3/06/2020

Rock-Pop Review: Bob Jones, Louis Jones, Stephen Peppos-50/80 50 Years in 80 Minutes

Release Date: December 23, 2019
Label: Sonic Bear Music
Website

Interview With Band Is Included Below!

How does a group of musicians put 50 years of music into a single CD that lasts for 80 minutes? Just ask Bob Jones, Louis Jones, and Stephen Peppos. The title 50/80 50 Years in 80 Minutes lets you know straight away what you are in for.

On a separate note, I have covered several of Stephen’s New Age keyboard instrumental projects over the years and consider him to be one of the finest performers of instrumental music that I have heard.

This all started in the 60s when three boys in High School put a band together and then started writing and recording. One of the configurations was Stephen Peppos & Jones Straightjacket Band (tracks 1, 3, 8, 9, 12, 14, 19, 22, 24). There are extensive liner notes included with the CD so you get the whole story.

The 25 tracks cover a range of pop and rock that are indeed retro and if you listen intently you can identify which decade that they fit into. For instance, “High School Years #2” sounds very 60s and “Too Much To Bear” has some good guitar licks that reminded me of the late 70s to early 80s period. Then “Lalena” has a psychedelic trippy 60s Top 40 sensibility. These songs sound good enough to have been spinning regularly on radio stations and in fact, some did on a local level with station WKLX out of Virginia. “I Gotta Sing My Song” was one song that radio DJ Mike Deeson liked. To me, it felt like something that would have gone well with 70s TV shows like Love Boat or the Mary Tyler Moore Show. Only those old enough to remember will understand where I coming from once, they hear the tracks.

One of the tracks on solid ground that is good for any era is ”A Christmas Carol.” It features great vocals and some jangly acoustic guitar lines. Seasonal music does not define a period so when you first hear it, it fits no matter what.

As you make your way through this ambitious compilation, you realize why it took 2 years to get it all together. The variety is quite interesting. Form a Christmas song to the lyrics “Hell no we will not fade away” on “Boomers Anthem,” which is a recent recording from 2019, is accompanied by appropriate guitar lines and inspirational lyrics for all the rockers out there. For me that was one of the standout tracks and my favorite on the entire recording.

Influences from the Byrds To Paul Simon to Cream pepper all of these recordings. You get the feeling of originality bursting through with authority to more obscure live recording snippets on “Look Through Any Window.” “Kicks” is all 60s and one of the best tracks on the CD. It was a hit in 1966 for Paul Revere and the Raiders. The fact that they covered it so well was an indication of their all-around talent.

At first glance when you see 25 tracks you may think “Wow this is a lot of music” and it is a double album. The truth is they go by very quickly because some are short snippets of recordings to go along with other full-length tracks that cover some ground musically.

When I heard the first few tracks, I was thinking that I was not too crazy about them, just my opinion, and it does not mean someone else would not like them. But it just keeps getting better and you realize the entire point of this compilation. That thought was fleeting and forgotten in a matter of minutes.

50/80 50 Years in 80 Minutes is jam-packed with musical diversity and a snapshot of history over a long period. This group of young men had the talent to record all this music and although they did not become stars on a national level, they certainly showed that their talent could have taken them places most bands dream of. It is a matter of being in the right place at the right time. All of that aside, this is a valid musical statement showcasing the talents of the three main men involved.

Keith “MuzikMan” Hannaleck
February 28, 2020


Review Provided By MuzikMan.net
 



3/03/2020

Symphonic Prog Review: Marco Bernard & Kimmo Pörsti (The Samurai Of Prog)-Gulliver

Release Date: January 25, 2020
Label: Seacrest Oy
Website
This band was originally formed as a multi-national collaboration project in 2009, with Marco Bernard (bass), an Italian resident in Finland, Kimmo Porsti (drums), from Finland and an American multi-instrumentalist, Steve Unruh. The Samurai of Prog is this core trio plus guest musicians when required. The debut release appeared in 2011, Undercover, and the album now under review is No 8, Gulliver, a concept album released last month.

Gulliver
is based on the novel by Jonathan Swift (Gulliver’s Travels), and deals with Gulliver’s adventures in 4 different lands.

 Only Marco and Kimmo from the core trio are fully involved in Gulliver as Kimmo explained to me that Steve was busy with another project and I think that it may be with United Progressive Fraternity (UPF). Steve does appear on some tracks and there are 21 guest musicians also involved with the release.

