Shifting
Sands is Lynn Trudeau’s 4th proper release.
Instrumental New Age and Contemporary Instrumental has been
intersecting for quite some time now. In fact, it is getting hard to tell where
the differences are at times. One of the clear differences from my musical
listening experiences is a clear cut classical influence.
Although you will hear Shifting
Sands, or ever-changing tempos if you will, in this music, there is a
clearly defined line drawn. That invisible line is the one that new age and
classical cross over and then merge into one.
Lynn Trudeau’s music does exactly that. The challenge is to
tell a story in each song with one solitary instrument. How that is exactly
accomplished is beyond my comprehension. I can say unmistakably that she is
able to get the job done on the 11 tracks presented here.
The other factor that is a key is how to keep a listener’s
attention with the simplicity of one instrument. For my pleasure, this is what
I find attractive about a recording such as this. I do enjoy a wide array of
music that features one instrument accentuated by many others as well but I do
like to switch things up. I am here to tell you that this music and
presentation is perfect just the way it is.
Shifting
Sands is an album that remains true the artist and her intent.
Without traveling off course, she tells her story through her fingers and it is
translated by the ivory keys most beautifully.This is music to contemplate with, relax or meditate…basically at any
time of the day or night it can be enjoyed. It serves many purposes but mainly
it is a healing listening experience that must be experienced to be fully
appreciated.
Tracks: 01.Lost in Familiar Surroundings 02.Shifting Sands 03. Warm Embrace 04.Dance of the Unknown 05.Looking to Lowman 06.Travel Me Home 07.Life at Four 08.To Breathe at Last 09.The Last Mile 10.Oasis 11.Whispers of Hope
London - Pioneering rockers Phil May & Wally Waller (of The Pretty Things) present the highest quality release to date of their collaboration with French playboy Philippe DeBarge. To be released on September 1st by Madfish Records, the album is now remastered and reworked and features bonus tracks and rare photos!
It was late August in 1969 when Phil May and Wally Waller were flown to St. Tropez by Philippe DeBarge (a French wealthy playboy), and taken to the DeBarge family estate - a magnet for the rich and famous of the era, from politicians to film and rock stars. DeBarge had serious money and wanted to make a serious album, with him as the front man. He'd done his research. He knew exactly who he wanted to make that album with. They were The Pretty Things.
At this time, songwriters May and Waller were at their most prolific but they were between albums, between tours. When DeBarge came calling, it was hard to come up with a good reason why not to go, so they went, did the deal and soon penned and recorded Philippe's project back in London at Nova Studios. And when “S.F. Sorrow” sales picked up, EMI wanted a new album and “Parachute” took over. The Philippe DeBarge project was dropped and didn't see commercial release until 2009.
Now restored and reworked with rare photos and new liner notes by Wally Waller, this is the finest release of the Philippe DeBarge sessions to date. Released as a CD presented in a digipack packaging with a 16-page booklet.
The Pretty Things created some of the most exciting and innovative records of the sixties and early seventies. Winners of the Hero award at the 2009 Mojo Honours, the band have been name checked over the years by an array of artists ranging from The Clash, David Bowie and Aerosmith through to The Libertines and Kasabian.
DISC 1
1. Hello, How Do You Do ? (04:06)
2. You Might Even Say (04:03)
3. Alexander (02:59)
4. Send You With Loving (03:04)
5. You`re Running You And Me (04:50)
6. Peace (01:44)
7. Eagle`s Son (03:20)
8. Graves Of Grey (00:48)
9. New Day (04:08)
10. It`ll Never Be Me (04:34)
11. I`m Checking Out (03:44)
12. All Gone Now (02:13)
Bonus Tracks
13. Monsieur Rock (Ballad Of Philippe) (05:33)
14. Lover (01:40)
15. Silver Stars (03:35)
“The BANG Story: From the Basement to the Bright Lights” by Lawrence Knorr, Frank Ferrara, Tony Diorio, and Frank Gilcken
Often called America's answer to Black Sabbath, one of the most unsung bands in the history of US hard rock music, BANG, is back with a new biography “The BANG Story: From the Basement to the Bright Lights”! With the heaviness of Black Sabbath and Led Zeppelin, coupled with the groove of Grand Funk Railroad, BANG released three critically acclaimed albums on Capitol Records in the early 1970s before disappearing for a number of years. 2017 marks the 45th anniversary of BANG's critically acclaimed debut album and the band is celebrating with the release of their new book! “The BANG Story: From the Basement to the Bright Lights” was written by Lawrence Knorr, Frank Ferrara, Tony Diorio, and Frank Gilcken.
