Rock And Blues International - December 2023

December 2023

Rock And Blues International Honey Island Swamp Band also featuring

PRS Eightlock ALSO IN THIS ISSUE

Maiiah Chris Gardner Alastair Greene Dave Stewart Dave Mason and more!

Rock And Blues International December 2023 Hello Rock And Blues International readers. I hope everybody had a great November.

Rock And Blues is happy to announce that we have now entered the era of Podcasts. We would really like you to check out our new Podcast Channel - Rock And Blues International - The Podcast. If you like the interviews we feature in our publication, then you will love our Podcast Channel as we feature those interviews in their entirety there. On our Podcast Channel you can actually hear those interviews as they were originally done. Our special guests so far are Bob Margolin, Don Dokken, Foghat (Scott Holt), Puddle Of Mudd (Wes Scantlin), The Blackburn Brothers, Coco Montoya, Barry Kerch from Shinedown, Jerry Shirley from Humble Pie, Jim Stapley from Humble Pie Legacy, Kissing Judas, Nick Moss, Devon Allman, Stevie D. from Buckcherry, Chris Henderson from 3 Doors Down, Garnet Grimm from Savoy Brown, Phil Lewis from L.A. Guns, Graham Russell from Air Supply, Robert Jon from Robert Jon and The Wreck, Selwyn Burchwood, J.W. Jones, Chris Henderson from 3 Doors Down, and Warren Haynes from Gov’t Mule. Future podcasts include the Honey Island Swamp Band and Paul Reed Smith, noted guitar builder and a member or PRS Eightlock. You can check it out on all the major podcast channels as well as at our website at http//www.rockandbluesinternational.com. We hope you enjoy them.

And now on to the December issue of Rock And Blues International. On the cover of this issue you can see the Honey Island Swamp Band. They have a new album titled Custom Deluxe. Aaron Wilkinson of the Honey Island Swamp Band tells us all about the recording of their new album. We will also be having him as a guest on the Rock And Blues International Podcast later this month. Be sure to check it out. There is also another great interview in this issue. Guitar Builder Paul Reed Smith, one of the guitarists and writers from PRS Eightlock talks to Rock And Blues International about the band’s new album Lions Roaring In Quicksand, which is a great new album filled with some great originals as well as a few cover tunes you’re going to love. We’ve also got a great story by Edoardo Fassio about Maiiah & The Angels Of Libra.

Be sure to check that one out too, it’s very interesting. There are also stories on Chris Gardner, Alastair Greene, Jon Geiger, Adrie, Allman Betts Family Revival, Dave Stewart, Caress, NOFX, Motorhead, Dave Mason, Frank Zappa, and more! As you can see, there are a lot of varied genres of music here for you to check out, or as we like to say, there’s a little of something for everyone here. We have even included the current installment of the novella, “The Biker”. Read it and than email us back with your thoughts on this. So far our readers seem to really like this Blues loving Biker.

I sincerely hope that everybody reading this publication finds something here that they like and I would like to encourage you to let your friends and colleagues know about us. Just look for us every month at http://www.rockandbluesinternational.com. I would also like to encourage you to email us for a free subscription to Rock And Blues International as well. Just email us at rockandbluesinternational@gmail.com and in the subject line simply put “Sign Me Up” and we’ll email you a link to the magazine each month when it is published.

Kevin Wildman Kevin Wildman Editor and Publisher

Rock And Blues International Kevin Wildman Editor and Publisher

Web Address Http://www.rockandbluesinternational.com Mailing Address Box 1162, League City, TX 77573 Phone 281-650-1953

For Advertising email us at rockandbluesinternational@gmail.com or call 281-650-1953 For A Free Subscription email us at rockandblues international@gmail.com and in the subject line put “Sign Me Up Now” December 2023 • Rock and Blues International

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Contents

VOL. 4 NO. 5

DECEMBER 2023

ISSUE NO. 41

6

Page 6 Honey Island Swamp Band Honey Island Swamp Band Release Their New Album Custom Deluxe Out Now On Color Red. Guitarist and songwriter Aaron Wilkinson gives us a lot of insight into the new album in this fantastic interview.

Page 18 PRS Eightlock PRS Eightlock Release Their Debut Album Lions Roaring In Quicksand.

Check out this great interview with Paul Reed Smith, one of the principal songwriters of the band

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Rock and Blues International • December 2023

Page 30 Maiiah & The Angles Of Libra Edoardo Fassio reports on Maiiah & the Angels of Libra, a Slavic soul sister in Hamburg

Page 42 Alastair Greene Alastair Greene’s Blues Odyssey: Inks Deal with Ruf Records, Spring Album Release, and Blues Caravan Extravaganza

Contents

VOL. 4 NO. 5

DECEMBER 2023

ISSUE NO. 41

Page 88 - THE BIKER Page 56 Dave Stewart Icon Dave Stewart Releases Cool Jazz / Jazz Blues Album Cloud Walking

Page 80 Blue Oyster Cult Blue Öyster Cult New Album ‘50th Anniversary Live – First Night’ Set For Release On December 8th

The Continuing Saga Of A Lone Biker On The Road To Explore The Freedoms Of America

In This Issue:

6 Honey Island Swamp Band 18 PRS Eightlock 30 Maiiah & The Angels of Libra (English) 31 Maiiah & The Angels of Libra (Italian) 34 Chris Gardner 38 The Blues Foundation 42 Alastair Greene 44 Cigar Box Festival 46 Jon Geiger 48 Adrie (English) 49 Adrie (Spanish) 50 Allman Betts Family Revival 52 Bees Deluxe 54 Ala.Ni 56 Dave Stewart 58 - Caress 62 NOFX 63 Nonpoint 66 Warren Haynes 72 The Cranberries 74 Motorhead 76 Ministry 80 Blue Oyster Cult 82 Dave Mason 84 Frank Zappa 88 The Biker December 2023 • Rock and Blues International

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Honey Island Swamp Band Release Their New Album Custom Deluxe Out Now On Color Red 6

Rock and Blues International • December 2023

Honey Island Swamp Band (continued from previous page)

By Kevin D. Wildman New Orleans’ blues-roots-rock band Honey Island Swamp Band has just released their sixth album titled Custom Deluxe. The album was released just last month on October 27th on the Color Red label. This is the band’s first release for Color Red. The band has already released their first singles from the album, “Gone” and “Second Son” with a third single on the way. The ten songs on Custom Deluxe lead the band on a new path with a new found vitality that has them exploring new directions in their music. The new album is available digitally, on CD and also on Vinyl.

Aaron Wilkinson of Honey Island Swamp Band tells us that this is the band’s most satisfying album to date.

Writing on the album started prior to Covid and continued on through with various songs completed in the studio while recording. No two songs are alike, yet the band’s sound is definitely cohesive throughout the entire album. A lot of this probably is because of how the band recorded the album. While on tour, the band utilized the studios available to them during short breaks. Among those studios were Eagle Wind Sound studio in Winter Park, Colorado, owned by the Alan Parsons’ Project’s singer, PJ Olsson and Color Red’s home studio in Denver, Colorado, as well as in their home town of New Orleans, Louisiana. The album was produced by Jack Miele and Honey Island Swamp Band frontman, Aaron Wilkinson.

When it comes down to the songwriting on Custom Deluxe, the band shows off their various influences in the finished versions of the songs to an amalgamation of styles, yet retaining the cohesiveness of keeping their own style presence. As lead singer and guitarist Aaron Wilkinson tells us, they are heavily influenced by the music and songwriting skills of Jason Isbell, John Prine, Little Feat, Junior Wells and The Meters to Fleetwood Mac, Taj Mahal,

Iron and Wine, Peter Gabriel, and Beck.

Regardless, the ultimate response is ten greatly crafted songs that all have great meanings to them and spark a lot of musical moments. Subject matter varies greatly from song to song from the gumbo-flavored “High River Rag” to the blues-rock styling of “Sugar For Sugar” to the almost Allman Brothers sound of “Gone”.

We had a chance to sit down with Honey Island Swamp Band guitarist and lead singer Aaron Wilkinson recently and he gave us a lot of great insight into the new album and we’d like to share it with you right now, so without any further ado, here’s our interview with Aaron Wilkinson.

Aaron Wilkinson: Hello.

Rock And Blues International: Hello, Aaron.

Aaron Wilkinson: Yeah, hey.

International. How are you doing?

Aaron Wilkinson: I’m good. How are you?

Rock And Blues International: Fine. You ready for the interview?

Aaron Wilkinson: Yeah man.

Rock And Blues International: Okay cool, cool. So where are you at right now?

Aaron Wilkinson: I’m at home in New Orleans.

Rock And Blues International: New Orleans. Okay. What was it... you relocated from New Orleans to San Francisco and then moved back? Is that how that story goes?

Aaron Wilkinson: Kind of. The context is that me and the original guitarist were in another band at the time and we were actually touring with that

Rock And Blues International: This is Kevin from Rock And Blues December 2022

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there with 1000s of other people.

Aaron Wilkinson: Yeah, it was. It was a blessing of sorts to not be here when it happened.

Rock And Blues International: Well, I can understand that for sure. I watched all the reports on the news. It wasn’t too exciting here in Texas either.

All these southern states were affected.

Aaron Wilkinson: Yeah, it was surreal watching the news and like trying to get a glimpse of your neighborhood or your house or whatever was the helicopters were flying over? Yeah, it was crazy time.

Rock And Blues International: Oh yeah. Hey, there goes my house down the street.

Aaron Wilkinson: Yeah, exactly.

Exactly.

Honey Island Swamp Band (continued from previous page) band. We were in San Francisco, in California, when Hurricane Katrina hit New Orleans. And we had nothing to come back to, so we basically moved there, not of our own will, but we were stranded there in San Francisco. And then, over the course of a few weeks a lot of different New Orleans musicians made their way out of New Orleans, and some of them ended up in San Francisco like us. There’s a bar there that called the Boom Boom Room that’s sort of a home away from home for New Orleans’ musicians. They’ve hosted New Orleans bands there for years and years, so everybody sort of naturally congregated there. We were sitting at the bar when Sam, are current bass player and Garland, our current drummer both wandered in and just randomly, we ran into each other and called out ‘why are you here, what’s going on, and we started the band right there.

Rock And Blues International: That’s cool. I mean, having to go all the 8

way to San Francisco to meet people from your own home state, that’s pretty wild.

Aaron Wilkinson: Yeah, it was, you know, this is before.... I’m dating myself, but this is before like... cell phones weren’t working. You know what I mean? Like, there wasn’t any way to get in touch, because all the cell phone towers were down, so nobody’s phone worked. It was all just random. So we just ran into each other there and said, hey, you know, we’re all here. We’re going to be here for a while. Let’s start a band. And then they generously allowed us to play there every Sunday, as we sort of got ourselves together. We recorded our first record while we were out there and then when we moved back here, we just kept going.

Rock And Blues International: All right. Yeah, that was a bad time. If you were in New Orleans, there was a chance you might wind up living at the stadium

Rock and Blues International • December 2023

Rock And Blues International: Well, you’ve got a new album out and I’ve been listening to that. And quite honestly, while listening to it, I can’t tell if I’m sitting in a bar in Macon, Georgia or if I’m in Gainesville, Florida or if I’m in New Orleans. The sound there is just really varied. I could be sitting in any one of those states listening to this. So tell me a little bit about the sound y’all have developed and why it evolved that way.

