All posts by KJ

ALICE COOPER – School’s Out at 50

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OK, so I’m a few months late on this one… At some point or another over my years as an Alice Cooper fan – any of the original band’s 5 albums from from 1971 to ’73 has been my favorite, at least for a brief time. School’s Out – the album, may not top the fan polls as much as Killer or Billion Dollar Babies, but it is a tough call for me. Heck, I love Muscle Of Love as much as any of them, so for me to rank them depends on the day of the week, I guess. School’s Out – the album was preceded by “School’s Out” – the hit single. The song would reach #1 on the UK charts, top 10 in numerous others, and it would be the album’s only single! But it wouldn’t be the album’s only classic. And I’ve often wondered if the album would’ve been better served with a follow up single(!?), as there was no shortage of great choices. But as the music business moved so fast back then, the next single would be “Elected”, recorded for the US election campaign.

The album opens with Glenn Buxton’s most recognizable riff (and most iconic in AC’s catalogue) to the title track. And despite the AC band having a number of signature songs (there’s about a half dozen that Alice has always kept in his live show) – “School’s Out” is #1 with the masses, and one that can’t be covered (yeah, a few have tried, but.) School’s Out also featured “Luney Tune” (from Cooper & Dunaway) and “Public Animal #9” (Cooper & Bruce), both classic AC rebellious teen anthems that I think would’ve made excellent singles.

Anyway, following “Luney Tune” on the first side is “Gutter Cat Vs The Jets”, credited to Buxton, Dunaway, Bernstein & Sondheim . The ‘Gutter Cat’ section of the song is the tale of an alley cat, that features one of the greatest bass intros on a rock album and is a driven by Dennis Dunaway’s bass performance before it makes a change, and the band breaks in to the ‘Jets’ theme from West Side Story! The West Side Story bit ends just as the band rolls in to “Street Fight”, a short instrumental based on bass, drums, along with bottles smashing, yelling, cat’s meowing… all put together more so for theatrical purposes (stage show). The first side ends with “Blue Turk”, which though it was penned by Cooper & Bruce, this chilling classic, which I seem to think is about necrophilia (anyone?) is a very jazzy number, very different in sound and performance highlighted Dennis Dunaway’s bass playing that drives this slowly along, as well as Alice’s excellent vocal, and a trombone solo from Wayne Andre, which went uncredited! A shame as this trombone performance is most unique on a rock album, and is a major highlight on this album, IMO. “Blue Turk” is a hidden gem amongst Alice Cooper’s (original) catalogue.

Side 2 opens with “My Stars”, credited to Cooper and Bob Ezrin, who plays piano on this one, and brought in Dick Wagner to play guitar on this one. It’s an interesting track, a good side opener, with a few changes, though I’m not sure what the heck it’s about. As previously mentioned, I think “Public Animal #9” would’ve made an excellent single, it’s a great rebellious teen anthem, with Alice delivering words on bad deeds he’s done, and is ‘proud to be Public Animal #9’.

In contrast, “Alma Mater”, from Neal Smith is a ballad that reflects on his time in school making mention of pranks, teachers, high school…. nicely delivered by Alice with effect, sounding like it’s being sang into the telephone. As that track fades out “The Grand Finale” fades in, an instrumental closing number that is pretty dramatic, full of horns, and a tip to West Side Story in the end, ending with a ‘pow’; credited t the band, as well as Ezrin, Bernstein, and American tv/ Disney movie songwriter Mack David. A fine ending to this album, tho I always felt like this album was short a (real) track.

School’s Out came in a fold-out desk cover, designed by Craig Braun, which opened up showing a report card, band photo, cartoons, pencils, etc.. The desk cover concept had been used a year prior to AC, by British band Hotlegs (designed by bandmembers Goldey & Creme) on their album Thinks: School Stinks. With the School’s Out LP came a pair of women’s paper panties, which got the record seized (after it’s first print) due the panties not passing a Flammable Fabrics Test upon arrival (having been imported from the UK). As relayed in Dennis Dunaway’s book, a planned panty drop on the band’s Hollywood Bowl show from this era went sideways when panties dropped from Helicopters were blown away from the show in and landed on rooftops of nearby houses! Dunaway also brought out pink paper panties at promotional stops for his book.

From CashBox Oct, 9 ,’72 – Alice Cooper’s “School’s Out” on Warner Bros has run into trouble from Mrs. Mary Whitehouse, Secretary of the National Viewers and Listeners Association. She has sent letters to the BBC and education authorities complaining that the lyrics are capable of sparking off increased violence in schools this autumn. The single now topping the U.K. charts and published by Carlin Music has now passed the quarter million mark earning itself a Silver Disk.

