which featured the band’s massive hit (and best known song) “Hold Your Head Up”. And although In Deep didn’t feature as nearly big of a hit or fared as well, it is the band’s best, IMO. Side one kicks off with the band’s next anthem “God Gave Rock N Roll To You”, which was a Top 20 hit in the UK, but didn’t break the Top 100 in the US, but it would be a favorite among fans. It would become a bigger hit in the US in 1991 when Kiss recorded it for the soundtrack to Bill & Ted’s Bogus Journey (Kiss updated it on guitars-only, sped it up a bit, and altered it enough, enabling them to add Simmons, Stanley and Bob Ezrin to the songwriting). In a 2012 interview*, Ballard revealed- “The first song that I wrote after my depression was ‘God Gave Rock N’ Roll To You’. The lyrics were all about that optimistic feeling that I had at the time. Of course, when KISS did another version of the song, they changed some of the lyrics because they didn’t fit with the overall image of a rock band in America. Every single song I wrote during my depression was sad but it was also natural. ‘God Gave Rock N’ Roll To You’ was my first happy song after the depression period.”
This was followed up by favorites “It’s Only Money, Part 1” and “It’s Only Money, Part 2”; the latter would be issued as a follow up single, both are classic Argent numbers penned (also) by Russ Ballard, and would feature on the band’s 1974 double live release – Encore: Live In Concert. Side one ends with the first of 4 songs from Rod Argent and co-writer / producer Chris White (ex Zombies) – “Losing Hold”, a soulful ballad that builds up a good bit, features one of Ballard’s finest vocals, and has a bit of a haunting feel to it, reminds me of Bloodrock’s “D.O.A.” Side 2 gets a bit more poppy with the lengthy “Be Glad”, which features Argent’s piano work and harmonies, with lots of changes. Also, included is the outstanding “Candles On The River”, which is heavier, yet has more of a late 60s vibe to it (maybe it’s the organ sound and harmonies?). Also included is the Beatle sounding “Christmas For The Free”, and Ballard’s closing bar-room rocker “Rosie”.
The cover art design for In Deep was created by Hipgnosis would feature photos of bandmembers (front & back) jumping into water. In a 2017 Interview Rod Argent recalled the taking of the album’s cover photo – “I can swim now, but at the time we did that cover, I couldn’t swim. I wasn’t afraid of the water, I just couldn’t swim and the people doing the cover wanted a photograph of under water and they went to a swimming park where there were portholes in the sides of the pool and a restaurant there, so people could look under water to see people swimming. They said to me: “Ok, jump in and go down to the bottom of the pool”. I said: “I can’t”. They said: “Why?” “I can’t, because I can’t swim”. They said: “Nooo, come on! Are you joking?” I said: “No, I can’t”. I finally jumped in. I don’t know how, I managed to keep underwater for that long. I can do it now, but at the time that cover was taken I was actually underwater, I jumped in the deep and I couldn’t swim.”
A shame this album doesn’t get more attention, as it is now 50 years old, there seems to be a lack of any significant CD or special (anniversary?) reissues. But a classic ’70s British rock record well worth having.
