Thursday, February 26, 2015

The Next Generation Of Psych Bands Bring A New Mind Expanding Perspective To 12 Classic Beatles Songs!


Los Angeles, CA - Their popularity among music fans is undeniable, their status with music critics is unimpeachable, and their influence across a multitude of genres - from pop to rock, world music to country - is thoroughly indisputable. Yet The Beatles’ ubiquity makes us forget that there once was a time when this UK band was truly dangerous, a radical cultural force pushing its way into the mainstream to the shock and horror of many. Now, a new generation of psych rock bands seek to bring back that sense of danger to the Beatles' music, taking twelve classic compositions by the Fab Four and filtering them through modern sensibilities to bring a whole new perspective to these celebrated works. The resulting project, The Magical Mystery Psych Out - A Tribute To The Beatles, will be released on both CD and vinyl by Cleopatra Records on March 3.

German acid rockers Electric Moon kick things off with the song that many consider the defining birth of psychedelic rock music, “Tomorrow Never Knows” from Revolver, here given a new depth and sense of urgency with walls of distorted guitars and haunting female vocals. Sugar Candy Mountain chose a rarer tune from the same era, the B-side single “Rain,” and came up with a version more sinister yet stealthily hypnotic. The band echoed the thoughts of many artists on the album when they declared that recording a Beatles song is simultaneously “fun and intimidating.” Matt Adams, here performing “The Word” as The Blank Tapes, elaborates on this idea saying “The Beatles recordings have always been untouchable to me, but I jumped at the chance to do my own take on one of their songs. I tried staying true to the original but changed some of the sounds and stretched out the ending.” Fellow UK acts such as The KVB and The Underground Youth also turn in inspired versions that would make their countrymen proud, and together with US rising stars The Vacant Lots and Strangers Family Band, recreate for modern listeners the thrill that ‘60s audiences must have felt like hearing such strange, enticing, and far-out sounds for the first time. With an appropriately mind-blowing painting by San Francisco-based artist/illustrator Matt Leunig, The Magical Mystery Psych Out is coming to take you away!

TRACK LIST
1. Electric Moon - Tomorrow Never Knows
2. Sugar Candy Mountain - Rain
3. The Vacant Lots - Julia
4. The Blank Tapes - The Word
5. The Ruby Suns - Martha My Dear
6. The KVB - Taxman
7. The Underground Youth - Come Together
8. Fantasmes - Love You To
9. Quilt - Cry Baby Cry
10. The Lucid Dream - And I Love Her
11. Kikagaku Moyo - Helter Skelter
12. Strangers Family Band - Sun King

Preview The Underground Youth’s version of “Come Together” here: https://www.youtube.com/watch?v=BMkLxc_HspU

To purchase the CD: http://geni.us/2L1C
To purchase the vinyl: http://geni.us/Iu7
To download on iTunes: http://geni.us/AoS

Press inquiries:
Glass Onyon PR
Billy James
PH: 828-350-8158
glassonyonpr@gmail.com

CLEOPATRA RECORDS, Inc.
11041 Santa Monica Blvd #703
Los Angeles CA 90025
www.CleopatraRecords.com

Las Vegas Guitarist Jimmy McIntosh Releases New Album Featuring Rolling Stones' Ronnie Wood!


Featuring guest appearances by guitar legends Ronnie Wood, John Scofield and Mike Stern!

Las Vegas, NV - As a follow up to 2006's  'Orleans to London', guitarist Jimmy McIntosh once again finds himself in illustrious company on his new album 'Jimmy McIntosh and...' This collection of funk, rock, jazz and blues originals showcases McIntosh's considerable six-string prowess and features the Michigan native exchanging incendiary licks with his personal guitar heroes John Scofield , Mike Stern and the Rolling Stones' Ronnie Wood. The solid backbeats are supported by Toss Panos (drummer of choice for guitarists Robben Ford and Mike Landau), bassists Dan Lutz, John Humphrey and Keith Hubacher and New Orleans keyboardist Ivan Neville (of The Neville Brothers, Keith Richards' X-Pensive Winos and Dumpstaphunk). This stellar outing was definitely a labor of love for McIntosh.

