Forever Together lyrics and chords are intended for your personal use only, this is a very pretty country love song recorded by Randy Travis.bannermusiciansfriend.shtml Type in an artist's name or song title in the space above for a quick search of Classic Country Music lyrics website. If the lyrics are in a long line, first paste to Microsoft Word or a similar word processor, then recopy and paste to key changer.
*O**P* Letters to Molly (May sen Jar, #2) Gypsy King (Tin Gypsy, #1) Noble Prince (Tin Gypsy, #4) Quarter Miles (Runaway, #3) Rifts & Refrains (Hush Note, #2) Riven Knight (Tin Gypsy, #2) Runaway Road (Runaway, #1) Stone Princess (Tin Gypsy, #3) Tattered (Lark Cove, #1) The Birthday List (May sen Jar, #1) The Bitterroot Inn (Jamison Valley, #5) The Candle Palace (Jamison Valley, #6) The Clover Chapel (Jamison Valley, #2) The Copper smith Farmhouse (Jamison Valley, #1) The Lucky Heart (Jamison Valley, #3) The Outpost (Jamison Valley, #4) Timid (Lark Cove, #2) Tinsel (Lark Cove, #4) Tragic (Lark Cove, #3) Wild Highway (Runaway, #2) *Q**R* Attraction (Elements of Chemistry #1; Hypothesis, #1.1) Beard in Mind (Winston Brothers, #4) Beard Necessities (Winston Brothers, #7) Beard Science (Winston Brothers, #3) Beard with Me (Winston Brothers, #6) Beauty and the Mustache (Knitting in the City, #4/Winston Brothers, #0.5) Capture (Elements of Chemistry #3; Hypothesis, #1.3) Distinguish (Knitting in the City, #6) Dr Strange Beard (Winston Brothers, #5) Engagement and Espionage (Solving for Pie, #1) Friends Without Benefits (Knitting in the City, #2) Grin and Beard It (Winston Brothers, #2) Happily Ever Ninja (Knitting in the City, #5) Heat (Elements of Chemistry #2; Hypothesis, #1.2) Kissing Tolstoy (Dear Professor, #1) Love Hacked (Knitting in the City, #3) Marriage of Inconvenience (Knitting in the City, #7) Motion (Laws of Physics, #1; Hypothesis, #2.1) Neanderthal Marries Human (Knitting in the City, #1.5) Neanderthal Seeks Human (Knitting in the City, #1) Ninja at First Sight (Knitting in the City, #4.75) Space (Laws of Physics, #2; Hypothesis, #2.2) The Cad and the Co-ed (Rugby, #3) (co-written with L.H.
Leland Solar and I began our conversation talking about his own highly successful site and his one-year-old Basset Hounds, and I mentioned that I would be talking to all the members of The Immediate Family. In various configurations several of the group members were members of Asylum Records’ The Section, the legendary session players who laid down instrumentation and sometimes backing vocals for Jackson Browne, Warren Devon for the label, and at other times for various labels for Carole King, James Taylor and many more top artists.
They launched as the Immediate Family on Quarto Valley Records and have been making waves in the world of music by stamping out live streams of many of the hits they’d worked on in years past, and new songs they’ve recently written. Like all other musicians, COVID-19 stalled some of their live performance ambitions, and they quickly got up to speed on streaming, now to several generations of listeners.
You can catch them performing their own versions of songs they backed in the studio and on various tours, such as “Werewolves of London”, “Devoted to You”, “Running on Empty” and a swath of music that captures us with a sense of nostalgia, as well as its own newness. Ranked by Rolling Stone Magazine as one of the top fifty bass guitar players of all time, Solar can count coup on laying down bass lines on such well known tracks as: “You’ve Got a Friend” (James Taylor), “Running on Empty” (Jackson Browne), “No Other” (Gene Clark) and literally thousands more by the pantheon of Rock ‘n Roll Hall of Farmers.
Observations indicate that Lee’s married to fretless basses, drawing on his musical intuition to draw out the perfect notes to lay down foundations on his work. During my conversation with another member of The Immediate Family, Danny Kortchmar, it was said that Lee “doesn’t make mistakes”.
Roam the world of YouTube videos of some of your favorite artists live performances or official videos, and often you’ll find a guy playing bass with a cascading beard. And, while checking up on his list of credits, I was delighted to see that it was him on bass now some of my favorite albums.
Holding down the fort on bass with The Immediate Family, Lee’s in his element having fun with his lifelong friends, and his gathered a hundred thousand plus followers on his own YouTube channel, that’s as delightful as it is informative. As I mentioned, Lee and I talked about his cool Beagles, and you can see them on his channel, along with him showing you how he played various legendary tunes.
After a few minutes talking about our dogs, it was time to dig into our interview and Lee’s personality was perfectly reflected, as we rolled into talk about The Immediate Family with a laugh. I checked a lot of your recordings, and it amazed me, the folks that you had worked with over the years.
People like Jimmie Spheres, Shawn Phillips, and I think Warren Devon’s quite a bit better known now, than maybe he was back in the ’70s. As far as the session with Jimmie went, it was that period when my career was getting started, and the association with James Taylor and that singer/songwriter movement that began.
I mean, he was living in Italy, then he moved to South Africa, Texas. And that was fun, because I used to listen to all of his albums, including at least one that you were on, which was Bright White.
Leland Solar: I did one a while back with J. Peter Robinson was on it, Paul Buck master did the arranging. But, when Shawn sits down with his guitar, he really can lay out a complete song, the way he plays and does.
Leland Solar on bass on Shawn Phillip’s “Bright White” Rick: Actually, his range reminded me of … Although they’ve got a different sound, obviously … with Tim Buckley’s range, if you knew Tim Buckley.
Leland Solar: But, a talented musician, but a really thoughtful, smart, well-educated. And it’s fun doing with The Immediate Family, because Paddy’s connection with Warren is so deep.
But, you’ve worked with Jackson Browne a lot, and Linda Ronstadt, and all the … sort of with the Laurel Canyon group. Because the offices, even though it was different management, they would all talk to each other and try to book things so that the band could do both.
Where we would maybe finish James, and the next week we’d be starting Jackson’s tour. And in 1990, we parted ways because I had already committed to a year on the road with Phil Collins at that point.
And then we toured ’85, where he exploded on the music scene, into the biggest artist in the world, practically, at that point. The Immediate Family (Left to Right): Steve Postell, Danny Kortchmar, Paddy Rachel, Leland Solar and Russ Tunnel.
We were in South America, and in Mexico, Europe, Australia, New Zealand, all over the States. You know, I met Les Paul when he was 94, and he played up until he was like 101, I think.
And this beautiful footage of Vladimir Horowitz playing in Moscow when he was in his mid-90s. None of them are kids, but when they hit that stage … I remember years ago, doing a festival.
And a couple of years ago, I saw Charles Cavour out here at The Greek Theater, doing his, celebrating. I was in garage bands back in 1964 and ’65, and everybody wanted to play six-string, but there was always this one guy who would grab a bass.
And I studied classical piano until I went into junior high school when I was 12. Leland Solar: When I got into junior high school, there was, as they would say, a plethora of piano players.
And the music teacher, whose name was Ted Lynn, said, “Look, I need a string bass player.” And he pulled out an old Kay upright from a back room and put it in my hands. Let’s do this.” And he gave me rudimentary lessons, and I fell in love with the bass and never looked back.
Leland Solar: Well, the thing was, I was not a fan of rock ‘n’ roll, or whatever was going on during that period. Even when I started playing bass, I was still really classically driven.
But, my father finally, when he realized how really serious I was about it, took me out and got me a little Japanese electric bass and amp. But, the first time I heard The Beatles, and the different groups that came out of that first wave of English artists, it turned my head around.
And then hearing guys like Entitle and Jack Bruce, and McCartney … were so many of that ilk, that I really thought were amazing, and really saw myself heading in that direction. And that was the odd part of hooking up with James Taylor, because that was the one kind of music that I really hadn’t been exposed to.
I mean, I was aware of folk artists and the Barry McGuire's and all the people, Peter, Paul & Mary. So, I really had to wrap myself around an entire different way of playing, once I started with James.
Leland Solar on bass guitar, with James Taylor and Carole King Dylan came out, but you didn’t have a … I don’t think you had a big influx of folks like … who is it, Carole King and James Taylor, Jackson Browne … They all just sort of … They basically took over.
When you were dealing with Dylan and people like that, it was basically a guy sitting, playing guitar, and singing. But, orchestrating all of that into bands was really something different and fresh when James and Jackson and Carole, I mean … It was that whole period where Polo developed, and the Burrito Brothers, the Eagles, and Crosby, Stills & Nash, and all of that stuff, Buffalo Springfield.
Leland Solar: Oh, I’ve known Henry since he was Tad Ditz in the Modern Folk Quartet. And The New Christy Minstrels, a lot of people came out of that group.
That he can be in the middle of stuff, and you’re completely unaware of him. But, he did a bunch of photos when we were in the studio with The Immediate Family, doing the new album.
Leland Solar: He’s documented a bunch of the recording process. But, I became aware of him because I was a big fan of the Modern Folk Quartet.
I was fortunate that he was a collector, because I had a bass that I really wanted to get rid of, that was a beautiful instrument. And he ended up buying it from me, because he wanted to just hang it on a wall, which is where it needed to be.
But, when I look at those, and I’ve got everybody … all the Jeff Forwards and Carrie Lon dins, and all the guys that have passed … to Peter Max and George Lucas and Bob Hope and Debbie Reynolds … all the people I’ve worked with. Leland Solar: Well, the essence of The Immediate Family was … I mean, there’s an element of The Section, but it’s totally different.
Because The Section was Russ and Tooth and myself and Craig George on keyboards. I’m going to call the guys.” And everybody made themselves available, and Jackson Browne let us use his studio.
And the real joy of this project is we’ve all been side men our entire careers. But, we can intersperse that with “All She Wants To Do is Dance”, and “Somebody’s Baby,” and “Werewolves,” and things like that.
But the real tragedy is that we had an incredible momentum going that just, like for everybody else, the pandemic just ground everything to a halt. It’s just that the time frame is so flexible at this point, because nobody knows what tomorrow’s going to be.
And I think we’re going to do it at a club we played a bunch of times, and it’ll just be us there. I was telling Danny about, here in Virginia, there are a couple of drive-ins that are hosting outdoor concerts.
Or these livestreams, where people can sit home and watch it on TV and listen that way. Rick: So, I was starting to move towards that type of thing, and then we really got locked down.
