Showing posts with label Big Band. Show all posts
Showing posts with label Big Band. Show all posts
8/07/2019
Classic Rock Guitar Maestro PAT TRAVERS Strikes Up The Big Band And Lets It Swing On His New Album!
Los Angeles, CA - After 40 plus years of slinging his six-string all over the world, you’d think Pat Travers would be slowing down, settling into his well-worn blues rock groove that has earned him great critical acclaim as well as a massive worldwide fanbase. Instead Travers appears to be ramping up and looking for new horizons to conquer! On the heels of his superb 2015 album Retro Rocket, Travers brings what is sure to be called one of the most unique records of his distinguished career: a full album of swinging big band classics from the ‘40s & ‘50s given a whole new sound and energy courtesy of Travers’ superb skill as an arranger and interpreter. The album is called simply Swing! and it features full band rock arrangements of Louis Prima’s “Sing Sing Sing,” Duke Elington’s “Take The ‘A’ Train,” Glenn Miller’s “In The Mood” and many more! The result is an incredible listening experience of familiar tunes played like you’ve never heard them before.
Mr. Travers explains the genesis and creation of the album: “A little while ago I had the ‘40s channel on satellite radio playing and I started thinking that it would be fun to get into that Big Band Swing era music. I thought that I could find a place for my guitar style in there and I asked the people at Cleopatra Records if they thought so too. They did and with Cleopatra’s endorsement, I started to research the music and the bands and players from that time period.
The first thing I discovered was that these Big Bands were a lot like the rock bands that came along in later years. They had a lot of power (sixteen horn players!) and the bass players and drummers were powerhouses. The soloists, guys like Ray Anthony on trumpet, had a ton of flare and chops and I found them very inspiring.
I was fortunate to have my friend and great keyboardist Michael Franklin help me with the horn arrangements and getting the players for the recording sessions. Working with a baritone sax, trombone, alto sax, and trumpet was one of the best studio experiences I’ve ever had. These guys can play! Plus having Michael Franklin’s brother Tim Franklin playing the upright bass just made everything legit.
I also wanted to have my trio of Tommy Craig (drums) and David Pastorius (bass) try out some of the classic ‘40s tunes in a more rocked out minimal style. I think that we have been very successful in adapting the Big Band sound to a more contemporary blues/rock thing. Classic Big Band hits like ‘Sing Sing Sing’ and ‘In The Mood’ were a ton of fun to record.
All in all I think what we’ve done here is make that great old 1940s era Big Band music sound accessible to contemporary audiences and it certainly does swing!”
Swing! will be available on both CD (in a special digipak package) and vinyl in your choice of BLUE or RED as well as digital!
Track List:
1. Sing Sing Sing
2. Opus One
3. Is You Is Or Is You Ain't My Baby
4. In The Mood
5. Take The 'A' Train
6. Let The Good Times Roll
7. Apple Honey
8. Tenderly
Buy the CD: https://cleorecs.com/store/shop/pat-travers-swing-cd/
Buy the vinyl: https://cleorecs.com/store/shop/pat-travers-swing-limited-edition-colored-vinyl/
Buy the digital version: https://orcd.co/pattraversswing
Press inquiries:
Glass Onyon PR
Billy James
PH: 828-350-8158
glassonyonpr@gmail.com
PURPLE PYRAMID RECORDS,
A division of CLEOPATRA RECORDS, Inc.
11041 Santa Monica Blvd #703
Los Angeles CA 90025
www.CleopatraRecords.com
PURPLE PYRAMID RECORDS
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11/17/2017
The Ed Palermo Big Band Releases The Adventures of Zodd Zundgren, a Dizzying and Ingenious Reinvention of Music by Frank Zappa and Todd Rundgren!
Featuring Zappa Vocal Legend Napoleon Murphy Brock!
Ed Palermo may have gained an international following with his ingenious orchestral arrangements of Frank Zappa tunes, but he’s hardly a one-trick pony. Earlier in the year, the saxophonist released an uproarious double album The Great Un-American Songbook Volumes 1 & 2, a project celebrating an expansive roster of songs by successive waves of British invaders, from the Beatles, Rolling Stones and Jeff Beck to King Crimson, Traffic, and Jethro Tull.