For 'Jimmy McIntosh and...', McIntosh recruited Scofield and Stern from his home base, Las Vegas. Says Jimmy, “I got to know John and Mike about 12 years ago when there was a Blue Note jazz club in Las Vegas and became good friends with both of them. The Vegas Blue Note was short-lived, but I was there almost every night for the duration of their gigs. I've jammed with Mike several times and asked him, 'If I make another record, will you play on it?' And Mike said 'sure'! Toss Panos, John Humphrey and I went into Toss's North Hollywood studio with Mike when he was in Los Angeles playing with his band at Catalina's. Mike's playing on this album is just brilliant. Then John happened to come through town with Phil Lesh & Friends just a few months ago. I had mentioned to him that I was doing this album and he said, 'Hey, if you still have room on your CD, I'd love to play on it.' So that came to fruition as well. It was a dream come true for me to create this CD with three major heroes of mine and who have also become very good friends over the years.”

McIntosh's friendship with Ronnie Wood goes back to his solo debut, 'Orleans to London'. Jimmy recalls, “I first met Ronnie backstage at a Stones show in Las Vegas. Ronnie and Keith Richards were hanging out with Bobby Womack in the 'Tuning Room' were they Jam to warm up before the show. Art Neville did me a huge favor and called Jane Rose for me to meet Keith and Ronnie. It was a wedding gift as I got married a week before (This was April 1999). Anyway a few years later I recorded my first CD 'Orleans To London' and Art Neville, Ivan Neville, Cyril Neville and Mean Willie Green (Neville Bros drummer) played on it. As I was near the end of the project in October 2004 I got in touch with Ronnie Wood through his stepson (Jamie Wood) who was his manager at the time and told him about my project. Three weeks later my wife and I flew to London and went to Ronnie's house in Richmond were he played on 5 tracks (first takes). Ronnie said, 'I told Jeff Beck about your project and he might come by to play' - I was in shock! About 2 hours later Jeff showed up and ended up playing on 3 tracks. Ronnie said as Jeff was recording, 'You can't believe how lucky you are, he won't play on anything!' I'm not sure what Ronnie told him about the Neville's being on the record but it was amazing having both those guys on the record. Jeff is credited as 'Hot Rod' on 'Orleans To London' because his manager wouldn't let me use his name.

“Ronnie and I hit it off fantastically and stayed in touch so when I started a second record I was hoping he would play on it. I covered a tune from Ronnie's latest album called 'I Gotta See'. Ronnie plays a great solo and outro slide solo on the song. Ronnie and I also played two improvised Jams that open and close the album like bookends. The Jams are just the two of us live in the studio without the band. The Rolling Stones have been my favorite band since I was a kid so getting to work and play with Ronnie is literally a dream come true. Ronnie is truly a great artist. It's amazing that all of the iconic records Ronnie has played on were mostly first takes on his part. He is really underrated as a musician. I wrote six originals for 'Jimmy McIntosh and...' Ronnie wrote one of the Jams 'Fast Blues' and we share credit on the opener 'Slow Blues'. I covered a few tunes... 'I Gotta See' by Ronnie Wood, 'Demon' by Keith Richards, '32 20 Blues' by Robert Johnson and 'Sophisticated Lady' by Duke Ellington. Duke Ellington was a friend of my family when I was a little kid and greatly encouraged my interest in music. When I played French Horn in the Junior High School band I told my mom I was going to change something in the music. She asked Mr Ellington if I should do that and he said, 'I think you have a musician there!'

“The record was recorded at Toss Panos studio in North Hollywood. Toss is a great drummer I first heard with Michael Landau. John Humphrey (Scott Henderson Trio) is on bass on most of the record. Keith Hubacher is on bass on two tracks and Ivan Neville plays organ and Piano. Albert Wing who played with Frank Zappa among others plays Tenor Sax on 'I Gotta See' and 'Demon', a Keith Richards cover. Ronnie and Ivan are on both of my records which I'm very proud of. It connects the two projects.”