Aaron Wilkinson: Well, I think it’s.... We all come from a lot of different influences, and we don’t set out intentionally to sound a certain way and so we sort of by accepting all sorts of influences, we kind of end up with this thing that can sometimes be leaning towards the country side. Sometimes we have one foot in the blues and the other in the funk. New Orleans music certainly has an influence, but so does bluegrass and country music and the Allman Brothers and Little Feat and Ray Charles and James Brown and reggae, all this stuff.

So, I think we just sort of have kept our ears and our hearts and minds open to different influences, and don’t ever say, oh, we can’t do that, that doesn’t sound like us. We’re really just more focused on if it’s a good song, then we’re into it. continued on next page

Honey Island Swamp Band (continued from previous page) And so I think I think the focus is on the songwriting in the songs themselves, as opposed to trying to achieve any sort of genre or anything.

Rock And Blues International: Well, who’s the primary songwriter here?

Or is it just an amalgamation of everybody pitching in something, Aaron Wilkinson: Um, I suppose I do most of it. But I also intentionally come to certain songs and leave them unfinished, so that I can get input from the other members of the band. I don’t want to be in an echo chamber, you know what I mean, just talking to myself. So I like to have other people’s input and have them have some ownership in it. On this latest record, it is the first time I have done a good deal of writing with our keyboard player, keyboardist Chris Spies. Sort of the way that would work was, you know, he has files and files and files of himself just playing organ or piano or whatever it might be over different beats, different drum beats, samples. I would just sit there a lot of times when we would be traveling and have hours to kill on the road and I’d be like, just give them to me, and I’d have a 100 of these files on my phone. I just listened to them and as soon as something caught my ear, I’d write that down, then I’ll go back and flesh it out, add some parts, add some lyrics, make a song out of it. And so, we did a lot of writing that way on this one, which that was a new experience that we hadn’t done before, but a very cool one.

Rock And Blues International: Well, that makes a lot of sense, that organ of his just seems to really permeate through a lot of these songs here.

Aaron Wilkinson: Yeah, it’s something that he’s brought to the band.

He joined the band a little over, I don’t know, maybe six years ago. He was not on the previous album, so he joined shortly after that one, so it would have been like, 2017 or so he joined. So this is

the first one that features him and Lee, our guitar player on it. So the addition of both of them is really sort of taking the sound to a new level.

Rock And Blues International: How would you say this sound is different from the previous album?

Aaron Wilkinson: Well, I would say a lot of it has to do with those two guys bringing their own influences and sets of skills and their ideas to the music.

And I just think beyond that, we’ve just matured as songwriters. Part of it is more experience and more time in the studio and learning what’s possible, what you want. Then I would say also that this is the first record where... in the past with all our other records, we did what you normally think of, we rented a studio for a week and went in there and just made the record, you know, boom, boom, boom. This time, we wanted to do something different and so what we did was, when you’re out on the road, you have these days off, that you just kill in time. Well, we said let’s not do that, wherever we are, let’s find a studio. Let’s get in there and even if it’s just recording one song, let’s do that and put together a record that way. And so that’s what we did this time. It took a couple years to do it. COVID happened in the middle of it.

So that threw a wrench in the whole works, but we recorded “Gone”, the first track in Winter Park, Colorado on top of the mountain, 8000 feet or whatever it is.

We recorded “Boneshaker” In Denver.

We recorded a lot of the other songs here

on the North Shore, about an hour outside of New Orleans. So we kind of picked it up in places as we moved around, and so that comes through, I think, in the record. It made it exciting and fresh each time we approached a different song.

Rock And Blues International: Recording in so many different studios, how do you think that that may have affected the sound of the album as a whole?

Aaron Wilkinson: Well I think the challenge is to keep it cohesive, right.

But I think that it just kind of gave us different opportunities and you’re in a different mood, you’re in a different place emotionally, physically, obviously.

And so I think he gave it more variety to be honest with you. When you’re recording all your songs in a row in one week, you kind of, what’s the term, lose the forest for the trees. I feel like some songs ended up being kind of like throwaways, you’re almost going through the motions whereas the way we did it this time, you’re really just focusing on that song. You’re not trying to lay down the bottoms for four songs in one day and then come back and finish them another. We’re really just focusing on taking one song from the beginning to the end and fleshing it out all the way. It kind of gets your full attention more than it would if you were in a normal setting where you’re trying to record 10 songs

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that I had never thought of to get a different vibe, a dirty vibe from across the room or even from underneath the kit, things like that. Sometimes it’s not the most expensive microphone in the room that serves the purpose best, sometimes just the cheapest, dirtiest one that does the trick. Things like that and just recording to tape. Sometimes it’s two-inch tape, sometimes it’s half-inch tape, which is depending on the studio.

All those things come through in the sound and just a really cool learning experience for us, eye opening to see the different ways that it can be done.

Rock And Blues International: Pretty inspiring in itself.

Aaron Wilkinson: Absolutely.

Yeah. And makes it fun. We’ve already started on the next one. We were over in Italy this summer and had a few days off.

Through some friends over there found a studio and laid down a song.

Rock And Blues International: Well that had to be interesting right there, dealing with an Italian engineer.

Honey Island Swamp Band (continued from previous page) and your attention gets divided over the 10. Doing it this way was a little more focused on each song as an entity by itself.

Rock And Blues International: Well yeah, and when you’re in a studio recording all your songs at once you, you tend to have the same engineer whereas I would guess you didn’t travel with your own engineer. Every studio you went to was a different engineer.

Aaron Wilkinson: And that’s the other thing you have. You’re right on it there. We had different engineers, different equipment, totally different atmospheres, different size rooms, different elevations, your voice changes.

There’s so many variables that maybe you don’t even think about when you’re in a typical studio setting, and everything is the same, different tricks that you learn that different engineers have. It was just really cool. And all that stuff keeps it inspiring, and fresh. All that stuff kind of 10

gets your creativity going when you try things a different way. You have to be open minded, of course. And so I think it was helpful for us. And I really, I loved the way we did it. To me, it’s much, much more preferable than locking yourself in a studio for 10 days, or seven days or five days, wherever it is. And you do that and then that you can’t help but watch the clock and the pressure starts to get to you. We’ve got to get this finished in these so many days. None of that was a part of this equation.

Rock And Blues International: Well, when you talk about different tricks from different engineers, can you name an instance or one or two, where perhaps the engineer in the studio did something that affected what was happening in the song that you hadn’t thought of?

Aaron Wilkinson: Well I don’t want to give any inside secrets away.

Yeah, there was ways to mic the drums

Rock and Blues International • December 2023

Aaron Wilkinson: Yeah, he was great. Duna, D-u-n-a is the name of Studio out on a farm just north of Ravenna. And it was gorgeous. Sunflowers everywhere. Beautiful studio, beautiful people and I think we may have hit on our MO here. This might be the way we do things going forward. It’s just inspiring to be somewhere away from home. When we recorded here in New Orleans, you’re constantly checking your phone. You got to be back home to the family, do other responsibilities. A lot of times you have gigs that same day. It just kind of divides your attention, whereas when you’re away from home, you’re all together, you’re in a different place and you can set down to the task at hand with very little distraction, and just kind of give yourself over to it.

Rock And Blues International: All right. Well, let’s talk about a couple of the songs on here. “Gone”, I really liked that. I hate to pigeonhole it or give it some kind of feel that may not be there, but to me, it felt like the Allman Brothers. continued on next page

Honey Island Swamp Band (continued from previous page) Aaron Wilkinson: Yeah, well, that’s, that’s the obvious. Someone else texted me a similar comment today, because they heard it on the radio, and they said, Man, that’s sounds a little bit like some Allman’s influences there and I responded. We’ve never been afraid to set our foot into Allman Brothers land.

It’s a huge influence for us. And, you know, the dual guitars. It definitely comes from that, but we also kind of have some, some country and bluegrass influences too. And all that stuff is intentional. That’s music we love and it’s kind of ingrained in all of us and so we’re happy to let that shine through. I think you got good ears if you recognize that and I feel like it’s a complement to the band musically.

Rock And Blues International: Right, right. And I’ll tell you that the sound on the drums do tend to vary from song to song. Listening to “Second Son” on here, the percussion on that is just unbelievable.

Aaron Wilkinson: Yeah that’s our buddy, Jeff Franca from Thievery Corporation and Big Gigantic, one of the guest musicians. We recorded that one out at Denver at the Color Red studios.

Color Red is the label who’s putting out the record and they have a studio out in Denver, a house where at that time, the whole band could stay there. It’s a fourbedroom house and you stay upstairs and then the studio is in a tiny shoebox basement so it’s a much more old school, recording space. You have the bleed and everything. It gives it that old school sort of sound, but that’s a perfect example of what we’re talking about. That’s the one where we set out to record it there in that studio and kind of had the chorus and the verses, but we didn’t have the breakdown. So we stayed up late and drank a few bottles of wine and Chris and I sat at the kitchen table there and banged out those breakdowns and horn lines, and we were ready to go with it the next day.

Rock And Blues International: Well, how much wine entered into “High River Rag”?

Aaron Wilkinson: That was a little different.

Rock And Blues International: That sounds like Allman Brothers meets Dr. John.

Aaron Wilkinson: Yeah. That was a little more of a whiskey song.

Rock And Blues International: That was it. Okay. Well, tell me about, what is “High River Rag” to you?

Aaron Wilkinson: Well, I’ll tell you where I got the inspiration for the song. I can’t remember what year it was.

It was a few years ago. And I was literally, I mean, down by the river down here in New Orleans, down by the Mississippi and that year, I want to say it was April because the river gets high, the snow melts in all the mountains, you know, and the river comes up. And that particular year, I’ve never seen it like this. It was so high. The water was so high it was almost at flood stage and when it gets that high, it gets super wide too, right. We live here in New Orleans.

We’re in a bowl. We’re eight feet below sea level, so that river is about head high whether you realize it or not. You walk up on the levee, of course you’re above it, but in reality, that river is eight feet. It is head high from where you’re standing in the low parts of the city, so that’s kind of where I started. That was my launching point for that song and this is a perfect example because the groove, the organ part and the drum intro, that all

came from a sample that Chris Spies gave me of some stuff that he had been working on. It was that beat with him just like doing different ideas on the organ and it might have been a 10minute sample. Well, I picked 30 seconds of it and found that groove that I liked and the kind of descending line and built a song around it and already kind of had these lyrics swimming around in my head. And so the two met up and that’s kind of been typical of our collaborations. I’ll have some lyrical ideas that I don’t really have a home, and then I’ll listen through his musical ideas that have no lyrics, and see if we can match them, see if we got a good match there. And in our case, we did okay.

Rock And Blues International: So Chris is the one that has all the Dr. John albums, you’re the one that has all the Allman Brothers albums and who is it that has all the Tom Petty albums?

There’s a lot of variation on here. I mean, songs like “Wildfire”. Well, you go from “Gone” to “High River Rag” to “Second Son” and down the line to “Wildfire”, and that’s unlike any of the first four.