With his new big band project, slated for release on Cuneiform Records on October 6, 2017, Palermo is back on his home turf, but the landscape feels strange and uncanny. He’s reclaiming the Zappa songbook, filtering Frank through the emotionally charged lens of the polymathic musical wizard Todd Rundgren in a wild and wooly transmogrification, The Adventures of Zodd Zundgren. Working with the same stellar cast of players, Palermo somehow captures the essence of these iconoclastic masters, making Zappa Zappier and Todd more Rundgrenian.
He sees the Zappa and Rundgren as embodying a ying and yang approach to life that played an essential role in helping him navigate the minefields of teenage angst in the 1960s. “For most of my high school days my favorite musicians were Zappa and Todd Rundgren,” Palermo says. “Rundgren had his songs about self-pity, which were exactly what I needed back then. I’d go out with a girl and whatever party I brought her to she’d go and hang out with another dude. Todd understood. At the same time, Zappa had these snarky songs like ‘Broken Hearts are for Assholes.’ It was tough love. You gotta broken heart? Deal with it. Todd Rundgren’s music was there to give you a hug. I wanted to contrast the hard-bitten Zappa followed by a bleeding heart Rundgren ballad.”
Though the title suggests a forced merger, The Adventures of Zodd Zundgren doesn’t mashup the oeuvres of the two masters. Rather, the album mostly alternates between the composers, creating a deliciously dizzying whipsaw as the two diametrical stances sometimes blur or even switch. Zappa’s soaring fanfare “Peaches En Regalia” is more inspirational than smarmy, with a particularly eloquent alto sax solo by Cliff Lyons, while a brisk and forthright version of Rundgren’s “Influenza” showcases the muscular lyricism of violinist Katie Jacoby, one of the orchestra’s essential voices.
Palermo reaches deep into the Rundgren songbook for “Kiddie Boy,” a stinging blues from 1969’s Nazz Nazz, the seminal second release by his underappreciated band Nazz (an album which originally bore the Zappaesque title Fungo Bat). Drawing directly from the maestro’s original horn arrangement, Palermo displays some impressive guitar work on a vehicle for Bruce McDaniel’s blue-eye vocals. Napoleon Murphy Brock delivers a poker-faced rendition of Zappa’s surreal “Montana,” the tune that turned a generation on to the lucrative potential of floss farming, and McDaniel and Brock join forces on Rundgren’s deliriously silly “Emperor of the Highway,” an homage to Gilbert and Sullivan.
The contrasting sensibilities of the Zundgrens comes into sharp focus in the center of the album. While Palermo has recorded Zappa’s “Echidna’s Arf (Of You)” this time he replaces the horns with McDaniel’s intricately layered vocals via the miracle of multi-tracking. From Zappa’s playfully odd metered work out the big band saunters into Rundgren’s greatest ballad “Hello It's Me,” an arrangement for McDaniel’s most impassioned crooning based on the original version from 1968 album Nazz (not the hit from his solo Something/Anything? album).
Tenor saxophonist Bill Straub swaggers through Rundgren’s “Wailing Wall,” which is sandwiched between two slices of Zappa at his snarky best, “Big Swifty Coda” and “Florentine Pogen,” another superb feature for Brock. Palermo spotlights a dark and wondrous Zappa obscurity with “Janet's Big Dance Number,” a brief piece recovered from 200 Motels featuring Ben Kono’s noir tenor solo. From that unified hedgehogian arrangement Palermo unleashes the multifarious fox on Rundgren’s “Broke Down and Busted,” a portmanteau arrangement that touches on Rundgren’s “Boat on the Charles,” the Ramsey Lewis hit “The ‘In’ Crowd,” Zappa’s “Brown Shoes Don’t Make It,” and even traces of Steely Dan’s “Pretzel Logic.” It’s a tour de force that feels like stream of consciousness journey, though the id truly emerged on the closing hidden track. In what has become a Palermo tradition, he includes yet another version of an enduring lament about the difficulties of relationships, arranged this time in Nazzian style by McDaniel.
