CROSSOVER is a British band of veteran rockers put together by guitarist Paul Gaskin (Gaskin) and drummer Gary Pearson (Vardis) in 2017. Originally, the band also featured singer Mike Starrs (ex Lucifer’s Friend, Colosseum II). Kevin Riddles (Angelwitch, Tytan) on bass and Martin Howells on keyboards. Following a couple of years of major health issues, and a few members moving and leaving the band regrouped with a few new faces, and Gaskin & Starrs writing new songs together. Ken Lorenz joined on bass in early 2020, just as the pandemic kicked in. From then the band was limited in their activities – “We literally could do nothing, except write new songs on our own, or Mike would send me lyrics, and I’d come up with the music. As things were easing in 2021, I decided we should get into the studio and start recording some of the songs, so at least we’d have something to work at and aim for. “ recalls Paul Gaskin. As Ken Lorenz left for a bit, Neil Murray (a friend of Mike Starrs) came in to play on a few songs. There are a few clips of the band on youtube, but at present the band has released a very limited (signed) CD single “Shangri-la” & “Gypsy Blood”. “We are currently looking for a label that suits us. In the meantime, I thought it would be a good idea to bring out a limited edition single to get some airplay. I chose a “radio friendly” number, and it’s one of those that Neil plays on.” PG.
The band: Mike Starrs – vocals Martin Howells – keyboards/vocals Ken Lorenz – bass/vocals David Pick – drums/vocals Me – guitars/vocals Guests; Neil Murray – bass Gary Pearson – percussion Kevin Riddles – bass *The single has Neil on bass and Gary on percussion on “Shangri – la”, and the regular band on “Gypsy Blood”.
The BEATLES Revolver is being issued next month in a box set, with loads of extra material and a new mixes. Originally released in August of 1966, Revolver featured the hits as “Taxman” and “Eleanor Rigby”, and was #1 (almost everywhere). Read on for press details and tracklistings.
GET THE BEATLES’ REVOLVER INTO YOUR LIFE WITH THE NEWLY MIXED AND EXPANDED SPECIAL EDITION
– AVAILABLE EVERYWHERE OCTOBER 28, 2022 –
Revolver Album Presented in New Stereo and Dolby Atmos Mixes + Original Mono Mix;
Expanded with Never Before Released Session Recordings and Demos + “Paperback Writer” and “Rain” EP
Turn off your mind, relax and float downstream…
On 28th October, ‘Revolver’ will be released worldwide in a range of beautifully presented, newly-mixed and expanded Special Edition packages.
Revolver: The Beatles’ 1966 album that changed everything. Spinning popular music off its axis and ushering in a vibrant new era of experimental, avant-garde sonic psychedelia, Revolver brought about a cultural sea change and marked an important turn in The Beatles’ own creative evolution. With Revolver, John Lennon, Paul McCartney, George Harrison, and Ringo Starr set sail together across a new musical sea.
On October 28, Revolver will be released worldwide in a range of beautifully presented, newly mixed and expanded Special Edition packages by Apple Corps Ltd./Capitol/UMe. The Special Edition’s new stereo and Dolby Atmos mixes of the album’s opening track “Taxman” make their digital release debuts with today’s announcement and preorder launch.
Revolver’s 14 tracks have been newly mixed by producer Giles Martin and engineer Sam Okell in stereo and Dolby Atmos, and the album’s original mono mix is sourced from its 1966 mono master tape. Revolver’s sweeping new Special Edition follows the universally acclaimed remixed and expanded Special Editions of Sgt. Pepper’s Lonely Hearts Club Band (2017), The BEATLES (‘White Album’) (2018), Abbey Road (2019), and Let It Be (2021).
All the new Revolver releases feature the album’s new stereo mix, sourced directly from the original four-track master tapes. The audio is brought forth in stunning clarity with the help of cutting edge de-mixing technology developed by the award-winning sound team led by Emile de la Rey at Peter Jackson’s WingNut Films Productions Ltd. The physical and digital Super Deluxe collections also feature the album’s original mono mix, 28 early takes from the sessions and three home demos, and a four-track EP with new stereo mixes and remastered original mono mixes for “Paperback Writer” and “Rain”. The album’s new Dolby Atmos mix will be released digitally.
Across all the configurations, Revolver’s Special Edition showcases the GRAMMY-winning original album artwork created by The Beatles’ longtime friend, German bassist and artist Klaus Voormann. The Super Deluxe CD and vinyl collections’ beautiful book features Paul McCartney’s foreword; an introduction by Giles Martin; a thoughtful, enlightening essay by Questlove; and insightful chapters and detailed track notes by Beatles historian, author, and radio producer Kevin Howlett. The book is illustrated with rare and previously unpublished photos, never before published images of handwritten lyrics, tape boxes, and recording sheets, as well as 1966 print ads and extracts from Voormann’s graphic novel, birth of an icon: REVOLVER.
Following the December 1965 release of their groundbreaking album, Rubber Soul, and after wrapping up that year’s tour dates, a late decision to cancel shooting plans for a third Beatles film, A Talent For Loving, would have a significant effect on the creation of Revolver. The time allocated for filming and recording songs for a soundtrack was removed from the band’s schedule, allowing the group to take a four-month break before the Revolver recording sessions began. “One thing’s for sure,” John said a few weeks before the band’s return to the studio, “the next LP is going to be very different.”
