Tag Archives: new album

Interview with singer-songwriter Dan Korn of folk/acoustic duo Dan Korn & Joe Sharp

Released back in July Polaris is the new album from singer-songwriter Dan Korn and classically-trained musician Joe Sharp. The two first worked together in 2010, collaborating on a number of releases. Polaris is their first release as a duo, although there have been hundreds of shows across the UK and Europe in recent years and a tour of the US. I caught up with Dan Korn recently to discuss the album, their work as a duo and next steps.

For those who haven’t heard the album how would you describe Polaris and what particular highlights would you point listeners to?

Polaris is an album of ten new songs recorded live at Roedean Moira House Studios in Eastbourne. We see it as an intimate exploration of love and identity in the modern world.

We were keen to capture the raw energy of our live performances by recording the album live. We are the only two musicians on the album, though we play a number of acoustic instruments.

I have different favourite moments from time to time, but at the moment I am particularly fond of the track Idaho, which was conceived in a chilly tent in a campsite off an Idaho Highway. I toured in the US in the summer of 2016 and shivering in that tent was definitely a low point of the tour. It’s a hopeful song though, imagining a time in the future when my ex-girlfriend and I will be friends again and we’ll be able to sit on a park bench together and laugh at the past.

Another highlight for me is Joe’s song, The Promise, the final track on the album. It’s the only song I don’t play guitar on, which makes it both liberating and nerve-wracking to play live. It’s a beautiful song and a great way to finish the record.

This is your first release as a duo but you’ve worked together on a number of projects. How did you first begin working together?

We started working together back in 2010. I was going into the studio to record my debut EP, Dustbowl. We felt a couple of tracks would benefit from the addition of some brass. Joe was a friend of a friend and a trumpet player by trade, so we asked him to play trumpet and flugelhorn on the record. He did so with aplomb. We soon became firm friends and musical collaborators, though Joe has mostly played bass and supplied backing vocals since then.

And you’ve been performing live together as a duo for several years with hundreds of gigs behind you. Was it a conscious creative decision to wait for a while before releasing an album or was it just the way things turned out?

Our setup has evolved considerably over the years. In different configurations, we have recorded two EPs and one LP before this one. Between 2016 and 2018, I toured a lot my own and accumulated quite a few new songs. Joe had a couple of songs he wanted to record too. We were playing better together than ever, so it felt like the right time to enter the studio. For it to be a duo project felt like the most honest and authentic way to go about things at that time.

What have been some of your most memorable gigs?

In 2015, the full band went on a UK tour to promote the release of our Of The Sea LP. We were in Inverness, in a tiny venue with a miniature stage we were somehow all supposed to fit on with a drum-kit. It was a pretty rowdy audience. At one point during the set, we couldn’t help but notice a man’s glass eye fall out and roll across the floor in front of the stage. We watched him proceed to pick it up, blow on it and pop it back in!

The final concert of a tour often turns out to be a favourite. By this time, you’re in great nick because you’ve been playing so much. You’re tired of course, but there’s a feeling of throwing caution to the wind. You don’t have to get up and play again tomorrow, you can just enjoy it. In the days that follow, the post-tour blues will descend as you try to reintegrate yourself into humdrum life. The absence of the adrenaline you have grown accustomed to experiencing performing on stage can be quite difficult to deal with.

In recent years, we have loved playing house concerts, particularly in Germany, where there is a pretty well established scene. It can be a very intimate experience, where you can literally hear the audience breathing. You can’t get away with much. You have to be able to chat in between songs. It’s a really good way to develop your performance skills. I’d recommend it as a good avenue to explore for any singer-songwriter, learning his or her craft.

Name some of the artists that have particularly influenced you.

At the moment, I’m really enjoying Cate Le Bon and Bill Callahan. I went to a Villagers gig in Rotterdam recently, which I found very inspiring.

Given the extremely positive reviews for Polaris when it was released in the summer what are your future plans now, both as a duo and as individual artists?