Links:

https://alicecooper.com/music/schools-out/

https://www.rhino.com/article/april-1972-alice-cooper-releases-schools-out-single

Alice Cooper’s Panties Banned
Album Cover of the Week: Alice Cooper, School’s Out

https://www.azcentral.com/story/entertainment/music/2022/07/08/alice-cooper-album-schools-out-oral-history/7784277001/

Story Behind The Album Cover: Brownsvile Station’s Motor City Connection, with Michael Doret

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American Artist Michael Doret is known for his letterform and image designing, and over the years he has created a number of rock album covers, with his most famous clients being Kiss, he also worked on covers by James Brown, The Blue Hawaiians and The Squirrel Nut Zippers. In 1975 though he was hired to create the cover for Brownsville Stations’ Motor City Connection album. The album was released in August of ’75 and would be the band’s last for Big Tree Records. It would also be their last as the classic trio of Cub Koda, Michael Lutz and Henry “H-Bomb” Weck, as guest Bruce Nazarian would join the band soon after on guitars. The album didn’t fare so well in comparison to the band’s earlier releases, part of which might’ve had to do with their being no single release from it. Motor City Connection is a great harder rockin’ album from Brownsville Station, featuring such favorites as “Automatic Heartbreak”, “Give It To Get It”, “Self Abuse”, and “They Call Me Rock ‘N’ Roll”; an album (like most of the band’s catalogue) which is long overdue for a CD (and vinyl) reissue! Certainly, one of Brownsville Stations’ best, and their most eye-catching cover from Michael Doret who talks about how he created this album’s front cover (the back cover features the logo again, along with credits and band photos; see comments). He also talks about some of this other album covers, notably the 2 he did for Kiss, and other aspects of his career.

Your background in art and your connection to the music world early on?

My background was that I attended The Cooper Union School of Art and Architecture. I thought I would become a fine artist of some sort, but I ended up falling in love with graphic design, realizing that I wasn’t cut out to be a painter or a sculptor. After graduation I held a series of staff positions in the design departments of various companies before going out on my own as a freelance graphic designer. At that point I hooked up with the preeminent airbrush artist of the 1970s—Charles White III. We collaborated on many projects including several album covers, among which were “Chuck Berry’s Golden Decade”, “Chubby Checker—Greatest Hits”, and “Gentle Giant—Octopus”..

How did Motor City Connection for Brownsville Station in 1975 come about?

That was so long ago that it’s hard to remember all the details . . . but I was contacted by Paula Scher from Atlantic Records who had recently become familiar with my work and asked me to design and create art for this cover. There’s really not much more to this story than that. As a young freelance designer, I wasn’t looking to work in any one particular area, but was interested in all kinds of projects from movie title treatments to posters to book jackets to advertising, etc. As I became more and more known in the design field, I got more and more assignments to solve all kinds of different design problems. Record jacket design was just one area of design for which I was lucky enough to get hired.

Familiar with the band?  How did you approach putting that cover drawing together -where the idea came from? Any band input?

Honestly, I wasn’t familiar with the band, but that really didn’t matter. What is important is that a designer should be able to approach any design project, make themselves familiar with the subject, and be sensitive to what the client wants to project. I was never a big fan of heavy metal, but that really didn’t matter in this situation. What was important was that I create a cover that would call to people from across the record store aisles and attract attention to itself while telling the story that the band wanted to tell. I had absolutely no input from the band (no contact with them either), so I had to rely on what Paula told me about them (there wasn’t much), and my own intuition.

My thoughts on the cover design were pretty basic: design a cover that pulled together some of my favorite elements of automobilia into one cohesive design that spelled out the name of the album and the group: elements like car badges, chrome ornament, monograms, rockets, reflectors, etc. Color was also important to me, and I incorporated the colors of the 1955 Nash Rambler that was my parents’ first car. Combining all these elements was a challenge—but was also a lot of fun for me. So, the idea was to create sort of a collage of automotive elements that together formed (in my mind) the ultimate car statement.

[*Pics below: 1. Michael: “My Dad in our 1955 Nash Rambler. I loved the color of this 2-Tone car and used it for reference for the album cover. 2. Michael: “The “88” photo is one I took of an Oldsmobile ornament, one of the pieces of automobilia used for inspiration on the cover.” 3. Editor: MCC promo w/ hype sticker

A bit about how the cover was done – how long it took, etc.

Today this cover would have been a lot easier to do than it was back in 1975. Today I could have done this cover digitally, and it would have only taken a fraction of the time that it actually took me. Back then it was a laborious process which involved inking all the black linework, and then using colored adhesive films to fill in the color.

Any feedback from the band or label?

Sorry—I really can’t remember. But I can tell you it was one of my favorite pieces at the time (and it still is).

You went on to do Kiss’ Rock n Roll Over — presumably your best-known album cover? Recollections on coming up with that drawing?  As well as reconnecting with them for the Sonic Boom cover after so many years?

