Birth is a progressive band from San Diego, who’s debut album is receiving fantastic reviews, and praise amongst new fans and press (the band recently featured in the latest issue of Prog Magazine). The band released a 3 track demo last summer, digitally, and this July their full length album came out on multiple formats, notably a number of colored vinyl variants featuring the awesome artwork by David V. D’Andrea! The album’s 6 songs hark back to that early 70s progressive and psychedelic sound; one of the best albums of 2022. Conor Riley answers my questions below on the band, making the album, and influences.
Can you guys tell me a bit about how the band came together and had there been any pre-Birth bands that sort of had that retro sound?
We accumulated a lot of material after going through a long hiatus with some of the other bands that we had been in. We got together to jam without any real vision or intention and eventually we developed our sound and started Birth! Astra was another band that Brian and I were in that had a retro 70s progressive style. Also, Brian, Trevor and Paul were all in a band called Psicomagica which has a 70s progressive/jazz fusion sound.
How did the band’s classic progressive sound develop? Was it an intentional move to have that early 70s progressive sound / feel from the start?
We listen to a lot of 70s music so it was natural for us to write and record with that sound. It was somewhat intentional but it was never something that was discussed or planned in any way. It was just the music we have been comfortable playing and listening to for the last decade or so.
When and how were the songs written for the Born album? Did any exist previously (other projects)?
We began writing the songs in 2016. Since we didn’t have a vision for Birth when we started writing these songs, anything could have been possible for them, but they didn’t exist for something that was intended for another project
Were the songs written in whole or more so developed in rehearsal to where they became those longer pieces with extended instrumentals?
Most of the time one of us comes to practice with an idea. We typically jam on them, sometimes ideas come up on the spot. Other times, we record it and listen to it at home and come up with parts independently to bring to the next practice. It’s usually a fairly long process of refinement to get something that we think is complete.
Can you talk a bit about how the songs were recorded and produced — type of recording gear (analog or digital), keyboards & equipment (older gear for that 70s vibe or newer), everyone in the studio together… [?]
The drums and a few other tracks were recorded live with everyone together. There were a lot of over dubs on this album. Everything was recorded digitally with all analog instruments. Different tracks were recorded at different places. Just about all of it was recorded at Brian’s studio with the exception of some of the keyboards, acoustic guitars and vocals that were recorded at my home.
The album has some great reviews and some major press. Are you guys surprised? And do you see a big following for retro sounding bands?
Yes, it’s really nice to read the positive reviews and press! There aren’t too many 70s progressive bands right now but I hear a lot of new music that has a retro sound so I think people are very receptive to it.
(Following on from last question) – Is there any other bands out there that sort of have that retro 70s progressive or hard rock approach that you guys like or recommend?
Yes, in San Diego there’s a good amount of heavy psych/progressive bands like Earthless, Sacri Monti, Zach Oakley… Also some modern Scandinavian Bands like Wobbler, Hallas and Needlepoint.
Can you tell me a bit about your own influences – favorites players, songwriters, bands?
There’s too many to list! Some of my favorite and most influential bands are Magma, Aphrodite’s Child, John Coltrane, King Crimson, Osanna, PFM, Area and Camel
The album comes in an awesome looking package. Curious how important the album’s artwork and packaging was and do any of you guys have big vinyl collections (from the days where album art and packaging really stood out)?
Yes! We’re very happy with how it turned out. I’m a big vinyl collector. My favorite part of releasing an album is opening the record and listening to it while looking at the artwork. I’ve always been a big fan of David D’Andrea’s work so it was important for us to have him as the artist for the cover.
The band has done some live shows. Is there any plans or prospects of getting on a tour throughout the US and Canada, or any European festivals?
Nothing has been booked as of yet but we really hope to be able to come to Europe in the spring! I’m also trying to book a west coast US tour this fall.
I know it’s early, but has there been any plans or writing for a follow up album?
We have some material written for the next album but no idea when we’ll be ready to start recording again.
Troy Redfern has become well known as Great Britian’s ‘King of the slide guitar’. The blues rocker has a new album titled The Wings of Salvation and is currently on tour in the UK with British rockers Dare. The Wings of Salvation is Redfern’s most accessible and talked about album yet, so if you’re not familiar – check out his latest singles/videos “Come On”, “Gasoline” and “Sweet Carolina”! You can also order The Wings of Salvation in various formats from his website, as well as previous albums, t-shirts, and art prints (Redfern has also created his latest few albums covers, among other pieces). In this interview Troy Redfern talks about his influences, favorite albums, his past recordings, and plenty about his new album. *Check out the links below for ordering and more info on Troy Redfern.