We’ve been working on another full band album for the last couple of years. It’s being recorded by our guitarist Bob Turley at his Cosy Studios in Kent, where we recorded Of The Sea. We each live in different places and have a lot going on, so it’s a good thing we’re not in any great rush to release it. We’re getting together over Christmas to review things and to work out what our next steps should be. It will be quite different from anything we’ve released before. Watch this space!

Polaris cover

Polaris was released on 19th July 2019 and is available via the duo’s website 

http://www.dankornjoesharp.com/

Photo credits: Carsten Bunnemann

 

Interview: Darren talks Fag Ash and Beer with guitarist/singer-songwriter Jake Aaron

Guitarist and singer-songwriter Jake Aaron released his debut EP in 2016 to plaudits from folk and indie reviewers. His debut album Fag Ash and Beer was released in September 2019, again to favourable reviews. I caught up up with him recently to discuss the album, some of the musicians he’s worked with, his choice of cover artwork and his teenage love for Iron Maiden.

You have managed to pull together a great line-up of musicians for your debut album? How did they get involved?

I was very lucky! My first songs in 2015 were just on acoustic guitar, but I had an idea last year for a jazzy piece “Give Me Your Horse” which needed a great Hammond player and trumpeter. I made some inquires in the jazz world and the names that came back were Steve Lodder for Hammond and Steve Waterman for trumpet. I contacted them and they both seemed to like the piece – maybe it was the time signature – and luckily they both agreed. I found the bassist Davide Mantovani and drummer Marc Parnell through Steve L. When I was recording the album this year, I felt some tracks needed building up so I asked the musicians if they’d come back in. They’re brilliant players. A couple of the tracks on the album are live takes, “Elvis Has Left The Building” and “New Mexico”, and you can hear how good they are.

Have you been taken aback by the positive response to the album or did you always know you had something special on your hands as soon as you began putting it together?

I’m not sure the album has mainstream appeal, but it does seem to have found a niche in certain music circles which is nice. It’s had some play on BBC Jazz Nights as well as Genevieve Tudor’s Folk Show. My biggest uncertainty was how the album would all hang together as it’s quite a mix of ideas. I just hoped it would somehow. I’ve had a small audience since my EP who seem to like what I’m doing, and it was good they stuck with me, too.

And given the response how come you waited so long to make your first album?

It’s quite a task writing a whole album, and partly it just took a long time to finish the pieces once I’d started. I wrote some of the pieces quickly, whilst others were like watching paint dry, waiting for missing bits of music or words. A couple of the tracks were quite fiddly.

In terms of the album title it absolutely does what it says on the tin – but do talk us through that album cover!

I was working on a very different cover but didn’t feel it was working and was pretty fed up with the whole thing. An old friend then texted me a picture of us playing guitar in his folks’ kitchen when we were about sixteen, smoking and drinking and I thought that’ll do. It tied in with the track “Fag Ash and Beer” and the acoustic aspect of the music. On reflection it possibly wasn’t my greatest idea of all time, and I don’t think it helped promote the music at all. I’m not sure it’s up there with Physical Graffiti. Then again it had personal resonance for me.

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Heavy metal clearly had a big impact on you when you were a teenager. That was what got me hooked on music, too, and I still love it alongside the more acoustic stuff. Are you still a fan?

I don’t put Run to the Hills on any more, but I still remember why I liked it. Maybe it’s a guitar thing and if I didn’t play guitar I possibly wouldn’t have got as much out of it as I did. Some of the guitarists are technical wizards. Eddie Van Halen was just mind boggling. Heavy metal aside I’ve always liked different styles of music, and I like a lot more styles than I dislike. A solitary bagpipe, African drums, a hillbilly picking a banjo … they can all do it for me as long as it’s got a groove.

Name some of the artists that have particularly influenced you as a singer-songwriter.

There are lots of artists I love, but I am not sure which ones influenced me the most. Some of them are pretty inimitable. I also think it’s easier and more enjoyable trying to to play in your own way. I probably got bits and pieces from all over though, from every song and riff I learnt to play. You can’t play the intro to Hey Joe a thousand times and not be influenced a bit.

You have Guy Pratt contributing on one track on the album. How did that come about, and did he share any Pink Floyd tales with you?