Well, I guess the decision as to which is my best-known cover has been made for me. I don’t think Rock and Roll Over is any better than Motor City Connection—or better than any of my other covers. I just think that Rock and Roll Over just got seen a lot more. At the time I did that cover I was pretty much able to get away with doing whatever I wanted. The kind of art I was creating (letterform-centric) was something people hadn’t seen before, and so it was difficult for most people to know how to criticize it. The only changes I was asked to make were minor ones—Gene and Paul had some comments about the details of how I drew their faces—but that was the extent of it. Years later (2009) Paul contacted me, asking if I would be interested in doing another album cover for Kiss. They felt that Rock and Roll Over had become so iconic for them, that they wanted to do something similar for Sonic Boom. One thing I wasn’t crazy about was that this time they did not want me to illustrate their faces as I did on Rock and Roll Over (you know what sensitive egos performers have)—which meant I had to somehow use existing photography because they did not want to do a photoshoot for this album cover. They had Tommy Thayer in charge of their photo archives, so he and I went over all the photos that were available, and I picked a few that I thought could work. When I say “work” I mean that I could mess around with the photos so that they became less photographic and more just plain graphic. I didn’t want to just repeat Rock and Roll Over, so I designed the cover so that it was more or less Rock and Roll Over turned inside-out so that the album name was exploding outward from the center, and the faces were now on the outside perimeter. They loved the new cover, but you know how fans are . . . there was a lot of “Rock and Roll Over was the greatest album cover, but this cover is shit”. Everybody’s got an opinion.

Were you ‘into’ much of the music you created cover art for?

As I mentioned earlier, I never was a big fan of heavy metal. If I was creating a cover for a book, nobody would expect me to be a fan of the book or the author. What’s expected of a designer is to understand the client’s needs and to create something appropriate and which communicates what they want to say.

You did a number of covers – what are some of your favorites (any stories with)?

I mentioned the covers I created with Charles White III—those were done in collaboration with him. But (as with Rock and Roll Over and Motor City Connection) I went on to create more than a few covers on my own. Of all the album covers I’ve done I’d have to say my favorite is “Bedlam Ballroom” for Squirrel Nut Zippers. That one was by far the most difficult to create—and the most rewarding. And that art was nominated for a Grammy (didn’t win). Then there were covers such as “Subway Serenade” for Looking Glass, and two comedy album covers: “The Monty Python Matching Tie & Handkerchief” and “Saturday Night Live”. 

You did the lettering (only) for the US/Canada release of Gentle Giant’s Octopus!?

Yes—I designed the glass jar lettering and the lid lettering for that cover, and Charlie did the illustration. That was at the very beginning of my career, and I was quite happy to be involved in such a high-profile cover because I did not yet have the “gravitas” to get that kind of project on my own.

Album covers have only been a part of your career, what else have you worked on that people might recognize your work from?

Well, there was the poster I created for Simon and Garfunkel’s Concert in the Park—which I am very proud of. Lately there’s been a lot of interest in that piece, and I’ve been reprinting and selling that poster. Some people might recognize the logo I designed for the New York Knicks, and others might be familiar with the title treatment I created for Disney’s Wreck-It Ralph. And then there were the covers I created for TIME Magazine.

Links:

http://www.michaeldoret.com

https://www.facebook.com/MichaelDoret

https://www.facebook.com/BrownsvilleStationMusic

http://www.brownsvillestation.website

https://michiganrockandrolllegends.com/dr-js-blog/314-michigan-connections-jfk-and-the-beatles

https://www.discogs.com/master/329060-Brownsville-Station-Motor-City-Connection

https://www.instagram.com/michaeldoret/

*If interested in obtaining the Simon & Garfunkel print, contact Michael Doret – AlphabetSoup@MichaelDoret.com

*Photo of Michael Doret, courtesy of MD.

10/’22

SPELL – Release Tragic Magic, new video

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(Photo: David P. Ball)

Tragic Magic is the 4th release from Vancouver’s SPELL, who are described/labelled as ‘hypnotic heavy metal’. Hypnotic is one word, but there’s a number of words that spring to mind in describing the band’s latest album. First and foremost, they are Canadian, so I hear the likes of Rush in their sound, as well as Harlequin and Red Rider, maybe it’s the vocals, the melodies with the latter… And then there’s the cool hooks, riffs, and fantasy type songs that have elements of Blue Oyster Cult, Black Sabbath, Wishbone Ash…. Tragic Magic has all the elements of a classic 70s early metal album, but with clever melodies, perfectly timed uses of 80s synths, and songs that will grow on the listener, and elements of prog and space-rock, Each track offers something unique that will demand repeated plays. “Ultraviolet” may be the standout track here, but this album keeps me interested with every tune, the latest single being “Fever Dream” instantly reminding me of early 80s Rush and Red Rider, like this could’ve been a big arena favorite 40 years ago! Favorites include “A Ruined Garden”, “Cruel Optimism” (with that heavy riff, lighter verses, and hard-edged chorus) , and “Watcher Of The Seas” (love the 80s Rush, and metal feel of this). Album ends with the short instrumental “The Watching”, a bit space/prog rock., a great ending. Ten tracks here, most of which come in under 4 minutes, but yet one feels there’s much more. +Tragic Magic available on vinyl LP (multiple colors), CD and digital

*for more info, check out the press release and links below. Highly recommended!