ARGENT RockerARGENT release a Russ Ballard composition as their new single in two weeks time. God Gave Rock’n’Roll to You is the name of the single and is a track from their In Deep album which will be issued on March 2. Argent have delayed the opening of their next American tour to promote both records, and will now open in California on March 16. The tour breaks for the group, to take a two week rest in Britain before they go on to dates on the East coast, Hawaii, Japan and Australia. In late June the band play British and European dates and at the end of June, Argent work on a new album. Remaining British dates for the band before they leave for the U.S. are at Leeds Polytechnic (2), Glenn Ballroom, Llanelly (8), South Parade Pier, Portsmouth (10), Goldsmith College, London ( 16 ) Loughborough University (24 ) and Salford University (March 2). – Record Mirror (02-03-1973)
ARGENT, “GOD GAVE ROCK AND ROLL TO YOU” (prod. by Rod Argent & Chris White) (Mainspring, ASCAP). “Hold Your Head Up” established British contingent as a potent singles selling act, but this Russ Ballard song will make them giants. Edited down from almost -7 minute version from “In Deep” Ip, cut will penetrate charts almost immediately. Epic 10972. – Record World (03-24-1973)
ARGENT (Epic 10972) God Gave Rock And Roll To You (3:20) (Mainspring, ASCAP- R. Ballard) This is the follow-up they’ve been looking for to “Hold Your Head Up.” English band hits you with the hook chorus right away and keeps your interest throughout thanks to their instrumental prowess and lyrics. Flip: no info. available – Cash Box (03-24-1973)
ARGENT, “IN DEEP.” This group hit the top of the charts with “Hold Your Head Up,” and their subsequent larger following should mean a huge smash for this album, their most consistently superior yet. “God Gave Rock And Roll To You” is the musical wizard to watch, while other blues and ballad cuts are all tops. Epic KE 32195. – Record World (03-31-73)
ARGENT -In Deep, EPIC NE 32195 (Columbia). Highly energized move music led by Rod Argent’s flowing organ work and Russ Ballard’s guitar support. produce an LP of modern intensities and rich sonorities. This is four beat rock, with samplings of delightful veal harmonies. The quartet maintains a tight discipline which has an organized effect. Best cuts: “It’s Only Money Part 1. “Candles On the River.” “Rnsie.” Dealers: This British band is well.hnown for its solid, hard dewing music and can he placed in the rock and Brilish rock group bins. – Billboard (03-31-1973)
ARGENT (Epic 11019) It’s Only Money (3:28) (Mainstay, BMI-Ballard) Culled as a follow up to their brilliant “God Gave Rock ‘n Roll To You”, Argent come up with another hypnotic hook guaranteed to capture the record buying public. Single makes for great top 40 and FM programming. Flip: No info.. available. – Cash Box (07-07-1973)
Canadian band Chester Doom, from Halifax has a new single out titled “Not Far Behind” . The track is a follow up to their excellent cover (single) of Leonard Cohen’s “Everybody Knows, as well as “Anxiety” (from late last year). The band released an 8 track CD earlier last year titled Masks. Chester Doom cites such as influences as Rush, Tool, Guns n Roses, and Led Zeppelin. . Check out the videos below, as well as more info, and the links. “Not Far Behind” is available on all streaming services.
In “Not Far Behind,” Best channels that sense of hope and resilience, weaving a powerful and emotive story of perseverance in the face of adversity. The track is a commentary on the strength of the human spirit and a reminder that, no matter how dark things may seem, we are never truly alone.
With a driving beat, soaring vocals, and an unforgettable hook, “Not Far Behind” is sure to resonate with audiences of all ages and backgrounds. The song showcases Chester Doom’s signature sound, a blend of classic rock and modern alternative that has been winning them fans around the world.
Ohio’s BRAVE THE SEA is a Celtic rock band who will be releasing their 3rd album at the end of April. Titled Lady Death, it features 11 tracks, all pretty upbeat, lots of fast paces, and hard-rockin. There’s nothing overly long here, with only 2 tracks exceeding 4 minutes, so it’s fast paced, catchy, fun, with tales from the sea, and probably pretty different to anything else you’re familiar with. Best cuts include – “Not The End”, “Day I Die”, and “Judgement Day”. There’s also a few lighter moments on this, with “Medusa” and “Where I Belong”. Check out the band’s clips, the press info below, and links. Also, check out the band’s youtube channel for some unique covers (and mandolin covers!) of songs from Dio and Diamond Head!
Lady Death can be pre-ordered (on CD, + t-shit!) – HERE
BRAVE THE SEA who will release their third full-length album, Lady Death, on April 28th. If you could, please take a moment to check out the record. I’d appreciate any feedback on the music and consideration for review, interview or otherwise around its release.
If you’re unfamiliar, Brave The Sea formed in 2015 and to date they’ve released two full lengths, A Pirate’s Life (2017) and The Kraken (2019). Their music has been streamed millions of times and they’ve rocked the stages of Milwaukee Summerfest, Dublin Irish Festival and Kentucky Pirate Festival while touring throughout North America and Europe. Now the band returns post-pandemic with a boisterous record, Lady Death, that’s sure to have fans clinking beers and singing along.
Brave the Sea is a Columbus, OH Celtic rock band whose fun live performances and hook filled melodies have won over a legion of fans. Formed in the summer of 2015, the guys hoped to be covering everything from the traditional Celtic tunes to the modern renditions of bands such as Flogging Molly, Dropkick Murphys, and Alestorm.
Rave reception has led to millions of streams and performances at Milwaukee Summerfest, the Dublin Irish Festival and the Kentucky Pirate Festival. 2022 saw the band intensify their touring schedule, and even perform their first dates in Europe!
