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- Written by: Bluebird
Musicians come together to assist the recovery effort from the devastation of Hurricane Sandy to the Northeast this week.
http://www.nbc.com/hurricane-sandy-coming-together/
Let the support be HEARD.
DONATE!
http://video.msnbc.msn.com/nbcnews.com/49661988#49661988
Matt Lauer hosts a star-studded Red Cross telethon to benefit Hurricane Sandy victims, featuring Christina Aguilera, Jon Bon Jovi, Bruce Springsteen, Whoopi Goldberg, Jimmy Fallon, Jon Stewart and more!
Donations benefit the Red Cross relief efforts.
Read more: NBC Hosts Coming Together Telethon for Hurricane Sandy Recovery Efforts.
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- Written by: Bluebird
Black Country Communion's long awaited third album, Afterglow was released TODAY!
Rock and blues fans have anticipated the production all year. This third installment of the collaboration of Glenn Hughes, Joe Bonamassa, Jason Bonham and Derek Sherinian, has peaked the interest and intensity of this band across the globe. Black Country Communion was discovered and continues to be produced by Kevin "Caveman" Shirley. Roy Weisman is the executive producer. The band got its name from the Black Country region in England, where Hughes and Bonham have roots. Classic rockers are elated to have a contemporary band revive the quality of music that has shaped generations.
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- Written by: Bluebird
New Muse-ic Monday!
New music to rock your week, call the tune, because you know we love to ramble ...
THE TALL WEEDS.
http://soundcloud.com/the-tall-weeds/sounds-from-friday-night-1
The Tall Weeds are a five-piece rock band out of Beacon, NY, formed by Patrick Reay (vocals) and Michael Zentz (guitar and vocals) in 2011. Filling out the band, is Whitey and Dave M on bass and drums, respectively, who have years of experience playing together in many other rock outfits. This long time friendship, and musical relationship, make for a tight and driving percussion section. On lead guitar, Billy Hopkins, adds his blues inspired licks to complete the sound. They pull from a myriad of influences spanning many different genres to create their music. The Tall Weeds believe that they all crossed paths for a reason. There is not only great passion for their music, but a sense of urgency to create and share.
Relatively new on the scene, The Tall Weeds have already performed at The Chance in Poughkeepsie, and Bearsville Theater in Woodstock, as well as many other venues in the area.
"Tap into the Energy!"
The Tall Weeds from Alysia Mazzella on Vimeo.
The Tall Weeds from Alysia Mazzella on Vimeo.
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- Written by: Deb Hebert
After near weekly career defining events, in August I declared 2012: The Year of Joe Bonamassa. It now appears he is set to make music history in 2013, when he returns to four uniquely different performance halls in London.
Here is the very impressive list:
- The Borderline on 3/26/13
- 02 Shepherd's Bush Empire on 3/27/13
- HMV Hammersmith Apollo on 3/28/13
- Royal Albert Hall on 3/30/13.
Each venue has a special place along his career path. For obvious reasons, these four shows have already been hailed as "guitar events of the year." What's most exciting though, is Joe's management has just announced that he'll play never before performed tracks from his 10 solo albums. My real tears of joy came when I read these shows will be filmed and released on DVD in the Fall of 2013.
Fans can vote on which songs Joe should add to the individually designed set list. I voted for three: "The Meaning of the Blues" and "The Last Matador of Bayonne," both original works from Dustbowl, 2011; and "A Place in My Heart," a Bernie Marsden cover from Driving Towards The Daylight, 2012. For me, these ballads are pieces of art that showcase the blues-rock titan's sultry vocal range and dazzling guitar skills. The Royal Albert Hall and Shepherd's Bush are sold out, but tickets are available for the other two venues.
You can read the full press release and obtain ticketing information here.
Yours in music,
DebFromMaine
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- Written by: Deb Hebert
Black Country Communion's
Afterglow
The first public interplay between Joe Bonamassa and Glenn Hughes was at Guitar Center's, King of the Blues Finals, where they performed Medusa (Trapeze, 1970). It was Kevin Shirley, producer for Joe's solo career, who had the idea to form a band around these two musicians--a side project of sorts. And in 2009, a newly formed super-group consisted of Glenn Hughes vocals, bass; Joe Bonamassa vocals, guitar; Jason Bonham backing vocals, drums; and Derek Sherinian on keyboards.