(Photo: David P. Ball)

Hypnotic Heavy Metal Band, SPELL, Streams New Video “Fever Dream”

Vancouver Progressive Duo to Drop New LP, ‘Tragic Magic’, October 28

“Music is magic, and Spell is a spell. Fundamentally, it is a forum to make our dreams come true”- Spell bassist/guitarist/vocalist Cam Mesmer

Fantastical heavy metal band Spell will release its 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 cover art (Frenzy of Exultations by Władysław Podkowiński, 1863) featuring an angelic woman riding a frenetic horse, portends the palpable potency that the record promises. In its review of the new Spell song, “Ultraviolet”, Metal Injection says the band’s sound treads “the line between dreamy progressive rock in the vein of King Crimson and more straightforward old-school heavy metal like Blue Öyster Cult.” Pre-order ‘Tragic Magic’ at THIS location. 

In advance of the release of ‘Tragic Magic’, Spell streams a video for the new track, “Fever Dream”, (Directed by Scotti Gibson, with cinematography by Kyle Samuels & make up effects by Caitlin Rose Delaplace and edited by Vince Edwards) an enticing earworm that fuses darkwave and progressive psych in hypnotizing fashion while exploring the realms of “nightmares and sleep paralysis”.

“Fever Dream” comes directly from the most evil and frightening moments I’ve experienced in the depths of illness and sleep,”  offers Spell vocalist/guitarist Cam Mesmer. “These things may not make sense in the light of day, but once they take hold you have no choice but to follow their twisted path. Deep within nightmares and sleep paralysis, I have conflicting desires: first the urge to shake myself and escape, but also a second, deeper instinct – to give in to the feeling and allow it to conquer me completely to see where it will take me. This song represents your darkest subconscious, urging you to allow that evil inside of yourself and give it the agency to take you somewhere new, somewhere unholy. Now go back to sleep…”

‘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 “captivating” by Revolver. 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 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. 

Another taste of what ‘Tragic Magic’ holds in store can be ingested now on the previously unveiled 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.

“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. The identity of Spell came into sharp focus as it was always intended to be.” 

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?”

“If this band was a van, they would be the raddest, most pimped out airbrushed 70’s van with plush interior and a BOOMING system. SPELL is a perfect name for them, because their songs are jamming heavy metal magic.” – Cvlt Nation

“Psychedelic space rock exploration steeped in sludge and fuzz. Tipping their caps to a range of classic hard rock influences like Pink Floyd, Black Sabbath, Blue Oyster Cult, Rush and even old-school Mercyful Fate, Spell captures a dreary, overcast and lo-fi vibe” – Exclaim!

SPELL is: Cam Mesmer: vocals, bass, rhythm guitar/ Al Lester: vocals, drums, lead guitar. (* Synthesizers by Gabriel B)

Links:

https://spellofficial.bandcamp.com/album/tragic-magic

https://www.facebook.com/spellspell

https://www.youtube.com/c/SPELLOFFICIAL

https://www.youtube.com/c/BadOmenRecords

CONEY HATCH – Live in Germany coming soon!

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(Photo: H. Dixon, 2018)

Following on from last year’s release Live At The El Mocambo, Canadian rockers Coney Hatch have another live album almost ready to go. Recorded Live at the H.E.A.T. Festival in Germany, in December of 2018, the recordings were put on hold for release at the time when the offer to record at the El Mocambo came up, as the El Mocambo show would give the band the opportunity to also capture live video, as well as include “Hey Operator”, one of the band’s signature songs – which they had oddly forgot to play that night in Germany.

The upcoming live album will also include 2 bonus studio cuts that were completed in 2021 – “About A Girl” and “Heaven’s On The Other Side”.

“We’re excited to bring you a new live album recorded at the HEAT Festival Germany and put together by fine engineers in Canada. Available on CD and vinyl, the album also has two new Coney originals & freaking fine tracks they are.”

Coney Hatch Live In Germany (if that is the title!?) will be released via Explorer1 Records on CD & Vinyl LP, with the band aiming for an early 2023 release date. Artwork and track-listing to follow, as well as pre-order announcement.

Links:

http://www.coneyhatch.com

http://www.andycurran.ca

http://www.carldixon.com

https://www.facebook.com/profile.php?id=100063052548185

Coney Hatch

ALICE COOPER: CONFIDENTIAL (the book!)

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Canadian rock biographer Jeffrey Morgan has a new book out titled Alice Cooper Confidential: Confessions! Secrets! Fan Mail! Morgan wrote for many years for iconic 70s & 80s rock mag Creem, being invited by the legendary Lester Bangs. Creem was the next biggest music publication after Rolling Stone. Morgan became Alice’s official biographer writing Alcohol and Razor Blades, Poison and Needles: The Glorious Wretched Excess of Alice Cooper, All-American, which came in the 1999 box set The Life and Crimes of Alice Cooper. With Alice Cooper Confidential, Jeffrey Morgan puts together a pile of Alice features, most notably being pages of fan mail (emails) from AC fans who want to contact Alice. Interesting to read, as so many fans have no problem inviting Alice over for a BBQ, a birthday party, a wedding, out for a game of golf – you name it! Or they just want to share some odd story about something to do with him, most of which will leave you shaking your head. Beware if you think you wrote to him in the past! Elsewhere this138 page coffee table read book is full of fantastic photos from every era of Alice’s career, on & off stage (cool to see the late Nash the Slash’s early photos of the AC band in Toronto), various other images! Most interesting is a previously unpublished interview from 2009. An interesting addition to any Alice fan’s collection.