And normally on these cruises, they say all the acts, they usually skip a year or two, because they don’t want to be redundant the following year with the acts that they’ve got on the cruise. And they came to us, and they said, “You guys were so popular that we want you to come back next February, and do the next cruise, too.” But, we had to have a contract drawn up that said we have up to 48 hours before the cruise to bail on it without being penalized for it.
Because, especially with what’s going on in the country now, there’s no telling what a potential second wave could look like, with the amount of proximity that people are spending together. I’ll be 70 next year, and I’ve been in my house for like a month or so.
I just turned 73, and other than going to the supermarket and going to maybe a couple of times, to Ace Hardware to pick up stuff for projects I’m doing around the house, we’re still pretty well locked down, and I’m good with that. And for me, one of the good things that came out of it is, on a whim, I started a YouTube channel of my own.
I’ve been on it now for almost two months, and in the next day or so, I’ll hit 100 thousand subscribers. And like, when we finish this up, I’m doing a video every day, and telling stories about it.
And showing the bass parts to the songs that I’m doing, like Jackson Browne. How it started out for me, people would say we saw you in an arena or stadium, and we could hear what you were playing, but not as detailed.
But, got rid of all the low frequency, and then with an amp I play my bass part, so that people can hear them actually sitting on top of the track. It’s to a point now where I’m doing James and Jackson, and Streisand and Diana Ross.
For me, it’s really this incredible community of people are sending me pictures of them having dinner with their family watching my videos on TV. Hey, the music business can be pretty tough to figure out.
But, when we started, it was kind of like being a top fuel dragster. Because, I went from having no studio experience to working on huge records, like overnight.
And all of a sudden when I met James Taylor, and he took off, it was a quantum change in my life. But, when I look back at it, and think of all the different artists and projects, and different genres, and all that, I really feel so fortunate, and kind of pinch myself every day, feeling…knowing how lucky I am that I was able to parlay my hobby into a career.
Leland Solar: How do young players hone their craft, when there’s no opportunity to do it, other than sitting at home, maybe in your garage with a couple of friends? When it comes down to it, I always just tell people, like if I do a clinic or something, say, “Just, first step, never say,” No.” Somebody calls you to do something, do it.
Whatever’s really important in your life, you try to work with people that you have an affinity with, rather than a pain in the ass. So, you really got to come up with some creative ways of making things happen.
You don’t go into music and the first thing you do is go and get a BMW catalog, and decide which model you’re going to get. I’ve talked to a lot of kids, and their whole idea is, “We’re going to get rich, and we’re going to do this.
That you can afford a guy to help you.” But, there’s a lot of misconception as to what this is. Let somebody who really gives a shit about being a musician take that slot.
You’re not going to get rich, but you’re going to have a good time, and you’re going to hone your craft, I think, while you’re doing it. And I’d have guys come up to me going, “Thought last time I saw you was in Wembley Stadium.
And it was me and Minnie Lolita (Zappa, Joni Mitchell, Sting, etc.) And Mike Finnegan (Jimi Hendrix, Joe Cocker, Etta James, Ringo Starr etc.).
But, we’re down there playing like R&B covers and stuff for a bunch of people who had no idea who the hell we even were. I’ve hosted house concerts at my place for the last … well, up until this virus.
He and his wife stayed for a couple nights, and a buddy of mine from Minnesota, he came. And I said, “You want to open for Johnny Farina?” He’s like, “Oh, yeah.” So, I was going to do it, but I let my friend do it.
For me, there’s nothing like a house concert where you can actually meet the people, talk to them, and sort of hang out with them. Business-wise, it’s great to go out and play eighty thousand seat stadia, and all that crap.
But, to be able to sit in a room with people where you can hear them breathing, and then you talk to them afterwards and hang out. And it’s never looked so good since this all came down, and I’ve been able to devote hours every day to working out there.
We had just pulled the radiator out of it to be re-cored, and set it up to … near San Francisco, where there’s a shop that can do it, because it’s a specialty thing. So, I’m running a small block with twin turbos and dual-throttle body fuel injectors, and nitrous.
A 400 turbo and a completely built Jag rear end, and stuff. I would find these cars really cheap, and think about working on them, and then, it requires too deep a pocket and too much time.
The multi-talented Tom Guerra is back at it with another album, soon after releasing his 2018 release, American Garden, and I have to hand it to him that each album has its own theme and signature sounds with Tom on vocals and his trusty Stratocasters. “Reeling in the years, Tom Guerra keeps his guitar locked into vibes of the ’60s and ’70s.
Solid guitar work all around, including the sweetest thematic lick that could go on forever. Guitar International always enjoys talking with Tom who’s a collector of vintage guitars, including a Stratocaster once owned by the legendary blues master, Howling’ Wolf; a musician well-versed and knowledgeable in the rock music genre, and a fellow journalist who offers up smart insightful interviews when on the other side of the recorder.
But, to be frank, the big draw here is Tom’s talent to craft songs that grab us, whether they’re rockers or ballads, raunchy guitar-hooked tracks or melodic and sweet bent licks. Rick Lander's: I was surprised to see your new release, Sudden Signs of Grace, since it didn’t seem all that long ago that you put out your earlier album, American Garden.
Garden came out in 2018 and after spending about six months promoting it, I returned to writing and got into a nice groove of working up songs on this old Gibson LG-1 acoustic. One cool clear spring day I was out there and think I had an almost out-of-body experience, feeling like I was being drawn up into the skies like I stepped into a Max field Parrish painting.
As far as the positioning of that song as the first track…this was the first album I’ve ever made where the intro song wasn’t the biggest rocker because this album isn’t really a collection of rockers. Rick: All the songs make a cool blend of your music, and I was a bit surprised when I got to the instrumental.
I picked that guitar up and started playing that chord progression and little lick in a sort of clean tone reminiscent of Amos Garrett or Mark Knowles. I wasn’t even going to put it on the album until my friend Jon Butcher said “you got a include that.” I put it at the end, as many of my favorite albums end with a mellow track.
Rick: How’d you meet Jon Butcher and did you find that your approaches to work and music meshed well? Tom Guerra: I met Jon just before the release of his exceptional record “2 Roads East,” and we immediately hit it off.
He ended up playing an end of the world lead guitar part on my song “Blood On the New Rising Sun” from the American Garden album, and then he asked me to join him on a song off of his new album 360 Degrees called “USB (Uncle Sam’s Blues).” He’s also an incredibly gifted videographer and ended up doing the three videos for the “Sudden Signs of Grace” album.
Rick: How about telling us about how the album evolved, and besides the songwriting, what level of involvement you had with the various aspects of its production to get to the final cut? Tom Guerra: In terms of how these songs evolved, lyrically they represent where I’m at these days, being a 57-year-old man…for whatever reason, many features acoustic guitar, including acoustic solos.
That was a bit of a departure, as I’ve always been an electric guitar guy. As far as production, I’ve produced just about every piece of music that I’ve ever been a part of, from my early bands to the Mambo Sons to my solo records, so I have been involved in all aspects, from songwriting to mic placement to charts for the musicians…though I don’t dictate what the musicians play as I look to them to bring their own flavor and expertise to my songs.
Rick: I have to admit I miss the old album covers and all the graphic landscape artists use to have to grab people’s attention. Those days are gone, and I’d think that figuring out a design might take more thought to attract interest, at least for those still putting out CDs.
Tom Guerra: When I was a young music fan, we’d get almost all of our information from an album cover, from the vibe of the front cover to who played what to the little hidden messages in the liner notes. As such, the cover art is still very important to me, and I’ve been fortunate to have worked with a talented designer named John Kali on many of my releases.
For the album cover of Sudden Signs of Grace we found the cover shot of a little girl looking into the woods surrounded by a sunbeam, and it perfectly fit my vision for this one, as when I was writing the album, I was thinking of it as a female, versus, its predecessor American Garden which is definitely a testosterone thing. Tom Guerra: Sure, it’s a 1963 Fender Stratocaster formerly owned by the great Howling’ Wolf, well played and worn.
I bought it about two decades ago and when I opened up the case, I was hit by the smell of cigarettes and whiskey! I picked it up and noticed that it had the words “Little Bill” sort of burnt into the pick guard, as if it had been written with some sort of paint that melted the nitro guard.
I then started searching online and found a recent pic of an old bluesman playing a modern guitar, with the words “Little Bill” boldly standing out on the same spot of the pick guard. I did some research and found his name was Alex “Little Bill” Wallace, and he was living in a nursing home in Greenville, Mississippi.
Little Bill seemed happy to talk, and confirmed that not only was this once his Start, but it was originally owned by his close friend Chester Burnett, aka Howling’ Wolf, who sold it to him in the mid-‘60’s. I’ve used this guitar on various recordings and after spending several years at the Rock ‘n’ Roll Hall of Fame, it’s now on loan to the Musical Instrument Museum in Phoenix for the next year.
Rick: Along with artists who have inspired you musically, business-wise, altruism and ambition wise, who else has influenced the way your approach your career, fans and colleagues, and, well, life in general I suppose? Tom Guerra: I’d have to say my family and having a good support system has definitely helped me navigate life’s ups and downs.
Keeping things in moderation also helps to eliminate a lot of problems as well. It’s also important to listen to as many musicians, songwriters, players as one can.
I know guitar players can be a very competitive bunch, and there are many, many players out there that are light years ahead of me from a technical perspective, but I love watching other players do their thing, and can honestly say that I’ve learned so much from so many by just watching and listening. As a result, it just makes me feel incredibly fortunate to be able to create and do my own thing.
Tom Guerra: My friend, the great producer and guitarist Jim Chatelaine once told me, “our styles are forged by our own limitations” and that’s totally true. Of course, you can’t be a songwriter from my generation and not be influenced by Lennon and McCartney, Jagger and Richards and Bob Dylan, but there are so many other great songwriters that are more under the radar for one to explore.
As far as singing, I’ve been fortunate to work with some great vocalists, including Scott Lawson Pomeroy of Mambo Sons, and when I started making solo records, I had to come to terms with writing for my own voice and limited range. And even if you’re not the next Paul Rodgers, there are a lot of things you can do to make your own voice work for you.
Tom Guerra: About twenty-something years ago, I was doing some shows opening for Ronnie Earl, and happened to be talking with a writer for Vintage Guitar magazine about that experience. I have been fortunate to have gotten to hang with some great songwriters and musicians, and became friends with many.
One, Johnny Winter, asked me to write liner notes for a few of his albums. It becomes quite obvious that these folks are just people with a talent and some luck thrown in.