The seamless ease with which Palermo and his crack crew navigate between the Zappa and Rundgren shouldn’t come as a surprise. Over the years Zappa’s music has proven supremely pliable in Palermo’s capable hands, as evidenced further by a recent concert at Iridium that paired his songs with standards indelibly linked to Ol’ Blue Eyes (is there an album The Adventures of Zinatra in the future?). Everything he brings into the big band is a labor of love.
“Todd Rundgren holds a very special place in my heart,” Palermo says. “I realized I was in love with my girlfriend (now wife) listening to his album Something/Anything? It was about 2 years ago doing our regular hit at The Falcon that I decided to have Zodd Zundgren night. A lot of people who like the music of Zappa also like Rundgren and Steely Dan, but there are enough Steely Dan cover bands out there.”
Born in Ocean City, New Jersey on June 14, 1954, Palermo grew up in the cultural orbit of Philadelphia, which was about an hour drive away. He started playing clarinet in elementary school, and soon turned to the alto saxophone. He also took up the guitar, and credits his teenage obsession with Zappa to opening his ears to post-bop harmonies and improvisation.
Palermo caught the jazz bug while attending DePaul University, and took to the alto sax with renewed diligence inspired by Phil Woods, Cannonball Adderley, and Edgar Winter (the subject of an upcoming EPBB project). Before he graduated he was leading his own band and making a good living as a studio player recording commercial jingles. But like so many jazz musicians he answered New York’s siren call, moving to Manhattan in 1977. After a year of playing jam sessions and scuffling Palermo landed a coveted gig with Tito Puente, a four-year stint that immersed him in Afro-Cuban music.
An encounter with trumpeter Woody Shaw’s septet at the Village Vanguard in the late 1970s stoked his interest in writing and arranging for larger ensembles, and by the end of the decade he had launched a nine-piece rehearsal band with five horns. Between Don Sebesky’s well-regarded book The Contemporary Arranger and advice from Dave Lalama and Tim Ouimette, “I got a lot of my questions answered and I’ll love them forever,” Palermo says. “Then the real education was trial and error. I lived in a little apartment with no TV or furniture. All I had was a card table, and once a week I’d rehearse my nonet, then listen to the cassette of the rehearsal and make all the changes.”
Palermo made his recording debut in 1982, an impressive session featuring heavyweights such as David Sanborn, Edgar Winter and Randy Brecker. As a consummate studio cat and sideman, he toured and recorded with an array of stars, including Aretha Franklin, Eddie Palmieri, Celia Cruz, Lena Horne, Tony Bennett, Mel Tormé, Lou Rawls, Melba Moore, The Spinners, and many others. As an arranger, he’s written charts for the Tonight Show Band, Maurice Hines, Eddy Fischer, and Melissa Walker. Employed frequently by bass star Christian McBride for a disparate array of projects, Palermo has written arrangements for a James Brown concert at the Hollywood Bowl, a Frank Sinatra tribute featuring Kurt Elling, Seth McFarland, and John Pizzarelli, and a 20-minute medley of Wayne Shorter tunes for the New Jersey Ballet.
Palermo had been leading his big band for more than a decade before the Zappa concept started coming together. Inspired by electric guitar master Mike Keneally, who performed with Zappa on some of his final concerts before his death in 1993, Palermo decided to arrange a program of 12 Zappa tunes. When the time came to debut the material at one of the band’s regular gigs at the Bitter End in early 1994, a sold-out crowd greeted the band.
He earned international attention with the ensemble’s 1997 debut The Ed Palermo Big Band Plays Frank Zappa on Astor Place Records, which received a highly-prized 4-star review from DownBeat. With Palermo’s brilliant arrangements and soloists such as Bob Mintzer, Chris Potter, Dave Samuels, Mike Stern, and Mike Keneally, the album made an undisputable case for the Zappa jazz concept. In 2006 he released another collection of Zappa arranged for his jazz big band, called Take Your Clothes Off When You Dance, on Cuneiform, thus beginning an ongoing collaboration with that label. While Palermo has written more than 300 Zappa charts, he’s cast an increasingly wide net for material. Recent releases like 2014’s Oh No! Not Jazz!!, 2016’s One Child Left Behind and 2017’s The Great Un-American Songbook Volumes 1 & 2 - all on Cuneiform and all recipients of DownBeat’s coveted 4-star ratings - featured a bountiful selection of his original compositions and material by composers not named Frank Zappa.