Links:

Alice Cooper Confidential

10/’22

Snakecharmer – Anthology, 4-CD Box Set Feat. former members of Whitesnake, Wishbone Ash, & Thunder

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British Hard Rock Supergroup Snakecharmer Anthology 4-CD Box Set Feat. Former Members of Whitesnake, Wishbone Ash, and Thunder Available for Pre-order

An awesome line-up of veteran British rockers, Snakecharmer put out 2 albums in 2013 and 2017. Both albums are full of British classic rock ala early Whitesnake, Bad Company, and the other respective bands some of these guys were a part of. Really, just excellent British rock, as you’d expect Founding member and original Whitesnake guitarist Micky Moody left after the first album to be replaced by Simon McBride, a much younger player who has recently been named the new permanent guitarist for Deep Purple! This 4-disc set comes with bonus tracks, as well as 2 live shows recorded a year apart, featuring the band’s own favorites, as well as a number of Whitesnake classics. *Check out the press info below, track-listing, and links below!

British hard rock supergroup Snakecharmer was formed in 2013 by former members of Whitesnake, Wishbone Ash, and Thunder.

The resulting line-up is a veritable who’s-who of classic hard rock: Vocalist Chris Ousey (Heartland), Guitarist Laurie Wisefield (Home/ Wishbone Ash), Drummer Harry James (Thunder/ Magnum), and Keyboardist Adam Wakeman (Ozzy Osbourne) Guitarist Micky Moody (Whitesnake)

Given the band’s pedigree, it was inevitable that the music would sound like good-time, classic melodic hard rock with a blues edge, their eponymous debut was released in 2013 by Frontiers. The response from fans and critics alike was rapturous, and the band toured to wide acclaim.

In 2015, Moody left the band, replaced by young Irish-born virtuoso Simon McBride (now of Deep Purple). Snakecharmer’s follow up album, Second Skin, arrived in 2017.

This 4-CD box set collects the bands two studio albums as well as two live shows from Milton Keynes which show the band at work in a live environment, the booklet has notes by Classic Rocks Dave Ling talking to the band about their career as well as newly mastered studio albums done by Tony Dixon.

Featuring:
Chris Ousey – Vocals
Simon McBride – Guitar
Laurie Wisefield – Guitar
Adam Wakeman – Keyboards
Neil Murray – Bass
Harry James – Drums
Micky Moody – Guitar

Track list:
DISC ONE: Snakecharmer
My Angel
Accident Prone
To The Rescue
Falling Leaves
A Little Rock & Roll
Turn Of the Screw
Smoking Gun
Stand Up
Guilty As Charged
Nothing To Lose
Cover Me in You
BONUS TRACKS
White Boy Blues
A Breath Away – Japan Only Bonus Track

DISC TWO: Second Skin
Sounds Like a Plan
That Kind of Love
Are You Ready to Fly?
Follow Me Under
I’ll Take You as You Are
Hell Of a Way to Live
Fade Away
Dress It Up
Punching Above My Weight
Forgive And Forget
Where Do We Go from Here?
BONUS TRACK
On My Way – Japan Only Bonus Track

DISC THREE:  Live at The Stables, Milton Keynes 26/01/2014
Guilty As Charged
A Little Rock & Roll
Ready An’ Willing
Accident Prone
Walking In the Shadow of The Blues
Falling Leaves
Moody’s Blues
Slow An’ Easy
My Angel
[Band Introductions]
Cover Me in You
Nothing To Lose
Here I Go Again
Fool For Your Loving

DISC FOUR: Live at The Stables, Milton Keynes 17/01/2015
Intro.
Guilty As Charged
A Little Rock & Roll
Ready An’ Willing
Cover Me in You
Accident Prone
Falling Leaves
Walking In the Shadow of The Blues
My Angel
Moody’s Blues
Slow An’ Easy
Nothing To Lose
Here I Go Again
Take Me with You
Fool For Your Loving

To pre-order: https://www.cherryred.co.uk/product/snakecharmer-snakecharmer-anthology-4cd-box-set/

Links:

https://www.facebook.com/QEDG.snakecharmer/

Walter Egan releases cover of Fleetwood Mac’s “Dreams” from forthcoming album

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(photo- A. Scarlatti)

Walter Egan’s upcoming album titled Pluck, will be out in late November via Red Steel Music. The first single is a cover of Fleetwood Mac’s “Dreams”. Egan’s version is a must-hear, with a different approach, giving the song a fresh new sound that didn’t want me to run and put the Mac version on afterwards! In the late 70s members of Fleetwood Mac produced and played on Egan’s first 2 solo albums. The single was produced by Walter Egan and Robert Corich, while the video was filmed & directed by Callum Fernandes – Clarke.