One of the coolest things that happened to me was a few years after I did my biography of Paul Kissoff for the magazine, I got a call one night from an English gentleman who said “Hello, is this Tom?” It was former Free bassist Andy Fraser, who chose me and Vintage Guitar magazine to tell the world his story. Shortly before this, there were rumors flying around that Andy was near death from AIDS.
The reality was that while he was HIV positive, he was quite healthy and because he enjoyed the Kissoff piece, he wanted me to be the one to help set the record straight, that he was a gay man living with AIDS. Tom Guerra: Mambo Sons is alive and well, although we’ve had to endure the cancellation of shows like everybody due to the Covid-19 pandemic.
Russ is an incredibly talented musician and a real good guy who I enjoy playing with. Tom Guerra: Back in the late ‘90s, I was on a local radio show promoting a record I’d done with my blues band, when I got a call from someone saying he’d liked the guitar work.
I asked if he’d be interested in playing on it, and he told me to send him some songs, which I did. He showed up and played some great guitar, and also taught me a lot about production.
Rick: Virtually everyone I know lost gigs at the onset of the pandemic, were you able to make the transition to more on-line outreach easily or was there a learning curve to overcome? Business is tough and as bad as it’s been for clubs, bars and restaurants, musicians have been hurt even more.
I am hoping that we all see a vaccine soon, so life can return to something resembling normal. Also, for years, Mambo Sons considered a great Hartford landmark called Black-Eyed Sally’s our home base, and when our annual summer show there got cancelled because of Covid-19, we all put together a Zoom version of one of our more popular songs, “Strawberry Hill”.
Rick: And, now here in Virginia I see open-air performances starting to take hold again and wonder if this is too soon, given the projection of 400,000 victims if we stay the course we’ve been on. As far as electrics, I do tend to play Starts, because I feel that they are transparent in terms of the way they allow the personality of the player to come through, for better or worse.
Considering the Start is now 66 years old and arguably more popular than ever, I really think that Leo Fender hit the ball out of the park and got it right from the get go. As far as my favorite Start sounds, “Sleep Song” certainly is up there, as is my version of the old Freddie King song “The Sad Night Owl”, which I covered back in 1990.
Rick: Do you have a backlog of more songs that you want to lay down for one or more new albums? Tom Guerra: I’m spending most of my time promoting Sudden Signs of Grace, though I find myself always writing.
Rick: Is there anyone that you’d like to collaborate with on some future project, some dream album? Tom Guerra: Ian Hunter probably…in my book, he’s truly one of the greatest rock and roll songwriters.
Alternative Facts & Other White Lies by Mike Click with Generations is a politically charged folk album based on the struggles and lives of musical ancestors. Mike is based in New York and combines stylistic elements of many other cultures into his music, making for a diverse experience.
He’s joined by his son Alexis (guitar) and vocalist, Lindsey Wilson, on this album that will get your feet moving, your voice singing out and your brain thinking’. The album opens with, “Fellow Travelers.” The song features a catchy melody and solos from the banjo and harmonica.
The lyrics pay homage to the artists Mike grew up listening to and their desire to help build a better world. As the song rolls into a close, a jaunty finger-picked guitar line accelerates to bring us into the next track, “Pastures of Plenty.” This cover of the classic Woody Guthrie tune adds an extra flare with the electric guitar that offers up the atmospherics of an old-time Western movie.
The electric guitar takes a solo combining elements of country/folk and jazz, all soaked in an incredible tone. The lyricism describes the importance of the working class, which sends a completely relevant message about some disenfranchised in our troubled, modern society.
Tracks three through five (“Come By Here”, “Alternative Facts”, and “If You’re Not Outraged (You Are Not Listening)”), all share a similar sentiment in lyrics: America is governed by a selfish and inhumane would-be dictator. That triple threat is followed up with, “Come By Here”, a softer, more flowing tune complemented by a melodic flute line.
The vocals in this tune are shared between Mike and Lindsey Wilson, adding some tasteful timbrel diversity for the lyrics. Though superficially, the song sounds very cheerful and upbeat, the lyrics carry a much more serious undertone.
Next is, “If You’re Not Outraged”, that reaches for a different vibe with a faster tempo and a minor key. The catchphrase of the song certainly makes it memorable and meaningful.
Alexis Click’s electric guitar licks elegantly complement the driving vocal harmonics of Mike and Lindsey. To take a break from the governmental criticisms, the trio performs a cover of the well-known classic, “Let’s Get Together” by Chest Powers (Dino Valenti).
In the midst of all the anger and upheaval in the world today, music like this is much needed. As an anthem encouraging the spread of love, Mike and Lindsey arranged this song in a way that retains all the charm that made it famous, yet combines it with their own aesthetic.
One could imagine listening to this while walking through a meadow with plenty of flowers and sunshine. It’s the kind of song that makes you want to pull on a pair of well-worn bell-bottoms.
“We Poor Are Strong,” features Mike’s vocals supported by his classic guitar playing, as well as dobro, banjo, and harmonica. The next track, “15 An Hour”, portrays the struggle of minimum wageworkers in the United States.
This bluesy track is notable for its heavy use of harmonica and catchy melody; a true song of, and for the people. Previously heard on Click’s album, City Dreams, the song has been rewritten and updated.
Though the song was written in the ’70s, it is no less relevant today, preaching about the nation’s poor building the systems which allow the rich to get richer. With its bright sound, driving banjo, and bouncing harmonica solo, this song portrays hardship in a way that is equally motivational.
In “Let’s Build A Wall Around Jesus,” Click exhibits his satirical sense of humor. Based on his frustration with U.S. border conditions and greedy televangelists, this song feels like another sing-along.
I feel that this song could benefit from an expanded instrumentation, as guitar and vocals are the only parts present. That issue is subsequently amended in “The Dream” with the immediate entry of a cello.
During the instrumental intro, the cello is a feature which quickly disappears into a legato bass line. Click gives “The Preacher and The Slave” a staccato guitar line to contrast the lyrics meant to parody a popular Christian hymn.
The song talks about the hope that remains, regardless of how dark the times may seem which is another message incredibly relevant to the current events we face. The flowing melody, uplifting piano, and electric guitar solo make this tune a potentially exciting jam track.
Overall, Alternative Facts & Other White Lies is great for anyone feeling frustrated with problematic systemic issues in the United States we experience today. Overall, it’s great to see that protest music is still alive and kicking in the heartland.
The niche genre may not be everyone’s cup of tea, but the messages are certainly worth hearing, regardless of musical taste. For anyone wanting to begin exploring the folk genre, Mike Click with Generations’s Alternative Facts & Other White Lies is a fine place to get a foothold for a long journey into the world of traditional roots music.
When does it stop being something you do on a small scale and start playing for keeps? For aliensdontringdoorbells, and their forthcoming album Arrival (set for release October 2), they know that time is right now.s.
Their sound is an amalgamation of pop, rock, jazz, pro and swing. Nowhere is this melting pot of influences more apparent, or more successful, than on the album’s second single, “It’s Your Night,” which is already heating up the Top 40 radio charts.
The perfectly themed video–set in space, of course–can be seen now on their official YouTube page. The trio (singer/guitarist Dorian Foil, singer Adam King and singer/keyboardist Christian Pearl) originally hail from the U.S. and U.K. but are now living in Spain and the Bahamas.
They connected years ago in the Costa Blanca region of Spain, and it wasn’t long before they realized they had more in common than the love of an outrageous band name. In the summer of 2019, they took their shared passion for music and songwriting into the acclaimed Sanctuary Studios in the Bahamas, laying down demos to attract the attention of top-notch producers.
Attract they did, with Jeff Kazan (Kelly Clarkson, No Doubt, Sting), Matthew Try (One Republic, Maroon 5, Taylor Swift) and Dan Knock (drummer of KGO) stepping up to the plate. With the help of drummer Kevin Dean and bassist Earl Forbes, studio musicians from The Bahamas and former band mates of Foil, Arrival is a stellar tour through the highs and lows of just living life.
Infused with sincerity and an emotional wallop, aliensdontringdoorbells deliver lyrics that are philosophical without being sentimental, along with a musical dexterity that can only come from playing your whole life. Their songs serve as an edgy musical package that gives a nod to their influences while still sounding completely original, resulting in an auditory party that fans and newcomers alike won’t be able to stop listening to.
Their breakout first single, “Story,” which quickly gained an impressive 15,000 streams on Spotify in one month, was released July 17 and has also garnered radio airplay and press around the world. It can also be heard on all major streaming platforms, including Spotify, Apple Music, and Amazon.
A poignant video can be seen now on the band’s YouTube page. In an early review of “Story,” EssentiallyPop.com praised, “The lead vocals are reminiscent of Maroon 5 and are very pleasant on the ear for the listener whilst the relaxing acoustic guitar blends well with the local rhythm section to convey the emotional lyrics.
Fans of Take That and the Manic Street Preachers might appreciate the musicianship and overall song production.” These are exciting and early days for this international three-piece team of singer/songwriters, but the quest of building a solid fan base is well underway.
AXS TV continues its long-standing support of Farm Aid, serving as the exclusive television broadcast partner of the landmark benefit music festival for the seventh consecutive year. The Network is proud to present a star-studded virtual at-home three-hour-plus broadcast of Farm Aid 2020 On the Road, airing Saturday, September 26 starting at 8pE/5pP.
Farm Aid 2020 On the Road continues the festival’s legacy of iconic artists and unforgettable performances featuring an all-star roster of over 20 artists including Farm Aid board members Willie Nelson and The Boys, John Mellencamp, Neil Young and Dave Matthews, as well as Black Pumas, Bonnie Wait and BOZ Scags. Other featured performers are Brandi Carlyle, Chris Staple ton, Jack Johnson, James Johnson, Jon Batiste, Kelsey Walton, Lukas Nelson & Promise of the Real, Margo Price, Nathaniel Ratliff, Particle Kid, Die Brick ell with Charlie Sexton, The Record Company, Valerie June and The War And Treaty, and many more.
Joining forces with Verizon, AXS TV and Farm Aid presented the exclusive set on April 11, 2021, as part of the Network’s At Home And Social initiative. Powered by intimate performances from Nelson, Young, Matthews, and Mellencamp, the evening raised over $500,000 for family farmers impacted by the effects of the coronavirus pandemic.
The goal of the virtual festival is to raise critical funds for and awareness of the organization and its mission, which it typically does through ticket sales to the annual in-person music and food festival. AXS TV is a leading music, entertainment, and lifestyle television network and digital media company controlled by Anthem Sports & Entertainment Inc. AXS TV’s programming broadly appeals to a diverse and impassioned fan base, offering eclectic content that includes concerts and music performances, celebrity interviews, documentaries, special events, and pop culture series.