Now, the band is gearing up to release a brand new LP, Lady Death for 2023. It will see the band building on their trademark elements and incorporating ideas that they have built up during the pandemic. They’ll also be going back to Europe to play a run of club shows and festivals. Join Brave the Sea’s Celtic rock party. You won’t regret it.
Tracklisting:
On My Way Lady Death Not the End Bad Luck Going Down Where I Belong Day I Die Frozen Shore Medusa Judgement Day Unnamed Grave
Like Pink Floyd albums, David Gilmour solo releases seem few and far between, thus become events to listeners and fans. And with such a wait, expectations are high. So, 2015’s Rattle That Lock was an eventful one for David Gilmour fans – a new studio album, followed by a world tour. Rattle That Lock being Gilmour’s 4th solo (studio) album since 1978, and followed the 2014 Pink Floyd album Endless River. From the packaging alone, one can sense something special in holding Gilmour’s latter releases – beautiful cover art, gatefold, a 16 page booklet insert.
And then the music, starting off with the built up instrumental / overture “5A.M.”, and there is something about Gilmour’s guitar sound & feel that make this sort of stuff so appealing that I want to play it repeatedly. The title track is one of a few upbeat songs here, it is memorable, a fine choice for a single, with nice harmonies, the other more upbeat tune being the album’s other single – “Today”. Rattle That Lock is largely slower tempo, atmospheric music, but with a good deal of changes. It all flows together so perfectly through Gilmour’s guitar sound, voice, and top production. Favorites cuts have to be “Faces Of Stone”, “Dancing Right In Front Of Me”, and “In Any Tongue”, where Gilmour lays out his ‘heaviest’ and most memorable solo. There’s some different stuff here, such as the slow paced jazzy “The Girl In The Yellow Dress”, featuring cornet and saxophone.
Plenty of guests, plus the use of orchestra and choirs on a various tracks. Guests include Phil Manzanera (Roxy Music), Andy Newmark (Sly & The Familiar Stone), Jools Holland (Squeeze), British jazz bass player Yaron Stavi, among others. David Crosby (RIP) and Graham Nash add harmonies on “A Boat Lies Waiting”, and pre-recording-days Pink Floyd guitarist Rado Klose (I never knew). The journey of Rattle That Lock ends with a revisit of the opening theme on “And Then…” The ensuing tour would give us the Live At Pompeii release in 2017.
Well, as Steve Hackett is going out on tour to play Foxtrot to celebrate the album’s 50th anniversary, I pulled this out. My favorite Genesis album, the band’s fourth, and 2nd to feature the classic line-up of Peter Gabriel (vocals), Steve Hackett (guitars), Tony Banks (keyboards), Mike Rutherford (bass), and Phil Collins (drums). Released in October of 1972, Foxtrot was a #1 album in Italy and Top 20 in France and the UK. It starts off with one of the most recognizable mellotron intros to the classic “Watcher Of The Skies” . The song is majestic, with changes, theatrics, and superb production; the best song of the era IMO. But, Foxtrot is full of classics like “Time Table”, the acoustic based gem “Can-Utility And The Coastliners”, the epic “Get ‘Em Out By Friday”, and the band’s 23+ minute masterpiece “Supper’s Ready”. There is so much going on on Foxtrot, it just has more to discover every time. Foxtrot would be the last of 3 album coves for the band drawn by Paul Whitehead. One of the essential progressive rock albums to have.
NEW YORK-GENESIS: COMING OF AGE Why do you suppose it is that American audiences seem to immediately respond to British groups? And why do you suppose it is that Great Britain has consistently produced some of the very best and most talented musicians ever? One of the major factors attributed to the overwhelming success of the British invasion is dedication-pure and simple dedication. Another is originality. And that brings us to the beginning: Genesis. The nucleus of Genesis was formed back in 1966, and has, over the past six years, developed into a tightly knit unit of fine musicians/songwriters we have created a particular brand of what can be called narrative rock-though neither ‘narrative’ nor ‘rock’ best describes their musical genre. For Genesis lies in an- other musical realm.
‘watcher of the skies watcher of all His is a world alone no world is his own He whom life can no longer surprise raising his eyes beholds a planet unknown.’