No tales of Floyd, though I do know some of Guy’s great tales from my “My Bass and Other Animals”. I’ve known Guy for a long time through one of my best friends. I had an interesting cover for “Give Me Your Horse” of Pancho Villa and his gang holding instruments instead of rifles. The bass player looked particularly cool, like he was some legendary bassist, so Guy came to mind. I emailed him the piece, he liked it and quite remarkably he agreed. A massive honour.

What’s your favourite track on the album and tell us how it came about?

I’ve got a few but I think the instrumental “Elvis Has Left The Building” has a good vibe. It was originally an acoustic song but the band sounded so good I left it as is, like we were Elvis’s warm up band. After we recorded it, I was downstairs in the studio making a coffee and Kenny Jones, the engineer, and the others were playing it back upstairs. We had a busy schedule and when I heard it I thought “Why are they listening to that funk track on the radio? We should be getting on with my stuff!” I liked “New Mexico”, too. I was downstairs again when it was played back and Marc’s beat came pounding through the ceiling – it sounded like approaching Apaches. I was quite pleased lyrically with “Jonah Part 1”, too. It took a while to get it into a shape where it sounded colloquial without being too flip, and I could tell the story in a way I found engaging.

Give Me Your Horse Cover

The single cover art for 'Give Me Your Horse'

And, finally, given the positive reaction to this have you got plans for a follow-up?

I think I’d keep plodding on regardless of the reaction, but it’s good that some people like the music too. I’ll possibly release singles or an EP next if another album is too daunting. I’m quite interested in music for film. A couple of reviewers thought the music was quite cinematic and would fit a Tarantino movie. Clearly if Quentin wants to use a piece that would not be a problem!

Fag Ash and Beer was independently released on 6th September 2019

https://www.jakeaaron.com/

 

Interview: People watching with folk singer-song-writer Tony Burt

Performing since the 1960s in folk rock, traditional Irish and covers bands as well solo performances as a folk singer, in recent years Tony Burt has shifted his focus to writing and performing his own songs. Earlier this year his album People Watching was released to favourable reviews. I caught up with Tony recently to discuss the album, his passion for music and his thoughts on the contemporary folk scene.

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After decades in the folk/folk-rock scene performing traditional material and covers reinventing yourself as singer-songwriter came relatively late in life. Was there any particular catalyst for that switch?

I moved in 2005 from the Birmingham area to Bromyard in Herefordshire. I’d spent many enjoyable years trekking around the country with Irish folk band, Dempsey’s Lot, mainly as an instrumentalist. Moving to Bromyard added an hour’s travel each way to most gigs. So I left the band and took the chance to spend less ‘music miles’ whilst focusing on more contemporary songs whilst doing more singing.

For those who haven’t heard the album how would you describe People Watching and what particular highlights would you point listeners to?

The title track ‘People Watching’ is key to many of the songs. It was written in the Kings Arms in Cleobury Mortimer, near Ludlow 2 years ago over a couple of sessions. I enjoy observing strangers and inventing imaginary lives for them. ‘Monica Is Taller Than Me’ was based on respectful and relatively lust-free admiration of an elegant waitress in a Scottish Borders hotel. ‘The Village’ pays homage to the ethnic Chinese guerrillas who fought behind Japanese lines in Malaya in World Word II. ‘JJ’s Bar’ celebrates a rock music club in Karnak, Egypt, which has to be one of the quirkiest venues on the planet. Other songs can be more cryptic and emotional but observation of human traits usually plays a part.

I wanted to stay clear, just this once, of an excess of guitar, bass and fiddle so we use less common instruments like harmonium, dulcetone, mellotron and marxophone. Most of the tunes are modal in structure but the overall sound in not entirely folky. I think we evolved a sound that was a bit rootsy and almost Prog in some ways. Boo and Chris added really interesting seasoning on many of the tracks.

How have you found the reaction to the album? You’ve had some nice reviews. I’m very taken with it. It felt like I was stumbling across a long lost classic that had completely escaped my attention until now.

I have been really happy with the reviews and radio plays I’ve received. Some have provided really helpful constructive criticism which I am genuinely taking on board. I love your “long lost classic” comment and I can’t think of anything more encouraging. Thank you!