The Network’s signature programs include Dan Rather’s The Big Interview, ” Rock & Roll Trip With Sammy Hagar, ” and Live From Daryl’s House, ” and concert events such as CMA Fest and Farm Aid. The channel is also the home of IMPACT Wrestling, one of the world’s largest entertainment properties.
The Network is available nationally in the United States and parts of Canada and the Caribbean. A full list of providers and territories can be found on axs.tv/subscribe.
For more information, visit www.axs.tv and its social media channels YouTube, Facebook, Instagram and Twitter. Farm Aid’s mission is to build a vibrant, family farm-centered system of agriculture in America.
Farm Aid artists and board members Willie Nelson, Neil Young, John Mellencamp and Dave Matthews host an annual festival to raise funds to support Farm Aid’s work with family farmers and to inspire people to choose family farm food. For more than 30 years, Farm Aid, with the support of the artists who contribute their performances each year, has raised nearly $60 million to support programs that help farmers thrive, expand the reach of the Good Food Movement, take action to change the dominant system of industrial agriculture and promote food from family farms.
King recorded in 1970, was actually written the same year that the young Mr. Shatter made his film debut in 1951. As a special treat, Blackmore’s wife and longtime collaborator in Blackmore’s Night, Candice Night, contributes background vocals to add even more pathos to this inspired track.
Blackmore and Night return the praise saying, “We would like to express our gratitude for being able to appear on the recording with William Shatter. “Thrill” is a highlight of Mr. Shatter’s fantastic new album, The Blues, which is now available for pre-order on CD, vinyl, and digital.
The album will feature a constellation of blues, rock and country performers who work together with Mr. Shatter to bring the blues to life including Sonny Andrew, Brad Paisley, Pat Travels, Tyler Bryant and more! Look for the album to be released October 2 courtesy of Cleopatra Records.
Steve Cropper In Hell I’ll Be In Good Company feat. AXS TV’s acclaimed rock and culture series A Year In Music returns for its third season, premiering Sunday, October 4 at 9:30 p.m. ET/6:30 p.m. PT.
Season three highlights include in-depth profiles detailing how the music world came together in 2001 following the terrorist attacks on September 11TH; the landmark music scene of 1998, which saw the release of the breakthrough album The Miseducating Of Lauryn Hill and the rise of MTV’s hit TRL series, which helped launch the careers of pop superstars such as Britney Spears, *SYNC and Christina Aguilera; and the pop renaissance of 2008, which saw the emergence of current powerhouse performers such as Lady Gaga, Adele, Katy Perry, Rihanna and Beyoncé, and the election of Barack Obama; as well as the inspiring world anthems of 1986, fueled by hits such as “We Are The World” and “True Colors,” and the Hands Across America movement; and the bitter East Coast vs. West Coast rap rivalries of 1996 which came to a head following the death of hip-hop trailblazer Tupac Shakur. Prior to making her debut on AXS TV, Hale will sit down with Sirius on-air personality and Esquire Editor-At-Large Dave Holmes for an exclusive interview, airing as part of the online edition of the Network’s At Home And Social series on Friday, August 28 at 8 a.m. ET/5 a.m. PT.
Filmed from the set of A Year In Music, the candid conversation finds Hale opening up about her partnership with fellow rock songstress Amy Lee, sharing her essential pandemic playlist, dishing on her new herb garden and fishing prowess, and more. Fans can enjoy the interview on AXS TV’s Facebook page and YouTube channel.
When she’s not performing to sold out crowds across the world with Hale storm, Hale hosts her own YouTube series, aptly titled “Raise Your Horns,” where she talks and jams with friends and fellow icons such as Alice Cooper, Corey Taylor, Amy Lee, Taylor Mom sen and more. Follow the social media conversation on Twitter last as well as #AIM.
Up next, Hale will be honored in 2020 at the eighth annual She Rocks Awards. AXS TV is a leading music, entertainment, and lifestyle television network and digital media company controlled by Anthem Sports & Entertainment Inc. AXS TV’s programming broadly appeals to a diverse and impassioned fan base, offering eclectic content that includes concerts and music performances, celebrity interviews, documentaries, special events, and pop culture series.
The Network’s signature programs include Dan Rather’s “The Big Interview,” Rock & Roll Trip With Sammy Hagar, ” and Live From Daryl’s House, ” and concert events such as CMA Fest and Farm Aid. The channel is also the home of IMPACT Wrestling, one of the world’s largest entertainment properties.
The Network is available nationally in the United States and parts of Canada and the Caribbean. A full list of providers and territories can be found on axs.tv/subscribe.
For more information, visit www.axs.tv and its social media channels YouTube, Facebook, Instagram and Twitter. On September 25, Rock and Roll Hall of Fame (2015 inductee with Joan Jet and The Black hearts) and guitarist/singer-songwriter Ricky Byrd presents Sobering Times (Kayos Records).
Sobering Times is an honest and intimate reflection of recovery delivered through his signature brand of Rock ‘N’ Roll. As Goldmine Magazine states “… The Faces and The Rolling Stones with a dash of Otis… It rocks like a b×tch.
His vocals are the best of his career…early indications make it seem likely that this will be his career statement.” Following the path he carved with his 2017 album Clean Getaway, Sobering Times (produced by Ricky Byrd and Bob Stander) continues his mission to deliver the message of hope to those recovering from addiction.
He expresses the roller coaster of emotions and every day trials of recovery, from hitting rock bottom, to the gratitude of surviving and thriving in a sober life. On Sobering Times, Ricky Byrd is joined by an all-star cast of musicians: Bob Stander(bass guitar, percussion), Jeff Keizer of Southside Johnny and the As bury Jokes(keyboards/ accordion/background vocals), Steve Holley (of Wings / Ian Hunter / Joe Cocker, contributed drums to most of the album), Liberty DeVito (Billy Joel, drums), Rich Pagan (The Fab Faux, session drummer), Tommy Price (Joan Jet, Billy Idol, Mink Seville, drums) and Christine “The Beehive Queen” Oilman(vocalist, Saturday Night Live band).
Additionally, he collaborated with Richie Spa (“I Come Back Stronger”) and Willie Nile, who duets with Byrd on “Recover Me”, in addition to Emily Duff, who co-wrote “Ain’t Going to Live Like That.” Fittingly, he also recorded a cover of Merle Haggard’s “The Bottle Let Me Down”. Having lived through the disease of addiction himself, Byrd has made it his mission to help others as a recovery coach and drug/alcohol counselor, who visits schools, rehab facilities, detention and detox centers to perform, talk, and lead recovery music groups.
In fact, he gave away almost 2500 copies of Clean Getaway at these facilities, so clients could take the message of recovery home with them. He dedicates Sobering Times to all of those who struggle with addiction, as well as the recovery warriors who help those who are struggling, those that support a clean and sober lifestyle, and of course, those that still love loud and proud Rock ‘N’ Roll.
Although best known for his time with The Black hearts, Byrd has also recorded and played with Roger Mantra, and toured with Ian Hunter and Southside Johnny and the As bury Jokes, respectively. He is also proud to have shared stages with such music royalty as Paul McCartney, Ringo Starr, Alice Cooper, Bruce Springsteen, Steven Van And, Smokey Robinson, and Mavis Staples, among others.
For decades, he’s been a first call drummer for folks like George Harrison, James Taylor, Jimmy Buffett, Jackson Browne, Lyle Love, Linda Ronstadt, Bob Sewer, Warren Devon, Harry Chain, Bob Dylan, Crosby, Carly Simon, Stills and Nash, Neil Young, Steve Nicks, Dan Rosenberg and a long, long list of others. Today, he’s hanging with his friends in their new super group, The Immediate Family, that include: Danny Kortchmar, Paddy Rachel, Leland Solar and Steve Postell.
And, they’ve recently landed a deal working with a great label, Quarto Valley Records. As The Immediate Family, they’ve launched a series of video streams, recorded enough tracks to pull in a large group of followers, and have been involved in the making of a movie about the group.
During the Sixties, Russ would catch the wave of surf music, before the British Invasion unleashed The Beatles, The Rolling Stones, The Animals, The Dave Clark Five grabbed his attention, along with a bit of folk, as he worked with John Stewart and The Kingston Trio. Having played jazz earlier, Russ’s hands-on education made him a perfect fit for Asylum records session group, The Section (1972-1977), where he joined forces with Danny Kortchmar (guitar/vocals), bassist Leland Solar, and keyboard player, Craig George.
There’s more, much more, but let’s get to Mr. Tunnel’s interview where we talk about his career, drumming, surf music, producing, work-for-hire versus royalties, his ’57 Chevy and, of course the challenges of COVID-19 and all the hard work that The Immediate Family has been doing that making them one of the best known groups in the country and beyond. Rick Lander's: Hi Russ, looks like you guys have been keeping busy.
We’ve been doing videos from home and writing, and fortunately we had an album in the can before this whole thing happened so. Rick: I was talking to Danny (Kortchmar) about it a couple of days ago.
The Immediate Family (Left to Right): Steve Postell, Danny Kortchmar, Paddy Rachel, Leland Solar and Russ Tunnel. Somebody, somewhere along the way, there was something mentioned that I was good friends with Jimi Hendrix.
I met him once, but that probably came from a Japanese interview that I did where I said that a band that I was in, in the late ’60s, was a house band at the Whiskey A Go, and we’d opened for Cream and Jimi Hendrix, and a lot of other people, and somehow they misconstrued that as me being his good friend. I’ve never played a tabla, although it’s a fantastic instrument, but pretty much just the normal stuff.
I have all my drums would be there, and then I would have congas and bongos, cymbals, and then a whole box of things to shake and hit. Russ Tunnel: I’ve played cardboard boxes on lots of things, but the one that probably got the most notoriety was on the Running on Empty album.
Russ Tunnel: I also played a tape box on a James Taylor song. I just put a tape box down where the snare drum would be and kind of played it.
It wasn’t one of his famous songs, but I’ll think of it before this whole thing’s over. I grew up with his band rehearsing in the house, and so I was introduced to drums pretty early on.
But, I was born in Pittsburgh, Pennsylvania, but I moved out to Long Beach, California, when I was nine. So, I kind of grew up right in the middle of the surf era.
Rick: So, were you into The Beach boys, and Jan and Dean and Dick Dale? At The Golden Bear and lots of different places, yeah.
Was it rock or jazz, or people like Charlie Watts? We, in the Things to Come, we actually did a song that was kind of pretty much influenced by that, that we recorded.