At their best, Genesis is capable of weaving a tapestry of sound into a blanket of intricate song, Tony Banks (mellotron and keyboards) knows exactly when to become an entire orchestra, and when to lay back and be felt rather than heard. One of the dangers of using a mellotron is that a group can be easily compared to the Moody Blues or to Yes-but Banks, too, is a master technician, and no comparison need be drawn. He has developed his own unique style of performing, which, in conjunction with the remainder of the band, has given him his own identity. The other members of Genesis, Steve Hackett, Phil Collins, Peter Gabriel and Michael Rutherford, all contribute equally to the band’s overall sound. They play a variety of instruments and generate the necessary energy needed to comprise a total working unit. And when everyone contributes, everyone shares in the success.Genesis has for long been a favorite British band. Their first two albums, “Trespass,” and “Nusery Crime” have already become best sellers abroad. Their third, “Foxtrot,” was a top 20 LP in England and has just been released in America on Charisma Records distributed by the Buddah Group. On December 13, Genesis will make their debut American performance at Philharmonic Hall, and those of us who truly appreciate progressive music will be there. – CashBox, 72-12-09
GENESIS – Foxtrot Charisma (Buddah) CAS 1058 – For some time a top name in England, Genesis should begin to make U.S. headway with this interesting set. Tony Banks stands out on organ, piano and mellotron, and Peter Gabriel is a fine vocalist. Highlights on side one include “Get ’em Out by Fri- day” and “Watcher of the Skies,” while side two is given the overall title of “Supper’s Ready” follows a basic story line. Strong cuts include “Lover’s Leap” and “Ikhaton and Itsacon and Their Band of Merry Men.” – Billboard, 72-12-09
Genesis To Debut At Philharmonic NEW YORK – British rock group, Genesis, will make their first American appearance at Philharmonic Hall on Dec. 13, in a concert sponsored by radio station WNEW-FM and Charisma Records. The show, which will also feature Charisma artists String Driven Thing, is being produced by Dominic Sicilia. All tickets for the performance will be sold at $3.00, with the total receipts being donated to the cerebral palsy fund. Genesis’ latest album, “Foxtrot,” a top 20 LP in England, has just been released in America on the Charisma label, distributed by the Buddah Group. – CashBox, 72-12-02
British heavy metal band WYTCH HAZEL will release their 4th album June 2nd. Wytch Hazel, who also include elements of folk and prog, along with Christian based lyrics, also have a brand new video out for “Angel Of Light”. Citing the likes of Blue Oyster Cult, Iron Maiden, Deep Purple and Led Zeppelin (among others) Wytch Hazel’s music has a wide appeal to 70s classic rock fans. Two tracks from their forthcoming album IV: Sacrament can be heard and purchased at the band’s Bandcamp site – the above mentioned “Angel Of Light” (nice Thin Lizzy vibe), and the excellent “Digging Deeper”, which has an early Wishbone Ash feel. The new album features cool artwork from Nathaniel Winter Herbert, and will be out on Bad Omen Records (see SPELL, BIRTH, SATAN’S SATYRS) in multiple formats, including colored vinyl. *for album & merch orders – https://wytchhazel.bandcamp.com/album/iv-sacrament?from=fanpub_fnb
*Check out more info on the band below (from band’s site Bio) and links.
For many all-time-great rock bands in the ascendant, the fourth album is often the point where youthful years of febrile creativity and progressive momentum culminate in a masterwork for the ages, setting the seal on an early signature sound while opening it up to future possibilities. From enchanting 2016 debut Prelude, through 2018’s assured II: Sojourn, to 2020’s wizardly III: Pentecost, each Wytch Hazel album has embodied that old-fashioned notion of unstoppable progress, and the glittering treasure chest that is IV: Sacrament proves eminently worthy of rising to the toughest challenge. Not just the Lancashire quartet’s most classically beautiful production, but their strongest yet front-to-back collection of affecting hooks and ageless melodies.
A very tough challenge it was, too; records this good don’t get banged out willy-nilly, and Jimmy Page, Ian Anderson and Freddie Mercury didn’t have to fit recordings in between day jobs and school runs. “This album has been a trial,” sighs founding singer/guitarist Colin Hendra with his head in his hands, his voice full of cold. “It’s been a tough few years for everyone, which plays into it, but it was exhausting. Working full time, trying to be a dad and husband, running the band, writing the albums – and being a complete control freak about every aspect of the process…” Colin breaks off and chuckles at his Eeyorish approach to album promotion. “But there’s no gain without pain!”