Nothing demonstrates the ensemble’s ongoing vitality better than the stellar cast of players, with longtime collaborators such as violinist Katie Jacoby, baritone saxophonist Barbara Cifelli, drummer Ray Marchica, and keyboardist Ted Kooshian. Many of these top-shelf musicians have been in the band for more than a decade, and they bring wide-ranging experience, expert musicianship and emotional intensity to Palermo’s music.
The band’s following continues to expand with its monthly residency at Iridium and bi-monthly gigs at The Falcon. In addition, performances (some headlining) at jazz festivals across the USA are winning new fans of all ages for the band. Palermo’s profile in the jazz press is also rising fast, with articles and feature stories appearing this past year in such publications as Jazz Times and Jazziz. Regarding recordings, albums by The Ed Palermo Big Band have been critically acclaimed and also embraced by the general public-jazz and rock fans alike. Palermo has already recorded dozens of new tracks for The Great Un-American Songbook Volumes 3 & 4, and is hoping Zodd Zundgren helps introduce Rundgren’s ingenious, heartfelt music to a new generation.
To purchase Ed Palermo's The Adventures of Zodd Zundgren:
http://a.co/30Oggdq
https://itunes.apple.com/us/album/the-adventures-of-zodd-zundgren/id1281745553
https://cuneiformrecords.bandcamp.com/album/the-adventures-of-zodd-zundgren
http://www.waysidemusic.com/Music-Products/Palermo-Ed-The-Adventures-Of-Zodd-Zundgren__Rune-spc-440.aspx
For more information on The Ed Palermo Big Band
http://www.palermobigband.com- http://www.facebook.com/palermobigband - Twitter: @palermobigband
http://www.cuneiformrecords.com - Twitter: @cuneiformrecord
Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com
The Ed Palermo Big Band Releases The Adventures of Zodd Zundgren, a Dizzying and Ingenious Reinvention of Music by Frank Zappa and Todd Rundgren!
Featuring Zappa Vocal Legend Napoleon Murphy Brock!
Ed Palermo may have gained an international following with his ingenious orchestral arrangements of Frank Zappa tunes, but he’s hardly a one-trick pony. Earlier in the year, the saxophonist released an uproarious double album The Great Un-American Songbook Volumes 1 & 2, a project celebrating an expansive roster of songs by successive waves of British invaders, from the Beatles, Rolling Stones and Jeff Beck to King Crimson, Traffic, and Jethro Tull.
With his new big band project, slated for release on Cuneiform Records on October 6, 2017, Palermo is back on his home turf, but the landscape feels strange and uncanny. He’s reclaiming the Zappa songbook, filtering Frank through the emotionally charged lens of the polymathic musical wizard Todd Rundgren in a wild and wooly transmogrification, The Adventures of Zodd Zundgren. Working with the same stellar cast of players, Palermo somehow captures the essence of these iconoclastic masters, making Zappa Zappier and Todd more Rundgrenian.
He sees the Zappa and Rundgren as embodying a ying and yang approach to life that played an essential role in helping him navigate the minefields of teenage angst in the 1960s. “For most of my high school days my favorite musicians were Zappa and Todd Rundgren,” Palermo says. “Rundgren had his songs about self-pity, which were exactly what I needed back then. I’d go out with a girl and whatever party I brought her to she’d go and hang out with another dude. Todd understood. At the same time, Zappa had these snarky songs like ‘Broken Hearts are for Assholes.’ It was tough love. You gotta broken heart? Deal with it. Todd Rundgren’s music was there to give you a hug. I wanted to contrast the hard-bitten Zappa followed by a bleeding heart Rundgren ballad.”
Though the title suggests a forced merger, The Adventures of Zodd Zundgren doesn’t mashup the oeuvres of the two masters. Rather, the album mostly alternates between the composers, creating a deliciously dizzying whipsaw as the two diametrical stances sometimes blur or even switch. Zappa’s soaring fanfare “Peaches En Regalia” is more inspirational than smarmy, with a particularly eloquent alto sax solo by Cliff Lyons, while a brisk and forthright version of Rundgren’s “Influenza” showcases the muscular lyricism of violinist Katie Jacoby, one of the orchestra’s essential voices.