Or like you said earlier, you said more of an intuitive thing, you just sort of get into the mood or into the zone? Russ Tunnel: Well, like I said, the thing that I really rely on is, I try not to do something normal.
That’s one of the things I love about going up to L.A., is going to Amoeba Music, which I think just closed. These crazy islands in the world that you’ve never ever heard of, but there’s people there making music.
And a lot of people, including me, I mean, I’ve worked with producers and mixers and stuff, but sometimes it’s the same person. They entrusted me with the responsibility of putting together musicians in the studio, and the place, and doing their projects with them.
I mean, put a studio in my house and started writing and recording stuff. But, I don’t have a studio in my house anymore, but these days there aren’t that many producers, really.
I mean, there’s a handful of people that still produce stuff, but not like it used to be. Anyone now with a credit card can go buy all the gear to make a record and do it in their house.
Russ Tunnel: We started using A cappella, but we ditched that, because it did the job, but the audio quality is just not that good. And so what we started doing now is we’re using an app for our phones called Film Pro, which turns the camera.
The camera in your iPhone’s actually a wonderful camera, but Film Pro allows you to adjust the white balance and the ratio, and the aperture and all kinds of things, so you can actually take good videos that don’t look like they’re homemade. I thought you guys came together really well, and I thought that the way Steve sang the song, which was different from Jackson Browne, he really added a nice nuance on some parts.
I mean, we worked hard to make those things sound good, and mixed them after the fact. And Steve’s going to, he’s been working on Final Cut Pro, so we’re going to start trying to do our videos with a little more pizzazz.
So, it’s kind of interesting of the nuances, and sort of the different things that you all do, I guess, it’ll then become maybe the standard for a new generation. Russ Tunnel: Yeah, well that quite possibly could be the case.
So when you’re working with folks, you mentioned Dan Rosenberg, do you find that friendships grow from those situations, you just sort of click with people? Russ Tunnel: Well, God, I’ve been so fortunate to work with so many great people.
And I try to always maintain a level kind of personality so that, one, I never wanted to get fired, so I was never a squeaky wheel, so to speak. But, I mean, all the people that I’ve worked with over the years I’m still very close friends with.
I don’t see them all the time, but I’ve talked to them on their birthdays, or we stay in touch with various different ways. Russ Tunnel: And I don’t know that there’s anyone group that has, I mean maybe The Beatles had the same producer for the longest period of time, being George Martin.
I mean, since you’re a session player, a lot of times you didn’t have audiences. Russ Tunnel: It’s always more fun to be in front of an audience, no doubt, but I was thinking about this last night.
We’re talking to each other all day long on text, way more than we would have normally, you know? So, we’re trying to put out a new video every week on all of our socials, like this week we launched our single on Quarto Valley Records, and it debuted on Rolling Stone.
Rick: I know a lot of it, you guys are sort of my focus for the next few weeks so, yeah. Russ Tunnel: The single came out today, and we have an EP coming out with some other stuff.
Russ Tunnel: And everything’s been put on hold, so we’re pushing everything until next year for the new content. But for now, what we’ve been trying to do, is put out some new content every week on our socials, and enter A cappella, that was the first thing we were using.
Russ Tunnel: Well, that’s a slippery slope, and the short answer to you is, “No.” If you get hired to play on a session, the parts that you play are then basically owned by the artists, whoever owns the song, who runs the copyright on a song. Now musicians get, with all the streaming that’s going on now, musicians who played on a record, and vocalists, now get it’s a very, very small percentage, but they get a royalty for every time a song is performed, whether it’s on Muzak, or whether it’s on satellite radio, or whatever.
I’ve read that the real money is in mass media, like in television and movies and commercials. Russ Tunnel: Yeah, and all the European musicians have been getting that royalty for years.
Was it just easy to say, “Okay we’re going to form a band now, and now we’re going to be The Immediate Family”, but are you still doing session stuff? I’ve been playing with Lyle Love for the last, oh God, 13 years.
You know, the thing about Laurel Canyon, the one that’s out right now, it’s not a bunch of talking heads. I met him at the Hard Rock Café, and he introduced me to Brian Wilson (The.
One of the first gigs that I had, after I stopped playing for Things To Come, and before I worked with James Taylor, was I played with John Stewart, who replaced Dave Guard in The Kingston Trio. Russ Tunnel: Well, the cover songs, because either Danny or Paddy, or I or Steve, wrote them with the artist that recorded them, so we’re a cover band that plays all original material, as Danny likes to say.
Russ Tunnel: On this record that’s going to be coming out, most of the songs are written by Danny and Paddy and Steve. Rick: And so any of the songs that you’re writing, are any of them so current as to cover the, you know, we had a lot of protest music back in the ’60s and early ’70s.
Russ Tunnel: I’d rather be safe, so I’m going to wait and embark on the rest of the world on the back end of this stuff. Yeah, just mostly, I mean, I have good neighbors, so it’s mostly just normal stuff.
My musical stuff is completely just going to be confined pretty much to Immediate Family related stuff, and just writing material for whatever, and waiting to see what happens with Lyle (Love). Russ Tunnel: Yeah, we had a full tour booked, all of July and all of August.
Russ Tunnel: Well, the first advice I would give people are it’s not a sprint, it’s a long race. And so you’re going to have to go out and find a place to go play, and let the public see you and start building a fan base.
It’s either getting your music in mass media, or it’s going out and playing and getting money at gigs when you can. Its sleek, minimalist design lets the stand disappear allowing the guitar to take center stage.
Find a dealer or visit the PRS store today to order. The PRS team of highly skilled craftspeople design and build a wide variety of musical instruments and gear for worldwide distribution, including electric, acoustic, and bass guitars as well as boutique-style guitar amplifiers.
The PRS SE line of products complements the Maryland-made PRS line by offering highly approachable and more affordable electric, acoustic, and bass guitars. Carlos Santana, Neal Scion, John McLaughlin, John Mayer, Jimmy Herring, Tim Pierce, Oriented, Mark Tremont, Zach Myers of Shine down, Brian Kelley of Florida Georgia Line, David Frisson, Martin Simpson, and Tony McManus are among the artists currently playing PRS instruments and/or amplifiers.
The song is heavily influenced by the artist’s fond connection to music from the late ’60s. Performances include Leather on guitar, Joseph Williams on keyboards and background vocals, John Pierce from Huey Lewis & The News on bass, alongside Luke’s band-mate and close friend Ringo Starr making a special appearance in both the video and on the record itself.
Leather shares, “I wanted to release this now because it fits the moment. When I got together with Joseph Williams and David Piece to collaborate on the songwriting, there was pure collective inspiration amongst the three of us to articulate this message of hope directed towards our daughters.
Musically, the song is absolutely influenced by my growing up in the Sixties, inspired by some of my favorite elements of the repertoire that defined that indelible era. It is an honor to have his contribution captured on a song of mine, much fewer his gracious presence in the video.
Additional engineering by Bruce Sugar (for Ringo) and Joseph Williams. “Run To Me” can be heard on all streaming services globally, and is available for download.
Over the course of five decades Steve Leather has placed an indelible stamp on pop culture. Alongside his tenure as the only member of Toto to never take a hiatus from the band, he has performed on thousands of albums as a session musician.
Amongst these musical contributions are some of the most successful, influential and enduring records of all time including Michael Jackson’s Thriller. Additionally, he released a memoir titled The Gospel According To Luke which was a global best-seller.
He continues to be Toto’s band leader, a member of Ringo’s All-Starr Band, and a solo artist performing with multiple ensembles which include Nerve Bundle. Toto has enjoyed a celebrated resurgence over the last several years tied to the band’s 40th Anniversary, wherein over a thirty-month period they performed for millions of fans across North America, Europe, Japan, Australia, New Zealand and Indonesia.
The band’s repertoire has been streamed over a billion times, while album sales exceed 40 million copies. Simply, Toto is one of the few 70s bands that have endured the changing trends and styles, and 45 years in to a career enjoy a multi-generational fan base.
To say that guitarist James Burton is busy would be a gross understatement. With his 70th birthday right around the corner, the Louisiana native shows no sign of slowing down.
After a highly successful career as both a leader and a sideman spanning more than 50 years, most guitarists would be looking forward to hanging up the axe and enjoying some time off, but not Burton. Having recently returned from performing in Holland with the PCB band, he’s busy preparing for the upcoming James Burton International Guitar Festival that takes place in Shreveport, Louisiana, August 21 – 23.
The annual festival, which began in 2005, helps support Burton’s charity effort, The James Burton Foundation, and features a Who’s Who of the guitar world and a special concert by the Wild Man of the Telecaster” himself on Saturday night. This year’s fest will feature added excitement as Burton and company hope to break the world record for the most guitarists playing the same song at the same time.
While breaking the record will be an enjoyable experience for both Burton and those participating, it will more importantly bring nationwide attention to the wonderful work he and his foundation are doing. As of this interview, more than 4,000 children have received free guitars and instruction through the work of Burton’s charity.
Anyone who would like to participate in this year’s world record attempt, to find the festival’s concert listings or to learn more about the foundation can visit Burton’s website. With the list of guest performers for this year’s James Burton International Guitar Festival growing every day and the official lineup scheduled to be released in a matter of weeks, Burton is hitting his stride as he prepares for a busy summer of touring, running his foundation, preparing for the upcoming world record attempt and enjoying the rewards of one of the most successful guitar careers of all time.
Matt Warlock: How did you come up with the idea for the James Burton International Guitar Festival and when did it begin? After being able to work with so many great artists over the years, I thought it would be great to put on a show and invite a bunch of my friends to come play.
Matt: Is the concert connected to your charitable foundation and the work you do there as well? I also wanted to use the concert as a way of giving back to the kids, as they’re going to be our future sooner than later.
I wanted to try and combine the two ideas, the concert and the kids, to put on a great event. They’ve been taking music out of the schools a lot more lately, especially guitar, so with my foundation I’ve been able to work with school boards to get guitars back into the hands of these kids who would otherwise not have had that opportunity.
Since that first year the foundation has now been able to give out over 4,000 guitars to kids and schools, and we’re still growing. We’ve also given guitars to kids at the St. Jude Children’s Research Hospital, the Shriner's and even been able to get guitars into the hands of some veterans, which was a really great thing for us to be able to do.
Matt: Was there a particular moment in your life that inspired you to take up this great charitable cause or was it something that you had always wanted to do and recently had the opportunity to act on? James: I just think it’s such a wonderful thing to be able to help out the children.