The triumphs and tragedies are written all over IV: Sacrament. Working closely again with regular producer Ed Turner, Colin’s God-given gift for diamond songwriting has been enhanced to majestic proportions with Ed’s Roy Thomas Baker doozy of a production job, his expressive sonic trickery sublimely underscoring the varied musical moods. “Me and Ed like the same albums, so we’re singing from the same hymn sheet every time,” enthuses Colin. “We love the Sabbath production, obviously Martin Birch, and the Queen albums; we want it to sound like Wytch Hazel, which it kind of always does, but we want it to also have that classic sort of quality.”
Colin describes his working relationship with Ed as “perfectionism amplified. We’re a good match but bad at the same time! It takes ages to get an album done, but if it’s going to be done we want to do it right.” The new studio looked promising: a converted Baptist chapel in rural Wales, chock full of vintage gear. However, with personal reasons forcing drummer Jack Spencer to step back from the band (subsequently departing in September 2022), Colin took on the additional laborious task of completing all the drums himself. As well as all the vocals, lyrics, lead guitar and drums to fret over, there were so many mysteriously blown cabs, amps and vocal cords you might suspect the Devil was trying to stop anyone else getting the best tunes. “I don’t know why we have such bad luck,” groans Colin. “Engineers were scratching their heads, like ‘how have you done this?!’”
photo- Sam Scott Hunter
Now Sacrament is finally offered – and sounds as fantastic as it does after all the blood, toil, tears and sweat – you might think Colin could finally bask in the glory of this resounding achievement, but he’s not even fully comfortable taking credit for his own songs. “When I listen back there are multiple times when I’m like, I don’t even know how this happened,” he ponders. “I know I wrote it, but I don’t feel complete ownership over them. It has that sense in which… there’s something else, and I’m a part of it.” On previous albums, specific influences were readily discernible, and although Angel Of Light tips a nod to Angel Witch and Endless Battle nails the sweet spot between Steeleye Span and Judas Priest, Sacrament’s ten songs zero in on a sound and style that’s all their own. With assertive, explosive earworms like The Fire’s Control, Strong Heart and A Thousand Years and the profound emotive magnetism of Time And Doubt, Deliver Us and Digging Deeper, Wytch Hazel revel in their distinctive Wytch Hazelness. Colin’s Christian faith continues to inform much of his lyrical outlook, but there’s a disarming openness and emotional force that might have you reaching for the Kleenex.
“It’s some of the most honest songwriting I’ve ever done,” Colin reflects, “and they come from a darker place, I think. I’m getting older, that comes through in some lyrics: ‘see my body breaking’, ‘I’m digging deeper’, ‘time’s running out…’ I struggle to see the positive a lot of the time, so the songs end up being negative, the subject matter coming from constant striving.” Among all the doomsayer tendencies, gorgeous sylvan acoustic strum Future Is Gold proclaims a radiant optimism, but it’s more hope in the eternal than an expectation of earthly improvement. “It’s rooted in scripture,” Colin explains, referencing the Book of Haggai: ‘the glories of this latter house will be greater than the former’. “I struggle to believe that half the time, with the state of the world, but who knows what level that is? Will the afterlife be better, when all suffering has ended, or is what we see as better not actually better? If things are always going comfortably, it isn’t always the best thing for us. An element of suffering is necessary.”
Suffering has clearly been necessary for the creation of the fourth Wytch Hazel album; let’s hope for Colin’s sake the next one requires a bit less. “I’ve blown my own mind a bit,” he concludes. “And even after all this painstaking work, I still feel like I’ve only scratched the surface of what we could be doing musically. I wish I could have a month to work on one song, and go on a tangent a bit. I will in the future, it’s going in the right direction. I’ll get to the stage when I can commit more time and do an odyssey or something!”
Credits:
Drums, Guitars, Vocals, Piano & Organ – Colin Hendra Guitars – Alex Haslam Bass Guitar – Andrew Shackleton
Mandolin & Mellotron – Ed Turner
Recorded at StudiOwz, Pembrokeshire, Wales Produced and mixed by Ed Turner Engineered by Owain Fleetwood Jenkins Mastered By Terry Waker at Tonalex
Legendary guitarist Steve Hackett is pleased to announce that two of his ’90’s solo records will be released on vinyl for the first time ever in 2023, marking the beginning of a series of vinyl reissues of his solo catalogue. On June 2nd, 2023, the 1993 album ‘Guitar Noir’ & the 1999 album ‘Darktown’ will be made available as Gatefold 180g 2LP’s, each newly remastered especially for the vinyl format.