Aaron Wilkinson: Yeah, again, you got good ears. I grew up listening to a lot of that stuff, Tom Petty. Singer songwriter, stuff is kind of at the heart of where my talents are in what I do, what I bring to the band, so that’s where that comes from. Again, that’s a case of a song that’s pretty simple on the surface.

If you dig into it a little closer and you’re a musician, you see that there are some parts that don’t repeat and that’s unique,

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Honey Island Swamp Band (continued from previous page) but that’s a case of just one that kind of came out all at once and you just try not to overcomplicate it, you know.

Rock And Blues International: Okay. On “I Don’t Want To Lose”, who is it? Is this just a lost love or is this some hypothetical situation? Who is it you don’t want to lose?

Aaron Wilkinson: The nameless shall remain unnamed. We leave the names out to protect the innocent, but it’s just a song about an idea that’s probably been written about millions of times. You want to change in ways that you need to keep your relationship healthy, but you don’t want to lose track of yourself in the process. So it’s about finding the right balance of compromise and selfpreservation, I guess.

Rock And Blues International: Self-preservation?

Aaron Wilkinson: Yeah.

Rock And Blues International: Okay, explain that part?

Aaron Wilkinson: Well, it’s about self-preservation in preserving your identity. I guess a lot of it is about the stresses of being a traveling musician, being gone a lot to reference another song. The hours, not the greatest paying gig in the world for most of us. It can be 12

tough, but when it’s part of your identity, you feel like you need to hold on to that.

Rock And Blues International: Yeah, “Wildfire” sounded like it was about the band situation as well.

Aaron Wilkinson: Yeah, I mean, it’s, well with that one. That one was a little more or less autobiographical, I guess. I’m a fan of music, of bands, I should say that kind of mix that get up.

Every song isn’t about them. Sometimes it’s an imagined character or a scenario.

So, “Second Son” is a perfect example of that sort of an imagined character. And I kind of did the same thing with “Wildfire” imagining a couple in this situation, or I guess it’s not a couple, it’s two people in a kind of romantic situation that gets out of control. I intentionally try not to write songs where everything is about me or my experiences, although certainly sometimes that’s in there, but I try to get out of my own head a little bit and write about characters. Dylan was great at that. Jerry Garcia, the Grateful Dead, they’re great at that. Even a band like Steely Dan that I love is great at that, so I enjoy that.

Rock And Blues International: Okay, tell me about “Dark Days”.

Aaron Wilkinson: Okay. Um, that was. So that kind of came out of a lot of different things like lyrically, you know,

Rock and Blues International • December 2023

COVID happened. I wrote that during the COVID shut down and the country was very politically divided. Some of this is still going on, this sort of culture of, you might call it canceled culture or whatever, not being able to say anything, being condemned for everything you say.

And it just kind of felt like people were just uneasy and in a nasty place, in the depths of the COVID situation. And so, that was kind of on my mind. And it has that drop D tuning in the guitar, to give it that really dark sort of deep sound. And it’s, it’s pretty, it’s kind of heavy. I think, I want to say this is accurate. During COVID, I was one of the guys that did that thing where you broadcast on Facebook or whatever, to your fans, right. And I had written that song, and I was using loop stations. So that kind of riff, that main riff of that song lent itself to that because it’s so repetitive. I would set that riff up and then start playing the harmonies over it and singing over it, so that’s kind of where that one came from, was the depths of that difficult time.

Rock And Blues International: Were very many of the songs written or started during the COVID time?

Aaron Wilkinson: I would say not the majority but that one certainly was and “Down The Line” was written entirely about that scenario. I was at the beach in Pensacola, Florida, which is where I grew up. I was there with my family and we lived out there for, I don’t know, maybe four or five months, which is a great place to be isolated because I was right there on the water. I was surfing when I wrote that song and it uses kind of surfing terminology.

Looking down the line is what you do when you’re out there looking down the waves. The line of the waves and a lot of the other lyrics in the song have that same sort of double meaning. This applies to things that you’re doing when you’re surfing but it was really about biding your time looking down the line, looking ahead, waiting for this thing to end and normal life to resume but also appreciating the opportunity to sort of reset. If I’m fully honest, those tines out there were some of the best of my life during COVID because a lot of the noise of hustle and bustle a day to day life was continued on next page

Honey Island Swamp Band (continued from previous page) removed and we were in a good place.

Rock And Blues International: Well, of course, how much surfing can you get done in New Orleans?

Aaron Wilkinson: Very little, it’s one of the biggest drawbacks.

Rock And Blues International: Well, that’s amazing that a band that’s based in New Orleans or in Louisiana came up with a surfing song or with surfing connotations in it.

Aaron Wilkinson: Well I grew up as I said on the beach in Pensacola so I’m not a New Orleans native, although I’ve lived here more than half my life but that surfer is still in me so I go every chance I can get.

Rock And Blues International: Cool. Well “Sugar For Sugar”, that seems like a love song to me. So tell me about that one.

Aaron Wilkinson: Yeah, that’s another one I collaborated with Chris on.

He had the music sort of completely written on that one but no lyrics and I took one listen to it and I was like, oh yeah, I can easily write some lyrics for that. And then I heard that term sugar for sugar, salt for salt in some old like public domain Blues song that was on... I think I heard it here on WWOZ, the famous and fantastic radio station we have here in New Orleans. It was an old scratched, vinyl single someone was playing on the Blues show. And I heard that phrase. I hadn’t heard it before and it stuck with me. I thought man that’s cool. I like that, I’m going to use that sometime. Well, then here comes Chris’s song and I’m like, this is the perfect spot to put this in.

I don’t know how everybody works but the way I work when I have a little spark like that, a lot of times it’s pretty easy to just kind of spin out the rest of the song.

Rock And Blues International: Well, that’s another song where the organ

is just right up front, and in your face there.

Aaron Wilkinson: Yeah that’s it, that’s how he wrote it. He wrote it as like an instrumental organ song. When I took it over I said, Well, this can still be that, but there’s room for some good lyrics in here too and so it just came together really easily and nicely. It’s one of our favorite ones. We play that every night.

Every show we play that song.

Rock And Blues International: Okay, “Boneshaker”, I find that one to be kind of interesting in itself.

Aaron Wilkinson: Yeah, that’s one that I had written most of the chord changes and Chris said, Well, this needs a breakdown, some kind of breakdown.

So he sort of sent me back to the drawing board to come up with a breakdown for the middle. That one we recorded in Denver and our buddy Eddie Roberts from the New Mastersounds, who also happens to own the label Color Red. He lives in Denver and he came and sat in on that session. He’s the one playing the Gibson guitar solo there, that kind of grant greenish jazz guitar solo.

Rock And Blues International: Okay. Well, you finish the album with “By And By”. But tell me the inspiration behind that one.

Aaron Wilkinson: Well that was interesting. I write a lot of songs and someone had contacted me and said the

artist G. Love is looking for songs. Do you have any you want to submit and so I thought about and I had this sort of song, the song rolling around in my head. Didn’t have a recording of it, so I hired a drummer, my buddy Chris Pilant who I knew from doing gigs here in New Orleans and we went into the studio. I just played guitar while he played drums and sent him on his way. I thanked him and I paid him and then I hung behind with the engineer. I laid down the bass, laid down the other guitar parts and the mandolin and the harmonica, played all the other instruments on it, and then submitted it to G. Love’s people. Well, they didn’t end up using the song, but I had it and so I was like, Well let me just finish this. I Went back and polished up the vocals and put it on the record and so we have another first in which I played all the instruments, which is fun.

Rock And Blues International: Any of the other songs wind up like that where you did the majority of the instruments.

Aaron Wilkinson: No, that was the only one but I wouldn’t want to do every song that way, and you wouldn’t want to listen either. But it was cool to do that one time. I’ve always wanted to do that.

If I was a drummer, I could have done all of them. But you don’t want to hear me play drums.

Rock And Blues International: Are you sure?

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thankful for. That might be one that hits a little closer to home in good ways.

Rock And Blues International: Well, when someone listens to your album for the very first time, say they’ve never heard of you. They picked up the album and they listened to it all the way through. What would you like to hear come out of their mouth at the very end of the last song?

Aaron Wilkinson: Best album ever! No, I think ‘I’d like to listen to that again’. That’s what I’d want to hear.

‘Let’s play that record, again’, would be pretty nice to hear.

Honey Island Swamp Band

Rock And Blues International: If someone were to listen to your music, which album would you want them to hear first? You’ve got six albums now.

(continued from previous page) Aaron Wilkinson: Yeah, I’m pretty sure. I think I’ll stick to things with strings.

Rock And Blues International: Okay. Okay. Well when you were working on these songs, what was the hardest song for you to do? What was the song that you just kept redoing and redoing, or did you even incur anything like that?

Aaron Wilkinson: Um you know, I don’t remember any of them being particularly hard. I would say that the song “I Don’t Want To Lose” is probably the one that maybe had the most layers to it, because there’s so many vocal parts that go into it. And so that was a long process but a really fun one. None of it was particularly difficult or painful. That one just sticks out in particular because it’s kind of a droning song, but what makes it work is all the different layers and the timing when they come in and fade out. And so that’s one that we spent a lot more time in a studio setting kind of layering things.

Rock And Blues International: Okay, what was the easiest song. What song just jumped right out at the beginning and has the least amount of takes to it?

Aaron Wilkinson: I think that’s got 14

to be “Wildfire”. We were sitting there.

We had come in the studio and we had come in planning to do maybe two songs and we had a little time leftover. We’re all in the main big room and I said, y’all don’t get up. Let me just show you the song really quick. They stayed right there and learned it right on the spot.

They had never heard it before. I just played through it for him once and what you’re hearing is probably the first or second take, all of us just playing together.

Rock And Blues International: That’s cool. First or second takes work out real good. And they fit in the budget.

Aaron Wilkinson: They do.

Rock And Blues International: Yeah. Well, what is the most personal song on here to you? Or do you want to admit if anything is extremely personal to you here?

Aaron Wilkinson: They’re all personal in their own way, but I think I would probably say... I think I would say “Down The Line” is one that really sticks with me because it’s such a unique time in my life and in everybody’s life where kind of everything was put on hold. Nobody knew what was gonna happen and it just changed. Well it changed the world, but also internally it changed my focus in ways that I’m

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Aaron Wilkinson: There’s no question that this is the best work we’ve ever done, so I think that this is the place to start. The other albums are great and there’s great songs on all of them.

There’s great playing and there’s great moments, but this is the most complete thing we’ve ever done and I think it stands out the tallest of all.

Rock And Blues International: Is that because of the new members?

Aaron Wilkinson: It’s all of it. It’s the new members, it’s maturing as songwriters, maturing as men, being older, wiser, having families, more experiences. It’s just, it’s just an all around more mature, more focused project.

Rock And Blues International: What else do you want people to know about the band in particular?

Aaron Wilkinson: Um, I think just the band has been around since 2006, so we’d be the better part of 20 years and that’s hard to do. It’s hard to stick together that long and keep something going that long. Not many projects last that long and I think that’s a testament to the guys in the band, how hard they work, not just at their craft or their individual instruments, but at being good bandmates and being good friends and continued on next page

Honey Island Swamp Band (continued from previous page) keeping those relationships together because it’s challenging. I think that it’s a hard working band and that band, it’s stood the test of time. I think that’s important to know as you’re listening to this that these aren’t a bunch of Johnny come lately’s that something has been handed to. These guys that have worked hard and continue to work hard.