It gives them great discipline, learning the guitar, and a fun reason to go to school every day. It’s also a good reason to not be on the streets and keeps them away from drug and alcohol situations, which can be really detrimental to many young peoples’ lives.
I wanted to give them something that they could work on as an investment in their future and being able to play an instrument was the perfect choice for this. James: I’ve been really lucky to have players such as Brad Paisley, Dr. John, Steven Sea gal, Phil Peggy, Muriel Anderson, Delbert Clinton, Jim Messina, Mark Warner, Brent Mason, Jeff Berlin, Jeff “Skunk” Baxter, Eric Johnson, Chris Isaac and many more perform over the years.
Matt: It seems like you try to provide a wide variety of guitarists who play a number of different musical genres. James: We go for variety because I like all kinds of music and I think the public does too.
I like to bring in different artists each year because I’m planning on doing an upcoming reunion show that’s going to be a really great time. Matt: Alongside the concerts at the festival this year you’re planning on breaking the world record for the most guitarists playing the same song at the same time in one place.
I think at the time the record was somewhere around 1,803 people and my wife said, “Why don’t we try and break that record?” Over the years I’ve been blessed to work with so many great guitar players, and then with the charity stuff I’ve been doing lately I thought that it would be great to bring these kids and players together all in one place. James: Well, this year is the 40th anniversary of the ’69 Elvis band, and so I figured let’s pay tribute to the King and play something like “That’s All Right Mother” or “Hound Dog.” Something with three chords that would be easy for the kids to play and that everyone knows and loves.
James: It’s actually going to be on August 22, the day of the big show that weekend. My birthday is on the 21st, which is why I like to do the festival in August, so we can all have a party that night to celebrate and then have the main show the following evening.
James: I began talking with Fender about a signature Tell back in the ’70s, and I believe the first one came out in the late ’70s or early ’80s. I was working with a great guy at Fender named Dan Smith, who’s retired now, but he really helped get that guitar together and make it happen like it did.
Nowadays I’m playing the new version of that same signature Tell, the one with flames on it. It’s got a five-way switch with three pickups and a push button boost in two different positions.
James: I was 12 or 13 years old, and I walked past the local music store and there in the window was a beautiful blonde Telecaster. It just caught my eye, man, so I ran home and told my parents about it.
I never took lessons, and I was truly blessed through my life, career and family and to be able to work with so many great entertainers over the years. I think about sitting in the studio with Nat King Cole or Ray Charles or the Monkees, the Beach Boys or whoever.
I think playing with all these great musicians really helped broaden my style and my technique. It’s such a great feeling to go on stage with Merle Haggard and then be up there with John Denver or Graham Parsons the next night.
When I first got on board with A&M Records, who released the album, I told the guy there, “I don’t want to do pictures on the train tracks like Johnny Cash,” and I’ll be damned if they didn’t bring me to the train tracks on the first day for the photo shoot! James Burton performs at the Les Paul tribute concert.
We’ll be touring England and Europe with the original cast. It’s a great show because it features the band and the background singers on stage singing along with Elvis’ vocal tracks, which people really enjoy.
The 35th Anniversary PRS SE Custom 24 was introduced back in October 2019. Only 3,500 of this limited edition guitar, offered in Black Gold Wrap Burst, were made.
“We had high hopes that this configuration would speak to players and deliver a lot of value. Judging by how quickly we sold through the first offering, I would say those hopes were verified,” said Jack Higginbotham, PRS Guitars Chief Operating Officer.
Designed around the one that started it all, the Custom 24, this limited-edition model captures the foundational elements of an iconic model and adds the musical functionality of the Paul’s Guitar, creating a new, versatile platform. The 35th Anniversary SE Custom 24 features TCI “S” treble and bass pickups with two mini-toggle switches that allow players to put either or both pickups in hum bucking or true single-coil mode.
The clarity and balanced tones of these vintage-inspired pickups are both big and nuanced, so players can easily find their sweet spot. Additional features include a 24-fret wide thin neck, abalone “old school” birds, and PRS’s patented tremolo design.
Fewer than 3,000 of this model will be made to celebrate 35 years of PRS Guitars (there were approximately 3,500 of the Black Gold Wrap Burst model announced in October 2019). The PRS team of highly skilled craftspeople design and build a wide variety of musical instruments and gear for worldwide distribution, including electric, acoustic, and bass guitars as well as boutique-style guitar amplifiers.
The PRS SE line of products complements the Maryland-made PRS line by offering highly approachable and more affordable electric, acoustic, and bass guitars. Carlos Santana, Neal Scion, John McLaughlin, John Mayer, Jimmy Herring, Tim Pierce, Oriented, Mark Tremont, Zach Myers of Shine down, Brian Kelley of Florida Georgia Line, David Frisson, Martin Simpson, and Tony McManus are among the artists currently playing PRS instruments and/or amplifiers.
Older guitarists recall days of reading through Mel Bay guitar books and dropping styluses on their 45 rpm records repeatedly, working their way through songs a few measures at a time. Today, with on-line guitar instruction videos available instantly and often free, accelerated learning is the name of the game.
But, the tools that are available now are excellent and offer a clarity unknown or at least hidden in a fog of sorts in the days of the Fillmore East and West. Isaac earned his stripes, and he’s been recognized by the legendary rock photographer, Robert M. Knight, who co-founded The Brotherhood of the Guitar to help us discover the young guitar-slingers, who’ve grown up listening to the legendary guitarists who have cast their shadows over the course of decades, and studying a broad variety of musical styles.
Hailing from Hope, North Wales, along the Alan River and a short drive from Liverpool, England, Isaac hangs with his young mates in a quartet they call, Lies. The group got together in 2017 and include Isaac (guitar/vocals), along with Louis Crank (drums); Evan Spray (bass); and Adam Clark on rhythm guitar.
Rick Lander's: What music were you listening to when you first picked up guitar and what were the first songs you learned to play? Isaac Holmes: I first picked up a guitar when I was six years old.
The first songs I learned to play were “Horse with no Name” by America and “Hey Joe” by Hendrix. We always had a lot of music playing around the house from as long ago as I can remember, and I instantly loved metal and rock music, particularly the Guns N’ Roses album, Appetite for Destruction.
I listened to music all the time and developed a pretty good ear for relative pitch, pitch memory and relationships between different notes, at a young age. It took some work to get the theory aspect of music nailed, but I had an amazing teacher, Ben Griffiths, to help me with that.
Isaac Holmes: I learned to play on an ESP LTD guitar which I got for Christmas aged seven, I call it ‘Red Cherry’. It wasn’t an expensive guitar but played beautifully and still does despite all the bashing sit’s taken over the years.
It’s my number one guitar and I still play it every day and use it for performing live and in the studio. I love that guitar to death just because of how much time I’ve spent playing it over the years.
It’s surprising how great you can make a bad guitar sound., I play by adjusting certain things. My Grandad also bought me an acoustic guitar from a car boot sale when I was five, which I play a lot.
I think a lot of people get too caught up in the gear that they are using or aren’t using. You can give a beginner a really expensive guitar and amp, and they are not going to sound any better than they do with a cheaper gear.
However, if you give Steve Vie or John Petrarch the cheapest gear in the world they are still going to sound just as amazing. Rick: Finding your away around the fret board can be a chore and a lot of players never learn it, so they never know where they are, as far as scales and modes, they play intuitively.
Assuming you’ve figured it out, were there any shortcuts to learning it faster? Isaac Holmes: I kind of just picked things up as I went along.
Isaac Holmes: I am inspired by a lot of legends such as Slash, Kirk Hammett, James Hatfield, Dave Growl, Steve Vie and John Petrarch to name but a few. Hearing the Foo Fighters debut album where Growl played all the instruments really inspired me.
Not only that, but learning another instrument such as piano has helped me to grasp music theory a lot quicker. I recommend that every guitar player should try and learn another instrument; it has helped me a lot.
I also enjoy a lot of John Mayer’s blues inspired songs particularly his albums Room for Squares and Continuum. I will listen to pretty much everything, as that helps me further expand my knowledge in music.
Rick: Pulling a band together, with members you like, and you find you work together well on stage, can be challenging, sometimes awkward. Isaac Holmes: I currently front the four-piece band Lies and play lead guitar.
He’s my closest friend, and we constantly talk about music and bounce ideas off each other. I met Louis our drummer on my first day at high school when we were put in the same class and immediately became friends through our love of music.
I have written several new songs that we are waiting to record and hope to release soon. Ultimately, we all love nothing more than performing live and have organized several gigs for Cancer Research U.K., a charity very close to my heart.
I also love the Piero switch; it is a very cool feature as it provides a tone like no other. It has locking tuners which makes the guitar stay in tune incredibly well.
Isaac Holmes: These are very challenging times for the music industry, but I’m really proud of the way music is still carrying on through online performances' etcetera, and socially distanced outdoor events. We had a lot of live gigs planned for this year which cannot now go ahead, but I have focused more on writing new songs which I’m really excited to release soon.
We have also performed our own cover of “My Hero” by the Foo Fighters to raise money for our National Health Service (NHS). We all recorded our separate parts from our own homes during lock down.
Isaac Holmes: I am really honored to have been asked to join the Brotherhood of the Guitar. Robert saw my guitar playing online and contacted me to discuss joining.
Isaac Holmes: The Brotherhood helps young players from all around the world connect and collaborate, which is awesome. It is great for me, coming from a small village in North Wales I don’t often meet many people who share my passion for guitar and music in general.
I have spoken with a few of the members already, such as Jacob Sees Thornton and Zach Plant who are both awesome musicians. It would be great to meet up with some members and jam at some point in the future, or maybe even collaborate on some projects.
Rick: So, what’s happening now with you and your band as far as projects to get your music out there for people to hear, something maybe more than sitting it on YouTube and waiting for people to find you, less passive more aggressive or assertive? Isaac Holmes: We have a lot of great tracks that we are waiting to further develop when COVID-19 restrictions ease.
Isaac: The ultimate goal is to be able to make a living out of my passion which is playing music. I remember how overwhelming it was for me looking for studios and learning about the recording side of things.
Alongside my own projects, this is a big future aspiration of mine I am hoping to have had success with the album and I would love to be back performing live again.
As a band we would love to be playing bigger venues and performing in front of a larger audience. I am always striving to find new techniques and ideas to further expand and develop my sound.
Nick Perry & The Underground Thieves, a Philadelphia-based rock band led by artist/songwriter/producer Nick Perry, released an accompanying music video to their first single “Feeling Good” today. The song which has been climbing the rock radio charts all month, is an upbeat, fuzz-guitar-driven summer anthem with a message very important to the band.