Can you give me a bit of background as far as where you hail from and how you came about to take up the guitar and blues direction?
I grew up on the Welsh border, near Hergest Ridge, which was made famous by Mike Oldfield – who recorded an album by the same name. It’s quite a rural area, and that’s probably one of the things that sort of lead me to play guitar. I was into soul music from an early age, from about the age of 5.
I think one of the most important things was I first saw the film Back To The Future – that really sort of solidified my desire to want to play the guitar, and my parents got me a guitar when I was about 12, I think. And I started getting in guitar music, from Back ToThe Future I heard Van Halen, and then I got into Jimi Hendrix, and the Beatles and all those kinds of bands. And then a friend lent me a Son House album on vinyl, and that was my introduction to early blues music, and that was kind of a game changer in discovering that, because this was pre-internet days. So yeah, that album really got me into blues and slide
I’ve read some of your favorite guitar players, a wide range of rock, fusion, and blues players. Could you give me a ‘top 10’ list of your favorite/influential guitar rock or blues albums?
My top 10 would probably be – Son House – Library of Congress recordings Zappa – Shut Up ‘N’ Play Yer guitar, box set. Allan Holdsworth’s – Road Games Steve Vai’s Flex-able Queen 2 Aerosmith’s Toys In The Attic Deep Purple In Rock Frank Zappa’s Overnight Sensation R.L. Burnside’s A Ass Pocket of Whiskey
You’ve made a name as ‘king of the slide guitar’. Can you tell me a bit about your attraction to this style and sound?
Like I said hearing Son House when I was really young got me interested in that style of music, but i really started getting into it probably when i was about 18 or 19. A girlfriend, her dad showed me how to tune a guitar to open tunings, and sort of module tunings, and major-minor, and from that point on I just kind of started experimenting with tunings and finding my way around the fret board and obviously because it’s completely different to standard tunings, so you have to re-learn everything. It’s just kind of something that’s developed over the years, I’ve put a lot of time into that style and found that to be one of the most natural ways for me to play. It’s just completely comfortable, and when you enjoy something, and you feel like you connect with something that’s that
You also sing – did this come about naturally or out of necessity? How do you feel about (or see yourself as) singing? Any favorite singers that either influenced you or you like in blues / blues-rock?
As far as singing goes, I enjoy singing, but it’s sort of one of those things – it’s a necessity thing. When I started going out under my own name, I just felt that it was right to not only have a voice on my guitar but to use my voice to sing. I think Elmore James was sort of one of my biggest influences
Your latest album is a great set of blues rock, and I think very accessible for those that aren’t familiar to your previous work. So, with that being said – can you give me some background on your pre-lockdown recordings? Personal favorites and highlights, successes…(?)
Background on my previous Lockdown recordings. the one I released in 2017 was called Dirt Blues Ritual, and that was maybe a bit less rock orientated, obviously still slide playing, but probably had more of a rockabilly-blues sound. It’s still identifiable with what I do now, but just the production I did was slightly different, and I was producing that stuff myself. Most of that stuff is on Bandcamp. And there’s an album I released through a Belgian label called Blues Boulevard Records; it was called Back Door HooDoo. And that was sort of a collection of material that I’d released digitally, the first album being Werewolf Etiquette, the second one being Mother Tongue and the third one being Playing with Fire – those were all released on Bandcamp. So that was like a collection of material, all the ‘best of’ from those albums, but they’re still available on Bandcamp. And like I said I was producing that stuff myself and it was sort of a free sort of time where I just learned, over the years, to record myself, and I got my home studio, so I was free to put stuff out without being self-conscious about what I was writing and just enjoying it. I think Werewolf Etiquette is one of my favorites
You made 6 (!?) albums during covid lockdown — what inspired so much writing & recording? And (again), can you give me a round-up in brief or those albums – their direction, how they varied, personal favorite tracks or highlights?
Yeah, I made 6 albums during lockdown, released that many. Well, it was actually 6 albums across that time period, one was actually released before lockdown – that was called This Raging Heart. And then as soon as lockdown happened, I decided I wanted to record something slightly more acoustic and little more experimental, and that became the album that was called Island. And then we realized lockdown was carrying on, so I decided to release more material that was on my hard drive, because you know I’ve recorded lots of material over the years, and I archived that stuff. And then I put (out) a leftovers album called Deep Cuts, which was stuff that didn’t make it onto This Raging Heart. I put out a resonating improvisation album called Improvisations Part 1. And then I put out an instrumental album called Thunder Moon – that’s one of my favorites, because that’s non-genre specific, really. It’s all instrumental music; it shows just different aspects of my creative output that isn’t sometimes released on the official releases, you know. So that’s really why I like Thunder Moon – because it’s so free. I enjoy that one!