Rock And Blues International: All right. Now what have I missed in this interview that I should have asked you?

Is there something that when I hang up the phone with you, you’re gonna go?

Why the hell didn’t he ask me this? He just didn’t get it at all. He just didn’t, Okay, so what did I not get at this point?

Aaron Wilkinson: You know, I gotta hand it to you, you’ve been pretty thorough. Nothing really leaps to mind except that, watch out for us. We haven’t got our full year planned out yet but we’ll be hitting the U.S. and all the major markets pretty hard in 2024. We’ll be heading back overseas to Europe as well. We’ll be out there playing this music and promoting this record for the next year.

Rock And Blues International: How do the European audiences take this. I would imagine in New Orleans and Macon, Georgia and Gainesville, they’re gonna love the hell out of this.

But when you play for a European audience, this style of music, what’s the reaction?

Aaron Wilkinson: I mean, it’s universally positive in our experience. I just think that most of our experiences over there and when we’re playing for European audiences, they’re excited to see real American music. They’re enthusiastic, they cheer, they applaud, and in some ways, they’re more enthusiastic crowds than American crowds. I think you feel a little bit like an oddity on stage. They’re looking at you like is that a real American band, but in a good way, and so they’re very receptive, very

earnest in their way. They’re very loyal too. We hear from them. They follow us on social media, and chime in here and there, and we stay in touch and it’s been a really positive experience. COVID kind of interrupted that for us, but we’re back at it now and looking forward to spending a lot of time over there.

Rock And Blues International: Okay. Well, before I let you go again, what have I not touched on that I should have, there’s bound to be something that you really want people to know about the recording, the band, the album, in particular, something that I haven’t mentioned.

Rock And Blues International: Well, I hear a lot of good things about the European audiences. I have a lot of friends that go over there and they say… well, it’s different from playing in our hometown. At home in our hometown we’re just another band, but suddenly when we wind up in Europe, we’re the stars. People treat us like we’re big stars, it’s just amazing. Do you find the same thing?

Aaron Wilkinson: I would say, read the liner notes. Look at all the guest musicians that are on there. There are some fine, fine musicians that are on his record. And each of them has projects of their own that they’re involved in. And so, you know, I used to do this when I was a kid, look up. Well, who played bass on the song? What else is he done?

Who played guitar on the song. What other projects was he involved in? This is the way you branch out and explore, expand your musical knowledge and this album is packed with that. I would encourage people to look up who plays on the record, follow them in their careers, explore their music. There’s a lot of good stuff.

Aaron Wilkinson: Yeah, absolutely to some extent. And the people, they’re a little more engaged, I would say. The American audience can sometimes, because there’s so much live music, it’s so saturated. Naturally, American audiences have kind of seen a lot of everything, right. And so they react accordingly. I’ve seen this sort of thing before, whereas over there it’s almost like every time you’re playin’, somebody’s seeing you, seeing this new thing for the first time. And so you have that, that shiny newness to it that gets people very excited.

Rock And Blues International: Your fingers get worn out doing autographs over there?

Aaron Wilkinson: Well, we go through some sharpies, put it that way.

Rock And Blues International: Well, expanding on that, name one or two people that guested on here that’s not a member of the band that really made a heavy contribution to the songs or the album.

Aaron Wilkinson: Well, I would say the first thing that comes to mind is Eddie Roberts. He plays on a couple of the songs, plays guitar, and he is the head of the Color Red label. His band New Mastersounds is a huge band. They’re from Leeds, England. He’s British

December 2022

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Honey Island Swamp Band (continued from previous page) himself. Mike Dylan is another one that comes to mind, fantastic percussionist and vibraphone player. He plays the vibraphone on “Dark Days”. He’s a New Orleans musician that’s just all over touring with people all over the place.

He’s a fantastic musician. Shira Elias and Adriana De Leon, the background singers on a lot of the songs both have their own bands that are fantastic. The list goes on. I mean, it’s packed. Every musician on there is involved in multiple other projects that are great.

Rock And Blues International: Well cool. Maybe we can get these people to start looking into their bands as well. It’s always great to spread the wealth.

Aaron Wilkinson: I hope so, that’s the idea. All right.

Rock And Blues International: Well, if there’s nothing else, I guess I’ll let you go now. You probably got lunch to eat or something’s going on.

Aaron Wilkinson: It’s not that exciting. I gotta go pick up my daughter and take her to gymnastics.

Rock And Blues International: Okay. Oh, and one more question. The name of the album. You named it after your truck.

Aaron Wilkinson: So I used to have one of those Custom Deluxe’s and I just thought it was such a cool name.

Like the metal decal on the side of the truck. You can kind of see it in the picture and in the title on the cover.

That’s what it looks like. It’s that old raised metal piece that’s like stamped into the front fender of the truck and I always just thought that would be a great name for a record or a band or something. It’s been kicking around in my head for 15 years, probably and then it came time for this record and there wasn’t a particular song that felt like it ought to be the title track or anything. So without that, I was like, well, this might be the time for Custom Deluxe and I called the guy at Color Red up. I’ve said 16

I’m thinking about calling it this and I’m thinking the cover might could just be a picture of the truck coming out and he’s like, let me get back to you. Within 15 minutes he sent me the cover. I was like, that’s perfect. No revisions, don’t touch a thing.

Rock And Blues International: All right, good. Well, I was gonna ask why there wasn’t any Custom Deluxe songs on there. Normally, a band will come up with a bit of a lyric that was in one of the songs or the name of the song.

Aaron Wilkinson: Normally they would and that was my only reservation about it. But I thought about it for a few minutes. I was like, I don’t care, I like it.

Going with it.

Rock And Blues International: Alright, and one really off the wall question, I’ll finish with. I’m looking here at the influences, and its naming all the people that have been your influences and it says Peter Gabriel. I’m thinking, well, now that’s an odd one. I know who Peter Gabriel is. I’ve seen him in concert before. I don’t see how it enters into this album, anywhere.

Aaron Wilkinson: Sure. I think that’s more of the vocals, his vocal harmonies. Sometimes, they’re not even words. They’re just sounds that he’s making almost like doing a horn line with your voice. I think the particular song that that was entering into was the song “I Don’t Want To Lose”, that I was telling you about where we did all the layering. But yeah, I mean, you’d be surprised some of the influences and he’s one of them, like that sort of way he approaches. vocal harmonies I’ve always loved.

Rock And Blues International: Oh, yeah, well, I’ve seen him with Genesis.

I’ve seen him on his own. It can be a pretty bizarre act at times.

Aaron Wilkinson: I know.

Rock And Blues International: Well, I want to thank you for your time. I

Rock and Blues International • December 2023

really appreciate it and you’ve got my number. If you think of anything else I should have asked just call me up, leave a message.

Aaron Wilkinson: Well thank you, I appreciate it.

Rock And Blues International I hate leaving in any interview unfinished.

I don’t like anybody to walk away going.

Why the hell didn’t he ask me this?

Aaron Wilkinson: No, no, you’ve been great. And if you think of anything that you forgot to ask, or if you’ve come up with another question that you’d like to ask, just give me a shout back.

Rock And Blues International: I’ll do that. I really appreciate it and I wish you great success with this album. Well, again, thank you so much. I really appreciate the time I enjoyed our interview. And hopefully we’ll be talking again one of these days. I hope so.

Aaron Wilkinson: Okay, thank you. It’s great talking to you.

Rock And Blues International: Okay, bye bye.

Aaron Wilkinson: All right. Bye bye.

So, in conclusion, I really think that The Honey Island Swamp Band has locked onto something great here. As I mentioned in the beginning, this is a fine album with a lot of great moments on here and I thing the best way to experience that is to get out there and get a copy of the album as soon as you can.

I’m sure that Aaron and the rest of the guys in the Honey Island Swamp Band would be very appreciative. Those guys are bandleader and multi-instrumentalist Aaron Wilkinson, guitarist and vocalist Lee Yankee, bassist Sam Price, keyboardist Chris Spies, and drummer and vocalist Garland Paul. I would like to thank Aaron Wilkinson for sitting down with us and giving us all the great details in the production of Custom Deluxe. It was a very interesting conversation. Thanks Aaron. I wish you and the members of the Honey Island Swamp Band great success with the release of this fine album.

November 2022

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PRS Eightlock Release Their Debut Album Lions Roaring In Quicksand I’m sure that Paul Reed Smith is a familiar name out there to a lot of people, especially guitarists. He’s been building world class guitars since the early 80s for his own company, Paul Reed Smith Guitars, however I’m sure it’s going to surprise some people out there that he is also a world class guitarist and has had a band for quite a few years. He’s released several records under the moniker of the Dragons. He released Look At The Moon - The Paul Reed Smith Nashville Sessions in 2010, followed by the Paul Reed Smith Band in 2011 and then in 2017 he released Time To Testify. There might even be a couple of more albums out there that I haven’t discovered yet too.

But we’re here now to talk about his newest album and probably the album closest 18

Rock and Blues International

to his heart at the moment, Lions Roaring In Quicksand by PRS Eightlock, his newest and proudest endeavor. Lions Roaring In Quicksand features some of the most incendiary licks that Paul has produced in his career showing that even a humble guitar builder can rock the stage with the best of them. The album is filled with 14 blockbuster songs that are just extraordinary and stupendous. These songs run the full spectrum of music with a groove that blends together blues, soul, rock, funk, and more.

Paul tells us that it’s got its roots in Baltimore Funk, DC Go-go, and New Orleans swing.

Whatever it is, the songs on the album are beautifully crafted with thought-provoking lyrics and melodies that must have been made in Heaven. Some of these songs will have you humming them long after the music

• December 2023

stops. While ten of the songs on here are original, four of them are covers. Paul wrote a great deal of the songs on here along with Mia Samone Davis, his daughter Sarah, and also his wife Page Winter. Page’s lyric contribution to “Look At The Moon” will certainly be an inspiration to romantics everywhere. As for the four covers, he has included “War” by Norman Whitfield and Barrett Strong. “(War) h’uh, Yeah!, (What is it good for?), Absolutely (nothin’), Say it again, y’all”. Another cool cover on here is the first English version of a Mana song, “Ay Doctor.” This song was included as a personal request by Fher Olvera, lead singer of the band Mana. The other two songs are “99”, an adaptation of a European electronic continued on next page

PRS Eightlock (continued from previous page) song that Paul fell in love with, and the Al Green song, “Love And Happiness”. This was included because Paul says it’s the only song that people don’t turn off, they take the time to listen to the whole thing. And listen to the whole thing is what we think you will do once you start listening to Lions Roaring In Silence.

For his new band, PRS Eightlock, Smith has surrounded himself with some of the best musicians that this planet has to offer. PRS features drummer Dennis Chambers (John Scofield, George Duke, Brecker Brothers, Santana, Parliament/ Funkadelic, John McLaughlin) who just may be the best drummer on this planet, drummer Gregory Grainger (Whitney Houston, Acoustic Alchemy), drummer Ju Ju House (Roberta Flack, Trevor Horn and The Chuck Brown Band), bassist Gary Grainger (John Scofield, Nancy Wilson, George Duke and Bill Evans), guitarist Michael Ault (Rachelle Ferrell, David Grissom, and Davy Knowles), guitarist Bill Nelson who also happens to be the Director of the Johns Hopkins Kimmel Cancer Center, and vocalist extraordinaire Mia Samone Davis who got her start singing gospel music. Assembling this lineup Paul has created one of the most exciting bands that are out there today. These people are all true professionals that have worked with some of the biggest names in the music business, but now it’s their time to shine.