In the summer of 1971, BANG, a trio from the Philadelphia area, decided to take a road trip to Florida to try their fortune. While buying some rolling papers in the Sunshine State, they learned about a Small Faces and Deep Purple concert nearby in Orlando. They showed up at the venue and brazenly declared they were ready to go on stage. The concert organizer asked them to set up and play for him. After a couple songs, he told them they were opening for Rod Stewart and Small Faces. Before they knew it, BANG was playing with Bachman Turner Overdrive, Deep Purple, Three Dog Night, Fleetwood Mac, Ike and Tina Turner, The Doobie Brothers, and even Black Sabbath. Capitol Records signed them, and three LPs were released. Join Frank Ferrara, Tony Diorio, and Frankie Gilcken, as they recall their rapid rise to fame, playing with numerous Rock and Roll Hall of Famers.
The 1971 self-titled debut album “BANG” is considered an important forerunner to the early Doom Metal genre. Undoubtedly one of America's heaviest 'proto-metal' bands from the period, BANG also had a strong sense of melodic power. The band's versatility and songwriting skills are second to none. Highly regarded as a cult act by many for years, it’s now time for this truly amazing rock band to be enjoyed by a new audience worldwide!
Excerpts from the book:
“Those were the days when everything was experimental,” said Karl Richardson, the engineer. “We were looking for something more reverberant. We didn’t want BANG to sound like everybody else. In those days, records were more like paintings, than photographs. The studio was a palette, and we were always thinking about art—not just taking a picture.” OZZY Cheesesteak anecdote … ON WEDNESDAY, MARCH 1, 1972, BANG was back in Fayetteville, North Carolina, to play with Black Sabbath, who was in the midst of their Master of Reality Tour. Wild Turkey was to open this evening, followed by the boys from Philly. That afternoon, the band was hanging out with Ozzy Osbourne and Geezer Butler from Black Sabbath. They offered to introduce them to cheesesteaks, having discovered a sandwich shop in town that was attempting to replicate their favorite Philadelphia cuisine. “I’ve never had a bloody cheesesteak,” admitted Ozzy. And so BANG introduced the Prince of Darkness to the delicacy. After chomping on a few bites, he asked, “I have another question for you. What do the fans mean when they are making the “V” signs with their fingers? For our Churchill, it meant victory.” “To them it means one of two things,” answered Frankie. “It either means peace or boogie.” After that, Ozzy would often be seen on stage flashing dual V-signs to all of his audiences, as captured on the cover of their next album Vol. 4.
Finnish label Svart Records is released BANG's 4 classic records: “Death of a Country,” “BANG,” “Mother/Bow to the King,” “BANG Music.” They were re-pressed on both vinyl and CD: http://www.svartrecords.com/
BANG has made available free ringtones! Free Frank Gilcken guitar solos for iPhones and Androids! http://www.bangmusic.com/ringtones/ Also, all BANG songs are now available for 99 cents mp3 downloads http://www.bangmusic.com/shop/mp3s/ BANG's complete recorded catalog is available as well through their website, which includes the band's latest CD releases “Return To Zero” and “The Maze.”
My
introduction to Richard Dillon was the 2014 release The Land of Nod and Lullabies for The Listless. I covered it in April
of this year and I did not expect to have another opportunity to hear this
music so soon. I of course welcome that experience.
Irish
Mist is contemporary new age instrumental with a Celtic theme
weaved in the fabric of its musical output. Richard plays elegantly and with an
underlying current of passion that is recognized by this listener. You would
never recognize that when you just “hear” the music however there is more to
it. The music carries with it emotional substance and purpose. Without words,
it steadily enters your consciousness and travels to the heart and then into
your soul.