Did you approach your latest album any differently to your previous few albums? Any changes in writing, recording,?
Yeah, normally I take quite a while to write stuff, and I’ll make a lot of demos over a long period. The Fire Cosmic I think took probably almost a year to sort of put that together before recording it, but this one was the complete opposite where we wrote and recorded everything from scratch in just over 4 weeks. So, it was a completely different way of approaching it; it was a lot more compressed. We sort of gave ourselves a deadline, which I think really helped you know – it really drew out ideas and it got them from the initial idea to being a fully developed song very quickly, which I think really helped keep the inspired part of the song in there. And I also worked with a producer named Dave Marks who really helped with different aspects. we talked about arrangements, and sort of stylistic choices we were going to make. So that was great – working with someone like that, working with someone closely crafting an album. And like I said, when I was producing all the stuff myself, you’re doing that in isolation, in a bubble, and this was a completely different process where you’re sort of bouncing off of someone and getting things done super-quickly, you know!?
Can you give us a bit of insight (with reference to the new album’s tracks) how you come up with songs – musically and lyrically?
As far as I come up with songs, and lyrics and what-not – usually all the ideas would’ve started with an acoustic guitar or a resonator – I use a 1929 National Triolian Resonator. So, we sketch the ideas, and they would just be non-conscious stream of thought kind of whatever comes out ideas, which is how I like to work because I feel that that’s the most inspired way of getting something – because you’re not actually consciously trying to force something out, you’re just playing and seeing what happens. Let’s take an example – “Gasoline” – I just started playing a riff, which happened to be in 7/8, and I would just play that riff and see where it went, and then just sort of take different turns you know – where the chorus would go and just feel my way through those changes. And as far as lyrics go, that was the hardest part of the album because I had 10 songs to write lyrics for in a very short space of time. There were thematic ideas and narratives that I wanted to get in this time. “Navajo” is about the great walk of the native Americans in 1865, a thing sort of about loss of freedoms, and just trying to tie those 2 things together with that sort of modern loss of personal freedoms and tying it back to that narrative. And “Dark Religion” is the combination of 2 different themes – one personal of the loss of a friend who died of an overdose, all stemming back to a strict Christian upbringing, but then also wrapping that story in a narrative about a woman leaving this country in the 1800s to go to America and set up a new life and realizing that the grass isn’t greener – that kind of narrative, which is basically the same character I used a song called “Ghosts” off The Fire Cosmic and “The Line” from Dirt Blues Ritual. So, I was pleased with the lyrics on that one because they felt like little self-contained stories instead of being too abstract
There is a wide range of guitar sounds, feel, and solos on this album – can you talk a bit about the different sounds and guitars you used on this?
On this album a big part of the album was the Dobro, I’ve got a 1935 Dobro M32, so a lot of the ideas were sort of recorded on that, using a Magnatone Twilighter stereo amp, and also the National Triolian- a 1929 National Triolian, I used that one. A couple of Danelectric guitars made appearances, and an old 1962 Silvertone Jupiter. So, it was mainly vintage guitars that I was using because I think they have unique characteristics that I kind of wanted to get tonally into the tracks, so the stuff’s still quite ‘rock’ but with those kinds of nuanced sounds that has some character that you wouldn’t get with just a standard Humbucker, maybe.
Can you tell me a bit about the album’s cover art/shot? Whose idea and who put it together? (Influences in creating that look?)
On the The Fire Cosmic, the last album, I did the artwork which is kind of in a Jack Kirby comic style. And I was really pleased with that – people seemed to like it, you know. So, I thought well on this one I need to do the same sort of thing. I enjoy making the complete package – where it’s not just the music, it’s the artwork as well. When I was speaking to Dave about needing to do the artwork, we’re both comic book and Star Wars geeks, and he said to me “this album is more Tatooine than it is Jack Kirby”, and I knew exactly what he meant – the sort of browns and reds of that kind of ‘desert’ environment. So, one afternoon I just decided to get some paper, and I managed to find some sort of sandy colored textured paper and I found some charcoals and pastels. And there was a photo that my daughter took, maybe 7 or 8 years ago, and just always loved the lighting on that. So, one of the original ideas was to use the photo and recreate that lighting, but instead I decided to have a go at charcoals and pastels, and I just worked on it, worked it up. And I was kind of pleased because it has that kind of slats of desert-y rough feel to it, texturally, and for me that seems to tie in with the music really well.