On April 6, 1966, The Beatles gathered in Studio Three at EMI Studios (now called Abbey Road Studios) for their first Revolver recording session. With their producer George Martin flanked by recording engineer Geoff Emerick and technical engineer Ken Townsend, they went in blazing, starting with “Tomorrow Never Knows”. John’s ethereal vocals (fed from his mic through a rotating Leslie speaker), innovative tape loops – including Paul saying ‘ah, ah, ah, ah’, which when sped up produced a sound similar to a seagull’s screech – converge with Ringo’s thunderous drum pattern, George’s tambura drone, and a backwards guitar solo. “Tomorrow Never Knows” propelled The Beatles and popular music into exciting new terrain. In an interview before Revolver’s August 5, 1966 release, Paul explained to NME, “We did it because I, for one, am sick of doing sounds that people can claim to have heard before.” Revolver’s Special Edition also features The Beatles’ first take of “Tomorrow Never Knows” from the April 6 session and a mono mix that was issued on a small number of records before the LP was recut with the correct version.
The next day, The Beatles returned to Studio Three, completed most of their “Tomorrow Never Knows” recording, and started work on the first version of “Got To Get You Into My Life”. As heard on the Special Edition’s Sessions One, this recording sounds very different from the released track. Revolver’s Special Edition also spotlights two more stages of the finished track’s evolution: an unreleased mono mix and a special mix highlighting the overdubs of three trumpets and two tenor saxophones.
One of George’s most important songwriting influences is heard in “Love You To”. The previous year, his deepening interest in Indian music and learning how to play sitar had brought him together with Ravi Shankar, who became his close friend and occasional musical collaborator. The Beatles began recording “Love You To” in Studio Two on April 11, the third anniversary of the UK release of “From Me To You”. Taken with the whole of Revolver, the short three-year span between these songs illuminates the band’s astonishing creative progression.
“It was one of the first tunes I wrote for sitar,” George later recalled. “This was the first song where I consciously tried to use the sitar and tabla on the basic track.” With George on sitar and vocals, Paul on tamboura and vocal harmony, and university student Anil Bhagwat on tabla, the song’s intricate arrangement began to take shape over several takes. Overdubs included an additional harmony vocal by Paul, omitted from the released version but now faded up in a mix of Take 7. Revolver’s Special Edition also features Take 1 and a previously undocumented and only recently discovered rehearsal for the song with George playing sitar and Paul on tambura.
Between April 13 and 16 in Studios Two and Three, The Beatles recorded their chart-topping “Paperback Writer” single (with layered harmonies, riffing guitars, and Paul’s booming bass lines) and its B-side “Rain” (achieved with tape machines slowed down for the recording and mixing processes). Prior to the single’s release on June 10 (May 30 in the U.S.), The Beatles spent a couple of days away from recording to shoot several promotional films for both songs with director Michael Lindsay-Hogg, who would later direct the Let It Be film. In addition to the songs’ new stereo mixes and original mono mixes, Revolver’s Special Edition features “Paperback Writer” Takes 1 and 2 – Backing track and two versions of “Rain” Take 5: one at the actual speed The Beatles played it and the other, a slowed down evolutionary mix used to create the master tape.
The album’s opening track, “Taxman”, was recorded across three Studio Two sessions in April and May. One of three songs on the album by George, in “Taxman” he expresses his frustration with the UK’s ‘super-rich’ tax rate at the time (90%), with a vocal wink to the “Batman” TV theme song. In a 12-hour session on April 20, The Beatles recorded and mixed the first version of “And Your Bird Can Sing” (for this song, the Special Edition features two Version One/Take 2 recordings and Version Two’s Take 5), then began recording “Taxman”. They returned to the song the next day, laying down George’s foundational guitar, Paul’s bass and his dynamic, raga-style guitar solo, and Ringo’s drums and cowbell. Revolver’s Special Edition also features Take 11, with falsetto backing vocals by John and Paul with different words from the released version.
“Yellow Submarine” was recorded on May 26 and June 1 in Studios Three and Two, respectively. The iconic, sunny rite of singalong passage for children everywhere and a favorite for the young-at-heart began quite differently than it finished. Parts 1 and 2 of the Special Edition’s songwriting work tape for “Yellow Submarine” reveal the song’s evolution from a rather sad verse sung by John over acoustic guitar – “In the town where I was born / No one cared, no one cared…” – to its adaptation by John and Paul to suit the jollier subject matter of the chorus. Revolver’s Special Edition also includes “Yellow Submarine” Take 4 and highlighted sound effects (a complex and merry sonic seascape, including Mal Evans’ sand-shoveling and Brian Jones’ glass-clinking) for listeners to journey with The Beatles through the song’s progression. “We were really starting to find ourselves in the studio,” Ringo explained later. “The songs got more interesting, so with that the effects got more interesting.”
The Beatles’ final Revolver recording session took place in Studio Two on the evening of June 21, 1966 into the wee hours of June 22, just one day before the band traveled to Munich to start their international summer tour. The lyrics for “She Said She Said” drew upon the memory of a disorienting day of misadventure The Beatles had experienced in Los Angeles. Having received George’s help to create a whole new song from some unfinished fragments, John led the group through the rehearsals and recording while the clock ticked away the last remaining session time. Revolver’s Special Edition also features John’s home demo for the song and Take 15 – Backing track rehearsal, with its introductory speech revealing convivial banter between The Beatles as they worked out the arrangement (later praised by composer and conductor Leonard Bernstein as “remarkable” with “real inventions”).
By 4am on June 22, The Beatles finished “She Said She Said”, wrapping up their Revolver recording sessions. The album’s final mono and stereo mixes were completed that evening, and the next day The Beatles were once again off and running on tour. They would next return to Abbey Road in November 1966 to begin recording Sgt. Pepper’s Lonely Hearts Club Band.
Released on August 5, 1966, Revolver spent seven weeks at number one on the UK albums chart, and a double A-side single with “Eleanor Rigby” and “Yellow Submarine” topped the UK singles chart for four weeks in August and September. In the U.S., Capitol released an 11-track version of Revolver, which spent six weeks at number one on Billboard’s albums chart. “I’m Only Sleeping”, “And Your Bird Can Sing”, and “Doctor Robert” had been previously plucked from the sessions for Capitol’s North American release of the Yesterday And Today compilation album in June. That album’s sleeve was originally printed with the infamous “butcher cover” before pre-release controversy resulted in Capitol recalling and re-covering well over one million mono and stereo LPs with an innocuous photo of The Beatles gathered around a trunk.