This is their record.

“This group of highly respected and world-renowned musicians have a lot to say musically and spiritually,” Paul Reed Smith says. “It’s been an absolute joy to be the catalyst for their gifts resulting in the music found in Lions Roaring in Quicksand.”

Added guitarist/vocalist Bill Nelson: “The musicianship in Eightlock is extraordinary, but what amazes me most is that the music both the recordings and live performances just keep getting better and better. Locking into an Eightlock groove is a dream.” And dynamic lead singer Mia Samone Davis summed it up by saying, “Creating this CD reminded me that, ‘Peace is the price when the mind is at war’...... inner peace is priceless.”

We had a chance to sit down with Paul Reed Smith and have a very personal conversation about this album and what drove him to assemble these musicians to create it.

It really made for a great insightful interview and I’d like to share it with you now, so

without any further ado, here’s Paul Reed Smith.

Paul Reed Smith: Hello, it’s Paul.

schools north of Dallas in White Lake, Greenville, and Sherman. Swear to God. Rock And Blues International: Really.

Well. I’m down in the Houston area, south of Houston, a little town called League City.

Rock And Blues International: Hi, Paul. This is Kevin Wildman with Rock And Blues International. How you doing today?

Paul Reed Smith: You’ve got the radio voice man. I love it. I love it. What a voice.

You’ve got a voice on you. I’m sorry. I know sounds, that’s my whole thing. You’ve got the timbre in your voice, extraordinary. It’s great.

Rock And Blues International: Thank you very much. I’ve never been a DJ really.

Well, I’m doing a podcast now for our publication, so I try to stumble through that a little bit.

Paul Reed Smith: Never heard of it, sir.

Rock And Blues International: That’s quite all right. A lot of people have never heard of it.

Paul Reed Smith: Reed’s a Texas name.

Rock And Blues International: Is it?

Paul Reed Smith: There are a lot of Reed’s. All my brothers and sisters have Texas names. All of us.

Rock And Blues International: All

Paul Reed Smith: Where’s your accent right.

from?

Rock And Blues International: I don’t know. Let’s see. I was born in Newfoundland, off the coast of Canada. I’ve lived in Spain.

I’ve lived all over the US and I’ve been living in Texas since 1968.

Paul Reed Smith: That’s unbelievable.

My grandfather was the superintendent of

December 2022

Paul Reed Smith: How can I help you?

Rock And Blues International: Pardon?

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part. If you listen very carefully, the main drummer’s in the middle and the other drummers are on the left and the right. So it’s not a stage room problem, it’s much more of a musical room problem, of making sure that everybody has parts that add and not just additive, but add to the groove of the tune.

The definition of a groove is something repeats over and over and over and over again, and makes you want to dance. And that’s what we were after.

Rock And Blues International: Well, I’ll tell you, the drumming on here is just amazing. It really is. Three drummers together in rehearsal must really be a trip, trying to get everybody to figure out the different parts they can do without walking on each other.

PRS Eightlock (continued from previous page) Rock And Blues International: Oh, I’m going to tie up your time for quite a while to find out about this album.

Paul Reed Smith: Did you listen to it?

Rock And Blues International: I’ve been listening to it for the last few days. I really enjoy it. I like the diversity in it. I like that no two songs really sound alike to me. I love Mia Davis’s voice in it. I’ve never been exposed to your music before. I didn’t know what to expect, but I really enjoyed this.

Paul Reed Smith: That’s cool. Well, so turn on tape machine. Let’s go.

Rock And Blues International: I’m ready. I’m rolling right now.

Paul Reed Smith: That’s great.

Rock And Blues International: So is this your third album? I believe you did the “Paul Reed Smith” album in 2011 and “Time To Testify” in 2017 and now you’ve got the new album.

Paul Reed Smith: Yeah, yeah, I guess you could call it that. There were some Dragons records. There were some other records. Look, everything I’ve been involved in has gone ‘Tupperware’, not gold, not platinum, ‘Tupperware’. But these musicians have something to give and I finally was able to convince them to be themselves because when Dennis Chambers is playing in Steely Dan, or he’s playing in Santana, or he’s playing in Parliament Funkadelic or he’s playing in Scofield’s band or he’s playing in Mahavishnu Orchestra, he’s making the music for those people come alive. What I 20

Rock and Blues International

beg these musicians to do is make the music in their hearts and bones come alive. And I was so pleased to be able to get it out of them. Oh my god, what fun. But it’s, let’s just say these sessions are animated. And they’re opinionated. And people go at it. Nobody yelled at each other. But it was very strong artistic opinions in a kind of an amalgamation. So yeah, I would say it’s the third one, but I would call this the first one in a way.

Rock And Blues International: Okay, well, when I was looking at the credits on here, I’m looking through the names. I’m going, Oh my god, he’s got Dennis Chambers on here. That guy is just so phenomenal. It’s just amazing.

Paul Reed Smith: Yeah, he’s really something. He grew up with the Grainger brothers. They were in the same neighborhood. I come from the land of the drummer.

So they’re three drummers - Chuck Brown’s drummer, Whitney Houston’s drummer and Dennis and I’ll tell you what, watching them play was like watching fireworks go off.

Rock And Blues International: Well, yeah, you’ve taken this a little bit further. I mean, James Brown had two drummers, the Allman Brothers had two drummers, and you’ve gone one step further with three drummers. How do you fit everybody on stage?

Paul Reed Smith: So there was only one rehearsal, just that one. We got together and we had written, “Never Give Up On Livin” and I said, ‘what do you want to do?’

So we built a prototype at Maryland Hall. We rented this place with this big stage and we all got on it and we started playing a tune.

Instead of talking about it they just said, well let’s see what happens. They started hitting these bass drums and snare drums all at the same time. It felt like rockets going off in me and there was no mics on anything. It was almost painful because it was so powerful but I wouldn’t have traded it for anything. And then I said to Dennis, ‘what do you want to do?’ He says, “oh, let’s record it”, so we finished the tune. And I said again, ‘what do you want to do?’ ‘Let’s do another one. Let’s do another one.’ So the rehearsals were in the studio. After the first tune all the rehearsals were in the studio. Ju Ju, Chuck Brown’s drummer would come and do three different drum parts the night before and propose a part for everybody. And then they would go in the room and have at it about it. And then the rehearsals were in the room, in the recording room. So the first one had a rehearsal but the rest of them were recording sessions. And there was no real thing to do a record. It was only till about the eighth tune we said I guess we’re working on a record.

The rehearsals have been for gigs. So if we’re playing out, then we rehearse, but the for this record it was done in the studio.

Rock And Blues International: Just prior to recording, you went through the song maybe once and then hit the record button.

Paul Reed Smith: Maybe five, six times.

Paul Reed Smith: Well, that’s the easy part, stages are big enough. That’s not a problem. The problem is how do you get them to play and have it all locked together.

That’s why we named it Eightlock, because eight people have to lock together otherwise it’s a mess. But everybody has a different

• December 2023

Rock And Blues International: Yeah.

Paul Reed Smith: About half of those tunes, Dennis is in the middle. Once he had continued on next page

PRS Eightlock (continued from previous page) his part and they knew what the other parts were, then they could do it. It was electrifying. It was really cool to stand in the middle of it.

Rock And Blues International: I bet it was.

Paul Reed Smith: Yes. Somebody told me sounds like it was mixed by a drummer not a guitar player. I can understand that.

Rock And Blues International: Well it really does sound like a drummer’s album in a way. That percussion is just... well it’s extraordinary on here.

Paul Reed Smith: That’s cool. I’m glad you like it, we were pleased with it.

Rock And Blues International: You’re a co-writer on just about every song on here except the four covers that you did. So what is your role in writing the song?

Paul Reed Smith: Well, I like writing lyrics and I bring them to Mia. “Sarah” was the tune I’d written for my daughter. We’ve recorded it two or three times and we finally got the tune the way we wanted it. It’s a swinging tune, like a blues shuffle and Gary was the one that wanted to swing it. I brought him a straight tune. We’ve worked with the words for over a 15-year period and finally got that to where we wanted it, but I brought that tune to the band and then they messed with it. With “Never Give Up On Living”...

I’ll grab a guitar. I’ll show you what I did. I brought the tune to the band. (starts playing the song on guitar). It has these climbing lines like “Secret Agent Man”. “Secret” had all these climbing lines in it. I brought that to Mia and sang her the melody and then she and I did a demo of it. Then we took it to the band and the band had at it with it. I mean, they’re all that way. I had nothing to do with “Love And Happiness”. Michael Ault wrote “Man in the Moon”. “War” I had nothing to do with. “Phoenix In My Blood” my daughter and I wrote. “Driving At Night”, I brought that to the band. “Look At The Moon” is something I wrote for my wife when she wasn’t well. “Ay Doctor” is a Mana song. It’s the first time a Mana song has ever been sung in English. Fher, the singer of Mana had asked us to do it. “Echoes” was written for Mia. “He’s The One” is an old tune and “99”s an old tune that Elliot Moss wrote, so I would say about half of them I brought to the band and then they worked with them.

Rock And Blues International: Well tell me about “Never Give Up On Living”.

Tell me what was the inspiration behind that one.

because the record company wanted stuff that was a little more up and so “I’m Ready” was just, you know, a get in your face and tell you who we are tune.

Paul Reed Smith: Dennis was sick.

Dennis was sick and we wrote a tune for him to get better that said “Don’t Give Up On Living”. That was the experimental tune that we all got together, what I just played you on the guitar and the song was written for Dennis so that he would get better. His liver wasn’t well, so it’s a little play on words.

Don’t give up on your liver. But it was written because he was not well and we found words that meant something to all of us which is when things are really, really tough.

Don’t give up. I mean that’s the definition of being a human being in a way. Things are really difficult and something really bad happened and you don’t want to throw in the towel and you got to get up the next day and go back at it go back at it go back at it and we live by that creed.

Rock And Blues International: Okay, it looks like the song “Breathe” on here was first released on “Time To Testify” and you re-recorded it and put it on here and the original one was produced by Brent Mason.

He’s something else. You need to get him to switch to your guitars. He’s playing too many Telecasters.

Rock And Blues International: All right, well, I’d like to talk about a few more songs on here and get the inspiration behind those. “I’m Ready”, that looks like it’s....

Paul Reed Smith: “I’m Ready”. “I’m Ready” is about somebody messing with Mia and if he keeps it up all hell’s going to come down on him. You know, I’m going to reveal to you who I really am and look out buddy. It was about her standing up for herself, about her in a relationship standing up for herself and you know, “I’m ready and if you don’t watch it, your world is going to come crashing down on your head.” And what she’s gonna get in the bridge,”I’m gonna get me, I’m gonna get freedom from the pain”. It’s about a bad relationship in which somebody finally stands up for themselves. That’s what it’s about and I wrote it for her and I like it. It was added to the record very, very late

Paul Reed Smith: Brent played with us for a little while and to have him in the studio to work on “Breathe” was beautiful. We still do the arrangement that he came up with. He changed the chorus around which we still do, but we never thought we did justice to the tune and so we went back at it on this record.