Links:

https://www.facebook.com/WalterEganOfficial

https://www.facebook.com/profile.php?id=100063893479263

John Sloman – releases single from forthcoming solo retrospective

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John Sloman has a new video out. It’s “Blind”, on Red Steel Music. The track has been produced by John & Robert Corich, and remastered by Bella Corich, who adds a livelier sound to an already excellent song from 2016. “Blind” will be featured on John’s forthcoming retrospective double album The Missing Link. Art for the single also by Callum Fernandes-Clarke.

John Sloman recently posted – “This is the new video for the soon to be released single (Blind) taken from the retrospective album ‘The Missing Link’ which will be released in a couple of months. The video is brilliantly directed by Callum Fernandes-Clarke who directed all three of my previous videos. Blind originally featured on the album ‘Don’t Try This At Home’.”

Further, the track was recently featured on Classic Rock’s Louder Sound ‘Tracks Of The Week‘. You can check that out And vote for “Blind” there!

https://www.loudersound.com/features/tracks-of-the-week-new-music-from-mammoth-wvh-the-answer-and-more?fbclid=IwAR2hMgUBWOGPaKEP1ur1i5eQGbC2SKDK8JZQNfWWNQpGIMmTOeegZKVUZzM

Links:

https://www.facebook.com/johnslomanofficial

https://www.facebook.com/profile.php?id=100063893479263

https://www.youtube.com/channel/UCdQuOmEMTgnnZ0P00QYn8fA/featured

EVEN FLOW – Mediterraneo (Tales of Love, Hope and Joy For The Future) out now.

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Italian prog-metal band Even Flow have released a new 5-track mini-album. Meditterraneo features a big range of heavy rock, prog and lighter moments from the opener “Ocean Lies” which comes charging out and features a few changes throughout. “Revelation Day” is probably the easiest likeable track here, a straightforward bright rock tune, while in contrast “Leaves” is a soft piano-based ballad, great vocal. The set comes to a great finale with the 7-and-a-half-minute title track, which is probably the heaviest cut here. Fine heavy guitar, acoustics, synths, and vocals throughout this. For fans of Dream Theater, Stratovarius, and Queensryche. CD and other merch can be ordered at the band’s website- https://www.bandevenflow.com/

*For more on Even Flow check out the bio and press info below, and the links below

Photo Credit – Claudia Chiodi

Italy’s EVEN FLOW is proud to unveil their latest offering Mediterraneo, a five-track EP that takes the sounds of progressive metal blended with power metal-esque vocals with a dash of AOR eighties influences. Lyrically, the recording speaks of love, hope, sadness, and joy for the future.

“We decided the sequence of the songs according to the musical power it gave us at the time of writing and recording.” adds the band.

The EP opens up with the powerfully composed “Ocean Lies” with it’s strong vocal harmonies, that give way to a hint of Latin influences from the way the drums mesh with the guitar solo. Following into “Ray Of Light”, this is a song that speaks of love towards a woman, characterized by a clean guitar intro, working together with a keyboard to create very beautiful melodies to then end with an Arabic influence guitar harmonization. “Leaves” solo piano and voice piece, extremely intimate with the final part of the piano demonstrating strong harmonic tensions decreased to represent a love story between two young people that did not materialize. A song that gives a calm and melancholic balance to relax the listener’s ears bringing them to heavenly visions. “Revelation Day” with lyrics that have a Catholic inspiration, is to be heard very closely in its entirety, its melodic parts are intertwined with more progressive charm. EP closer and title track, “Mediterraneo,” tells a story about a loving relationship between two men, the track has Arabic interludes, many progressive metal parts, and melodic guitar solos.

Mediterraneo features Even Flow’s new lineup with vocalist Marco Pastorino (Fallen Sanctuary, Temperance) and bassist Luca Negro (Temperance) joining the Lunesu brothers Pietro Paolo (guitar) and Giorgio (drums).

The EP was mixed and mastered by Michele Guaitoli (Visions Of Atlantis, Temperance) with artwork by Mickael Briot of Mythrid Art (Nightmare).

Over the years, since making their debut in 2008 with their EP “Dream Weaver”, Even Flow has done multiple tours across Europe and has supported bands such as Serious Black, Firewind, Eluveitie, Iron Savior, Katatonia, Orphaned Land, Katatonia, Pain Of Salvation among many more.

Even Flow‘s Mediterraneo is available on all digital platforms at the following link – https://linktr.ee/bandevenflow

Even Flow is:
Marco Pastorino: Vocals and Choirs
Pietro Paolo Lunesu: All Electric and Acoustic guitars
Giorgio Lunesu: Drums and Percussion
Luca Negro: Bass

For more info:​
​http://www.bandevenflow.com​
​https://www.facebook.com/bandevenflow​
​https://www.instagram.com/evenflowofficial https://www.youtube.com/user/ChannelEvenFlow/featured

Discography:
2022 – MEDITERRANEO – EP
2019 – MOTHER – EP
2017 – LIFE HAS JUST BEGUN – LP
2013 – FLOWER PATHS – EP
2011 – ANCIENT MEMORIES – LP