Inside the music are stories interpreted through this
talented man’s fingers. The most prolific example is the life and times of an
Irish immigrant toiling away “Into the Mines” to feed his family. The song
echoes of the past and the violin enters the track almost weeping, asking for
relief as the ivory keys beckon it again and again. The song bends your heart
strings as you envision the hard and dangerous work of men in the mines.
This is the kind of picturesque movie that flickers inside
your head while you listening to a tale that comes alive in the music. That is
not an easy thing to accomplish, and to do it with such impact and feeling is what
makes it so real. That is what great music should do, move you, push you to a
state of consciousness and introspection. A place that cannot be reached when laser
focused by your work or by the events of a day.
Call it what you will - new age, instrumental,
contemporary, classical or meditation, this is chicken soup for the soul music.
If you have the inkling or the need to listen to something spiritual and relaxing
and soothing, well then, this is your ticket to all those moods in one sitting.
Irish
Mist intersects with culture, history and the psyche of a human
mind and then sets it free.
Review
Provided By New Age Music Reviews Tracks: 01. Irish Mist 02. Mother Ireland 03. Smiles 04. My Bed Is a Boat 05. Shadows on the Wall 06. Freckles 07. Dancing on the Light 08. Dying of the Light 09. A Different Time a Different Place 10. Skye Boat 11. Into the Mines 12. Wild Mountain Thyme 13. Mother's Eyes 14. The Long Goodbye 15. Deidres Dance
I have one word for the concert I saw last night, FANTASTIC!
Southside Johnny & The Asbury Jukes worked up the capacity crowd at the
Colonial Theater in the Berkshires to a dancing frenzy. Part of my process of
observation is watching the reaction of the crowd or certain interesting
individuals at concerts. In this case, entire sections of people were standing
up and dancing last night. I have been to many concerts at this gorgeous venue
and have never witnessed that. It was a lot of fun.
I remember this band from back in the 70s and I know they
never made it big like the acts they influenced, namely Bruce Springsteen and
Bon Jovi. They decided to stick to their guns and not cooperate with record
labels and slick executives in suits. Just before the end of the show I stepped
out to the merch table to buy their new release on vinyl, which is their first
recording in 5 years. I spoke to the gent behind the table who happened to be
Johnny’s life time friend. He told me Johnny never wanted to sell out and
please the labels so they carried on and made the music they loved. So here we
are still listening to his music and enjoying their shows.
The show started right on time and they played for a solid
2.5 hours and a lot of time segued right into the next song. The energy Johnny
has is amazing for someone nearly 70 years old. He is an inspiration and a joy
to watch. Usually when the music comes on the sound system the concert is over,
well this was a false alarm. I think Johnny was inspired by the love and energy
he was getting in return from the audience as he played another 4 songs for an
encore!
The music of Southside Johnny and his Asbury Jukes is a
combination of rock, blues and soul. His vocal style is perfect for the music.
He has a rough whiskey edge the puts a certain emphasis on the words for each
song.
A bonus to the band’s full sound is the amazing horn
section. There is trumpet, trombone and saxophone. All three get a chance to
strut their stuff separately at the front of the stage and together as well.
Johnny would step to either side of the stage and grab a mic to finish out a
song and let his boys cut lose.
Special nods go to the guitar player Glenn Alexander and the
keyboard man Jeff Kazee, who has an amazing voice. When he would sing solo or
with Johnny it was a treat for everyone’s ears. The band also did a really good
job with some cover tunes like the Stone’s “Time Waits For No One.” This the
true test of a great band. To take another band’s classic songs and make it their
own while it remains very recognizable to your audience, that is something
special. That is real talent and resilient musicianship. Speaking of
musicianship, Johnny can play that harmonica! At times, it sounded like a
locomotive flying down the tracks. He was just so focused and in a groove. The
man has the blues in his soul and that is a fact!
I must not forget all the entertainment value that was on
display. Johnny can tell a story and he is very humorous. Keeping it light is
right in line with all the upbeat and energetic music they present. All around
it was a great night for everyone. For me, The Colonial is my destination to go
hear all the great bands I know and remember. They have consistently presented
great shows ever since the venue reopened after the renovation. I do not see
any end to that thank the Lord!