Born on October 14, 1958 in Sao Paolo, Brazil, Jimmy McIntosh grew up in the small town of Temperance, Michigan. After graduating from high school in 1976, Jimmy attended the Berklee College of Music for two years. Over the years McIntosh has played with R&B singer Doris Troy, Billy Preston, Little Anthony & The Imperials, and backed up Buddy Hackett and Ben Vereen, Since 1990, McIntosh has played regularly in the popular Lon Bronson All-Stars Band, a powerhouse horn band. The Lon Bronson band had a longstanding weekly residency at the Riviera, where they entertained crowds 'til the wee hours and featured such special guests sitting in as former Doobie Brothers guitarist and producer Jeff “Skunk” Baxter, guitarist Joe Walsh, Members of TOP, comedian (and sometime trumpeter) Drew Carey, bassist-magician-comedian Penn Jillette and former “Tonight Show” guitarist, bandleader and Jay Leno sidekick Kevin Eubanks. In 1999, following his longstanding engagement with the “Legends” show, McIntosh moved to the Rio Hotel to perform in a show with pop stars Sheena Easton and David Cassidy, then worked for the following two years in Cassidy's touring band. He has subsequently played with pianist-composer David Foster, Donna Summer, Kenny Logins, Gloria Gaynor and played in musical theater productions of “Mamma Mia” and “Jersey Boys.”

And now, after several years, Jimmy's long awaited sophomore album is now available! In closing Jimmy has this to impart, “My new album 'Jimmy McIntosh and...' is a real labor of love and hope people enjoy it!”

To purchase:
https://itunes.apple.com/us/album/jimmy-mcintosh-and.../id921784705
http://www.amazon.com/Jimmy-McIntosh-feat-Ronnie-Scofield/dp/B00NV7QOM2
http://www.cdbaby.com/cd/jimmymcintosh2

For more information:
www.jimmymcintosh.com

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com

Progressive Rock Review: Aisles-4:45AM

Release Date: October 29, 2014
Label: Presagio Records

Who is Aisles? Aisles is one of the greatest, most creative and talented bands that you have probably never heard of.  Hailing from Chile, the band consists of Sebastián Vergara (Vocals), Rodrigo Sepúlveda (Guitars), Germán Vergara (Guitars), Juan Pablo Gaete (Keyboards), Daniel Baird-Kerr (Bass), and Felipe Candia (Drums).  A progressive rock band with art rock, world, fusion, and other influences, Aisles have created themselves a unique sound that is not soon forgotten.  4:45 AM is their third album and it is nothing short of a masterwork of art.  It is the reason people fall in love with music in the first place.

 “4:45 AM” is a stunning opener that will have you falling in love with this band.  From the rhythmic and soulful music to the emotional and distinct vocals that jump out at you, it is hard not to stand up and take notice of the talent on display.  The music is fresh, popping, and invigorating, or everything that progressive world music should be. “Gallarda Yarura” might as well be the soundtrack to the fantastical dreams of an imaginative child. The music is light and hopeful, making for a very pleasant sounding instrumental.

Do not be fooled by the seemingly upbeat melody, because “Shallow and Daft” can be seen as a tale of what happens when an artist gives up his artistic integrity, as well as a biting commentary on the state of modern popular music.  It is dark, it is lyrical, and it is spot on.  “Back My Strength” is a musical tour de force.  The music rises and falls with the naturalness of an ocean wave, and is grand and majestic as a snow-capped mountain.

A low-key approach is used with great effect on “The Sacrifice.”  The acoustic guitar lingers in the background as the passion and pain in the vocals steal the show.  It is a somber song with the dark beauty of a romantic painting.  “The Ship” is a short interlude that leads into the spacey and hypnotic instrumental “Intermission.”  “Sorrow” is simply breathtaking.  The vocal performances are top notch, as the male and female vocals complement each other so well, in addition to be sounding so beautiful and powerful on their own.  The Latin/Jazz influences present in the song make it stand out that much more. 