Palermo reaches deep into the Rundgren songbook for “Kiddie Boy,” a stinging blues from 1969’s Nazz Nazz, the seminal second release by his underappreciated band Nazz (an album which originally bore the Zappaesque title Fungo Bat). Drawing directly from the maestro’s original horn arrangement, Palermo displays some impressive guitar work on a vehicle for Bruce McDaniel’s blue-eye vocals. Napoleon Murphy Brock delivers a poker-faced rendition of Zappa’s surreal “Montana,” the tune that turned a generation on to the lucrative potential of floss farming, and McDaniel and Brock join forces on Rundgren’s deliriously silly “Emperor of the Highway,” an homage to Gilbert and Sullivan.
The contrasting sensibilities of the Zundgrens comes into sharp focus in the center of the album. While Palermo has recorded Zappa’s “Echidna’s Arf (Of You)” this time he replaces the horns with McDaniel’s intricately layered vocals via the miracle of multi-tracking. From Zappa’s playfully odd metered work out the big band saunters into Rundgren’s greatest ballad “Hello It's Me,” an arrangement for McDaniel’s most impassioned crooning based on the original version from 1968 album Nazz (not the hit from his solo Something/Anything? album).
Tenor saxophonist Bill Straub swaggers through Rundgren’s “Wailing Wall,” which is sandwiched between two slices of Zappa at his snarky best, “Big Swifty Coda” and “Florentine Pogen,” another superb feature for Brock. Palermo spotlights a dark and wondrous Zappa obscurity with “Janet's Big Dance Number,” a brief piece recovered from 200 Motels featuring Ben Kono’s noir tenor solo. From that unified hedgehogian arrangement Palermo unleashes the multifarious fox on Rundgren’s “Broke Down and Busted,” a portmanteau arrangement that touches on Rundgren’s “Boat on the Charles,” the Ramsey Lewis hit “The ‘In’ Crowd,” Zappa’s “Brown Shoes Don’t Make It,” and even traces of Steely Dan’s “Pretzel Logic.” It’s a tour de force that feels like stream of consciousness journey, though the id truly emerged on the closing hidden track. In what has become a Palermo tradition, he includes yet another version of an enduring lament about the difficulties of relationships, arranged this time in Nazzian style by McDaniel.
The seamless ease with which Palermo and his crack crew navigate between the Zappa and Rundgren shouldn’t come as a surprise. Over the years Zappa’s music has proven supremely pliable in Palermo’s capable hands, as evidenced further by a recent concert at Iridium that paired his songs with standards indelibly linked to Ol’ Blue Eyes (is there an album The Adventures of Zinatra in the future?). Everything he brings into the big band is a labor of love.
“Todd Rundgren holds a very special place in my heart,” Palermo says. “I realized I was in love with my girlfriend (now wife) listening to his album Something/Anything? It was about 2 years ago doing our regular hit at The Falcon that I decided to have Zodd Zundgren night. A lot of people who like the music of Zappa also like Rundgren and Steely Dan, but there are enough Steely Dan cover bands out there.”
Born in Ocean City, New Jersey on June 14, 1954, Palermo grew up in the cultural orbit of Philadelphia, which was about an hour drive away. He started playing clarinet in elementary school, and soon turned to the alto saxophone. He also took up the guitar, and credits his teenage obsession with Zappa to opening his ears to post-bop harmonies and improvisation.
Palermo caught the jazz bug while attending DePaul University, and took to the alto sax with renewed diligence inspired by Phil Woods, Cannonball Adderley, and Edgar Winter (the subject of an upcoming EPBB project). Before he graduated he was leading his own band and making a good living as a studio player recording commercial jingles. But like so many jazz musicians he answered New York’s siren call, moving to Manhattan in 1977. After a year of playing jam sessions and scuffling Palermo landed a coveted gig with Tito Puente, a four-year stint that immersed him in Afro-Cuban music.