Any personal favorite tracks, solos, performances on the new album?
I really like “Dark Religion”, because that’s a style I’ve not written anything – I don’t think, in 3/4, and it has just a completely different vibe to anything I’ve done. And the solo section – I was really pleased with that, the chord progression under that kind of really octave of waves and sea which is sort of what the story’s about. And “Gasoline”, I was really pleased to get that one in there because that one’s in 7/8, and like I said before that’s something you don’t generally get in blues-rock and southern music, so it was nice to get a 7/8 in there that doesn’t throw you around and feel like jarring. And I really enjoyed the solo on “Mercy” because that’s actually not a slide solo, that’s just a standard tuning guitar solo, and I think that was just kind of nice to put it on there because it gives a different aspect, again, to just the slide thing that I’m kind of generally known for.
Have you played in North America as of yet? And when might we see you in Canada?
No – I’ve not played in North America – I’d love to. But it’s just one of those things, you know if the opportunity comes then I’ll be there like a shot because it’s somewhere … you know I’ve played in Europe, Russia, but have not been to the US or Canada yet, but I’d absolutely love to!
Steel Panther debut on record with 2009’s Feel The Steel, which featured favorites “Death To All But Metal”, “Party All Day (F**k All Night)”, and “Asian Hooker”. These guys took ‘shock rock’ in a new direction. Call them an ’80s metal parody band or whatever, but those first few albums delivered some memorable X-rated anthems that celebrated and mocked the ’80s metal scene, while the band’s videos lived up to the lyrics like it was 1985! 2011’s Ball’s Out featured “Just Like Tiger Woods” and “17 Girls In A Row”, followed by 2014’s All you Can Eat featured the classic “Party Like Tomorrow Is The End of The World”. The band followed up with a live album and 2 further studio album before bass player Lexxi Foxx left the band. The band has now found a new bass player and have recorded a new album. The first single is “It’s Never Too Late (To Get Some P***y Tonight)”, with a hilarious accompanying video (below). The band is set to go on tour (see dates below). For further info check out the press release and links below…
STEEL PANTHER ANNOUNCE SIXTH STUDIO ALBUM ON THE PROWL SCHEDULED FOR RELEASE ON FEBRUARY 24, 2023
On the heels of the recent addition of Spyder as their full-time bassist, California rock legends STEEL PANTHER are announcing their sixth studio album On The Prowl. The album is schedule for release on February 24, 2023, and feature 13 new tracks from the creative brains of Satchel, Michael Starr, Stix Zadinia and Spyder. On The Prowl was produced by Steel Panther and is now available for pre-order in multiple configurations including CD, Cassette, and 2 different color variant vinyl recordsHERE!
From the opening synth intro of “Never Too Late (To Get Some Pu**y Tonight)” to the thunderous outro of “Sleeping On The Rollaway,” Steel Panther is back with the infectious riffs, pounding drums, unforgettable vocals alongside the witty humor that has earned them a global audience. Songs like “On Your Instagram,” “Magical Vagina” and “One Pump Chump” are sure to fit in on the biggest live stages next to the band’s most-memorable songs. “1987” is an incredible retro look at that unforgettable year and the band even slows things down on the reflective “Ain’t Dead Yet.” The first single from On The Prowl is the memorable “Never Too Late (To Get Some Pu**y Tonight).” A music video for the song can be seenHERE.
“The song and video are an absolute public service announcement. People have been asking Steel Panther for advice on life, love and the pursuit of happiness for decades. ‘Never Too Late’ is a reminder to never give up, follow your heart, realize your dreams, overcome your challenges, navigate the rough seas, reach for stars and any other cliché you have in your pocket. Basically, what we are saying it is never too late to get some pu**y tonight,” explains Stix Zadinia.