With its dark and ominous sounding opening, “Hero” has me thinking a bit of Pink Floyd’s Dark Side of the Moon.  It becomes a bit brighter as the tempo picks up and the keyboards kick in, while the guitar and drums razzle and dazzle. Another change in tempo slows it back down and the atmosphere becomes more mystical.  It is definitely a stand-out song and the one that comes to mind when I think of this album.  The finale, “Melancholia”, is pure genius.  It is a work of art that will take you on an emotional journey that is very reflective.  As the song winds down, there is a calm of looking out into an ocean after a storm has passed and it is magnificent.

If you are in any way a fan of progressive rock, than I cannot recommend Aisles’ 4:45 AM to you enough.  If there is a band to take a risk on, then Aisles is that band to do so, because this album is everything that this type of music should strive to be.  It is fresh, challenging, inspired, touching, and so much more.  A complete experience from start to finish, 4:45 AM is an astounding piece of work for the ages. 

5/5 Stars

Key Tracks: 4:45 AM, Sorrow, Hero, Melancholia
  
Tracks: 
01.4:45 AM
02.Gallarda Yarura
03.Shallow and Daft
04.Back My Strength
05.The Sacrifice
06.The Ship
07.Intermission
08.Sorrow
09.Hero
10.Melancholia

Brian McKinnon - Write A Music Review Sr. Staff

February 26, 2015

Review Provided By Prog Rock Music Talk

Sunday, February 22, 2015

Classic Rock Legends Wishbone Ash To Undertake Pilgrimage North America Tour!


Tour to span West Coast, South in April/May 2015

Wishbone Ash, one of the most influential guitar bands in the history of rock, returns to these shores in April 2015 for the first leg of their Pilgrimage North America Tour. Following spring and fall tours in 2014 that featured the group's best-selling “Live Dates” album, this year Wishbone Ash will present classics spanning their 46-year career and showcase selections from their latest release, “Blue Horizon.”

After logging more than 20,000 miles touring North America last year, the group will begin their 2015 spring tour in Vancouver, British Columbia, winding down the West Coast of the US and then heading across the South – hitting cities that include Portland, Seattle, Oakland, San Juan Capistrano, Ramona, Phoenix, Austin and Dallas. Visit www.wishboneash.com/tourdates for the complete schedule.

“The 'Live Dates Tour' went just great,” says bandleader and founding member Andy Powell. “To play Texas and California out West, and Mississippi in the Deep South, for example, was really nice. You realize just how popular guitar-based rock is in these places. We aim to repeat the experience and build on it this year.”

The title of the 2015 tour is a nod to the Wishbone Ash's beloved “Pilgrimage” album, but it's also a fitting way to describe what has become an annual journey filled with familiar faces and places. “Each year when we tour countries on our world circuit, these visits feel like pilgrimages to all our old haunts,” says Powell. “We visit venues we've performed in multiple times over the years. We know the staff there, we often stay in the same hotels, visit the same restaurants, we see the same folks thousands of miles apart. The fans, of course, are the major component. We catch up on their stories and their lives.”

In 2014, Wishbone Ash released “Blue Horizon” (Solid Rockhouse Records) to international acclaim. Praised for its stylistic variety and masterful performances, the album features guest artist, Ireland's Pat McManus, on fiddle for two tracks. “Blue Horizon” also includes two songs written by Aynsley Powell (Andy Powell's son) and one by former Wishbone Ash guitarist Roger Filgate.

According to Powell, the album's diversity reflects the culmination of several factors. “The band basically lives together year-round, so we have a very strong level of communication that translates in our performances and recordings,” he says. “We've come to an era where the industry has to pigeonhole a band as Classic Rock, Prog Rock, Heritage Rock and so on. The truth is that we have always kept our options open and always relied on the musicianship of the players to lead the way. It's fun to be stylistically diverse and this has, in its way, contributed to our longevity.”

While they're making pilgrimages to various parts of the globe, Wishbone Ash will undertake some live recording projects, as well: one a vinyl-only limited release direct from Metropolis Studios in Chiswick, London; another to be recorded over a three-day residency at Le Triton in Paris for a DVD release.

Powell also plans to publish his autobiography this fall. “It's quite an undertaking to put 45 years of being a touring musician in this one band into book form,” he says.