Fresh out of the studio, where they had been recording their first album, the band played two songs, "Mistreated" and "One Last Soul," at Bonamassa’s solo gig on March 17, 2010 in Riverside, California. I recall watching Mistreated, and being utterly amazed by Glenn's scorching vocals and Joe's potent rock riffs! The band was tight, and sounded as though they'd been working together for years. They were high powered, yet controlled. There was that "spark" and "wow" factor inherent to rock 'n roll. I knew instantly, "I'm a fan."
Thus, it is the culmination of intense melodies, rolling and thunderous drum strikes, extended guitar solos and robust keyboard swells off "Black Country"(2010) or "2" (2011) which transport me back to the 70s for some head-on, pump-your-fist, angst rock 'n roll.
I recently had the privilege to preview "Afterglow." This is BCC's third album in three years, due out October 30, 2012.
Without interruption, I intently listened to the 11 tracks and jotted down my initial impressions. On the second play through, I got up and moved about my home to encounter the music differently. Today, after a one week hiatus, I've returned to this project to write the following:
Afterglow is a solid collection of compositions, with the lyrics to all, but two tracks, written by Glenn Hughes. The other two were co-written by Hughes and Jason Bonham. He has said his writing is based on personal experience and that rock fans are intelligent and want real life stories and not just a “guy and girl shagging.” He also stated there is a new mix here which “does not step outside the genre.” Bonamassa has remarked on how the previous recordings bordered on "heavy metal” and how the band wanted to get back to more of that 70s classic rock sound.
For me, the divergence from heavier rock melodies heard on "Black Country," "Beggarman" or "The Great Divide" (to name a few) is too noticeable, and those key BCC nuances like Jason's thunderous drum work on "Crossfire" or Glenn's signature bass on "Beggarman" are missing. And where are Joe's EXTENDED, JAW-DROPPING guitar solos of "Song of Yesterday," "Save Me," or "I Can See Your Spirit?" Despite it all, I know I will come to love this album.
Afterglow
Produced by Kevin Shirley
Released on J&R Adventures, Mascot Music
October 30, 2012
Track by Track
Track 1: "Big Train." I was immediately struck by the dissimilarity to I and II, even though the track opens with an "in your face" rock riff. I found Glenn's vocals tempered, sounding too much like Sammy Hagar. Joe's guitar solo is dialed back.
Track 2: "This Is Your Time." The melody reminds me of Glenn's "Soul Mover.” It has a good groove. Joe's solo was solid and short.
Track 3: "Midnight Sun." The intro is strong with a definite Who keyboard and drum flavor. Joe's solo is reminiscent of "Beggarman" and a terrific number.
Track 4: "Confessor." This is the first track where I feel BCC truly comes alive. It's strong, jamming, with solid guitar/keyboard solos. The band members have all commented about being fans of Paul Rodgers' band, Free. Joe has personally stated he models his singing and phrasing style after Paul's, discernible on The Battle for Hadrian's Wall and here on.
Track 5; "Cry Freedom." On webisode 4, fans can see Glenn and Joe share the microphone. Joe's slide work is impressive on this standout piece.
Track 6: "Afterglow" is the centerpiece and showcases Glenn’s tender vocals, set against Joe's guitar swells, it's a wonderful arrangement.
Track 7: "Dandelion" opens with a driving drum/guitar intro and even though Joe's solo is shorter than desired, it's substantial.
Track 8: "The Circle." The guitar solo reminds me of Joe's dazzling work on "Save Me," "Cold" and "Song of Yesterday."
Track 9: "Common Man." This is very good, with multiple keyboard, drum and guitar solos.
Track 10: "The Giver." I like this one a lot.
Track 11: The closing song, "The Crawl," is my favorite, with its massive amounts of Zeppelin-ish keyboard licks, wherein Derek really shines. It was recorded for BCC 2, but didn't make that album cut. It's nasty and dark, by far the most iron-clad, BCC-sounding number on the album.
To order the album click here.
For more on Black Country Communion, you can preview this record on their website, click here.
Yours in music,
DebFromMaine