I like “I Can’t Breathe”. It’s Gary, the bass player’s favorite tune. It’s okay to go back at a tune if you think you can make an improvement in it. We’ve recorded “He’s The One” as the tune was called “She’s The One” 15 years ago so it’s okay. It’s on an old Dragons record. It was new for us, but “Breathe”, “Breathe” has been with us a long time. We play it at every show and we wanted to take another shot at it with the three drummers. I thought it worked really well. It’s got a real kind of ‘never heard a band like that in my life’ kind of vibe to it to me. I mean, it’s kind of a different feel. Have you ever heard it feel like that?

Rock And Blues International: No, not really.

Paul Reed Smith: Well that’s why we liked it. So we were pleased with it. Gary was really pleased with it. continued on next page

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spent about a half an hour on the phone was Sarah, interviewing her about what’s the tune really about? Mia’s point to Sarah was if I’m going to sing your words, I want to know where they came from. I want to know what you think of them. I want to know how you feel about them. And they spent a lot of time on the phone and Sarah thinks that Mia actually captured what she was thinking.

Rock And Blues International: Well, collaboration is a wonderful thing. You have trouble with one word, the other person can come up with it 90% of the time.

Paul Reed Smith: That’s true. And what we say to Mia is what would Mia say. I need more Mia. Give me more Mia. What would Mia say?

Rock And Blues International: How about “Driving At Night”?

Where were you driving at night?

Paul Reed Smith: Have you ever been on an old country road that’s covered with trees and you turn the lights out with a full moon and drive with the lights out, which is dangerous as shit. But have you ever done it?

Rock And Blues International: When I was a kid? It’s a little bit harder nowadays. But yeah, when I was a kid around here.

Paul Reed Smith

PRS Eightlock

Paul Reed Smith: Well that tune is about... that’s how they started and then they decide not to do it and then just to remind themselves once in a while about where they came from, they go do it.

It really is about fighting for a good life with kids and in a relationship and they just needed a way to remind themselves of where they came from, what started the relationship. I always ask when I meet a couple, who tackled who and they always have a story about how it started.

This is about a relationship and driving at night was how this one started and they just go out to remind themselves at night once in a continued on next page

(continued from previous page) Rock And Blues International: Was Mia the original singer on that.

Paul Reed Smith: The original singer on “Breathe” Was Mia. Rock And Blues International: Okay.

Paul Reed Smith: On Time To Testify it was Mia, but she’s grown a lot. She’s come a long way. She was in the Gospel Choir at three, she was a full time member at six and she was not in this kind of R&B rock genre until so she joined our band, and she is getting better and better and better.

Rock And Blues International: On “Phoenix In My Blood”, that’s written by your daughter and you?

Paul Reed Smith: Yeah, it was. The words written by my daughter and I wrote the tune, and then Mia rewrote it.

Rock And Blues International: What was it like working with your daughter on a song? Was this the first one or have there been previous songs?

Paul Reed Smith: There have been a few previous ones. Sarah is a good writer. She’s always been a good writer. It was a poem about ‘she had Phoenix in her blood, no matter what she tried to do’. This thing kept coming back alive in her and she tried to keep trying to kill it. One of the lines is “If I had a gun, I would shoot you”. She was trying to kill a feeling and I thought the words were beautiful. And then something magic happened when we decided to record it. Mia 22

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Mia Samone Davis

PRS Eightlock (continued from previous page) while with a top down in a convertible, which is why people buy convertibles. They don’t buy them to drive around in the winter. You buy them to drive around in the summer at night, right. So it was more of a fun song having to do with relationships.

Rock And Blues International: Okay, are you a moon person?

The next song’s “Look At The Moon, so does the moon inspire you?

Paul Reed Smith: No, but my wife was very sick. We went to St. Thomas to have a week off before she was going to go in for surgery and she looked up at the moon and she goes, ‘look at the moon. Every time I see it, I feel blessed’. I had a pad of paper out so fast. I was writing every word that she said down. She didn’t really write the song. It all came out of her mouth. So for me, I wanted the song to sing to her when she got out of the hospital on the side of the bed. That’s what the tune was originally written for. Then Chuck Brown fell in love with it, the Godfather of go-go and he came to Ricky Skaggs’ studio in Nashville and sang it. 15 years later we decided to re-record it and we called Ricky Skaggs’ head of the studio.

We said, can we get Chuck’s files from the tune? And he said, I think so and he went back and he found them and gave them to us and we were able to take his vocal and put it on the new version. But Chuck loves the tune and you know, tunes come once in a while and “Look At The Moon” was once again written because someone wasn’t well. I don’t really cry a lot of tears of pain, but the way I get it out was I get out a pad of paper as fast as I can. I don’t know any other way to do it.

I’m much more of a well up, happy guy, but when something bad happens, I’m writing. So that’s what happened. She wasn’t well and all those quotes in that tune are all from her.

Rock And Blues International: Well, is Page Winter, your wife?

Ju Ju House Rock And Blues International: okay. I was just wondering who the other names were on here.... And Sergio Vallin?

Paul Reed Smith: She is.

Paul Reed Smith: Vallin is the guitar player in a band called Mana. They are the Latin Beatles. They play five nights that are sold out at Madison Square Garden, four nights at the Staples Center.

They’re one of the largest audience touring bands in the world. They sing only in Spanish. And Sergio, I met him from that band and he came to that original “Look At The Moon” session and changed all the chords. That’s why his name’s on it, because he made it more harmonically rich.

Rock And Blues International: I’ve seen Mana several times over the years and they’re phenomenal. I will tell you, I think the production of Latin concerts far exceeds what I see in normal rock bands now.

Paul Reed Smith: Really, I can tell you that Mana, they’re extraordinary. I’ve seen three people do what Springsteen does. And Fher, the singer of Mana is capable of doing what Springsteen does, unbelievable.

Rock And Blues International: Tell me about the song “Echoes”.

Paul Reed Smith: “Echoes” was written because of the echo of slavery, that I hear amongst the musicians that I play with. It’s the first line that I hear “echoes, echoes of a black crow”. It really was echoes of Jim Crow. It all started with watching some of the musicians in my band not be able to get a cab in New York. They wouldn’t stop for them. It was just another echo of that whole situation. “Echoes” was written in the echo of all this stuff with George Floyd and all the stuff continued on next page December 2023 • Rock and Blues International

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world and it doesn’t matter who you’re into. I like that. I don’t care.

But for Mia, it’s all about guys.

Rock And Blues International: Well, when you’re performing, you must pull a couple of old songs out that you had sang on so do you sing lead occasionally, or are you resigned to doing backup?

Paul Reed Smith: I’m not singing at all.

Rock And Blues International: Really.

Paul Reed Smith: Gave it up completely. I’m a much better guitar player than I’m a singer and Mia has got that side of things handled beautifully. I mean, your first comment was how much you liked her voice. I think she’s got her own thing and a little bit of a Tina Turner thing in her. She’s really something. I like Mia’s voice. As Dennis said, ‘I have complete confidence in Mia’. So no, I don’t sing anymore. The only time I do sing is I’ll mumble the tune to it, so if I have a melody I’ll mumble. I call it ‘Mumbles McGee’. I just mumble the tune to it. I don’t sing. The one place I do sing. I sing really loud happy birthdays to people.

Rock And Blues International: All right, On “Look At The Moon”, there’s a male singing. Who is that?

Paul Reed Smith: Sugar Bear, the singer in E.U., the guy that did doing “Da Butt”, the most famous singer in D.C. came out to the session.

Rock And Blues International: Wow, that’s cool.

Greg Grainger

PRS Eightlock (continued from previous page)

Paul Reed Smith: He’s a go-go singer. He’s very famous. He’s probably the most famous musician in D.C. right now. His name is Sugar Bear. Have you ever heard a tune called doing “Da Butt” which is a go-go tune, a very famous tune? He’s the one that sang it. He’s the continued on next page

having to do with Black Lives Matter and all that was going on.

There was a tremendous amount of discussion about the echo of World War Two and the echo of the Syrian war. The Israeli thing had started yet. The Ukraine war had just started. All these echoes of the past were being discussed amongst the band members constantly, so I wrote a poem about it. And the poem is ‘the echo we need to follow is the echo that’s been in the past, not the anchor of all this pain’. That’s what the tune’s about. We adore the tune. We love playing it. It’s probably our favorite tune in terms of just a straight message, but it’s kind of hidden what it is. I mean, all families have echoes of what happened in the past. I just got back from Day Of The Dead in Huaca, Mexico. That’s all about echoes. Oh my god.

Rock And Blues International: Okay, you said “He’s The One” used to be “She’s The One”, so what caused the name change? I’m sure some of the lyrics had changed in that too. So why the evolution of that song?

Paul Reed Smith: Because I used to sing the tune and I’m male.

She sings the tune now. She’s female. So I would say “she’s the one for me” and Mia would sing “He’s the one for me”. So it was a simple transition of a male singer to a female singer.

Rock And Blues International: Okay.

Paul Reed Smith: I heard somebody sing once so much better than myself, I gave up that day. I knew I would never be able to be that level of singer. And when we found Mia, I haven’t sung in the band since. I used to sing a long time ago. I enjoyed singing when I did but it just didn’t make any sense for her to sing “He’s the one” when she’s, she’s into guys. At this point, with the way it is in the 24

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Gary Grainger

PRS Eightlock (continued from previous page) most famous singer in D.C. right now and he came out to the session.

Rock And Blues International: Are there any other guest artists on here that we should know about?

Paul Reed Smith: The slide guitar in “I’m Ready” is played by somebody named Gregg Erwin. He plays in a Kentucky band called Magnolia Boulevard. Let me see, I’m looking at the list here, it’s Gregg Erwin. Sugar Bear Elliot did vocals, it’s on the record and Gregg Erwin plays slide guitar and Chuck Brown sang on “Look At The Moon”. It’s the only posthumous track I know that Chuck has done in the last 10 years. But yeah, Gregg was helping us with our house and he kind of says to me, “I want to play slide on one of your tunes”. I got a call from Bill Nelson, who plays in the band. He runs Johns Hopkins Oncology and he goes ‘pull out your slide guitar, I’m ready. I went well, he’s standing outside and we went down and got him and he came in played on it. True story.

Rock And Blues International: You’ve got four cover songs on here. The Mana song “Ay Doctor”. What made you pick that and then translate it into English.

Paul Reed Smith: The singer in the Mana had heard that we had done an English version of “Ay Doctor” and he asked me the last time I saw him to please record “Ay Doctor” in English, so we did it for him. We had played with that band at The Forum in LA and the last thing he said to me was please record “Ay Doctor” in English, so we did it. The reason we did “Love And Happiness” is it’s the only song that I know of that nobody turns off. If “Love And Happiness” comes on nobody turns it off. The only song I know that’s never turned off. I thought that Al Green tune was very powerful for that reason. “War”, I called Dennis and I said, ‘Dennis, I want to re-record “War” and he

Bill Nelson goes, ‘we still do that, don’t we’. What he was saying was, as a society as a human race we still war, I said, ‘Yeah, we still do that’. He goes, ‘Okay, let’s do it’. That was the end of the conversation it was over. And then “99” was a hit in Europe a couple of years ago, done by somebody named Elliot Moss. It was an electronic tune and I absolutely adored the song. It was getting a lot of airplay on CBS and a bunch of TV networks and I just thought it was a delicious tune and it was about our disdain for war. It was another way of us as musicians saying, ‘I thought we were gonna have outgrown this thing called War, but we haven’t and it was part of the fabric of this, this record.