At the end of the day, I hope ‘Feeling Good’ can inspire and uplift listeners. Longtime Thieves' collaborator Austin M. Batman filmed the one-shot music video, taking viewers on a tour of Perry’s former Local neighborhood as Perry and friends showcase their feel-good summer strut.
The band also announced plans to live-stream an album release show at the Ardmore Music Hall. The full band, full production concert will take place the day the group’s anticipated debut album SUN VIA will be released, Friday, August 14th.
In addition, Nick and The Thieves will open two Drive-In shows supporting British rock band The Struts later this month. “It’s a whirlwind time, launching an album, gearing up for live shows, especially under these extremely different conditions.
The album’s opening track “Feeling Good,” has already begun earning praise from the band’s music industry contemporaries, including Greta Van Fleet’s Danny Wagner, Blackberry Smoke’s Charlie Starr, and Gibson’s Director of Brand Experience, Mark Agnes. Nick Perry & The Underground Thieves consists of Perry on lead vocals and guitar, singers/songwriters Anthony and Michael Contestant, bassist Brian Weaver, keyboardist Justin Diego, and drummer ZIL Kessler, all of whom originate from Philadelphia, Pennsylvania.
The Immediate Family members have worked together for decades and include: Danny Kortchmar, Paddy Rachel, Leland Solar, Russ Tunnel and Steve Postell, all music legends in their own right. As individual session players, their names can be found on albums by such music icons as: Brian Wilson, Jackson Browne, Linda Ronstadt, Don Henley, Stevie Nicks, James Taylor, Bryan Ferry, Carole King, Warren Devon and they literally have worked on thousands of recordings.
So, it can be said their new super group can be considered a force of nature, not only covering major hits they were originally on, or even co-wrote, but coming up with new tracks where they count coup by gifting us with their talents by working relentlessly, releasing new videos and video streams weekly, sometimes more. Guitar International interviewed all members of The Immediate Family to touch base with each, so GI readers could get up to speed with the group’s work and everything else they have going individually.
We met up with the multi-talented and most extraordinary musician, Paddy Rachel, (Robert “Paddy” Rachel) where we talked about the “Family”, as well as dug into guitars and pedals (or lack of), his signature sound, his work with The Every Brothers, Warren Devon, Linda Ronstadt and others, and then wound up talking about and introducing one another to songs from the past that one of us hadn’t heard, and notable guitars one of us may not have been familiar with, as well as a few of our favorites. Music enthusiasts indulge themselves by repeatedly listening to songs that end up being considered milestone recordings, songs like “Werewolves of London”, that are impossible to hear and not put on repeat.
When flipping over the Excitable Boy album cover, fans checked out the credits and found that the monster guitar work on that track is Rachel. Paddy’s credits noted his contributions as a co-producer and co-writer, his weighing in on vocal harmonies and work as a synth-player.
Paddy collaborated with Devon on several projects, nailing it on gritty soaring leads, as well as during more poignant moments, like playing rhythm on the sensuous, “Carmela”. His big break came before his work with Warren, when he snagged the job of Music Director for The Every Brothers, a dream job for Paddy who loved the sensational harmony of brothers, Don and Phil.
In 1973, Paddy was smoking’ it on his own single on the Anthem label, Celebration and Stateside labels, featuring his compositions, “You’re the One”, with the flip side a chill track called, “Love You Should Save”. Two of his backup folks were none other than formidable Stevie Nicks and Lindsey Buckingham.
Rachel’s melodically gritty electric guitar work is well known, but he’s gifted us with cool strumming on acoustic and, he’s a talented singer-songwriter who’s penned songs for a mosaic of others, including Linda Ronstadt, J.D. Southern, Keith Richards, Jimmy Buffett, Stevie Nicks, David Lindley and more.
Work with the Every Brothers and Warren, and Paddy’s own pursuit of excellence all broadened and extended his reach into the highly competitive music industry, positioning him to pursue an enormous body of work that included, co-writing “Her Town Too” with James Taylor and J.D. His notable river of work and world-class musicianship run deep and wide, and deserves a serious look and listen.
In our interview, Paddy talks about his love of music, some of his “go to” guitars, his friendship with Leslie West (Mountain), The Every Brothers, Warren (Sandy) Devon, amps and more. Today, he’s immersed in his work with his friends and his world-class musical cohorts in The Immediate Family.
So, by the time we did “Machine Gun Kelly”, we were getting to be pretty pro with that thing. Rick: I was pretty impressed with A cappella (software), and you guys were like, the timing was great, the sonic were really polished.
Paddy Rachel: There was latency problems at first, and we were going to abandon it and then this really nice guy who runs things there and was in touch with us through the emails, he said, “Here, we’ve done some updates. And after the updates, it seemed to hold a lot better, as per sound and picture synching up.
Rick: Since we’ve had this COVID-19 virus, people are trying to come up with different ways to do live music, as you may know and there are a couple drive-ins here in Virginia that are starting to do live shows, where people are stuck in their cars, but they can still hear. It’s funny that a form of entertainment that became completely obsolete, is going to become the new venue.
It’s going to be impossible to play to an actual arena or even a club. Rick: Everybody I know in the music arena here, we’ve all lost our gigs.
Paddy Rachel: If it’s small or large, you can’t put any crowds together, so we’re all in the shit. Paddy Rachel: I never envisioned myself ever doing a cruise, but it was actually enjoyable.
They were lovely folks, and it went well, because a lot of people didn’t know who we were. So, after we played, people were coming up to us and going, “Well, I just want you guys to know you’re my favorite act on the whole cruise.
Paddy Rachel: That’s the Road Worn Start, which is a great series Fender made a couple of years ago, the Road Worn Series, the ’50s Start and Tell, and the basses are beautiful too. Paddy Rachel: I’ve got other electrics, but I wind up basically on the Paul's or the Fenders.
Rick: Yeah, what do you go for as far as noodling around on acoustic when you want to write songs. Paddy Rachel: Well, I have several J-200s which for me has always been the best acoustic, but I’ve got some lovely other ones.
Paddy Rachel: Rock bridge is basically a bluegrass guitar maker, and they made me a really beautiful copy of a Roy Smack style body. Jackson Browne discovered these Smack guitars and has been using them for decades now.
And, Jackson fell in love with them and had it converted to a playable form, put a regular neck on it. A couple of years ago, I was the musical director for a show, 75th birthday of Buddy’s.
And, The Buddy Holly Educational Foundation, was giving these guitars to some selected artists and I became obnoxiously apparent about wanting one. The Buddy Holly Foundation is headed by an incredible man named Peter Bradley, and his son, Peter Junior, but also Buddy’s wife, his widow.
Rick: It’s a nice tribute to Buddy Holly, wow. Paddy Rachel: And, the first series of them has an actual fret from Buddy’s guitar inside it.
Paddy Rachel: It’s a cool looking axe, that’s nice. Rick: Robert Johnson actually played Kalamazoo's, because he couldn’t afford, I guess, a Gibson.
People are asking six grand for them, and they were kids’ guitars that sold for 25 bucks back in 1931. So, a lot of people take that brace out, and then it opens it up, but I’m not sure I want to do that.
The first time I ever saw a J-200 was on the cover of Bob Dylan’s Nashville Skyline album. Rick: The one that’s on Nashville Skyline, was owned by George Harrison, I think, and he gave it to Dylan.
If you go to my website, Guitar International, one of the top front page articles is by Elliot Land, who took the picture of Bob with that. Whereas, my yellow natural color J-200, has a wider neck and so does my black one.
So, you were in New York, and you know Leslie West, you must be familiar with The Vagrants. Paddy Rachel: I taught Leslie West how to play.
Because, I play guitar, and I can teach you some stuff.” So, Leslie and I became brothers instantly. So, I taught Leslie how to play and then after he got his legs under him, he started putting the band together.
They put the band together with his brother Larry on bass and a guy named Jerry Torch, keyboards, and Peter Abating was the lead singer, but they didn’t have a drummer. Yeah, so they didn’t have a drummer, so I said, “Well, I can play drums,” so I played drums till we found Roger (Man sour), who was their drummer, this really beautiful French guy named Roger.
But, then, I lived in my Marshall for a while and then went to the Black Stars, as a matter of fact, through Leslie. I’m not doing anything except turning it up loud enough to be distorted and playing.
And then after a year of lessons, he bought me my first real guitar, a beautiful Gibson L-7. Paddy Rachel: I’m looking at these couple of different ones, but it was a terrible guitar.
Well, when you were five and six years old, it was like Louis Jordan and bluesy, rhythm and blues stuff. The first rock and roll thing I remember, aside from the amazing Dew Wop stuff and black group rock and roll records on the radio was Carl Perkins, “Blue Suede Shoes”.
When that guitar started playing, I couldn’t think of anything else about it, except that. I should be doing an interview soon with Dick Holler who wrote, “Abraham, Martin and John”.
“Double Shot”, which a group called the Swinging Medallions made famous. I was also watching the YouTube with I think his name is Rocky Erickson with 13th Floor Elevators.
Rick: Keith was great, and he was with Paul Revere and The Raiders, later I think. Paddy Rachel: He was America’s Paul McCartney, and he’s still great.
It was funny, because I was replacing a wonderful guitar player named Bob Warlord. I’m the musical director.” Well, that might be, but it goes like this, and, I played it, and then the bass player, Bob Knight his name is, who’d been with the Every’s a long time, he goes, “Hey yeah, that’s right.
And so, we did a few more tunes, and he finally says, “Well, look, I’m pretty sure you’ll get the job, because you know all the songs,” but I had a huge beard then. I said, “Hey man, if one of the Every Brothers tells me to shave my beard off, I’ll do it in a second.
Paddy Rachel: And then, we went on the road, and we always had an oil and water relationship, although we loved each other dearly. We were very locked in to each other musically at the same time, and I could hear his tunes. What I mean is I could hear the way they should go, that’s why when Jackson asked me to co-produce Excitable Boy. Excitable Boy turned out to be a very tight record, basically Warren and I knew each other so well. Musically and personally.
That’s it.” They kept the track, so I put the rhythm part on and the lead, and it was a very happy night. Like I said, we had very different musical opinions about a lot of things, but we always agreed on the Stones.
We agreed on the Stones and Merle Haggard, and we spent every night on the road singing and playing. When we went out on that year’s tour that I did with the Every, we were in the room every night singing away, man.
Try to imagine The Every Brothers, in your hotel room singing. I met Phil at NAME in Nashville, he was such a gentleman, was just really an honor to meet him.