Revolver: Special Edition:
SUPER DELUXE [5CD + 100-page hardbound book in slipcase | digital audio collection]
CD1: Revolver (New stereo mix)
1. Taxman (2022 Mix) 2. Eleanor Rigby (2022 Mix) 3. I’m Only Sleeping (2022 Mix) 4. Love You To (2022 Mix) 5. Here, There and Everywhere (2022 Mix) 6. Yellow Submarine (2022 Mix) 7. She Said She Said (2022 Mix) 8. Good Day Sunshine (2022 Mix) 9. And Your Bird Can Sing (2022 Mix) 10. For No One (2022 Mix) 11. Doctor Robert (2022 Mix) 12. I Want To Tell You (2022 Mix) 13. Got To Get You Into My Life (2022 Mix) 14. Tomorrow Never Knows (2022 Mix)
CD2: Sessions One 1. Tomorrow Never Knows (Take 1) 2. Tomorrow Never Knows (Mono Mix Rm 11) 3. Got To Get You Into My Life (First Version / Take 5) 4. Got To Get You Into My Life (Second Version / Unnumbered Mix 5. Got To Get You Into My Life (Second Version / Take 8) 6. Love You To (Take 1) 7. Love You To (Unnumbered Rehearsal) 8. Love You To (Take 7) 9. Paperback Writer (Takes 1 & 2 / Backing Track) 10. Rain (Take 5 / Actual Speed) 11. Rain (Take 5 / Slowed Down For Master Tape) 12. Doctor Robert (Take 7) 13. And Your Bird Can Sing (First Version / Take 2) 14. And Your Bird Can Sing (First Version / Take 2 / Giggling)
CD3: Sessions Two 1. And Your Bird Can Sing (Second Version / Take 5) 2. Taxman (Take 11) 3. I’m Only Sleeping (Rehearsal Fragment) 4. I’m Only Sleeping (Take 2) 5. I’m Only Sleeping (Take 5) 6. I’m Only Sleeping (Mono Mix Rm1) 7. Eleanor Rigby (Speech Before Take 2) 8. Eleanor Rigby (Take 2) 9. For No One (Take 10 / Backing Track) 10. Yellow Submarine (Songwriting Work Tape / Part 1) 11. Yellow Submarine (Songwriting Work Tape / Part 2) 12. Yellow Submarine (Take 4 Before Sound Effects) 13. Yellow Submarine (Highlighted Sound Effects) 14. I Want To Tell You (Speech & Take 4) 15. Here, There and Everywhere (Take 6) 16. She Said She Said (John’s Demo) 17. She Said She Said (Take 15 / Backing Track Rehearsal)
CD4: Original Mono 1. Taxman (Mono) 2. Eleanor Rigby (Mono) 3. I’m Only Sleeping (Mono) 4. Love You To (Mono) 5. Here, There and Everywhere (Mono) 6. Yellow Submarine (Mono) 7. She Said She Said (Mono) 8. Good Day Sunshine (Mono) 9. And Your Bird Can Sing (Mono) 10. For No One (Mono) 11. Doctor Robert (Mono) 12. I Want To Tell You (Mono) 13. Got To Get You Into My Life (Mono) 14. Tomorrow Never Knows (Mono)
REVOLVER – SPECIAL EDITION SUPER DELUXE VINYL BOX SET 180g 4LP/1EP (Apple Corps Ltd./Capitol/UMe)
LP One: Revolver (new stereo mix) Side 1 1. Taxman 2. Eleanor Rigby 3. I’m Only Sleeping 4. Love You To 5. Here, There And Everywhere 6. Yellow Submarine 7. She Said She Said
Side 2 1. Good Day Sunshine 2. And Your Bird Can Sing 3. For No One 4. Doctor Robert 5. I Want To Tell You 6. Got To Get You Into My Life 7. Tomorrow Never Knows
LP Two: Sessions One Side 1 1. Tomorrow Never Knows (Take 1) 2. Tomorrow Never Knows (Mono mix RM 11) 3. Got To Get You Into My Life (First version) – Take 5 4. Got To Get You Into My Life (Second version) – Unnumbered mix – mono 5. Got To Get You Into My Life (Second version) – Take 8 6. Love You To (Take 1) – mono 7. Love You To (Unnumbered rehearsal) – mono
Side 2 1. Love You To (Take 7) 2. Paperback Writer (Takes 1 and 2) – Backing track – mono 3. Rain (Take 5 – Actual speed) 4. Rain (Take 5 – Slowed down for master tape) 5. Doctor Robert (Take 7) 6. And Your Bird Can Sing (First version) – Take 2 7. And Your Bird Can Sing (First version) – Take 2 (giggling)
LP Three: Sessions Two Side 1 1. And Your Bird Can Sing (Second version) – Take 5 2. Taxman (Take 11) 3. I’m Only Sleeping (Rehearsal fragment) – mono 4. I’m Only Sleeping (Take 2) – mono 5. I’m Only Sleeping (Take 5) – mono 6. I’m Only Sleeping (Mono mix RM1) 7. Eleanor Rigby (Speech before Take 2) 8. Eleanor Rigby (Take 2)
Side 2 1. For No One (Take 10) – Backing track 2. Yellow Submarine (Songwriting work tape – Part 1) – mono 3. Yellow Submarine (Songwriting work tape – Part 2) – mono 4. Yellow Submarine (Take 4 before sound effects) 5. Yellow Submarine (Highlighted sound effects) 6. I Want To Tell You (Speech and Take 4) 7. Here, There And Everywhere (Take 6) 8. She Said She Said (John’s demo) – mono 9. She Said She Said (Take 15) – Backing track rehearsal
LP Four: Revolver (original mono master) Side 1 1. Taxman 2. Eleanor Rigby 3. I’m Only Sleeping 4. Love You To 5. Here, There And Everywhere 6. Yellow Submarine 7. She Said She Said
Side 2 1. Good Day Sunshine 2. And Your Bird Can Sing 3. For No One 4. Doctor Robert 5. I Want To Tell You 6. Got To Get You Into My Life 7. Tomorrow Never Knows
Revolver EP (7-inch) Side 1 1. Paperback Writer (New stereo mix) 2. Rain (New stereo mix)
The latest from Australia’s CROSSON, Ready, Aim…Rock! is a fun album full of ’80s influenced hair metal, and anthems. Lots of great rock and riffs here, such as “Fallen From Grace”, “One Way Love Affair”, and the title track. Lots of thought put in to the whole production with big intros, choruses, and solos, and backing vocals, check out tracks like “United”, “Take On The World”, and lighter cuts like “The Way It Is”. Well worth checking out!