An encounter with trumpeter Woody Shaw’s septet at the Village Vanguard in the late 1970s stoked his interest in writing and arranging for larger ensembles, and by the end of the decade he had launched a nine-piece rehearsal band with five horns. Between Don Sebesky’s well-regarded book The Contemporary Arranger and advice from Dave Lalama and Tim Ouimette, “I got a lot of my questions answered and I’ll love them forever,” Palermo says. “Then the real education was trial and error. I lived in a little apartment with no TV or furniture. All I had was a card table, and once a week I’d rehearse my nonet, then listen to the cassette of the rehearsal and make all the changes.”
Palermo made his recording debut in 1982, an impressive session featuring heavyweights such as David Sanborn, Edgar Winter and Randy Brecker. As a consummate studio cat and sideman, he toured and recorded with an array of stars, including Aretha Franklin, Eddie Palmieri, Celia Cruz, Lena Horne, Tony Bennett, Mel Tormé, Lou Rawls, Melba Moore, The Spinners, and many others. As an arranger, he’s written charts for the Tonight Show Band, Maurice Hines, Eddy Fischer, and Melissa Walker. Employed frequently by bass star Christian McBride for a disparate array of projects, Palermo has written arrangements for a James Brown concert at the Hollywood Bowl, a Frank Sinatra tribute featuring Kurt Elling, Seth McFarland, and John Pizzarelli, and a 20-minute medley of Wayne Shorter tunes for the New Jersey Ballet.
Palermo had been leading his big band for more than a decade before the Zappa concept started coming together. Inspired by electric guitar master Mike Keneally, who performed with Zappa on some of his final concerts before his death in 1993, Palermo decided to arrange a program of 12 Zappa tunes. When the time came to debut the material at one of the band’s regular gigs at the Bitter End in early 1994, a sold-out crowd greeted the band.
He earned international attention with the ensemble’s 1997 debut The Ed Palermo Big Band Plays Frank Zappa on Astor Place Records, which received a highly-prized 4-star review from DownBeat. With Palermo’s brilliant arrangements and soloists such as Bob Mintzer, Chris Potter, Dave Samuels, Mike Stern, and Mike Keneally, the album made an undisputable case for the Zappa jazz concept. In 2006 he released another collection of Zappa arranged for his jazz big band, called Take Your Clothes Off When You Dance, on Cuneiform, thus beginning an ongoing collaboration with that label. While Palermo has written more than 300 Zappa charts, he’s cast an increasingly wide net for material. Recent releases like 2014’s Oh No! Not Jazz!!, 2016’s One Child Left Behind and 2017’s The Great Un-American Songbook Volumes 1 & 2 - all on Cuneiform and all recipients of DownBeat’s coveted 4-star ratings - featured a bountiful selection of his original compositions and material by composers not named Frank Zappa.
Nothing demonstrates the ensemble’s ongoing vitality better than the stellar cast of players, with longtime collaborators such as violinist Katie Jacoby, baritone saxophonist Barbara Cifelli, drummer Ray Marchica, and keyboardist Ted Kooshian. Many of these top-shelf musicians have been in the band for more than a decade, and they bring wide-ranging experience, expert musicianship and emotional intensity to Palermo’s music.
The band’s following continues to expand with its monthly residency at Iridium and bi-monthly gigs at The Falcon. In addition, performances (some headlining) at jazz festivals across the USA are winning new fans of all ages for the band. Palermo’s profile in the jazz press is also rising fast, with articles and feature stories appearing this past year in such publications as Jazz Times and Jazziz. Regarding recordings, albums by The Ed Palermo Big Band have been critically acclaimed and also embraced by the general public-jazz and rock fans alike. Palermo has already recorded dozens of new tracks for The Great Un-American Songbook Volumes 3 & 4, and is hoping Zodd Zundgren helps introduce Rundgren’s ingenious, heartfelt music to a new generation.