Gulliver is a 6-track album with track 2, “Lilliput Suite” running to just under 18 minutes and the final track, “Finale,” clocking in at just over 3 minutes. The total playing time is just over an hour (62 minutes).

As ever, a concept album makes picking out individual tracks difficult as the storyline continues through the album, but I will try to give a flavor of Gulliver.  A mention should also be made of the superb artwork on the 6 panel CD cover from none other than Ed Unitsky.

I always feel that the opening track is very important to “grab the listener by the ears” and set them up for what is to follow. “Overture XI” (7:42) is the opener and is an instrumental dominated by old-style key-boards and switches in tempo from thunderous keys to quiet, almost pastoral, sequences. This is symphonic prog at its best. A guitar appears to take the track onward before passing the baton onto Marek Arnold and his superb saxophone. As the track reaches its conclusion, the listener is presented with a dilemma, either to continue onto the following track or replaying that superb opening track. There is a difficult choice to be made.

The second track is the longest track on the album “Lilliput Suite” (17:53) and is split into 6 sections, namely I) The Voyage Of The Antelope, ii) Prisoner, ii) Inside The Emperor’s Palace, iv) Peculiar Tradi-tions, v) The Theft Of The Blefuscudian Fleet, vi) The departure, which sees more guest musicians em-ployed to add flute, violin, and trumpet. This is majestic music with the sweeping changes in sections, from full band involvement to moments of a more delicate nature linked by superb instrumental passages.


All in all, this is a superb release by two-thirds of the Samurai of Prog core trio and as the “Finale” ends, the listener should find themself marveling at the majestic swathes of keyboards, tight guitar passages and excellent flute/violin pastoral sections.

This is one of the best Samurai of Prog releases, and if you have not dipped into the Samurai of Prog music previously, then Gulliver is the one to start with. This is an album that should be found in any true symphonic prog fan’s CD collection.



Jim “ The Ancient One” Lawson – Prog Rock Music Talk Staff
March 3, 2020


Tracks: 

 1. Overture XI (7:42)
2. Lilliput Suite (17:53)
3. The Giants (8:42)
4. The Land Of The Fools (14:30)
5. Gulliver’s Fourth Travel (10:17)
6. Finale (3:11)

 

3/02/2020

Gentle Giant Release New Promotional Video For Vinyl Reissues

To all Gentle Giant friends, fans and followers:Here is the YouTube link to pre-order the vinyl albums!
Enjoy the short video!


Amazon USA:

Amazon Canada:


Gentle Giant is happy to announce the release of the first 4 albums on vinyl April 3rd.

After the positive response to the box set “Unburied Treasure” many fans asked whether the vinyl albums would ever be available. The band has responded and decided to make these albums officially available for the first time in decades.

The band’s first album “Gentle Giant” was first released in October 1970. Produced by Tony Visconti it marks the 50th Anniversary of the recording and live appearances of the band. Tony Visconti produced the follow up album “Acquiring The Taste” in 1971.

The band oversaw the production of the third album “Three Friends” in 1972 and was the first official release in North America. Strangely the N.A. version featured the artwork from the U.K. “Gentle Giant” album.

This album was followed up with their milestone album “Octopus” in 1972. Once again the North American artwork was different to the Roger Dean U.K. version and featured a dye cut Octopus in a jar.

Released on the Alucard label, the albums will be manufactured in 180 gram vinyl with the original gatefold artwork from the U.K.

The band hopes that their friends, followers and fans will enjoy these albums in their original form 50 years later!

For more information:
Twitter: @GGIANTMUSIC
Facebook: https://www.facebook.com/gentlegiantband/
Instagram: @gentlegiantband

Press inquiries (North America): Glass Onyon PR, PH: 1-828-350-8158, glassonyonpr@gmail.com

Gentle Giant Release New Promotional Video For Vinyl Reissues

To all Gentle Giant friends, fans and followers: Here is the YouTube link to pre-order the vinyl albums!
Enjoy the short video!


Amazon USA:

Amazon Canada:


Gentle Giant is happy to announce the release of the first 4 albums on vinyl April 3rd.

After the positive response to the box set “Unburied Treasure” many fans asked whether the vinyl albums would ever be available. The band has responded and decided to make these albums officially available for the first time in decades.

The band’s first album “Gentle Giant” was first released in October 1970. Produced by Tony Visconti it marks the 50th Anniversary of the recording and live appearances of the band. Tony Visconti produced the follow up album “Acquiring The Taste” in 1971.

The band oversaw the production of the third album “Three Friends” in 1972 and was the first official release in North America. Strangely the N.A. version featured the artwork from the U.K. “Gentle Giant” album.