*for more info check out the bio below, as well as the clips I’ve included, and links…
If it’s fist- pumping, uplifting, catchy stadium rock anthems that you are looking for, then it’s time to turn it up to eleven as Aussie Theatrical Glam Rockers CROSSON return all-guns blazing, with their sixth studio album Ready, Aim…. Rock !! Once again mixed by legendary U.S engineer / producer Duane Baron (Ozzy Osbourne, Motley Crue, Alice Cooper, Poison) and mastered by U.S mastering giant Dave Donnelly (Aerosmith, KISS, Whitesnake), Ready, Aim…. Rock !! punches you in the face from the opening chords and erupts with ten infectiously catchy, highly addictive rock tunes.
Writer, vocalist and producer Jason Crosson stated: ” ‘Ready Aim .. Rock !!’ is definitely the most sophisticated and mature CROSSON album to date. It still includes the catchy, stadium rock anthems that you’d expect, but being careful not to repeat ourselves and also grow musically, my admiration and respect for Jim Steinman ( writer for Meat Loaf / Bonnie Tyler) was channeled during the writing process which can be heard on songs like ‘United’, ‘The Way It Is & ‘Love Is Endless’ .
The album was tracked in Sydney at 3By3 Studios and introduces guitar virtuoso Marko Rado, whose solos will definitely raise eyebrows. The band’s long term live drummer Kyle Barr, provides an explosive backbeat, whilst the Queen-esq backing harmonies send chills down the listener’s spine.
Directed and edited by Lord Tim (Lord), the first video from the album, ‘United’, shows CROSSON in all their glory unleashing their electrifying, energetic, choreographed stage moves while showing the band’s history with archival footage. The second video ‘Fallen From Grace’ depicts a horror movie setting with the CROSSON dancers appearing as fallen angels and casting their demonic spell over the band that transforms them into rock ‘n roll demons.
CROSSON will commence their Australian National tour in October with Sweden’s Crashdiet and Australia’s Sisters Doll.
Finnish blues rock slide guitarist and singer songwriter Erja Lyytinen is pleased to announce the release of “Last Girl”, the second single taken from her upcoming ninth studio album Waiting For The Daylight.
The single, released Wednesday September 7th, is available to stream and buy on Spotify, Apple Music, Tidal, and Amazon Music via https://ffm.to/ylyrxan. Watch the Last Girl music video
Released by Tuohi Records on Friday October 7th, Erja’s new album Waiting For The Daylightfeatures nine original songs, and is available to pre-order from https://erjalyytinen.com/waiting-for-the-daylight.
In November, Erja heads out on a co-headline UK tour with the award-winning Belfast-based blues guitarist Dom Martin. Tickets are available from https://erjalyytinen.com/tour and www.dommart.in/tour. Dates include Southampton, The 1865 (Nov 7), Bilston, The Robin (Nov 8), London, The Grace (Nov 9) and Grimsby, Yardbirds (Nov 10).
“Last Girldeals with the subject of bullying in schools and the feeling of being left out of a friendship group, says Erja. “This song is for those who feel as if they are outsiders, which is a current topic as the new school year is about to start. A lot is happening in the song, and it is quite intense and energetic, just like the school world is.”
“Continues Erja, “Making the music video for ‘Last Girl’ felt essential because it’s such an important topic to me. A young girl features in the music video, and at the end, she is playing an electric guitar with me as part of the group and having a good time. The song speaks out on many levels.”
“It was fascinating to create guitar parts for ‘Last Girl’. It has some vibes from rock bands like Iron Maiden, but I also wrote twin-part guitar harmonies to the C – part in the style of an Allman Brothers Band. I wanted to create a song with an old classic rock feel but executed with modern sounds and techniques.”
“The intro has pull-offs and some fast licks and flute notes combined which creates the main guitar theme for the whole song. This song has probably one of the most challenging guitar parts I have written so far.”
For musicians, the last two years have been a period of reflection and soul searching. What to do with oneself in the absence of life on the road? And would live music ever be able to return to the way it was pre-pandemic? Artists and music fans alike waited for that glimmer of hope and the return of some semblance of normality. Written largely during the pandemic era Erja Lyytinen’s new studio album Waiting For The Daylight encapsulates these emotions.
With time on her hands, Lyytinen was able to pause, dig deep and fully process her feelings. Some of which she had been carrying for a long time. This journey of self-exploration proved to be a source of inspiration for the artist’s latest offering. Carrying on from the gifted guitarist’s last two studio albums, Stolen Hearts, and Another World, respectively, Lyytinen continues to explore themes such as love, loss, heartbreak, and sometimes even revenge. Events transpiring around the world occasionally fed into the storyboard of Lyytinen’s songwriting.