The track listing for On The Prowl is: 1) Never Too Late (To Get Some Pu**y Tonight) 2) Friends With Benefits 3) On Your Instagram 4) Put My Money Where Your Mouth Is 5) 1987 6) Teleporter 7) Is My D**k Enough (feat. Dweezil Zappa) 8) Magical Vagina 9) All That And More 10) One Pump Chump 11) Pornstar 12) Ain’t Dead Yet 13) Sleeping On The Rollaway
As Steel Panther has ventured into the musical instrument space with the successful release of three guitar pedals: the legendary Pu**y Melter, Poontang Boomerang and Butthole Burner; the band is back with another must-have piece of gear – the 1987 pedal. The pedal is a combination distortion and delay pedal that can give any guitarist the signature sound of that classic year. The pedal will retail for $198.70 (see what we did there?) and as only Steel Panther can describe: “With the grit of 100 chainsaws and the ability to repeat itself more than that super stoned dude from Chemistry Class, it is truly the ultimate badass accessory…next to eyeliner.” The band is also making limited number of Charvel Custom Satchel 1987 Guitars. The 1987 pedal and Charvel Custom Satchel 1987 Guitars are available for pre-order here:https://steelpantherrocks.com/collections/on-the-prowl.
To coincide with the new bassist announcement, the newly whole Steel Panther are announcing a new US tour- Claus & Paws Holiday Party. The eight-city tour will kick off In late November after the band wraps up their recently announced Canadian leg of the Res-Erections tour 2022. The holiday shows will be sure to bring out the ho-ho-hoes to Michigan, Ohio, Indiana, New York and Connecticut. More information on tickets and purchase links for all shows can be found at:https://steelpantherrocks.com/pages/tour.
Res-Erections 2022 Fall Tour Dates 10/28 – Calgary, AB – Grey Eagle Casino 10/29 – Enoch, AB – River Cree Casino 10/30 – Grand Prairie, AB – The Bowes At Bonnetts Energy Centre 11/1 – Saskatoon, SK – The Coors Event Centre 11/3 – Regina, SK – Casino Regina Show Lounge 11/4 – Winnipeg, MB – Burton Cummings Theatre 11/5 – Minot, ND – The Original Bar & Grill * 11/7 – Green Bay, WI – Epic Event Center 11/9 – London, ON – London Music Hall 11/10 – Toronto, ON – History 11/11 – Ottawa, ON – Algonquin Commons Theatre 11/12 – Montreal, QC – Corona Theatre * Steel Panther Only/No Black Stone Cherry
A Claus & Paws Holiday Party Tour Dates 11/26 – Sault St. Marie, MI – Kewadin Casino 11/27 – Grand Rapids, MI – 20 Monroe Live 11/29 – Warren, OH – Packard Music Hall 11/30 – Ft. Wayne, IN – Piere’s Entertainment Center 12/2 – Waterloo, NY – Del Lago Casino * 12/3 – Poughkeepsie, NY – The Chance Theater 12/4 – New Haven, CT – Toad’s Place 12/29 – Vancouver, BC – Commodore Ballroom 12/30 – Vancouver, BC – Commodore Ballroom
ABOUT STEEL PANTHER: For the uninitiated, Steel Panther was formed in 2000. Hailing from Los Angeles, the epicenter for rock n’ roll in all its debauchery and glamour, Steel Panther has established themselves as the world’s premier party band, melding hard rock virtuosity with parody and criminally good looks. Steel Panther is a global phenomenon with four full-length albums, touring across the world, platinum-level You Tube status and high-profile television appearances such as Jimmy Kimmel Live, Larry King Now, and FOX NFL Sunday.
Rolling Stone avowed, “There’s a reason Steel Panther have transcended their origins as a cover band playing the Sunset Strip,” while Metal Sucks declared, Steel Panther’s concept is genius…their songwriting is…preposterously snappy – and relatable.”
Steel Panther L to R: Stix Zadinia (Drums), Spyder (Bass), Michael Starr (Vocals), Satchel (Guitars)
So, this is the 2015 reunion show of the actual Alice Cooper (the band) that penned and recorded all those hits (a number of which are here), and classic albums like Love It To Death, Killer, School’s Out, Billion Dollar Babies and Muscle Of Love. The greatest American rock n’ roll band, ever! So, there was finally a reunion, minus original lead guitarist Glenn Buxton, who passed away in 1997. Filling in was Alice’s current solo band player Ryan Roxie, who does an excellent job. The sound on this release is amazing, considering it was in a shop in Dallas (Good Records), and not a theatre or something, so somewhat informal. The band was there to promote Dennis Dunaway’s bookSnakes! Guillotines! Electric Chairs! and played this 8-song set. With Michael Bruce (guitarist) taking vocals on the opener “Caught In A Dream”, you can tell by the audience reaction when Alice comes out to join the band for “Be My Lover” and the rest. It’s a killer performance, being done by those that created these songs and know how they should sound. Check out Dennis’ bass on “Is It My Body”, the way it should sound. The show ends with “School’s Out” (surprise!), with harmonica added by Chuck Garric (Alice’s present bass player), but the band returned to perform “Elected” for the encore.