Rock And Blues International: Yeah, it’s a shame. It always seems like there’s a war, terrible.

Paul Reed Smith: It’s terrible and painful for us, but what do we get to do as musicians, we get to say something about it.

Rock And Blues International: Right.

Paul Reed Smith: I mean, nobody’s gonna listen to me if I go on the nine o’clock News about why those war things are really bad.

It’s not gonna happen.

Rock And Blues International: When you look at this album and your previous albums, tell me what the evolution is like in your mind between? Well, just take Paul Reed Smith Band and Time To Testify and then you come to this album here, Lions Roaring In Quicksand, which I love the title. It came from a line out of the song “Breathe”.

Paul Reed Smith: Right, it did. Thank you for noticing that. I don’t know. I think the band has matured. I think the band has a sound continued on next page December 2023 • Rock and Blues International

Michael Ault

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adjustments. One time he called me and says ‘you got a performance problem’. I said ‘no, I don’t think so’. “No, you got a performance problem. We recorded the part. That’s it. It’s over. This discussion has ended fix it.’ I was like, whoa. Dennis Chambers has spoken. I love that. He was right.

Rock And Blues International: Well, he’s got such a pedigree to him. He’s played with some of the most outstanding bands in history.

Paul Reed Smith: He’s really a beautiful human being. I love it.

PRS Eightlock (continued from previous page) that’s new. It’s a combination of Baltimore Funk and D.C. go-go and New Orleans and a few other fields. I grew up on Bad Company and some of that stuff so you hear a little bit of that and Steely Dan in there. I don’t know. I think the band has matured. There’s a whole another record written, ready to go. Ready to record. We have another 12 tunes sitting there ready to go. But what do I think? I think the band has matured to the point where there’s an effort to get the world to hear this music. I think that these musicians who have been playing in other people’s bands their whole lives are finally to a point where maybe it’s time for them to be heard.

Rock And Blues International: Well, you’ve got an excellent ensemble here.

Paul Reed Smith: Thank you.

Rock And Blues International: These people just complement each other to the to the nth degree.

Paul Reed Smith: Well, we fought hard for it. Thank you very, very much. There’s a picture inside the cover. Do you have one of the CDs there?

Rock And Blues International: I don’t have a CD, I got the electronic stuff. I have a picture here of all eight of you standing together.

Paul Reed Smith: Yeah, so that’s right where the drums sit in the in the studio and there’s three drummers and a bass player and three guitar players in the center. It’s just good fun. It’s like rockets going off. Every

time I’m with this band and we start playing I go, ‘good band’. It’s fun to play and we’re good with large crowds. I enjoy watching Mia go after a big crowd of people with a mic in her hand and she’s good at it.

Rock And Blues International: Yeah.

Well, my first Paul Reed Smith experience was actually October 12, 1988 and I got a call that Bart from Rockin’ Robin Guitars And Music had gotten a guitar in that he wanted me to come and take a look at. He told me it was a prototype of the Paul Reed Smith bolt on neck. It was a white guitar and I got it from him. That night, I took it to the Music Hall to see Carlos Santana, and I was backstage there. I showed it to Carlos and he’s like, Oh, this is great. He looks at me and he goes, Kevin, can I play your guitar? Oh, what the hell do you say when Carlos Santana asks if he can play your guitar?

Paul Reed Smith: You say yes.

Rock And Blues International: So what’s more fun for you, building guitars or playing the guitars?

Paul Reed Smith: I enjoy playing them more than making them, but that’s a tough call. That’s not fair in a way because the guitar making has given me an ability to have these musicians all in the same room. It’s given me a bully pulpit you know. I adore making guitars. I’ve gotten good at it finally in my 60s. Most guitar makers don’t get good until they’re older. It’s the same thing with violinmakers. Musicians normally peak much earlier whether it be James Taylor or whoever it is but this band is just coming to be now. I got to give Gary and Greg Grainger a huge amount of credit for this. They never gave up.

They kept pushing me and pushing me and pushing me saying ‘there’s a record in this Paul, one day there’s a record, you got to release it one day.’ They just wouldn’t stop.

Then Mia must have come down to the house, I don’t know, 30 times to do the backup vocals and work on this record, maybe 40 times, to work on the demos and all the other stuff. You don’t go to this level of musicianship with just some scrap of an idea tune. You have to walk in with a fairly well thought through demo for even them to get their attention. Dennis is.... do you know how he teaches? He sits in the back with a cup of coffee and watches after his brew. He doesn’t say a lot, but oh, he’s watching, making sure, and when it’s time to adjust, he makes

26 2023 26 Rock Rockand andBlues BluesInternational International • • December August 2023

Rock And Blues International: Absolutely. So he played the guitar for like 20 or 30 minutes. I loved it. He called Michael Shrieve in the room, and he goes, ‘Michael look, it’s the same color as your drum kit’ and then he autographed it for me and it’s never been played again. And you’ve seen the guitar.

Paul Reed Smith: How? Rock And Blues International: Guitar show in Dallas back in late 80s, early 90s. I had a display that I would bring full of autographed guitars and it was the centerpiece of it. It was mounted in a little case there and we even had a picture of you standing next to it. One of the guys that worked for me took it.

Paul Reed Smith: That’s cool. I loved going to that show. Eric Johnson and I used to go around the show the night before and look at all the booths when nobody knew we were looking to see what was coming the next day.

It was so much fun to be able to look very quietly without a whole lot of hoopla or sales about what was coming up for sale the next day. We made a lot of decisions those nights.

Rock And Blues International: Well, you build an excellent guitar. I have one more continued on next page

PRS Eightlock (continued from previous page) Paul Reed Smith guitar and it’s the Z06. I always wanted a Corvette and now I’ve got one. And I’ve had it for a number of years.

It’s a blue one.

Paul Reed Smith: That was a very interesting event that Corvette let us do that.

That was amazing. They shouldn’t have let a guitar company put those that stuff on the guitars but they did. Jack, who was the president of the company at that time made that whole thing happen. I had nothing to do with it. He goes watch this Paul and he pulls it off beautifully.

Rock And Blues International: Well, it’s such a smooth playing guitar.

Paul Reed Smith: That’s cool. You live in Houston. Houston is a Marshall town.

Houston is a rock town. Houston has got some music in it.

Rock And Blues International: Oh, yeah. Well, we were one of the hubs for blues back in the 50s.

talking about. I bought one of his boxes, the things that he was using, and I plugged it in. I started cracking up, sounded just like him.

Rock And Blues International: Well some of them, that’s the way they get their sound. It’s just out of certain effects. I’ve seen some of these people with 20 pedals on stage, and it’s like, oh my God, how do you even keep up with that?

three bass players and one drummer. That was backwards.

Rock And Blues International: Right, right. Yeah, “Machine Gun”. That was that was on the Paul Reed Smith Band album that you did.

Paul Reed Smith: Yeah that’s correct.

Yes, sir.

Paul Reed Smith: No question. No question.

Paul Reed Smith: I think 20 pedals ruins the tone of the guitar, but that’s just me.

Hendrix had, what, four or five pedals on the floor.

Rock And Blues International: Well, what haven’t I talked about that I should have that I’m just missing the total point of right now, we got off the subject with the guitars.

Rock And Blues International: Yeah, it’s a Marshall town. I’ve still got an old Marshall. I’ve got an old ’74 head and a more modern box and I can’t even carry ‘em anymore.

Rock And Blues International: Yeah, he had the Octavia and the Univibe and the wah wah.

Paul Reed Smith: For me, if they listened to it, we just released our single and they can listen to it on Spotify, and like us, friend us, it’d be great. Look, I don’t know, I’m new to this game. What I what I’m good at is getting these musicians in a room and getting them to produce music like this, that part I got. This whole thing that you and I are doing now about letting the world know about it, that’s new to me and I hope it goes well. I can tell you that I’m adoring how much attention this record is getting. It’s getting a lot of attention. We have interviews almost every day and people are pleased with the caliber of musicianship and they’re not feeling burdened by having to talk about the record because they liked it.

Paul Reed Smith: And The Fuzzface.

Paul Reed Smith: Yeah, well, I have six herniated discs in my back and carry Marshalls around.

Rock And Blues International: Yeah.

So what’s your favorite setup when you go and perform.

Paul Reed Smith: I have an amp that I made in a cabinet I made and a guitar that I made and I plug the guitar straight in the amp without a pedal. All that stuff is without a pedal that you’re hearing on the record. That stuff was just plugged straight into amps.

Rock And Blues International: That works wonderful. That’s the way a true musician can play. You get the sound out of your fingers.

Paul Reed Smith: Yeah. I saw a video of the guitar player of Pink Floyd saying without a stomp box, he couldn’t get his tone and I didn’t really understand what he was

Rock And Blues International: Yeah that was about it.

Paul Reed Smith: Well, guess what. It sounded good. I would have loved to play through his rig at Woodstock. That tone he got on the Star Spangled Banner. I thought it sounded unbelievable.

Rock And Blues International: Well, it’s still all in the fingers. He could do things on the guitar that nobody else has been able to do since or I don’t think they’ve been able to. It’s really hard to duplicate that sound.

You can come close to it, but without Hendrix’s fingers, it’s just doesn’t work.

Paul Reed Smith: I agree. We got a chance to re-record “Machine Gun” and you can watch the video online. It took me a year to figure out what he was doing. I spent a year studying that tune. Finally, I think we did it justice, but it was really hard. That was

Rock And Blues International: Well, when Mark Pucci contacted me about this, I just jumped at the chance. This was just great.

Not only do I get to talk to somebody about an album, I get to talk to them about the guitars they made that I have, which, that’s kind of a bonus there. I haven’t ever experienced that. I’ve never experienced that before. I’ve never talked to a guitar builder that’s put together an album. continued on next page

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Paul Reed Smith: Yeah, we added a lot of bass. Gary played well. It didn’t hurt. The bass drums played well. That doesn’t hurt.

You turn it up, and it sounds good, then leave it up. If it doesn’t sound good, turn it down. So well, I think you’ve covered it really well, and I feel very appreciative. Mia is going to be appreciative. All of us are going to appreciate that you did this. Thank you.

Rock And Blues International: Well, it’s been a pleasure, but I’m not finished yet.

Paul Reed Smith: I’m yours, go.

Rock And Blues International: I’d like to hear about the individual musicians that you have on here as well. You’ve picked them for a specific reason. You’ve worked with them for quite a while.

I’d like to know what each of them all bring to the table and how you think they’ve affected this album.