This album was followed up with their milestone album “Octopus” in 1972. Once again the North American artwork was different to the Roger Dean U.K. version and featured a dye cut Octopus in a jar.

Released on the Alucard label, the albums will be manufactured in 180 gram vinyl with the original gatefold artwork from the U.K.

The band hopes that their friends, followers and fans will enjoy these albums in their original form 50 years later!

For more information:
Twitter: @GGIANTMUSIC
Facebook: https://www.facebook.com/gentlegiantband/
Instagram: @gentlegiantband

Press inquiries (North America): Glass Onyon PR, PH: 1-828-350-8158, glassonyonpr@gmail.com

2/28/2020

Hard Rock Review: Ozzy Osbourne - Ordinary Man

Release Date: December 21, 2019
Label: Epic
Website
From the graveyard fog, The Prince of Darkness has reemerged with his first set of solo material in a decade. With a little help from his friends, Ozzy Osbourne has managed to pull together a respectable assembly of tracks that will satisfy the pop-metal audience he helped to define after striking out on his own in the early '80s. One look at the artwork on Ordinary Man and song titles such as "Under the Graveyard," "Scary Little Green Men," and "Straight to Hell," and you'll appreciate that Ozzy is serving up more of the same delights you've come to love over the years. On the other hand, you know what you're getting, and the menu hasn't changed much. It is not entirely Ozzy's fault. When you make your bed (or dig your grave) by defining a genre, it is hard not to lie in it.  

Overall, the sound on Ordinary Man is both dense and tight. Ozzy's all-star band includes Guns N' Roses alum Duff McKagen and Slash, Red Hot Chili Peppers drummer Chad Smith, and guitarist Andrew Watt.  The sound fuses Ozzy's signature confessional soliloquies with the expected onslaughts of heavy metallic riffing. The resulting formula will scare demons from the darkness and into the light of day where they burn to ashes in the heat of the sun.   Then, out of nowhere, Elton John appears, dueting with Ozzy on the oddest song on the album, the title track, "Ordinary Man." The pairing reminds one of an old Rodney Dangerfield joke. "I was an earth sign; she was a water sign. Together we made mud." The song pastes together so much of the past; it is hard to see the present or the future. Jeff Lynne of ELO might want to pay attention to the closing orchestral sequence, which borrows directly from his 1974 hit "Can't Get it Out of my Head." 

Ordinary Man steers itself back onto the road with a handful of solid metal standards. "Straight to Hell" is textbook Ozzy with driving riffs, staccato bass, and drums.  His lyricism remains poignant on this track and prominent throughout the album. Ozzy calls back to "Sweet Leaf" peppering in a few "alright now"'s into the proceedings for old time's sake. "All My Life" is a thoughtful rumination that rises from a sentimental strumming reminiscent of "Goodbye to Romance" to a thrashing crescendo.  

"Under the Graveyard" is a flat-out metal anthem and worthy of inclusion on any Ozzy Greatest Hits collection. The inventor of the heavy-metal hook takes hold on this haunting canticle. "It's a Raid" is the one collaboration on the album that works well and finds Ozzy breaking at least a bit out of his comfort zone. The vocal riffing with Post Malone over the punk/hardcore metal backdrop is a blend of old and new, which is less like water and earth making mud and more like the pleasure, one derives after kicking a trash can over or smashing a mailbox.  Yet there are moments on this song and others where Ozzy appears as a cartoon parody of himself.  It is as if, the record execs took a listen and said there isn't enough ghoulishness or tacky Halloween decorations to scare the kids off the front yard.  This mischaracterization has followed Ozzy throughout his career, and the man and the music deserve better.  Trick or treaters were never quite Ozzy's audience.  Leave that to KISS. Kids in hoodies smoking cigarettes in the graveyard are.  

As the final track on Ordinary Man faded, I realized that the struggles of an aging rockstar are not unlike those of the disaffected and marginalize youth whom Ozzy influenced in his own youth. Even at 71, Ozzy skillfully pens lyrics to which either end of the spectrum can relate. This time, however, he's further from the cradle than the grave. With the recent cancellation of his 2020 tour due to health (Parkinson's) issues, this could potentially be the last new music he releases. If so, I give thanks to the Prince of Darkness. His legacy of hauntingly inviting demons into my soul and then exorcising them all within the constraints of a five-minute song will endure forever. 

- Tom Endyke | Guitar & Pen | MuzikMan.net Staff