Bring Back the Sun is a great surprise to listeners who enjoy music from the singer songwriters of the 1970's plus a little classic rock. The guitars lead strong and provide a full rock experience, tasty guitar solos and upbeat percussion. This refreshing treat brings on harmony vocals and a sunny 70's sound. In "Social Director" and "A Place That We Call Yesterday," Charles applies his experience in playing 60-70s rock and folk to create a contemporary record that pushes the boundaries of the singer-songwriter genre. "Yasmine" hits you with a Joe Jackson feel, and the catchy vibes reverb throughout the collection. "Strollin" has serious lyrics with mirror rhymes, that bring forth many of the great qualities we love from the bands that influence Parker. The "Calypso Song" is a break from the harmony line to a free steel drum sound still keeping in with Parker's style. Ballads like "I Love To Feel The Rain" "Stop" and the title track, "Bring Back The Sun" are reminiscent of the days of "Baker Street" with Gerry Rafferty and just an enjoyable time. "One Way To Go" shows off Parker's rocker breed and it stretches across all decades and even genres, including rock, folk, funk and a little punk too. "Say Good Bye" may be a favorite of this 15 song record as it brings all of Parker's talents together in one harmonious song.

PRESS RELEASE: Charles Parker is a triple threat, who not only can sing and play guitar but also writes on a level far above most of his peers.  His unique music is a place where rock, folk and pop cross paths on the way to a remarkably contemporary sound.  Through his work being a professional musician in cover bands and tribute bands, Parker is a seasoned performer who is known for his strong work ethic, passion for music and determination to persevere.  With his over 20 years of experience, the journey continues through the release of his debut album Bring Back The Sun.

Too often, in nowadays music world, artists feel like they have to adhere to certain standards, because they know or they think to know what fans are expecting from them, musically speaking. That philosophy generates frequently very monotone albums, with the same musical structure running through the whole album over and over again, just lightly reshuffled to give the fans the impression (or maybe the illusion) they are listening to new and vibrant songs.

Luckily for us, there are still music artists out there that decide instead to follow solely their instinct, no matter where the direction of their music take them to. On this matter, the new album from the English collective Zoe Schwarz Blue Commotion called This Is The Life I Choose is the ideal representation of what the music and the concept of making music should be all about and stand for.

 

Veteran rockers, Matt Leitl and Croix Clayton, form Wild Hunt - from Amherst, Massachusetts. Their recently released EP put some smooth vibes into the Pioneer Valley atmosphere, lifting our liberal spirits. Precision harmony vocals and acoustic breeze guitar sets invite you in to deep dream fields. Follow the twisting lyrics to their Band Camp page:

"Wild Hunt are Matt Leitl and Croix Clayton, former guitarist and singer of Minneapolis punk rock and rollers The American Monsters, after which Leitl played with The Young Flyers, (Amherst) and Clayton with Thank You and Bravo Team (Minneapolis). As Wild Hunt, they write psychedelic pop in the tradition of the Velvets, Syd Barrett, Spacemen 3, the Left Banke, Mazzy Star, Beck, and Colin Blunstone."                  

Italy is one of those countries that get inevitably associated to many stereotypes, either positive or negative but certainly not immediately connected to Blues music. The truth is, stereotypes aside, Italians have always had in their DNA traces of Blues in their blood, the main proof being that the first ever person worldwide to write a sheet of Blues music, back in 1908, was a gentleman called Antonio Maggio who wrote a tune called I Got The Blues.

Despite the fact that the Blues in Italy has then, through the years, been relegated for reasons unknown to the back seat of the Italian music culture by the local medias, that has not certainly stopped this wonderful country to keep producing Blues artists of real quality, from Guido Toffoletti, Roberto Ciotti, Fabio Treves and Fabrizio Poggi to the Nouvelle Vague of Italian Blues musicians like Marco Pandolfi, Roberto Luti, Adriano Viterbini and Mike Sponza, among others.

Scandinavia is a part of the world that keeps producing music artists of incredible level releasing records of remarkable quality. One of those many great artists is, without a doubt, the Finnish Blues Queen Erja Lyytinen which, at her 10th studio album, releases one of her best and most mature records of her whole career to date.

Stolen Hearts, Lyytinen's new album due to be released on 7th April, reveals new and fascinating sides of the Finnish artist's musical vocabulary. It's a record that digs deep, from a lyrical perspective, into several takes about love, the way in which it is lived, profoundly or irrationaly, wildly or tenderly.

In the vast panorama of British Blues and Rock scene, constantly moving forward the sound of such genres to new and exciting musical territories, the new EP of the Shropshire-based quartet Rainbreakers called Rise Up fits right in to this concept. The follow-up of their first and very well received debut EP Blood Not Brass is the natural progression of the band's musical evolution, from a songwriting point of view and a sonic one.

Rise Up includes 5 brand new songs channeling sounds of 4 different decades of music altogether. From the soul of the '60s to the blues and R'&B' of the 70's and 80's, right to a 90's garage-rock style. The result is an interesting combustion of rich melodies, bringing back fond memories of the Stax Records period combined with a more aggressive and heavy guitar riffs and wah-wah's usage.

2015 had been already a very successful year for the British singer/songwriter Sean Taylor, thanks to the big popularity that his album The Only Good Addiction Is Love gave to him in the United Kingdom and many parts of Europe.

The pressure coming by delivering the follow-up of that album must have been a lot to take on board for this young artist but that was not certainly Taylor's case. A highly gifted lyricist, the British Troubadour had already tested with his audience, in the last couple of years and whilst touring, some of the material that he intended to release on his next album but at that time, Taylor had not yet made up his mind about the direction that his sound was going to take on the new record.

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