10/’22

QUEENSRYCHE – Digital Noise Alliance

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The new Queensryche album Digital Noise Alliance is out. It’s the 4th studio album featuring singer Todd LaTorre, who is a more than suitable choice as replacement for Geoff Tate – at least if I’m going by this album, because this is an outstanding album. It’s very well produced, love the sound, the heaviness of it all, melodies and the songs in general make for a great listen (repeatedly!). I’ve heard plenty of Queensryche stuff since their glory days, but nothing that grabbed my attention like this one with “In Extremis” kicking things off in full force, and other ‘eavy cuts like “Lost In Sorrow”, “Sicdeth”, “Out Of The Black”, “Tormentum”, “Behind The Walls”… DNA only lets up on the ballad “Forest” and on the verses of “Hold On” (the latest single/video). A cover of Billy Idol’s “Rebel Yell” ends the disc, as a ‘bonus’ track, and it sounds really good (tho’ I don’t think anyone can really capture Billy Idol’s ‘attitude’ in the song, La Torre does a fine job on it).

*For more check out the press info below –

In April 2022, QUEENSRŸCHE finished a five-week North American tour supporting metal gods Judas Priest. That tour wasn’t merely a fiery return to the stage for QUEENSRŸCHE after a two-year pandemic: it was a rejuvenation. The sound of a band locked-in and firing on all cylinders. “The Priest tour was a great springboard for us to get back onstage in what’s essentially a new world,” says founding guitarist Michael Wilton. “We had so much momentum going off of our last record [2019’s The Verdict] and then, the world, our business, came to a grinding halt. We had to survive, pick ourselves up and get back to being QUEENSRŸCHE.” Now, their legacy has coalesced into another career milestone for the Bellevue, Washington borne band with the release of their 16th studio album, Digital Noise Alliance. 

Overcoming obstacles and defying expectations has always been at the heart of QUEENSRŸCHE. With 20 million albums sold worldwide, innumerable accolades and a career that has charted the course of multiple genres, QUEENSRŸCHE remains bloodied but unbowed. Teamed again with producer and mixer, Zeuss (Rob Zombie, Hatebreed), Digital Noise Alliance embraces and refracts QUEENSRŸCHE’s history from the classic drive of opener, “In Extremis” through the ominous strains of “Behind The Walls” to epic album closer, “Tormentum”. Digital Noise Alliance is that elusive career-embodying album that echoes the most classic elements of the QUEENSRŸCHE’s sound. It pulses with the sort of sonic ambitions that changed the hard rock and metal landscape on albums like their multi-platinum Empire or their magnum-opus concept album, Operation: Mindcrime. 

It was the isolation of Covid-19 that fueled the first creative stirrings for QUEENSRŸCHE. “Being left to your inner abandons brought up a lot of feelings,” Wilton admits. “It was a weird, strange time and not knowing if you were going to see the light at the end of the tunnel. It sucked, but it did ignite some of the creative elements for the new record.” Those ideas started to come together in early 2021 when Wilton met up with vocalist Todd LaTorre and began assembling the bare-boned riffs for Digital Noise Alliance at the singer’s home studio in Tampa, Florida. “It was a chaotic, uncertain time,” says bassist Eddie Jackson. “But the bottom line for us was to do what we always have done, which is to continue to create music, even in the face of adversity.” 

“We started from scratch, face-to-face, in a room with our producer Zeuss,” says LaTorre, who joined QUEENSRŸCHE in 2012 and has been a driving force in the band ever since. “We were creating together in the same room, not file sharing. “It was all immediate, in real-time and nothing came from earlier sessions or discarded ideas.” Writing sessions continued for a year with tracking on the album commencing in the first week of January 2022. Drums ended up being tracked in a Florida mansion that once belonged to wrestling legend, Hulk Hogan with Zeuss recording on a mobile rig. “There’s a trust factor with Zeuss,” says Wilton of the band’s now three-album-running relationship with their producer. “He came in as a fan and really understood what QUEENSRŸCHE is about. With Zeuss, there’s a level of trust and understanding that we’ve rarely had with a producer. Everyone’s ideas and energies are on 10 and he knows how to harness that.” 

During the album sessions, Michael Wilton employed an arsenal of amps from QUEENSRŸCHE’s early days. “We ended up using Michael’s collection of old Marshalls,” says Zeuss. “The amp from The Warning and the amp from Rage for Order or Mindcrime or Empire. Each song has different amps and different guitars that reach back to that era. Some of these amps that hadn’t been turned on in years and had markings on them that dated back to those records. We’d turn them on and it would be like, ‘Whoah!’ Like we were awakening this beast. It brought a lot of great vibes to the album.” 

That cloying together of QUEENSRŸCHE’s past, and present has become the mark of the band who regrouped in 2012. Over the course of its last triptych of albums Queensryche (2013), Condition Human (2015) and The Verdict (2019), the five-piece took hold of the proverbial flame to give fans QUEENSRŸCHE in its purest essence. Moments like the lush, contemplative “Forest” echo career-defining highlights like the band’s Grammy-nominated hit single, “Silent Lucidity”. Digital Noise Alliance is every bit as emotionally passionate and forward thinking as anything in their expansive discography. 