Before I got to Lou, actually, I worked for a man name Nick Vent. Anyway, a friend of mine introduced me to Nick, and I played for him in the studio, and he really liked what I was doing, so he started hiring me a lot.
And finally one night, I showed up to work, and he pulled me aside, and he said, “Listen Paddy, it’s time you move on.” And, I really thought he meant he was firing me. He was the hot shot guy in town, and Nick said, “I’ve invited this new guy named Dave Foster, the piano player, he’s coming down and playing on the session tomorrow night, and I want you to bring your amp and I want you to play electric tomorrow night.” And, I hadn’t played electric for him in about a year.
Lou wants me to come to a session at A&M on Friday and play for I think it was Tim Curry. And then, when Lou said it was a reggae tune we were going to do, Danny and I both went, “Oh man, reggae.” We looked at each other.
I had a wonderful guitar teacher when I was a kid, nine years old. Paddy Rachel: Sal was a beautiful jazz guitar player, and he was giving lessons and I approached him, and he took me on.
In the meantime, though, I was listening to The Beatles and the Stones and Bob Dylan and learning every song I could hear. I moved to California, started doing sessions, didn’t really need any help yet … you go down to your union, you pick up your check, and that was it for a while.
I’ve had lean periods where I didn’t know how I was going to feed us and Nick’s been there the whole time. Royalties came when you wrote a song or if the artist was to share points with the band.
And, there are variations of course, within all that, but as a rule of thumb, you get an idea, that mic’s not going to work. Paddy Rachel: You can set up a band all in one room and mic it correctly, and there’ll be no leakage.
Paddy Rachel: So, when I worked with the Stones on the Bridges to Babylon, it was an amp about the size of this telephone I’m looking at. Paddy offered up some licks, along with Keith Richards and Ron Wood on “Too Tight”.
You can run it with a battery, so I used it for some places I play where they don’t have electricity. So, you mentioned that you were listening to some music back in the ’50s and ’60s and Carl Perkins.
Rick: And Dick Dale was right around what, the ’50s when the Beach Boys were really young. Rick: Man, he had this gold sparkly Stratocaster, and he played really loud.
Paddy Rachel: I would still be using my ’60 Les Paul if it wasn’t so fucking valuable. Paddy Rachel: I think the ’60 Les Paul still retains its value.
Folks like, I don’t know if you’ve heard them or not, but Tim Buckley, Jimmy Spheres, Nick Drake, Judy Sill, have you heard those names? It made it a little on the east coast while I was still there, and it’s much more of an up-tempo rock and roll, even though it’s very classical, it has this release in it where the orchestra plays this fantastic figure.
“Artifacts of Hollywood & Music” Record Auction Results Include; Brandon Lee’s “The Crow” costume, Elvis Presley’s Blue Sapphire Ring, Michael Jackson’s Signed Sequin Jacket, Dustin Hoffman’s “Hook” costume, Lady Gaga’s photoshoot boa, Steve Job’s Watch and more! The final bid price was well over the original estimate of $50,000.
Hendrix passed away at the age of 28 leaving behind a legacy of authentic, experimental defining music that is revered to this day. A Jimi Hendrix personally owned guitar strap sold for $6,875.
Ruse GAS Auctions is the world-record breaking auction house specializing in Hollywood memorabilia, fine jewelry, luxury timepieces, Royal artifacts, affluent estates. Ruse is a member of the Forbes Los Angeles Business Council.
The auction house has sold iconic and historical items including Elvis Presley’s personal jet, Marilyn Monroe’s black wool dress, Marlon Brando’s Rolex watch, a Royal family owned one-of-a-kind, diamond encrusted Rolex Watch, Elvis & Priscilla Presley’s mobile home and much more. Ruse GAS Auctions offers a wide range of global experience in every phase of the auction business, including research, advertising, inventory management, liquidations, personal property appraisal services, exhibition management, cataloging and sales.
With a dedicated team of experts worldwide, they offer the highest level of service. The auction house has also featured items from Prince, Steve McQueen, Whitney Houston, Marlon Brando, The Beatles, Michael Jackson, Lady Gaga, and hundreds of other items representing some of the world’s biggest names.
Ruse GAS Auctions has also featured iconic fashion designers and extensive collections of vintage, haute couture. The Human Condition was completed mere days before the COVID-19 lockdown was imposed and as events progressed, it became apparent that the album the Kentucky band were completing featured lyrics that were eerily prescient.
The song was written 4 years ago, but powerfully captures the hysteria around the COVID-19 outbreak. On “Push Down & Turn,” BSC masterfully use space to achieve crushing swamp-metal dynamics.
The stirring track talks about mental health, boldly advocating getting treatment if you’re struggling. There is no shame or stigma there,” vocalist / guitarist Chris Robertson shares.
The Human Condition was self-produced and tracked in bassist Jon Lawson’s recording facility, Monocle Studios. The guys went in with four songs, wrote some new ones and recorded a few beloved, unreleased favorites.
The results are stunning; the grooves feel organic, the riffs are mountainous, the performances are urgent and the hooks shine gloriously. Sonically, The Human Condition is one of BSC’s most visceral and hooky releases.
Guitarist/vocalist Ben Wells explains, “With this one, we cranked up the amps, the drums are in your face, and there are some really heavy riffs. After 19 years and 7 albums, we wanted to prove that we still kick ass.
The complete track listing features, “Ringing’ In My Head,” “Again,” “Push Down & Turn,” “When Angels Learn To Fly,” “Live This Way,” “In Love With The Pain,” “The Chain,” “Ride,” “If My Heart Had Wings,” “Don’t Bring Me Down,” “Some Stories,” “The Devil In Your Eyes,” and “Keep On Keeping’ On.” “When I listen back to this record, I feel all these different emotions,” Jon Lawson says.
It’s been amazing to stick around with all four original members and still be inspired. They’re back, they’re strong and along with some cool melancholy country hooks and licks, The Chicks stand defiant in the face of political strife and governance untethered from American ideals.
At first listen, this Ga slighter gave me a sense of nostalgia for the music I heard growing up in the rural American Midwest. The tracks that make up this album have a diverse range of energy, so no matter what mood you’re in, you can likely find something to bop to.
The album opens with the title track and immediately hits you with the kind of satisfying vocal harmony you want to hear in country music. The song is a call-out of a toxic past relationship, hence the title and lyrical implications of adultery and manipulation.
The instrumentation in the song is simple and driving, making it clear that the focus is on the vocals. The next track, “Sleep at Night”, feels like a continuation of the sentiments expressed in “Ga slighter”.
The lyricism talks about the aftermath of the toxic relationship, realizing the post-breakup effects, and wondering how this man can sleep comfortably knowing what he’s done. The first minute of the song has a percussive, palm-muted guitar sound that adds a fun layer of texture.
My personal favorite parts of this song are when the intensity builds, the percussion throws in a faster beat and St. Vincent lays down her signature crunchy electric guitar. The song’s emotional weight is portrayed through primarily solo vocals backed by an acoustic guitar and accented with a beautiful string section, an occasional vocal harmony, and piano.
The next track, “For Her”, carries a similar emotional weight, but in a more hopeful way. The lyrics are quite generic, which I believe to be intentional to make it more relatable to a wider demographic.
This song could serve as a motivational piece to many people. The lyrics reference controversial topics such as school shootings, gun control, climate change, and shady politics.
To accompany the progressive message are a collection of instruments put through some intriguing effects. The steel guitar and strings provide ambient glissandi over a thump drum track.
Additionally, the interlude of rhythmic clapping adds some tasteful texture. “My Best Friend’s Weddings” and “Pantyhose On My Boat” return to the awful ex theme.
“Best Friend’s Weddings” has a calm energy and lyricism that implies a post-breakup reflection. “Julianna Calm Down” is a dance-y pop song telling the young women around her that things will be difficult, but everything will get better, so it’s important to have confidence.
“Young Man” is the moral equivalent, but direct to Natalie Maine's’ sons, advising them to learn from their parent’s mistakes and to not let harsh realities hold them down. The two final songs of the album are slow and despondent, continuing her reflection on the breakup.
“Hope It’s Something Good” is a bit more energetic, with a chorus that is reminiscent of Kelly Clarkson’s, “Behind These Hazel Eyes”. In both tracks, Natalie sings about how she should have realized the toxicity in her life sooner.
Ga slighter as an album is primarily focused around Natalie Maine's’ rough divorce from her ex-husband, which was likely a therapeutic way for her to express such intense feelings. Because of this, I think it would be a great album for anyone who’s experienced a heartbreak, as well as long time fans, and a new generation in search of righteousness and love.
Additionally, a double A-sided 10” picture disc of “Rock and a Hard Place” (Live from Atlantic City) and “Almost Hear You Sigh” (Live from Tokyo Dome) will be released for Record Store Day’s second drop date of the year, on September 26. This format will be exclusive to independent record stores all over the world.
Their first tour hitting the US since 1981, Steel Wheels was famously one of their longest, and most ambitious, set lists. 2 ½ hours deep, The Rolling Stones not only played their hits, but dared to roll out several new songs from the then-newly released Steel Wheels album.
The Rolling Stones delivered on that promise in this Atlantic City Convention Center tour stop in December ‘89. A highlight of this particular tour stop was the band being joined by special guests: Guns N’ Roses’ Axl Rose and Izzy Strain accompany the Stones for the first-ever live performance of “Salt Of The Earth”, from their 1968 Beggars Banquet album.
Eric Clapton brings his slow blues burn to “Little Red Rooster”, and joins the Stones in backing up one of their idols, blues legend John Lee Hooker, on “Boogie Chilled”. Steel Wheels Live will be released as a limited 180gm 4LP colored vinyl, DVD + 2CD, SD Blu-ray + 2CD and digital formats.
Additionally, the set will be released as a special limited 6-disc version, which includes the Atlantic City performance on DVD, SD-Blu-ray, 2CD, a DVD of their Steel Wheels tour performance at the famed Tokyo Dome, as well as Steel Wheels Rare Reels, a CD featuring tracks which didn’t feature on the core tour set list. Founded in 1997, the multi-award-winning company completes over 50 productions a year including concerts, documentaries, scripted formats and specials representing over 2,000 hours of programming.
The vast catalog includes work by award-winning filmmakers such as Martin Scorsese, Brett Morgan, Paul Dug dale, Stanley Nelson and Bob Smeaton. Eagle Rock has worked alongside a variety of artists including the Rolling Stones, Madonna, Jay-Z, Paul McCartney, Katy Perry, Frank Sinatra, Black Sabbath and Imagine Dragons.