The album was recorded during the first half of 2022, between Erja’s hectic touring schedule, with the bulk of the sessions taking place at The Hollywood House in Helsinki, Finland. Lyytinen was joined in the studio by long-standing bass player Tatu Back and drummer Iiro Laitinen. Having played on every one of Lyytinen’s albums since 2008, Harri Taittonen features once again on Hammond and keyboard. Waiting For The Daylight illustrates a new chapter in Erja’s musical and artistic trajectory. The album was proudly produced by Lyytinen herself. Subsequently, Erja simultaneously explored sounds on the periphery of the blues-rock genre. She fearlessly pushed herself and the band further than previously before.
During her formative years, Erja was schooled on the sounds of the ’60s and 7’0s by her mother, and with her latest offering, she pays homage to rock greats such as Led Zeppelin, Deep Purple, and Uriah Heap. With its heavy groove, atmospheric textures, and passionate delivery the title track is a testament to this. The song Waiting For The Daylight also features perhaps one of the artist’s most mesmerizing and emotive solos to date. Lyytinen further showcases her chops during the album’s hook-laden opening number and lead single, “Bad Seed”.
The artist pours her heart and soul into the cathartic number “Last Girl”. Erja describes the latter a cross between Satriani meets Iron Maiden. Says Erja, “The song talks about bullying in schools and how you can be left out of a friendship group. I always put something of my own in the songs as well, so it became a very important song on many levels.”
Just as the title dictates, at approximately seven minutes long, “The End of Music”concludes the release to great effect. “The song talks about missing being back on stage and the audience, as many of us musicians did during the pandemic,” explains Erja.
For Erja and her fans alike, the new studio album and her return to touring the UK is worth the wait.
TRACK LISTING:
Bad Seed (5:13) Last Girl (5:28) Run Away (5:00) Waiting For The Daylight (6:12) Never Really Had You (5:15) Diamonds On The Road (4:25) You Talk Dirty (6:17) Love Bites (3:58) The End of Music (6:55)
LINE-UP:
Erja Lyytinen – Vocals, Guitars, Violin, Keyboards Harri Taittonen – Keyboards, Hammond Tatu Back – Bass Iiro Laitinen – Drums
Recorded and mixed by Matias Kiiveri at Hollywood House in Helsinki Finland 2022 .
Produced by Erja Lyytinen Executive producer Erja Lyytinen for Bluesland Productions Photographer and digital design by Antti Karppinen, Alias Creative Graphic design by Jan Yrlund, Darkgrove Design . All songs, lyrics, and music by Erja Lyytinen
Joanne Shaw Taylor’s new breakthrough studio album Nobody’s Fool releases on Joe Bonamassa’s KTBA Records worldwide Friday, October 28th.
The album is available to pre-order on CD, Vinyl, and digital – HERE
The new album, recorded at Sunset Sound in Los Angeles, is produced by Joe Bonamassa and Josh Smith and features Joe Bonamassa on “Won’t Be Fooled Again,” guitarist Carmen Vandenberg (Bones UK) on “Figure It Out,” cellist Tina Guo on “Fade Away” and music legend Dave Stewart on a cover of the Eurythmics classic “Missionary Man.”
The first single from the album, “Just No Getting Over You (Dream Cruise),” released today and can be streamed and downloaded HERE.
Joanne as born and raised in the UK and was discovered at the age of 16 by music icon Dave Stewart of the Eurythmics. Right from the get-go, Joanne’s incredible guitar playing, and distinctive sultry vocals set her apart from the rest of the crowd.
Nobody’s Fool is her most personal album to date. Joanne’s writing lays bare love, loss, and the desire to be free of the past through the vessel of catchy hooks and infectious guitar riffs.
Her vocal style, writing prowess and guitar skills take the listener on a journey into the wasteland of love and back into the light of hope and redemption. Nobody’s Fool takes Joanne into new territory that can be described as retro pop with a modern flare, yet still encompasses the emotion of her blues roots.
“The title track opens the album and sets the mood with JST’s signature husky, soulful vocals embellished with some powerful guitar lines,” says Guitarist Magazine.
Joanne wrote all the songs on the album except “Missionary Man,” which is written by Annie Lennox and Dave Stewart of the Eurythmics.
Joanne co-wrote “New Love” with Josh Smith, Calvin Turner, and Dylan Altman, “Then There’s You” with James House, “Fade Away” with Sharon Corbitt, and “The Leaving Kind” co-written with Joe Bonamassa, Leslie Satcher, and Beth Nielsen-Chapman (Willie Nelson, Sheryl Crow, Bonnie Raitt).
TRACK LISTING:
1. Nobody’s Fool (3:36) 2. Bad Blood (3:49) 3. Won’t Be Fooled Again feat. Joe Bonamassa (4:54) 4. Just No Getting Over You (Dream Cruise) (4:40) 5. Fade Away feat. Tina Guo (4:52) 6. Then There’s You (3:23) 7. Runaway (3:49) 8. Missionary Man feat. Dave Stewart (3:08) 9. Figure It Out feat. Carmen Vandenberg (3:48) 10. The Leaving Kind (4:03) 11. New Love (4:03)
Musicians: Joanne Shaw Taylor – Vocals & Lead Guitar Joe Bonamassa – Rhythm Guitar Josh Smith – Rhythm Guitar Lemar Carter – Drums Calvin Turner – Bass Deron Johnson – Piano/Wurlitzer/B3 Danielle De Andrea, Gaby Moreno & Jeff Young – Background Vocals Tina Guo – Cello (“Fade Away”) Carmen Vandenberg – Guitar Solo/Lead Guitar (“Figure It Out”)
Finnish heavy metal band Thy Row will celebrate the one-year anniversary of their debut albumUnchained with the release of a limited edition vinyl along with a brand new digital single entitled “Blue Blood”, a cover of one of the biggest hits by the biggest Japanese metal band of all time X Japan. The band comments:
“We were so proud of how our debut album turned out, that we knew that it deserved a vinyl release with a bonus track as well as a brand new vinyl master. The bonus track which was initially released only in Japan is a cover of the country’s biggest ever metal band X Japan. We’ve had a ton of fun performing the song ‘Blue Blood’ live multiple times, and while recording ‘Unchained’ we decided to record that one as well! The result is energetic and heavy, just as the speed metal classic should be! Join us and our wonderful label Rockshots Records who were open to realizing these wishes in celebrating the one-year anniversary of our first album, and we hope you enjoy what we have to offer with these releases!”