Irish music has always been important to you although you were born and brought up in Birmingham. Do you feel that’s been an influence on your songwriting now?

The Birmingham district of Balsall Heath, where I grew up in the 50s was in those days predominantly an Irish area. So as I grew up I became very familiar with Irish tunes and songs. At 15 I met my lifelong friend, Tommy Dempsey who had soon dragged me in every cobwebbed den of folk iniquity in the Midlands. He is still going strong at 82 and has the quintessential Irish voice. Many of my melodies have a Celtic structure and Tommy’s singing influenced my timing and phrasing.

Tell us a bit more about the two musicians you work with on the album? Have you been long-time collaborators?

Boo Hewerdine has been a well known producer, singer, guitarist and songwriter for 30 years. Known for his work with The Bible, Eddi Reader, Kris Drever, Brooks Williams and many others. Chris Pepper is owner of Saltwell Studios near Huntingdon. His reputation is growing as a result of his well equipped facility, high skill level and great attitude.

I’ve spent 4 or 5 weeks with Boo over the past 5 years at songwriting workshops. Other collaborators, in addition to Boo, have included Christine Collister, Steve Tilston, Karine Polwart, Edwina Hayes and Darden Smith. It’s fantastic how these talented artists share their knowledge and experience so readily. When I decided to make People Watching I could think of no one better than Boo and Chris to help me. The artistic results were great and we had a really good time too!

Who are your all-time favourite artists?

OMG – what a question!

My earliest influence was, almost inevitably, Bob Dylan. At the same time, the Beatles and the Kinks; John Lee Hooker, Memphis Slim. Early songwriters: Richard Thompson, Al Stewart, Bruce Cockburn, Sandy Denny. Out of several dozen more – Elvis Costello, Dick Gaughan, Gerry Rafferty, Ralph McTell.

Are you encouraged by the number of excellent young folk artists out there these days after some comparatively lean decades in the past? And have you any particular favourites?

There is some wonderful new young talent emerging and it seems many are being groomed for sustainable folk music careers with coaching on financial and marketing skills. I know some excellent artists of my generation have lived hand-to-mouth for decades and I hope these youngsters can have a more comfortable life. Granny’s Attic are the young band I know best and admire hugely. I’ve known them since they were about 12! Some of the photos and Videos stashed away could be worth a fortune when their success is complete. Especially Cohen at 13 in his school uniform with a short back and sides performing “The Ship (off the new album) on fiddle. Sorry buddy!

People Watching was released in January 2019 and is available via Tony’s website

https://tonyburt.co.uk/

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Interview with Gary Moat of Burnt Out Wreck

On the day Burnt Out Wreck’s new album ‘This Is Hell’ is released I caught up with the band’s front-man and former Heavy Pettin’ drummer, Gary Moat.

So the new Burnt Out Wreck album is released today. Tell us about it.

Just carrying on in the same sort of style as ‘Swallow’ – the song itself, not particularly the whole album. More a straight-ahead kind of rock n roll. It’s a bit faster paced this album. We needed some of that to go live really. And we’re really looking forward to getting out there and doing it.

Did ‘Swallow’ kind of set the template for Burnt Out Wreck then?

Yes most certainly. It’s just my favourite style of music, you know. And that’s the way I write so I had to go down that path eventually in my life. So this is it. It’s just the best form, the most enjoyable form of rock I’ve ever heard in my life. So that’s why I had to do this.

On this album particularly because we’ve got all of the new band and obviously they’re playing on it live and yeah – it just sounds good because it’s not all come out of me this time.

Was the first album you bringing in different musicians then, before you created the permanent band?

I was doing it on my own and I said to Adrian (Dunn – guitarist) do you want to come in and have a go at this but it was just the two of us. I played drums. I played bass. I played rhythm guitar. But when you put a band together it becomes a different animal, you know. And it’s far better for it I must say.

BOW band

Everyone obviously comments on the AC/DC influence when they see Burnt Out Wreck.