Formed in 1969, Wishbone Ash has to its credit 24 original studio recordings, 10 live albums and four live DVDs along with a DVD rockumentary (“This is Wishbone Ash”). The band is led by founding member Andy Powell on guitar and vocals, trading licks with Finland’s guitar wizard Muddy Manninen. Bassist Bob Skeat, an 18-year veteran of the band and in-demand studio musician, sets the pace with Joe Crabtree, one of the best of Britain’s new breed of drummers whose performance credits include Pendragon and David Cross of King Crimson.

Lynyrd Skynyrd cites Wishbone Ash as a primary influence on their style along with Thin Lizzy, Iron Maiden and, more recently, heavyweights like Opeth. All have been transformed by the original, legendary twin-guitar approach of Wishbone Ash. There is no other rock band in history that has done more with the twin guitar concept than The Ash.

Longtime fans and new converts will find that Wishbone Ash offers an undeniable concert experience.

Tour dates and more information can be found at www.wishboneash.com .
To download electronic press kit: www.wishboneash.com/epk

Press Inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com
Interview requests: Kate Goldsmith, kate_goldsmith@wishboneash.com
North American Booking: Steve Ozark, Ozark Talent (785) 760-3143, OzarkTalent@gmail.com

Saturday, February 21, 2015

Audio Fidelity To Release “The Best Of The Guess Who” Album On Limited Edition 4.0 Quad Hybrid SACD


Great classic rock...All their major hits!

Camarillo, CA – Marshall Blonstein's Audio Fidelity will be releasing The Guess Who's “The Best Of Guess Who” album on Limited Edition 4.0 Quad Hybrid SACD in April 2015. They didn't have street cred; they didn't look like stars; and they weren't considered "cool" by the ultra hip and snooty underground FM rock crowd. But over the course of their career, The Guess Who created some of the most transcendent and electrifying pop music of the Seventies. The Guess Who stubbornly flew in the face of fashion, trends, and the flourishing progressive rock movement, and built an enduring body of work that illuminates their status as immensely gifted pop rock practitioners.

Though influenced by the British Invasion, The Guess Who were purely Canadian rockers. The band scored a string of Top Ten hits in the late '60s and early '70s, including the psychedelic-romantic smash "These Eyes" and the riff-rocking anthem "American Woman." The band was a huge success in the States and even performed at President Nixon's inaugural ball (with the acerbic "American Woman" conspicuously omitted from the set list).

Burton Cummings' throaty baritone vocals and guitarist Randy Bachman's theatrical riffs gave the band their versatile sound - and their rocking classics sound as vital today as they did when they were first released.

As a special bonus that audiophiles and fans alike are sure to enjoy, Audio Fidelity has included in each package a miniature version of the coveted psychedelic poster that was contained in the original 1971 vinyl album release!

Track Listings
1. These Eyes
2. Laughing
3. Undun
4. No Time
5. American Woman
6. No Sugar Tonight/New Mother Nature
7. Hand Me Down World
8. Bus Rider
9. Share The Land
10. Do You Miss Me Darlin'?
11. Hang On To Your Life

Mastered dual Channel SACD from all original masters by Steve Hoffman at Stephen Marsh Mastering

Original Recordings Produced by Jack Richardson for Nimbus 9
Recording Engineer: Brian Christian

For more information: https://audiofidelity.net/product/guess-whothe-best-guess-who

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com

Progressive Rock Review: Malcom Smith-We Were Here

Release Date: 25th Nov 2014 
Label: Trope Audio

This review deals with one of the artists I have been unaware of thus far, one Malcolm Smith, who I discovered is the guitarist and founder of the American symphonic prog band, Metaphor. This is his first solo album produced while Metaphor were undergoing a hiatus and is entitled We Were Here.

As with many solo albums, there are guest musicians aplenty helping out on tracks. The musicians involved in We Were Here are, Malcolm Smith (electric/acoustic guitars), Mattias Olsson (drums), Marc Spooner (keyboards), Loren Gustafson (bass), John Mabry (vocals) with Rich Longacre and Craig Launer guesting guitarists on 2 tracks. Marc and John are members of Metaphor, and Mattias is associated with Anglagard, White Willow and NecroMonkey.