The vinyl was mastered by Svante Forsbäck (Rammstein, Volbeat) at Chartmakers Studios, and will be released together with the digital single ‘Blue Blood (X Japan Cover)’ on October 7th, 2022. Recommended for fans of The Scorpions, Megadeth, and Queen, Thy Row’s vinyl of Unchained is available for pre-order at – bit.ly/ThyRowVINYL
Founded in 2017, Thy Row made their first entry on the Finnish scene with their 2019 independently released self-titled EP. The record’s lead single “The Round” reached over 110K streams on Spotify and added to the EP’s overall praise that gave the group the opportunity to tour Japan in 2019 with Beast In Black and Swallow The Sun.
Following the success of that EP, Thy Row’s offered up their first full-length, a fresh mix of the finest heavy metal with modern hard rock that every metalhead can bang their heads to. With ten tracks, there are lots of great melodies spiced up with shakin’ riffs that are sure to encourage fans to turn up their stereo knobs all the way to eleven and enjoy.
Unchainedfeatures guest artists Ben Varon (Oceanhoarse, ex-Amoral), Ilja Jalkanen (Raskasta Joulua, Kiuas), and Teemu Mäntysaari (Wintersun, Smackbound) plus was mixed by Jussi Kraft (Starkraft Studio) and partly by Nino Laurenne (Sonic Pump Studios).
Thy Rowis: Mikael Salo – Vocals Jussi Laulainen – Guitar Ville Vase – Guitar Juho Jokimies – Bass Teemu “Snake” Laitinen Drums
The God Of Hellfire ARTHUR BROWN Invites You To His MONSTER’S BALL, Releases New Single LUCIFER SAM With DEEP PURPLE’S IAN PAICE & STEVE HILLAGE!
Features performances by James Williamson, Ian Paice, Mark Stein, Nik Turner, Shuggie Otis & More
Los Angeles, CA – Fans of dark and ghoulish rock & roll are all cordially invited to attend what is sure to be the biggest party of this year’s Halloween season, Monster’s Ball, the new album from the one and only God Of Hellfire and theatrical rock visionary, Arthur Brown! For his latest macabre-themed masterpiece, Brown is joined by a murderer’s row of talented co-conspirators including the album’s producers Alan Davey, who also co-wrote several of the songs, and Fernando Perdomo, all of whom have helped Brown craft one of the most energetic and thrilling albums of his long and distinguished career. From The Stooges’ guitarist James Williamson, who brings the heat on a new version of Brown’s iconic 1968 hit “Fire” to the killer collaboration with Vanilla Fudge’s Mark Stein on “Zombie Yelp,” Monster’s Ball promises to be one hell of a good time!
Today, Brown is proud to share another song from the album, the psychedelic opener to the album “Lucifer Sam,” penned by none other than Syd Barrett and featuring ripping performances by Gong guitarist Steve Hillage and Deep Purple drummer Ian Paice. Brown had this to say about the song, “As a prelude to the album launch on October 21st here’s a mysterious track by the enigmatic Syd Barrett. Fernando Perdomo’s bold production, the song’s adventurous structure, and the input of Steve Hillage and Ian Paice make this a delight of spooky fun. Shadows flickered and felines howled as I sang this portrait – Happy Halloween!”
Track List: 1. Lucifer Sam feat. Ian Paice & Steve Hillage 2. Screamin’ Ball (At Dracula’s Hall) feat. Alan Davey 3. I Feel Free feat. James Williamson & Rat Scabies 4. Bucket O’ Blood feat. Nik Turner 5. Zombie Yelp feat. Roye Albrighton & Mark Stein 6. Whistlin’ Past The Graveyard feat. The Sinclairs 7. Fire feat. James Williamson, Brian Auger & Carmine Appice 8. The Monster Hop feat. Shuggie Otis 9. Curse Of The Hearse 10. Mad Witch 11. The Vampire feat. The Coffin Daggers 12. Late Last Night feat. Steve Hillage, Roye Albrighton, Gilli Smyth & Joel Vandroogenbroeck BONUS TRACK [CD ONLY] 13. Karn Evil #9 feat. Jordan Rudess
Steve Hackett releases Genesis Revisited Live: Seconds Out & More album in CD/Blu-Ray and DVD format today 2nd September. Vinyl formats will follow on 25th November.
Seconds Out was Genesis second live album, released in October of 1977, and and it was the last album to feature Steve Hackett, as he left the band while the album was being readied for release.
Steve Hackett and his band comprise Roger King, Rob Townsend, Jonas Reingold, Nad Sylvan & Craig Blundell, and they were joined by Amanda Lehmann as special guest on the night.
In September and October 2022, Steve Hackett & band will present their ‘Foxtrot at Fifty’ 25-date tour in the UK. Full list of dates below. To buy tickets go to HackettSongs.com
The album’s highlight was the 23-minute epic Supper’s Ready which remains a concert favorite and featured on Hackett’s recent Second’s Out tour.“’Supper’s Ready’ was a sojourn, an odyssey and something that goes down very, very well with audiences now.” Hackett adds.“As part of ‘Second’s Out’ I’ve been playing the whole of that again, it really has stood the test of time.
“We were a young, struggling band at that time. By the time we were doing ‘Foxtrot’, the band was becoming more ambitious. ‘Foxtrot’ is a must for fans of the early Genesis work. Fifty years ago? It doesn’t feel like those ideas are fifty years old because it was-genre defining, rather than following trends. It still sounds current, now.”