You know, everyone always goes on about Bon Scott and AC/DC and that’s obviously the first thing that comes to mind for them and I sing in that register. At 15/16 AC/DC were just the best thing in the world and Bon Scott was amazing. And so that’s why I sing like that, not because I wanted to copy what he was doing but just because that’s the way that my voice developed. And because I was listening to them my whole life, I suppose, I took it on in my head somewhere. There are other bands though. People forget about bands like Rose Tattoo and Krokus – Airbourne even. Some people try and have a little dig at you because your ‘copying AC/DC’ but you know all of these bands are copying AC/DC if you like. But they’re not really because they’re just blues rock bands. I keep going back to this but if you go back to bands that inspired AC/DC, you know the old blues players from America. You can’t distinguish who’s who. They’re all playing a twelve-bar blues and they all sing like each other. It was not that different in the modern era.

When did the desire to sing first emerge? Were you thinking about it back in the days you were drumming with Heavy Pettin’?

Yeah I get asked this a lot. It was there in me. I suppose it’s there in everyone to get up and have a sing. When I was becoming a teenager and started going to pubs and clubs I started getting up and singing with other bands, as well as being the drummer in the band I was in at the time. But when we started Heavy Pettin’ Hamie was obviously the choice for the frontman because I was a drummer. And I had no intention of being a singer. I didn’t want to do it. But the thing is myself and Gordon were the songwriters and Hamie was the singer so I was making the parts up… So I’ve always been singing and writing songs. But when Heavy Pettin’ split up I thought I’m going to do it myself this time. But it’s taken all these years to actually get in there and make my own style.

And, presumably, when you were writing the songs it started to feel more authentic to sing them yourself and express yourself in that way?

Oh yeah. It sounds better coming out of yourself. And people tell me that all the time, you know and that they appreciate it. They like it. And thanks very much to those people.

It was quite a gap between Heavy Pettin’ coming to an end in the late 80s and Burnt Out Wreck now – talk us through what you were doing in between.

I was writing songs, of course, and some of the songs that are on these two albums were written many years ago but not finished. Never finished until I was going to pick them up for the albums. Because you just scribble an idea down. You just get a guitar riff and put it on tape or whatever way back and you just leave it on the shelf. But I’d get around to them eventually. After the band split up way back in 1989 everybody went their separate ways and did whatever they did – got jobs, got married, had kids and just cracked on with life, you know. It took until 1992 for me and Gordon to put a band together called Mother’s Ruin and we played around for many years just on and off. We did gigs mainly around the Milton Keynes area. And then everyone went their separate ways again, going to uni and stuff. We had some younger guys in it. But some of the songs from that are on the first album. But they just sat there and eventually it got to a point where I thought I just hate these songs being left there and nobody’s heard them so I thought I’d put them out you know.

It must be nice to see those song titles finally being released.

Yes and with the first album we’ve had praise from all around the world. Everyone seems to love it and the second album looks as though it’s going to go the same way.

Gary Moat

You’re supporting the Pete Way Band this autumn. And your old band was actually named after a UFO album. Did you know Pete from UFO days back then?

No. The only time I ever met Pete Way was 87/88 when we were recording the Big Bang album and Waysted were in the studio next door to us. I went to see UFO many times, of course. They were all big heroes and influences on all of us I suppose. He told me he really likes our stuff and obviously he’s looking forward to us playing. Yeah it’s just incredible that someone you think of as one of your old heroes thinks you’re good.

You obviously come across quite a few younger bands when you’re out gigging and doing festivals. Are you pleased to see this renaissance of classic rock and the so-called New Wave of Classic Rock? And are there any of the younger bands that you particularly admire?

We do a lot of these festivals and I’ve seen many people. I don’t actually listen to music. I just write my own stuff. I’m in my own little bubble and if I hear something then either instantly it’s good or instantly it’s oh never mind. There are some good bands. I especially like Scarlet Rebels who’ve supported us.

What can we expect from Burnt Out Wreck on this latest tour? Is it a mixture of songs from the two albums? Will there be any covers?