Live from the Astroturf is full of energy, and the bandmembers sound like they’re having a great time, with between song banter, drum rolls, and laughs; Alice tells a few humorous tales as well. Added here is the soundcheck instrumental performance of “Desperado”. This release (on Ear Music) is a worldwide reissue of the Record Store Day album from 2018, but has been repackaged nicely, with a different cover, inserts, vinyl variants, and all CD and LPs numbered (I got the ‘glow in the dark’ green vinyl!). An amazing addition to the Alice Cooper collection! Looking forward to watching the included Blu-Ray disc of the documentary of the whole event, later. There’s also been 2 videos released from this album…
Press info:By 1974, the Alice Cooper group had risen to the upper echelon of rock stardom… and then, parted ways. In October 2015, over 40 years later, record store owner and superfan Chris Penn convinced the original line-up to reunite for a very special performance at his record store Good Records in Dallas, Texas. Alice Cooper (vocals), Michael Bruce (guitar), Dennis Dunaway (bass) and Neal Smith (drums) were joined on stage by Alice’s current guitarist Ryan Roxie (standing in for the late Glen Buxton). A packed audience, believing they had come to Good Records for Dennis Dunaway’s ‘Snakes! Guillotines! Electric Chairs!’ book signing, were surprised to bear witness to a full-blown happening. The historic reunion show including all-time classics such as “No More Mr. Nice Guy”, “I’m Eighteen” and “School’s Out” is now becoming available for the very first time worldwide. Luckily the event was documented. “Live From The Astroturf, Alice Cooper” (edited and directed by Steven Gaddis) toured the world to the acclaim of music fans and rock journalists alike. The documentary won multiple awards for it’s coverage of the historic event. Now all Alice Cooper fans and rock music lovers across the globe can enjoy this movie as it’s included as a video bonus to this live album. Pop the popcorn, blow up the balloons, dim the lights, and crank it up!
Recently picked up the Donington ’83 release on CD. It’s a reissue of the 2010 release (that couple it with the Donington ”87 show). I haven’t picked up much of the barrage of Dio re-issues and archival releases that seem to keep coming out, but Donington ’83 was a must have as that is the Dio ‘band’ for me! A couple of these tracks did appear way back on the B-side of the “Hungry For Heaven” 12″ ep. It is the original Dio band – like the original Blizzard of Ozz band that were ‘it’ for me, and like post BOZ LPs, I slowly lost interest in Dio albums beyond this era. Vivian Campbell, Jimmy Bain (RIP), Vivian Campbell, Claude Schnell, and RJ Dio himself – was THE band! Having said that, I am happy to have this, it’s a great recording featuring 4 tracks from Dio’s debut Holy Diver and filled out with excellent renditions of Rainbow Black Sabbath classics. And looking at my old Dio 12″ singles which contained live tracks, it is noteworthy that there seems to have been a few shows properly recorded from that era (I presume most of these are already out there bootlegged or otherwise), so I hope we’ll get more from the 83-86 period. Also available on vinyl this time (as is Donington ’87). Looking forward to the next Last In Line (band) album now.
The latest from British blues rocker and ‘king of the slide guitar’ is The Wings Of Salvation, which boasts 10 cool sounding tracks. The album is lead by the singles “Gasoline”, driving rock of “Sweet Carolina” (the third video/single….vocally reminds me a bit of Brownsville Station, killer solo), and “Come On” — all of which sound & have choruses like they were written to be played for big crowds. But really this album just kicks ass start to finish with Redfern’s guitar sounds, slide work, and vocals, all delivered in a lively production with attitude! He writes memorable tunes and choruses – check out cuts such as “Mercy”, the slow blues of “Dark Religion”, the faster paced rockin “Profane” and “Down”, some neat storytelling within the songs as well. Available on CD, Vinyl LP, and digital formats at Troy Redfern’s site. Dig the cover, drawn by the man himself. Check this out!