For fans of ’80s hard rock comes this official release of Sally Steele’s recordings from 1988 and 89. Alone in Love (1988-1989) features six tracks of guitar driven rock that sounds like it could’ve done well had it come out back in the day. Call it ‘hair metal’ or whatever, but there’s some good stuff with rockers like the title track that kicks things off here, as well as “Too Bad (It Had To Be You), and the keyboard infused “Leave My Heart Alone”. There’s also the power ballad “The Only One”. Any of these songs would’ve fit nicely on radio in the ’80s.
Sally Steele would go on to great success starting and publishing Vegas Rocks! Magazine, as well as VegasRocksTV.com
*for more info check out the press release and links below…
Vintage ‘80s Metal Recordings From Video Vixen SALLY STEELE Finally See Worldwide Release!
Los Angeles, CA – With her teased-up blonde hair and supermodel looks, it’s no surprise that Sally Steele found herself cast in music videos by the likes of Loverboy, Eric Carmen, Bruce Willis and others. But her true passion was always in music creation and so, in 1986, she put a band together and started performing shows in the musical mecca of Hollywood’s Sunset Strip.
Soon she crossed paths with mega producer Paul Sabu (Heart, John Waite, Glass Tiger and more) who helped Steele bring two of her songs to life, “Too Bad (It Had To Be You” and “Leave My Heart Alone.” A music video was filmed for the latter and premiered on MTV’s Basement Tapes show in 1988.
After some personnel changes, Steele’s band soldiered on with more songs and recordings. They became regulars at The Coconut Teaser, FM Station, Madame Wong’s and The Whisky. However, as the music scene began to change in the early ‘90s Steele decided it was best to hang up her guitar – but she never lost her true passion. As Steele puts it “It was back when the Seattle grunge scene had replaced the music I loved from the ‘80s and I was told my music was ‘too commercial.’ But here we are today and I am so excited to finally get my material out to the world. I hope you enjoy my songs from the 1980s. And one thing that has never changed is – I still live and breathe rock n’ roll 24 hours a day!”
Canadian classic roots and blues rock band The Commoners release “Too Much”, the second single from the forthcoming album Find A Better Way on Friday August 26th. The single is available to buy and stream from https://lnk.fu.ga/thecommoners_toomuch. The “Too Much” music video can be streamed on You Tube .
The album is released on CD, limited edition vinyl and digital by Gypsy Soul Records on Friday 4th November and is available to pre-order from thecommoners.ca. and pre-save from https://lnk.to/TheCommonersFABW.
The band describe the Too Much single as follows – “Erupting with the growling vigour of an old Beaumont, Too Much drives The Commoners to the brink of surrendering their dreams for the comforts of home. A high horsepower performance peels out with rowdy riffs and lively organ in tow, delivering a relatable sentiment that never proves to be too much.”
Possessing a sound tapped from the oaken belly of a whiskey barrel, The Commoners are a four-piece Roots/Blues Rock band from Toronto, Canada.
Described as “a classic rock and roll affair,” the nine songs take the listener on a sonic voyage through the lives of the band, from the dusty back roads of rural Ontario to the bright lights of the big city. Offering their own blend of rock and roll, southern blues, and roots music, the Toronto-based four-piece band are known for their high-energy riffs, soulful vocals, and rich harmonies. The result is an authentic Southern-style rock experience.
The group was cobbled together over the course of a decade, adapting through numerous obstacles to form the unit as it exists today: Chris Medhurst (vocals/guitar), Ben Spiller (bass), Ross Hayes Citrullo (lead guitar), and Adam Cannon (drums). Often joined by their friend, organist Miles Evans-Branagh, The Commoners unite under a shared dream: to write, perform, and share music that is an authentic nod to the greats who paved the way before them.
“The new album authentically embodies the rock and roll, soul, and blues rock experience,” says the band’s lead singer, Chris Medhurst. “That’s something we really wanted to bring back. That’s the roots. That’s what we listen to.”
“The Black Crowes are a considerable influence for us,” says Medhurst. “Derek Trucks, Marcus King, Led Zeppelin, and The Allman Brothers Band, too. These are the bands that we wear on our sleeves as we aspire to create our own music and sound.”
Find A Better Way is an album that demands attention from the first note. The opening lines “If I scream at the top of my lungs, and stamp my feet, ’til the floor comes undone,” immediately inform that a wild ride lies ahead. The album was recorded and produced at RHC Music in Toronto by the band’s guitarist Ross Hayes Citrullo. Ross collaborated with executive producer Renan Yildizdogan to strike the perfect balance of new and old recording treatments. The goal was to create something that felt new and original, yet still familiar to their target classic roots rock and blues rock audience.
“The vision from the beginning was to marry old and new southern rock together in a way that was unique to the band’s Canadian roots,” explains Citrullo. “By adding the soul and rock elements of the Black Crowes, and the southern blues rock undertones of the Allman Brothers to a production style akin to Blackberry Smoke and Rival Sons, I think we developed an authentic sound that compares sonically to some of our favorite records across all of those music genres.”
The album’s lyrical themes drill into the essence of humanity: love, regret, ambition, and fear. Circling the forever challenge of doubt vs. desire, The Commoners place themselves into the shoes of the everyman. The result? Nine tracks that function as a comfort and companion through all of life’s trials and tribulations, with melodic solos, soaring organ, and a punchy rhythm section to drive the messages home.
Drummer Adam Cannon says – “Music, like so much in life, is about the exchange of energy.” and The Commoners make more than a fair trade. Striving to present an impactful, memorable, and downright exhilarating live experience that accurately represents their recorded works, the band carries the listener over spirited choruses and group chants, before returning them back to earth in need of a shot of something smooth. You can expect to leave fully satisfied, sweat drenched, and heart racing, a good time guaranteed—just what we all need.