We usually play (Heavy Pettin’ song) ‘Rock Ain’t Dead’ but I don’t think we’ll be playing that any more. We’ve two albums worth now so we don’t need to be slapping that out now, even though it’s a big crowd pleaser and we’re certainly very good at playing it. But yeah we’re really excited and dying to get out to play live and to play some new material. Because we’ve been out on the road for three years, basically, and we’ve just been playing that one album. And we’ve been itching to get into the new one. We knew it was coming but I didn’t want to go out and play it until it was actually out. So we just waited and it will be a mixture. But more leaning towards the new album because er.. we just love it!

This Is Hell released 11 October 2019 on Burnt Out Wreck/Cherry Red
Burnt Out Wreck tour dates here https://www.burntoutwreck.com/tour

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Related reviews:

Anvil / Burnt Out Wreck / VOiD at The Underworld 2018

Four Sticks – Classic Rock All Dayer at the New Cross Inn

Four Sticks Classic Rock Weekender at the New Cross Inn

Pete Way interview

Strawbs at Under The Bridge, London 29/10/17

This review was also published by Get Ready To Rock here

As a kid in the 70s I do recall frequent radio plays of the Strawbs novelty hit ‘Part Of The Union’ in what was that fractious decade for industrial relations. And as an adult and Sandy Denny fanatic, the latter’s brilliant pop-folk album with the Strawbs is frequently in my CD player. However, those two brief snapshots in time can hardly be said to represent the prog-leaning rock outfit that has been the mainstay of much of the band’s output these past forty-odd years. For the most part though it has, until tonight, lain largely off my radar.

Strawbs are still going strong, still gigging and touring. And tonight we are here at Chelsea’s Under The Bridge venue to witness the formal launch of the band’s first new album of all original material in eight years: The Ferryman’s Curse.

The two sets the band perform tonight are a mixture of songs from the new album and those from earlier in their career. As I am unfamiliar with any of the material tonight there appears to be no letting up in the quality of the songs in my view, the new material standing up well against what were clearly crowd favourites from past decades.

Dave Cousins’ vocal delivery is something of an acquired taste I find (and, to be honest I prefer it when long-time band-mate, Dave Lambert, takes the lead vocals for a handful of songs). That does not, however, mean that there is not some stunning musicianship in this band and some extremely well-crafted songs which definitely ensure tonight’s show is an enjoyable one. Lambert delivers some fine lead guitar throughout and the keyboards are equally stunning. Multi-instrumentalist, Dave Bainbridge, surrenders his keyboard to Cousins at one point and joins Lambert in some exquisite twin-lead soloing.

The band work extremely well together on stage, perhaps a sign of how long most of them have worked with on another. Although, there have been numerous personnel changes over the years it’s not simply a case of one original member with a load of random new boys, as is the reality with a number of vintage rock acts these days. Guitarist Dave Lambert, bass player Chas Cronk and drummer Tony Fernandez have been playing with Cousins on and off since the 1970s – and it shows. This is a band in the genuine sense of the word.

An enjoyable gig from a band I finally can now say I know a little bit more about, besides that novelty hit and their brief flirtation with Sandy Denny. Thank you Strawbs.

http://www.strawbsweb.co.uk/

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New Thunderstick album – news, reviews and interviews round-up

Darren Johnson Music PR

Some great reviews coming in for ‘Something Wicked This Way Comes’ the first new Thunderstick album in over 30 years. Here is a selection of what has been said so far:

Knac.com Pure Rock:“And what an album it is. As the first album with new THUNDERSTICK material in thirty years, its ten tracks literally burst with ideas.”
Read full review here

Sea of Tranquility:“Considering it’s been over thirty years since we’ve heard new material from this outfit, the band are locked and loaded here on Something Wicked This Way Comes, their blend of melodic metal, hard rock, and a touch of punk gives songs such as Dark Night Black Light.”
Read full review here

Eternal Terror:“Hats off to Thunderstick (the drummer) and his cohorts for managing to craft a wonderfully organic and raw record that perfectly captures the mood of the old days and yet sounds sharp…

View original post 280 more words

News: Thunderstick is back! New album from NWOBHM legend – ‘Something Wicked This Way Comes’

First noticed playing with a developing Iron Maiden in the seventies then moving to Samson (being instrumental in finding a very youthful Bruce Dickinson) Barry Graham Purkis became the figurehead of the newly emerging NWOBHM (New Wave Of British Heavy Metal) scene. This was done by creating an alter ego Thunderstick, a masked persona known not only for his wild style of playing his drums but doing so from inside a cage and terrorizing audiences. He went on to form his own highly theatrical band in the eighties. Fronted by a female rock ’n’ roll wildchild Thunderstick the band was a perfect ‘Beauty and the Beast’ combination, playing live and recording for five years until it folded in 1987.