We Were Here is a 6 track album, lasting around 48 minutes, with only one track featuring “real” vocals. The longest track offered up is track 5, “Sykiatry” made up of 9 parts and running on for 13:31 minutes. At the other end of the scale, the shortest song, “Peyronie’s Angle” still stretches out to just under 6 minutes (5:58).

The opening track to We Were Here is the shortest on offer, “Peronie’s Angle” (5:58) and has a gentle keyboard opening before an excellent guitar passage fires up, and what sounds very much like a trumpet, but this is not an instrument that is listed, so my thought is that it is keyboard generated. The keyboards get free rein to produce a superb passage with lots of little hooks and riffs that constantly engage the listener. This track motors along and is an excellent vehicle for the skills of Marc Spooner on keyboards. Excellent guitar work takes over around the 4:50 minute mark and takes the track out with a burst of (keyboard generated) “strings.”

“Cavity Research” (6:18) has a very jazzy influenced start, again highlighting the keyboards of Marc. This track builds up layers of sound over some excellent keyboard motifs which propel the track along. There are hints at times of the early jazz rock sound of Chicago (when they were still known as Chicago Transit Authority) floating in and out of the track. The over-riding memory of this track is the stunning contribution of the keyboards.

Track 3, “Monkey Signature” (8:56) leads with a blast from the band and into a keyboard motif, swirling synths and then layered keyboards. Just around 1 minute, the guitar enters and the song just takes off from that point. There is some excellent interplay between the guitar and keyboards, and again the song is littered with those little hooks and catchy riffs. Just prior to the 4 minute mark, there is a stunning sequence with a “flute” and guitar before the electric guitar and keyboards take over the reins of the musical journey. The constant shifting of emphasis between keyboards and guitar together with the subtle and not so subtle, time changes keep the listeners’ ears firmly at attention. There are more of the “trumpet/saxophone” keyboards as the track makes its way out. This is a stunning track on an album that has up to this point, set the bar very high.

“Still-Life” (6:20) is the only track that contains a “proper” vocal and it is provided by John Mabry. Starting with a flurry, the track quickly settles down to an acoustic strum with a burbling synth in the background. The crystal clear vocals by John simply glide over the sparse background. This is a generally slower tempo track than previously shown over the tracks. Around 4 minutes there is a burst of acoustic guitar before a brief keyboard passage, but I feel that this track is all about the vocals. The keyboards do take over around the 5:30 minute point, but that is simply to escort the track out.

The long track, “Sykiatry” (13:40) is built up of nine interconnecting parts. This track has an almost carnival style start with multiple keyboards setting out the themes and at times sounding amazingly like a vibraphone. Some vocalizations appear before the time signature changes and the keyboards are off and running. More of the characteristic keyboards and guitar interplay sweeps through the track and the “flute” returns. The main parts merge together very well and the skill of the musicians is a joy to hear. This is yet another track which just “hits the spot.”

The final track, “Les Canards du Guerre” (6:25) has a very jazzy vibraphone intro with excellent drumming heralding the entry of the keyboards and guitar, although the keyboards again add layer after layer to the sound. I did say that “Still-Life” was the only non-instrumental track, but there is a chunk of spoken word in this track. The track segues into a gentle undulating acoustic guitar and keyboards passage then the electric guitar appears over the top and a time change in the track moves it towards its finale. The final sound that is heard as this track fades is the sound of ducks.

This is simply a stunning album which deserves to be given many accolades, but in reality may not, as it may simply get passed by. I had not been aware of Malcolm Smith, nor his band, Metaphor, and this is an oversight that must be righted. My advice for the album, We Were Here, is very simple, and that is, go out and buy it, at once! Listen to the album many times and appreciate what a tremendous example of progressive rock it is.

5/5 Stars

Key Tracks: Peyronie’s Angle, Monkey Signature, Sykiatry

Tracks: 
Peyronie’s Angle
Cavity Research
Monkey Signature
Still-Life
Sykiatry
Les Canards du Guerre


Jim “The Ancient One” Lawson-Sr. Reviewer Prog Rock Music Talk

February 21, 2015


Review Provided By Prog Rock Music Talk