The Commoners enlisted a handful of Toronto’s finest musicians to help bring their record to life. On the title track Find A Better Way, the band brought on keyboardist Jeff Heisholt (The Trews) to lay down an iconic organ track. For the rest of the album, keyboardist Miles Evans-Branagh performed organ, piano, and Rhodes.
To accompany Ben and Adam on backup vocals, The Commoners called upon three of Canada’s top backup singers. Tash Lorayne and Shezelle Weekes (The Arkells), and Chantal Williams joined in to arrange vocal parts and enliven the mix with their vivacious voices resulting in a spine-tingling performance.
The Commoners also invited local legend Michael Eckert to lend his pedal steel talents on I Won’t and Alive. Adding the final cherry on top, renowned multi-instrumentalist Ben Healey treated Deadlines to a guitar solo worthy of the world’s greatest stadiums. Though these songs were all written by The Commoners, the contributions of these amazing guest musicians make the album something special.
“Every time we brought an outside player into the studio, they would offer their own unique instincts and interpretations of each song. This helped the album grow into a collaborative art piece that continues to surprise us with every listen.”
A rock anthem to its core, the title track, “Find A Better Way” carries a message that encapsulates the entirety of the record. With growing uncertainties, society faces challenges previously unseen, leaving the collective in a perpetual state of questioning, with doubt directed towards governments, public leaders, and our neighbors. From the aftermath of COVID-19, the increasing mental health crisis in North America, war crimes in Ukraine, and the explosion of social movements and protests, one thought unites us all—we need to find a better way to co-exist on this planet. Find A Better Way takes an inward look at confronting our tumultuous past and accepting personal accountabilities to uncover the strength needed to seek a solution.
“Find a Better Way” is the only track on the record to mixed outside of Canada. The band worked with legend Producer/Mixer Kevin Shirley (the Black Crowes, Joe Bonamassa, Led Zeppelin) at Caveman Studios in Sydney, Australia. Kevin’s mix helped set the perfect tone for the album, which Ross Hayes Citrullo was then able to follow for the rest of the record. Kevin’s involvement set The Commoners on the right path with this epic title track.
Mastering was also an important consideration for the band and their label. For this stage, the team sent their record all the way to Nashville, Tennessee toPete Lyman (Tedeschi Trucks, Blackberry Smoke, Chris Stapleton, Rival Sons) at Infrasonic Sound. Pete’s specialty for mastering southern rock made the mixes come alive, making them sonically competitive to the band’s influences.
As a collective, we find ourselves emerging into a changed society, with uncertainty looming and shadowing the future. In their upcoming release The Commoners remind us that music has a unique ability to heal, a medicine of extraordinary merit, and balm for the soul during dark times. Every major movement in history gave rise to change makers, and The Commoners are taking their stand, here to lead and inspire us all to Find a Better Way.
TRACK LIST:
FIND A BETTER WAY FILL MY CUP MORE THAN MISTAKES TOO MUCH NATURLLY I WON’T DEADLINES HANGIN’ ON AGAIN ALIVE
Chris Medhurst – Lead Vocals, Rhythm Guitar Ross Hayes Citrullo – Lead Guitar Ben Spiller – Bass, Vocals, Piano (5, 9) Adam Cannon – Drums, Percussion, Vocals
Miles Evans-Branagh – Organ, Rhodes, Piano | Jeff Heisholt – Organ (1) Michael Ekhart – Pedal Steel (6, 9) | Ben Healey – Lead Guitar (7) Chantal Williams, Shezelle Weekes, Tash Lorayne – Backing Vocals
All songs written by The Commoners Produced by Ross Hayes Citrullo and The Commoners Executive Producer – Renan Yildizdogan Recorded at RHC Music, Toronto ON
Album Photography by Lindsay White Album Design by Emily Goguen
THE COMMONERS 2022 Tour Dates:
12/08/22 Toronto-Canada @ The Horseshoe Tavern 23/09/22 London-Canada @ Eastsides 12/10/22 Norderstedt-Germany @ Music Star 13/10/22 Hoganas-Sweden @ Garage Bar TBC 14/10/22 Varberg-Sweden @ Maja’s 15/10/22 Avesta-Sweden @ Kulturgaraget 16/10/22 Stockholm TBC 18/10/22 Malmo-Sweden @ Folk & Rock 19&20/10/22 Hamburg-Germany @ Cowboy und Indianer TBC 21/10/22 Asendorf-Germany @ Break Out 22/10/22 Singwitz-Germany @ Kesselhaus 23/10/22 Burglengenfeld-Germany @ RockStürbl 24/10/22 Bratislava-Slovakia @ Muzeum Ochbodu 26/10/22 Bremen-Germany @ Meisenfrei 27/10/22 Köln-Germany TBC 28/10/22 Rimsting-Germany TBC 29/10/22 Fiesch-Switzerland @ Inch Bar 30/10/22 Switzerland TBC 31/10/22 Solothurn-Switzerland TBC 03/11/22 Barcelona-Spain @ Sala Textil 04/11/22 Castellon-Spain @ Sala Because 05/11/22 Orihuela-Spain @ La Gramola 06/11/22 Valladollid-Spain @ Puerta Caeli 07/11/22 Leon-Spain @ Babylon 08/11/22 Ourense-Spain @ Cafe Auriense 10/11/22 A Coruna-Spain @ Sala Mardi Gras 11/11/22 Cangas-Spain @ Salason 12/11/22 Valles-Spain @ Bocanegra 13/11/22 Vitoria-Spain @ Urban Rock 15/11/22 Chambery-France @ Brin de Zinc 16/11/22 Besançon-France @ Bar De L’U 17/11/22 Metz-France TBC 18/11/22 Krefeld-Germany @ Kulturrampe 19/11/22 Ostend-Belgium TBC
Outsider Rock 