Jared James Nichols is from Wisconsin, a heavy blues/blues-rock player, with his own power-trio. I’ve seen him on a couple of occasions (opening for UFO), and he puts on a killer high energy performance. Definitely influenced by the likes of Cream and Mountain (seen him do a great cover of “Mississippi Queen” – search for a clip on youtube). So, if you get a chance to see this guy, do it! He’s got a brand new single & video out, check it out, along with the press release below.
Jared James Nichols just released his new single “Down The Drain” via Black Hill Records. On the hard-hitting track – produced, engineered, and mixed by Eddie Spear (Zach Bryan, Slash, Rival Sons) – vulnerable vocals snake around melodic guitar in ominous fashion.
Baring its fangs, “Down The Drain” snaps into a chantable chorus punctuated by a wailing lead. Click here to listen to the single, and click here to watch the official music video, directed by Tom Flynn and Mike Watts (Lamb of God, All That Remains).
“If I were to pick just one record to encapsulate my sound it would be ‘Down The Drain,’” shares Nichols. “From a whisper to a scream, this song has it all. Lyrically, it stems from a familiar place that can hit home for all of us, feelings of despair and pain, but constantly searching to find love each day. Musically, ‘Down The Drain’ cuts like a knife and moves like a freight train. This song hits hard and is brutally honest in all aspects. Turn it up and rock it out!”
Nichols, known for his electrifying live performance, teased the release of “Down The Drain” earlier this month in front of a live audience at the Aftershock Festival in Sacramento and again this past Monday night in New York City, where he headlined the Mercury Lounge.
“Down The Drain” follows Nichols’s recent single “Hard Wired.” The hypnotic and hyper-charged song was born from a jam session with Tyler Bryant and Graham Whitford.
Click here to listen to “Hard Wired” and watch the official music video.
With nothing more than a Gibson Les Paul slung over his shoulder, a warm amp turned all the way up, and a hot microphone on and ready, Jared James Nichols churns out the kind of rock that rips, roars, and rolls without filter or apology. The Nashville-based multi-talent, who stands at a staggering 6 foot 5 inches tall, delivers a one-two punch of gritty vocals straight from the gut and incendiary fret fireworks.
Since emerging in 2015, Nichols has racked up millions of streams and acclaim from the likes of American Songwriter, Guitar World, Relix, and many more, and has performed alongside icons such as Slash, Billy Gibbons, Zakk Wylde, Joe Bonamassa, and even the late Leslie West, to name a few.
*More from Jared James Nichols coming soon!
Jared James Nicholls – Tour Dates
Thursday November 10 – Little Rock, AR @ Stickyz Rock’n’Roll Chicken Shack Saturday November 12 – Kyle, Texas @ Skunkfest
More hard-hitting, kick-ass blues based British rock. Plenty of heavy guitar rockers, with harmonica, great riffs and vocals. Check out tracks like “666 At The Crossroads”, “Rebel With A Cause”, …”Jealous Woman”. *Check out the press info and title track below.
CRITICALLY ACCLAIMED HARMONICA PLAYER, WILL WILDE, ANNOUNCES LAUNCH OF NEW BLUES ROCK BAND, BAD LUCK FRIDAY
Bad Luck Friday’s self-titled debut album was released by Wilde Fire Records on Friday 2 September 2022. This is one of the most highly anticipated debut albums from a British rock band in years. The album is available from www.badluckfriday.com
The first single and title track, ‘Bad Luck Friday,’ was released July 1, 2022 and is available to buy and stream HERE.
The band has also just released their 2nd single “Banshee”, which is available to stream on Spotify HERE.
The official music video is available to watch on YouTube
Big guitars, wailing harp and a pounding rhythm section characterize this tune as a total anthem, making it the perfect track for Halloween. Scream if you want to go louder!
The band’s eponymous debut album, available on CD and colored vinyl, is available to order from www.badluckfriday.com.
Don’t be fooled by the harmonica. Bad Luck Friday is not your typical blues rock band. Will Wilde has a reputation in the blues world as a pioneer of the rock harp, but with Bad Luck Friday, he’s taken the music well beyond it’s traditional blues roots.
The band formed during the ashes of the pandemic when live music ground to a halt. Frustrated but still determined and highly creative, Wilde teamed up with guitarist, Steve Brook, and together they journeyed inward and developed their original style before bringing in Alan Taylor and Jack Turnbull to complete the line-up. Their fusion of bluesy classic rock and aggressive, contemporary hard rock encompasses anthemic choruses, catchy riffs, searing vocals, and Wilde’s blistering harmonica solos.
BAND LINE-UP
Will Wilde: Vocals, Harmonica
Steve “The Beak” Brook: Guitar, Backing Vocals
Jack Turnbull: Bass
Alan Taylor: Drums
Recorded at PA Studios and Brighton Road Studios, Brighton
Produced by Steve Brook
BAD LUCK FRIDAY – BIOGRAPHY
Bad Luck Friday is an exciting new rock band from Brighton, England. Formed in 2020, the band features Will Wilde (lead vocals, harmonica), Steve “The Beak” Brook (guitar, backing vocals), Jack Turnbull (bass) and Alan Taylor (drums).
Fronted by singer and world-renowned blues rock harmonica player, Will Wilde, their unique sound draws from an eclectic mix of influences, from classic rock bands such as Led Zeppelin and Free through to more aggressive contemporary bands like Black Stone Cherry, Halestorm and Alter Bridge.
Bad Luck Friday’s debut album is a blend of hard rock riffs and blues-infused melodies, big choruses with strong hooks, and face-melting harmonica solos that owe just as much to Slash or Angus Young as they to do Sonny Boy Williamson or Little Walter.
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.
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.
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)
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.
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.
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
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.
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!
Outsider Rock 