Never to be seen again until now……

Thunderstick is back with a brand new studio album which remains true to the band’s original ‘classic rock’ style: ‘Something Wicked This Way Comes’

Thunderstick: “This is an album that is befitting of the Thunderstick of another era, but screams relevance for today.”

“The whole thing came about because of the tragic death of our former vocalist Jodee Valentine at just 55. Jodee’s passing hit me really hard and I wanted to do something in her memory. There are some songs that we were playing live first time around that had never been released, coupled with some new tracks that have been written purely for this album. A new line up. A new album. A new era.”

Scheduled for release at the end of July 2017 this is the classic Thunderstick band format of female vocalist, two guitars, bass and drums and the first Thunderstick album of new material in over three decades.

The CD album will be available for purchase via Thunderstick’s Facebook page, via https://www.freewebstore.org/thunderstick-productions and is avilable for streaming and download via https://thunderstick.bandcamp.com/album/something-wicked-this-way-comes

Musicians on the album are: Thunderstick (drums), Martin Shellard (guitars), Dave Kandy Kilford (guitars), Rex Thunderbolt (bass) and Lucie V (vocals).

https://www.facebook.com/thunderstickofficial/

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News: Bernie Tormé releases new triple album – Dublin Cowboy

New album ‘Dublin Cowboy’ out April 7th and available for download and pre-order now

Retrowrek Records RTRK204

‘Dublin Cowboy’ is the new three-disc album from former Gillan guitar legend, Bernie Tormé, comprising an electric disc, an acoustic disc and a live disc.

Bernie: “I always wanted to do a triple album and also an acoustic album, and combining the two seemed like the obvious idea though truth is it nearly killed me: I’m still in recovery! But on top of all that, and with two albums of screaming wails and dive-bombs, I am totally knocked out with how the shred-free acoustic album has been received! Fans who pledged and have heard it absolutely LOVE it! Quadruple album next time? Nah, I really don’t think so!”

The album was made following a phenomenally successful pledge-fund appeal that hit its pledge target in less than nine hours. Containing twenty-nine tracks in total across the three discs, the first two are made up of brand new material, including title track ‘Dublin Cowboy, and the infectiously bluesy ‘Power Of The Blues’ on the electric disc; as well as the rich unfolding tapestry of sounds on ‘Shine’, and ‘Wolfgirl’ which both appear on the acoustic disc. The third disc, recorded live in South Shields in January 2016, contains live versions of classics that span Bernie Tormé’s career, including old favourites ‘Wild West and ‘New Orleans’.

The album is available for purchase in CD and digital download formats via pledgemusic.com/projects/bernietorme2017

Fan reaction from pledge-funders has been overwhelmingly positive:

“This acoustic one cuts me to the core. Can’t stop listenin’…Love it!!” DP

“What I’ve heard is sounding great, and Janus is just awesome!” PW

“Beyond the obligatory 5 stars!” OBN

“My favourite is the live one where it can be seen if an artist still has the “beans”. U certainly do dude, u absolutely rocked it.” RS

To tie in with the release of the album there is a 2017 UK Tour next month and the album will be formally launched at the Borderline, London on 7th April. Bernie: “Got a bunch of rock ‘n’ roll pint-spillers from the new Dublin Cowboy album that we will be rocking out live on the tour! I can’t wait, get ready people, this one will be total killer!”

UK tour dates are as follows:

1st April SOUTH SHIELDS The Unionist Club
2nd April GLASGOW Nice n Sleazy
3rd April EDINBURGH Bannermans
4th April GRIMSBY Yardbirds
5th April MANCHESTER FAC251
6th April WOLVERHAMPTON The Robin 2
7th April LONDON The Borderline
8th April BRIGHTON The Prince Albert

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