Track Listing
1. Gasoline 2. Sweet Carolina 3. Come On 4. Navajo 5. Mercy 6. Can’t Let Go 7. Dark Religion 8. Profane 9. Down 10. Heart & Soul
Troy Redfern: Lead vocals, electric and acoustic guitars, backing vocals Dave Marks: Bass guitar, piano, keyboards, percussion, banjo, additional guitars, backing vocals Paul Stewart: Drums Produced by Dave Marks at Two Wolves Studios Engineered by Dave Marks and Troy Redfern
I’ll admit I don’t read a lot of books…in full, but rock bios are always of interest, and this one penned by Welsh musician John Sloman definitely is of interest. Sloman has had a lengthy roller-coaster ride of a career in the music business, having once fronted Lone Star (featuring Paul Chapman, pre UFO) and then Uriah Heep, and going on to tour with Gary Moore, Paul Young, and has recorded a number of solo albums (his latest Two Rivers, having just recently come out!). Lost On Planet Artifice takes us through John’s journey growing up in Grangetown, Cardiff (Wales) – his childhood, his intro to music, girls, his first band,… I do not usually read a book beginning to end, but more so pick out chapters and bits I want to know about first, then go back and forth, so picking up this 400+ page monster I went right to the Heep content to start! It goes without saying that this book should be a must-read for any Heep fan, and in particular those that either brushed over John’s 18 months in the band or lay the blame of the band’s demise in 1980/81 squarely with him. John finally gets to tell his version of events after decades of being dumped on by former band members, misguided fans, and unknowing journalists. So some stories may be a bit shocking, but worth the read. John has a natural knack for writing, and relaying recollections and events, as well as a pretty detailed memory.
Beyond the Heep era, John’s career would come across even more painful periods, such as the details of his time with Gary Moore, his solo album deal(s) and recording with Todd Rundgren. John’s story is a very brave and honest one, as he not only gets out all the things he’s bottled up over the years, but also talks about the depression and anxiety various situations and setbacks brought up, and how he dealt with them. Despite the ‘name’ and rock star tag, John’s story is. about his everyday struggles – as a musician trying to earn a living, as well as dealing with family and personal tragedies. Lost On Planet Artifice is Not one of those retrospective rock star books that simply recounts how great they once were! It also includes John’s insight into worldly issues, which some may take or leave (John’s well read on many topics, so I’m good with it). Throughout this you want to route for the guy that some big break or payday with finally go his way, as in later years John has threatened a few times to quit making music altogether, but he carries on, and anyone who’s heard his latest album Two Rivers, knows he still has plenty to offer. I think Two Rivers makes a great companion to his story here, so I’m guessing it won’t be his last! John seems a natural at writing as well, so hopefully there’ll be another book!? *There’s also a few pages of black & white photos, most of which have never been seen.
An excellent read and can be easily purchased for a good price on Amazon.
Caustic Casanova hail from Washington, DC, and are releasing their 5th album – Glass Enclosed Nerve Center! The band is progressive, but with some post-punk / 90s alternative influences to go with their King Crimson influence. Described as “Stoned Psych Sludge”. The album features 5 varied tracks, a few which are pretty trippy and ‘out there’, with some interesting titles, starting off rockin’ with “Anusbis Rex”, followed by the single “Lodestar”, and ending in the 22+ minute “Bull Moose Against The Sky”. Colorful cover-art by Scott Partridge. (*check out press info below for more info and to order).
On their fifth album, the brain-frying “Glass Enclosed Nerve Center”, Washington, DC-based riffonauts CAUSTIC CASANOVA pull an expansive range of sounds into their tight, hyperkinetic core – and explode them outward in a kaleidoscope of progressive heavy rock exuberance.
In ferocious opposition to playing music in an established style that might give listeners a way in but can narrow down what’s allowable, CAUSTIC CASANOVA plant their flag dramatically on the side of genre-agnostic exploration. Simply put, the Americans allow each song to go wherever the hell it wants (or needs) to head towards.
Formed in 2005 as the trio consisting of drummer and vocalist Stefanie Zaekner, bass-player and singer Francis Beringer, and guitarist Andrew Yonki, CAUSTIC CASANOVA‘s chose a path to constantly refine their thrillingly unpredictable music, which careens from sardonic noise rock to proggy sludge in the vein of BARONESS, RED FANG, and TORCHE, while also taking inspiration from the gargantuan heft of MELVINS to BORIS, and fleet guitar heroics with flashes of dark-hued post-punk.
After a number of proudly DIY releases, CAUSTIC CASANOVA caught the attention of KYLESA, who released the band’s third full-length “Breaks” through their own label. Having brought their pure rock fury to the riff-thirsty masses on more than a dozen full and regional US tours, CAUSTIC CASANOVA applied their road-honed chops to bang out a heavier, more joyously swaggering set of righteous songs for 2019’s triumphant album “God How I Envy the Deaf”.