‘Guitar Noir’ (1993) saw Steve taking a darker approach to his guitar sound, and he was joined by Julian Colbeck (keys), Dave Ball (bass), Hugo Degenhardt (drums), Aron Friedman (keys), Nick Magnus (keys) & more for this record.
‘Darktown’ (1999) also saw Steve joined by Julian Colbeck (keys) & Hugo Degenhardt (drums), as well as Roger King (Keys, Bass, Drums), Jim Diamond (Vocals), John Hackett (Flute, Pan Pipes), Ian McDonald (Sax) & John Wetton (Bass Samples). This edition of the album also includes the 3 bonus tracks included on the 2013 CD reissue.
Steve comments: “I’m thrilled that my two albums Guitar Noir and Darktown are being release on vinyl for the first time! My music took on a darker edge for both those albums, and I explored additional sounds and genres I hadn’t touched before.”
Following the Wuppertal show with full orchestra, Steve Hackett and band will continue their Foxtrot at Fifty plus Hackett Highlights tour in Europe in April and North America in the autumn.
Steve Hackett Steve Hackett joined Genesis at the beginning of 1971 and gained an international reputation as the guitarist in the band’s classic line-up alongside Peter Gabriel, Tony Banks, Mike Rutherford and Phil Collins. Hackett’s intricate guitar work was a key element of Genesis’ albums from Nursery Cryme (1971) to Wind And Wuthering (1977) including the classic Selling England By The Pound. After leaving Genesis at the end of 1977, Hackett’s solo career, which now spans more than 30 albums, has demonstrated his extraordinary versatility with both electric and acoustic guitar. Hackett is renowned as both an immensely talented and innovative rock musician and a virtuoso classical guitarist and composer and this was recognized in 2010 when he was inducted into the Rock Hall Of Fame. He has also worked alongside Steve Howe of YES in the supergroup GTR. Hackett’s compositions take influences from many genres, including jazz, classical and blues. For his later studio works The Night Siren (2017) and At The Edge Of Light (2019) Hackett has explored the influences of world music. Recent tours have seen Hackett celebrate his time with Genesis including a spectacular 2018 tour in which he realised a long-held ambition to perform the works of Genesis live with his band and an orchestra. The lockdown enforced by the 2020 global pandemic has proven to be a particularly creative period for Hackett. He began by releasing Selling England by the Pound & Spectral Mornings: Live at Hammersmith, a live recording of 2019’s hugely successful tour celebrating that Genesis classic together with the 40th anniversary of one of his most-loved solo albums. Lockdown also gave Hackett the opportunity to write and record two new studio albums, the UK Classical Chart hit Under A Mediterranean Sky and Surrender of Silence.
SAXON recently released a sequel to their 2021 covers’ album Inspirations. So, More Inspirations is 10 classic rock songs that have been been given the Saxon treatment. I do Not normally like or buy covers’ albums, but the 2 Saxon have made I am happy with. The band tends to choose plenty less-then obvious gems to include. They also keep the production simple, without adding things that are not part of the song or not part of the Saxon sound, hence there’ s no keyboards on the likes of “Gypsy” (Uriah Heep), or “Man On The Silver Mountain” (Rainbow), which is fine, both still sound great!.
Favorites here include the band’s takes on “Tales Of Brave Ulysses” (Cream), “Substitute” (The Who), “From The Inside” (Alice Cooper), and Nazareth’s “Razamanaz”, which suits Saxon & Biff’s voice perfectly! Love the band’s performances here, and Biff has one of the most recognizable voices in British rock. Well worth checking out!
Rock Group “Midnight Daydream” Feat. Son Of Late Guitarist Bruce Cameron To Release Self-Titled Debut Album
The writer, producer, engineer and main performer on the album is Riley Cameron, the son of the late guitarist Bruce Cameron, who tragically passed away in 1999 shortly after releasing his debut LP titled “Midnight Daydream”. An album that featured a plethora of rock legends. Inspired by his father’s work, the only viable option was to carry the musical legacy that his father left behind.
The self-titled album features a blend of hard rock, electronic, hip-hop and various other musical styles that create a modern sound that captures a spectrum of influences.
The “Midnight Daydream” LP is set to release on July 5th, 2023 and will be available on all mainstream platforms, including Itunes, Spotify and Youtube. Physical Copies and merchandise will also be available through their merchandise store via BandCamp.
Outsider Rock 