To purchase Ed Palermo's The Adventures of Zodd Zundgren:
http://a.co/30Oggdq
https://itunes.apple.com/us/album/the-adventures-of-zodd-zundgren/id1281745553
https://cuneiformrecords.bandcamp.com/album/the-adventures-of-zodd-zundgren
http://www.waysidemusic.com/Music-Products/Palermo-Ed-The-Adventures-Of-Zodd-Zundgren__Rune-spc-440.aspx
For more information on The Ed Palermo Big Band
http://www.palermobigband.com- http://www.facebook.com/palermobigband - Twitter: @palermobigband
http://www.cuneiformrecords.com - Twitter: @cuneiformrecord
Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com
6/22/2016
Andy Meadows - Modern Day Crooner
Never Be The Same’ is the latest fun upbeat swing single from rising Texas artist Andy Meadows set to appear on his upcoming album Modern Day Crooner.
Accompanied by a vibrant 9 piece band, Andy delivers a swanky crooning voice powerful enough to compete with the likes of Harry Connick Jr., Michael Buble and Frank Sinatra. Steel guitar and fiddles meanwhile add a country vibe that harks back to Andy’s roots.
Watch the lyric video to the single here:
Links:
Andy Meadows New Single ‘Never Be The Same’
Never Be The Same’ is the latest fun upbeat
swing single from rising Texas artist Andy Meadows set to appear on his
upcoming album Modern Day Crooner.
Accompanied by a vibrant 9 piece band, Andy delivers a
swanky crooning voice powerful enough to compete with the likes of Harry Connick Jr., Michael Buble and Frank Sinatra.
Steel guitar and fiddles meanwhile add a country vibe that harks back to Andy’s
roots.
Lyrically, the song centres around being love-struck.
Andy explains the inspiration behind it: ‘I fell in love with the new girl at work and it had been years since
I’d felt that way and I’d forgotten how wonderful and terrible falling in love
can be, the sleepless nights the anticipation of a phone call or text, then
analyzing what each text really means and how quickly or slowly you should
respond, wondering if you should kiss her or shouldn’t kiss her, trying to play it cool when you
see her even though it’s probably obvious that you’re madly in love with her.
You know, the usual stuff.’
Growing up in a country radio station owned
by his father, the singer developed his interest in music at an early age. He
started writing songs at the age of 16 and originally had plans to pursue a
career as an opera singer winning his way into Texas Tech University as a vocal
performance major. However, knowing opera wasn’t his real passion, he later
transferred to South Plains College to study commercial music.
Andy is 6ft5in tall and was recently invited
to the Dallas Tall People’s Club. ‘I never went but I find it really odd that there’s
a club made up of people and the only thing they have in common is that they’re
all tall. I guess they just sit around and talk about where they buy their
pants.’
‘Never Be The Same’
is available here to stream: https://soundcloud.com/andy-meadows-554478650/never-be-the-same/s-8B8fp?in=andy-meadows-554478650/sets/modern-day-crooner-cd/s-G5DIR
Links:
12/10/2014
Holiday Music Review: Patty Mattson-All The Wonders of This Holiday
Release Date: November 1, 2012
Label: Indie
I thought of Patty Mattson as a Country singer but shame on me, she does so much more! She released the Holiday EP in 2012 titled All The Wonders of This Holiday. And here we are back for another round of good cheer.
What I heard in 5 tracks was four separate genres packaged up just for Christmas. What this music proved to me was the great diversity this vocalist commands.
The opener and title track sounds like a traditional warm up by the fireplace Xmas tune with a big band beat then “I’m Heading Home” gets Patty back to her country roots.
“Santa and Me” is another more traditional track that brings back fond memories of being a child waiting with impatience and anticipation for the morning that everyone loves so much. This track literally gave me chills and brought a wave of sadness over me thinking of love ones lost. That was for me though and don’t misunderstand that thought, I believe this is a beautiful song and Patty’s voice is amazing and magical.
“It’s Christmas” is a rocker with a funky twist. It pops and crackles with energy like the hot burning embers glowing below the hearth. Then “Jing A Jing” is a chunk of rockin’ funk to close out the show.
In just 5 tracks Ms. Patty Mattson captured the true meaning of Christmas by offering a cross section of listeners something to enjoy and take away with a smile. I loved every minute of it and that is from a guy that doesn’t get into Holiday music all that much. You turned me around on this one Patty!
5/5 Stars
Key Track: All The Wonders of This Holiday
Keith “MuzikMan” Hannaleck-Write A Music Review Founder
December 10, 2014
Review Provided By Write A Music
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