With the addition of second guitarist Jake Kimberley in 2019, the now-quartet set their sights on making the most adventurous and prog-rock CAUSTIC CASANOVA record yet. “Glass Enclosed Nerve Center” underscores all their strengths, while making the most of the expanded line-up that opened up their sound to new possibilities. Beringer’s reedy, melodic bass dances heavily alongside the two frying guitars to empower a trio of lead voices. Zaenker’s percussion is powerfully inventive across the album’s five expansive songs, sounding equally at home in swinging, Bill Ward stomp as in math-rock jitteriness.
Long-time travelers in CAUSTIC CASANOVA‘s orbit will doubtless find “Glass Enclosed Nerve Center” an exhilarating welcome back that includes the ambitiously sprawling, 22-minute epic ‘Bull Moose against the Sky’ which occupies the album’s entire B-side. Yet those who are new to the massive sound of these raging psychedelic sludge buffaloes will find outstanding songcraft and rich storytelling that is worth every second and countless repeat spins. Three, two, one… go!
Tracklist 1. Anubis Rex 2. Lodestar 3. A Bailar Con Cuarentena 4. Shrouded Coconut 5. Bull Moose against the Sky
Line-up Francis Beringer – vocals, bass Stefanie Zænker – vocals, drums, percussion Andrew Yonki – guitar Jake Kimberley – guitar
NESTOR – “KIDS IN A GHOST TOWN” RE-RELEASE DELUXE EDITION WITH BONUS TRACKS OUT SEP 30TH
The unanimously acclaimed debut album from Swedish nostalgic rockers NESTOR is getting a re-release. After signing with Napalm Records earlier this year the band and label decided to give new life to the record, with new music and new cover art. The deluxe edition, that will be released on digital, CD, vinyl and cassette includes the latest single “Signed In Blood” that was released this spring, a song based on a true friendship that can be traced back to the band’s humble beginnings in 1989, before the three-decade long hiatus that lasted until their reformation and glorious return last year. Two additional songs round out the enhanced track list. The somber and reflective “A Losing Game” contains so many key changes that it will bring tears of joy in the eyes of anyone that listens to it (even the guys in Ultravox)! And the cover version of “I Wanna Dance with Somebody” sounds like the perfect summer fling lovechild between Whitney and Van Halen! A great album has become even greater! The deluxe version of Kids In A Ghost Town will be available on September 30th everywhere – Even in your Walkman!
Seattle and Los Angeles-based heavy metal four-piece RivetSkull’s re-imagined full-length album was released on July 8th of this year. Trail of Souls: Samsara is a complete re-recording of the band’s self-published 2020 album Trail of Souls. The first single released was “Crash and Burn”, along with a psychedelic video. Of the single, RivetSkull says:
“‘Crash and Burn’ is about the pitfalls of relationships. Though you can try to stay clear of danger, sometimes you can’t help but fall into the same traps! The new recording and production convey the drive and momentum a song about recklessness should be swimming in. We think we got there with this song and all the others on the album.”
Oozing energy and easy-to-move-to vibes, the single brings back the classic sound of the 90s, played with precision and expert musicianship. The members of RivetSkullhave been playing together previously for many years and vocalist Chad McMurray has training from Maestro David Kyle (vocal coach to Geoff Tate, Layne Staley, Ann Wilson), ensuring that the band is able to deliver a high level of production and professionalism. After self-recording and releasing their debut album during the global pandemic, they’ve revisited their songs with professional production that captures the massive sound that fans have come to expect from their live shows.
Since it’s release, Trail of Souls: Samsara has only been gaining momentum. Within the first month of it’s release, RivetSkull was fortunate enough to be featured on Band in Seattle, KISW’s Loud and Local Band of the Week, and they were interviewed for the Concerts that Made Us podcast.
Recorded at London Bridge Studio (Alice in Chains, Soundgarden, Queensrÿche) and produced by Matt Hyde (Slayer, Deftones, Seether), Trail of Souls: Samsara promises much more than a sonic retouch of the original. The reworked collection features new cover artwork and the previously unreleased recording of a cover of Aerosmith’s “King and Queens”, which has now been issued as the album’s next single/video –
*Recommended for fans of Dio, Black Sabbath, and Judas Priest, RivetSkull is well suited for those with a taste for classic metal).
Track Listing: 1. Crash and Burn (2:49) 2. Forever (5:24) 3. Mystified (3:45) 4. Another Way to Heaven (7:29) 5. Narcissus (5:01) 6. Trail of Souls (4:04) 7. It’s Not Enough (4:02) 8. Kings and Queens (Aerosmith cover) (5:16)
Outsider Rock 