“QUEENSRŸCHE has always been a forward-thinking band,” says Todd, adding with a laugh, “The ‘Thinking Man’s Metal Band’ as they were called years ago! As early as The Warning QUEENSRŸCHE was experimenting, bringing in strings and orchestral elements. People like Michael Kamen. Back then, you’d only hear those elements on a Meatloaf album! Back then their staging was always very forward-thinking. They were using big ass projectors and screens. They were progressive in their own right and changed the landscape. They pushed things and expanded the genre in a thought-provoking, way. For us, the mission is really to get to preserve and elevate the essence of the QUEENSRŸCHE sound.” 

With it’s current lineup of LaTorre, Wilton, Jackson, guitarist Mike Stone and drummer Casey Grillo, QUEENSRŸCHE is looking towards the future while looking back on the influence and impact of its past. “When you have two of the original members, you can’t help but get those QUEENSRŸCHE elements,” says Jackson, who founded the band with Wilton in 1982. “It’s in our DNA. But it’s also nice to hear fresh ideas or interpretations from Todd, Casey or Mike Stone.” For LaTorre, that balance between the band’s past and present is crucial. “We’re all advocates for certain characteristics that are very indicative to the band’s sound,” says the frontman. “The challenge for us is blending that history and the nuances that are important and true to the band but still feel modern.” 

Digital Noise Alliance is quintessentially QUEENSRŸCHE. Track to track it embodies the lush melodies, passion and intelligence that’s been the mark of the band since they first took hold of the flame with their hugely received self-titled 4-song EP in 1984. “For me, musically and lyrically, QUEENSRŸCHE has always represented something cerebral,” says Todd “At a time when bands were writing about sex, drugs and rock n roll, QUEENSRŸCHE were writing about politics, religion, social injustice – topics that are more relevant now than ever. Even now, we’re walking that fine line between not telling people what to think, but simply to think.” 

Hold On is the latest single/video from Digital Noise Alliance. The band comments: “‘Hold On’ primarily focuses on the misfortune of social media and how this new societal landscape has become a false barometer of ones’ value, essentially, influencing and affecting peoples’ self-worth.  Reminding people to not believe everything they see, and to not buy into the glorification of fame, money, and popularity.  It strives to empower those that have been blinded by the distorted reality of the glorified social media lifestyles. It is a song reminiscent of older, simpler times.”

QUEENSRYCHE is currently on tour as openers for JUDAS PRIEST:

Oct. 15 Albany, NY – MVP Arena
Oct. 16 Boston, MA – MGM Music Hall Fenway
Oct. 18 Uniondale, NY at Nassau Veterans
Oct. 19 Wilkes-Barre, PA – Mohegan Sun Arena at Casey Plaza
Oct. 21 Kalamazoo, MI – Wings Event Center
Oct. 22 Detroit, MI – Masonic Temple Theatre
Oct. 24 Cincinnati, OH – The Andrew J Brady Music Center
Oct. 25 Waukegan, IL – Genesee Theatre
Oct. 27 Green Bay, WI – Resch Center Theater
Oct. 29 Moline, IL – TaxSlayer Center Moline
Oct. 30 Mankato, MN – Mayo Clinic Event Center
Nov. 01 Sioux City, IA – Tyson Events Center
Nov. 02 Rapid City, SD – The Monument
Nov. 07 Ontario, CA – Toyota Center
Nov. 08 Tucson, AZ – TCC Arena
Nov. 10 Loveland, CO – Budweiser Events Center
Nov. 12 Park City (Wichita),KS -Hartman Arena
Nov. 13 St. Charles, MO – The Family Arena
Nov. 15 Corbin, KY – The Corbin Arena
Nov. 17 Southaven, MS – Landers Center
Nov. 18 Baton Rouge, LA – Raising Canes River Center
Nov. 20 Oklahoma City, OK – Paycom Center
Nov. 22 San Antonio, TX – Tech Port Center & Arena
Nov. 23 San Antonio, TX – Tech Port Center & Arena
Nov. 25 Dallas, TX – The Factory – Deep Ellum
Nov. 26 Corpus Christi, TX – Concrete Street
Nov. 28 Edinburg, TX – Burt Ogden Arena
Nov. 29 Houston, TX – 713 Music Hall

With a career that not only spans, but has charted the course of multiple genres, QUEENSRŸCHE remains a force in their own right. “Digital Noise Alliance”, QUEENSRŸCHE’s 16thstudio album continues their ever-evolving legacy.

Once again teaming up with producer Zeuss (Rob Zombie, Hatebreed), “Digital Noise Alliance” not only refracts QUEENSRŸCHE’s past accomplishments but also pushes into the band’s future. It is the band effortlessly moving from strength to strength: immediate and thought-provoking.

QUEENSRŸCHE line-up:
Eddie Jackson – bass
Michael Wilton – guitar
Todd La Torre – vocals
Casey Grillo – drums
Mike Stone – guitar

QUEENSRYCHE ONLINE:
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