PRS Eightlock (continued from previous page) Paul Reed Smith: Really well, we did it. And the one thing I enjoyed. I didn’t understand how I got in the middle of these musicians, but once I got there, I certainly knew how to push hard. One of the things I don’t think is obvious about this whole thing is that the musicians were deeply involved in the mixes and the masters, not that they were moving sliders, but they had approval over it. At one point they told me that mixes weren’t good enough and I hired a guy named Brent King. He was Ricky Skaggs’ recording engineer. And Brent came and flew here and fixed all the mixes. Watching him mix was extraordinary. I’ve never had a chance to sit in the room with Clearmountain and some of these other great people that mixed, but I had been the guy that did the Spin Doctors records, Peter Denenberg.

Then I got to watch Brent King mix and it was extraordinary to watch, just extraordinary. Once we had his straightening out of the tunes we were able to get them mixed and mastered well. The thing I like about it is that it was recorded, mixed and mastered all at my place and the recording studio matured into a place that world class records could be done at instead of it being an attempt at it. I actually think the record sounds good sonically. Did you enjoy how much bass we put on it?

Rock And Blues International: Oh, yeah, it’s got a good, good, healthy bass tone to it.

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Paul Reed Smith: All right, so let’s start with the guitar players.

Michael Ault in my opinion is the best guitar player on the Virginia side of D.C. He’s a great guitar player. He’s the guy that played the solo that’s double time in the middle of “Driving At Night”. He did a lot of the solos on the record and played a lot of the rhythms. He also wrote “Man On The Moon”. That’s all Michael, so we’re lucky to have him. I’ve been playing with Michael for a really long time. The other guitar player is Bill Nelson. Bill’s the one singing with Mia live and playing all the spicy airy-fairy stuff, guitarwise the ethereal stuff, doing a really good job. The third guitar player is myself, which I love playing guitar. I don’t know. It’s a good thing for me. Then you’ve got the bass player Gary Grainger and Gary played with Dennis Chambers in John Scofield’s band for a long time. He’s toured with piles of people. He goes out with Dennis from time to time. He goes out with Acoustic Alchemy with his brother. He’s a touring musician. These musicians that are really, really something literally work all the time.

Gary’s on tour all the time. The Grainger brothers with his brother Greg are considered one of the best rhythm sections in the world and they have what they call blood rhythm. In the singing world like the Everly Brothers, they had something called Blood Harmony. They grew up singing together. And in the Grainger’s world they grew up learning how to play in their basement learning rhythm together and literally Gary said, ‘Well, come on little brother. Come on downstairs, we got to play’. They all learned how to play that way. The next drummer would be Ju Ju House. Ju Ju was in a band called Chuck Brown. If you listen to Janet Jackson’s Slave To The Rhythm, that’s Ju Ju House. He’s played in.... Oh god, Roberta Flack’s band, he’s been in Chuck’s band, he’s been in E.U., played in Chaka Khan’s band and he’s been around and he knows what he’s doing. And then you got Dennis, who we talked about at length and is considered maybe the greatest drummer on the planet. Then there’s Mia, the newbie, and she can sing. I like Mia. I think Mia has got a really beautiful voice. The more space you give her the better she sings. Sometimes you need a crowded band to put the vocals on top. The more space we give her, the better she sounds what’s why she’s so loud on the record. It sounds good by herself.

Rock And Blues International: Well, she’s definitely got that Gospel sound to her voice.

Paul Reed Smith: Yeah. Is that good or bad in a rock band?

Rock And Blues International: It’s great.

Paul Reed Smith: It’s different that’s for sure.

Rock And Blues International: Well, it’s great with your band.

It may not be good with Led Zeppelin, but with your band, it just continued on next page

PRS Eightlock (continued from previous page) blends everything together beautifully.

Paul Reed Smith: You know, Robert Plant could sing. People that have played with Robert Plant, even the Texas guitar player David Grissom said when he played with Robert he was stunned as his musical vocabulary, he knew every old blues tune ever written. He said he’s that guy was unbelievable. I think these singers would like Mia. I think they’d enjoy singing with her. She’s really got something.

I just adore the way she sings. All right, so that’s basically it. That’s all eight musicians, three drummers, a bass player, three guitar players and a singer. I know it’s a different combination, but it seems to work somehow. It’s everything wrong, done right.

Rock And Blues International: Everything wrong, done right.

That’s an interesting way of putting it.

Paul Reed Smith: I mean, we had the band Dumpstaphunk. We told them that there were three drummers, they said that’s never gonna work. And Dennis said, You’re right, but this one does.

Rock And Blues International: Amazing. When someone listens to this album, what do you want them to say? What would you like the first words to be out of their mouth when they hear the closing notes of the last song on the album.

Paul Reed Smith: I would like them to say that I listened to the whole thing and this is how I felt. Look, music is about creating a feeling, right? I don’t want to tell them how to feel, but please give it a chance and listen to the whole thing and then have a feeling. That would be great by me. But the end of that tune, some of “99,” which is the end of the record sounds like Queen to me. It’s got all these layered guitars in it, which Brian May was brilliant at. I don’t know, what would I want them to say. I would love them to say that they listened to the whole thing. I listened to the whole thing because most of these are turned off in the first 15 or 20 seconds and thrown in the trashcan. If somebody actually gets through the whole thing I’ve done my job.

Rock And Blues International: Well, I actually listened to the whole thing several times. There were a lot of great moments on there for me. There was one song in particular, “Driving All Night”. A lead kicks in on there and all of a sudden there’s a tempo change in the song that speeds everything up and then after that lead goes out, it goes back into the same pattern that it was doing before. Who was doing that lead?

Paul Reed Smith: Michael Ault. Sounds like Steely Dan, in a way, didn’t it?

Rock And Blues International: Yeah, it did. It was just amazing.

Some of the time changes on a couple of these songs. I love the variety here. Some of these albums come out and it’s the same beat to the entire song. The first verse sounds just like the last verse, or the last verse sounds just like the first verse. I don’t experience that at all with this album.

Paul Reed Smith: Yeah, we worked really hard to give it variety. But we also wanted it to sound like one record, not like a mish mash. I think it accomplishes that too. But look, every song was supposed to have a message. Every song was supposed to be heartfelt.

If it wasn’t heartfelt, we were flexing with each other. I’m pleased with the way it turned out. It’s very sweet what you just said. My exact words to the record company, to Steele Records, to Brett when I got it, I said, Brett, ‘I think this is a good record’. And he goes ‘I think

it’s a good record too. I’ll release it’. And that was the end of that conversation. We didn’t have to negotiate anything he just said, ‘I’ve been listening to it. It’s a good record. I’ll release it’. So that’s cool. I don’t know. Look, this is new to me. What’s not new to me, is getting these musicians in the same room and playing gigs. That’s not new to me but I happen to live in the land where these people live and God bless it that I live in the land of the drummers. You know, the Winan’s drummer came from here. Dennis came from here. Greg came from here. Chuck Brown came from here, Parliament Funkadelic came from here. We had a hell of a blues scene and a hell of a go-go scene, a hell of a funk scene, hell of a top 40 scene, and a rock scene. All these bands are playing in downtown Baltimore, in D.C., and the remnants of it... your looking at the last one standing in a way.

Rock And Blues International: Do you find a little added pressure on yourself by surrounding yourself with such wonderful musicians?

Paul Reed Smith: No, although I feel honored to be in the room with them and I’ll say often I don’t know how I got in the middle of it but if I’m going to be in the middle of it, this is what we’re going to do. The pressure is when you have to play your part and everybody’s standing around seeing if you’re gonna do all right. That’s the pressure. The pressure is not on my position in the band. The pressure’s when it’s time for me to play the guitar part and they’re sitting four feet from me going, ‘we’ll see how you do’. Don’t think Dennis doesn’t feel pressure while standing there watching me, trying to get his part right or Mia is singing. You know, there are videos online of her singing and she feels it. We’re all watching to see how she’s gonna do. That’s the pressure. The pressure is in the studio when it’s your turn to play. That’s the pressure. It’s like a swimmer. It’s time to jump in the water and race. The gun goes off and you got to swim and everybody’s screaming.

Rock And Blues International: Well, I want to thank you for your time. I probably kept you on the phone longer than you expected.

Paul Reed Smith: You’re so welcome and so appreciated. You got to remember, this band sees this as a gift from God and that we get to release this musical life, so thank you for your time. I appreciate it.

Rock And Blues International: Oh, my pleasure. And I hope to meet you sometime.

Paul Reed Smith: Right, I’m here anytime.

Rock And Blues International: Okay, I will. Thank you so much. You have a great evening or a great afternoon and if you think anything else you want to tell me you got my number. Just give me a call.

Paul Reed Smith: All right. Thank you. Bye bye.

Wow, it was great talking to master guitar builder Paul Reed Smith about his new band PRS Eightlock. As I said in the beginning, the album is fantastic and much more greater than what I expected when I heard about it’s release. It’s also great to see how committed Paul is to this band. He’s really assembled a fantastic group of musicians and I hope that we hear a lot more from them in the future.

As he said, they’ve got another album ready to go and I just can’t wait to hear that. I’d like to thank Paul Reed Smith for giving us his time to tell us about this new project and I would like to encourage everybody reading this to try to get their hands on one of this album and listen to it. You simply have to hear this band and Mia’s voice will simply captivate you. It would be well worth your time to do so.

Thanks so much Paul for your time and I’d like to wish you much success with this group and this album. I’d like to see PRS Eightlock continue on for a long time.

December 2023 • Rock and Blues International 29

Maiiah & the Angels of Libra, a Slavic soul sister in Hamburg

By Edoardo Fassio The gaze cast by singer Maiiah on rhythm and blues of yesteryear is totally European. She has strong roots in the Balkans, grew up in Düsseldorf, Germany, the city that until a few years ago was home to the famous Unique Club, a former striptease club transformed into a temple of the mod subculture, and the dynamic label of the same name, and now lives in Altona, a district of Hamburg.

Having long been infatuated with true soul music, she discovered she shared the same passion with guitarist and producer Dennis Rux, whom she met during the pandemic. The two begin to collaborate with the Angels of Libra, the variablegeometry small orchestra recently assembled by Rux. The project was born as a soul revue, had a fondness for the movie scores of the Sixties, from Ennio Morricone on down, and for analogue recording techniques.

After a handful of singles and a feature on the album recorded by the group with Irish singersongwriter Nathan Johnston, the Croatian performer’s debut, simply entitled Maiiah & the Angels of Libra, is now out on Waterfall Records. The outcome is entirely credible, and not just because of the claimed fidelity to the aesthetics of an era that survives only in one’s imagination. Of course, the guys know their basics: matching genuine and realistic lyrics with dancefloor purposes, they keep the let-your-hairdown crowd in mind. But they do not stay slaves to that.

The sensual opening, with “Can’t Get Over Loving You” and the dancing “Obey,” make you guess the spirit of the work: combining a thoughtful revivalism with the powerful, magnetic voice of the soloist.

Who gives life to small gems that seem to be taken from the deepest “black” popular songbook; the only cover is a brave reprise of Barbara Lynn’s “I’m A Good Woman”, which has become obligatory in her live shows.

Yet Maiiah does not try to imitate the African-American accent of her models, but freely lets her background shine through. Not only socially - the autobiographical “No No No (I’m So Broke)” actively complains about low wages and exploitative working conditions - but also geographically speaking. Thus, was born “I Wanna Go”, a Mediterranian blues with a touching nostalgia for her native country.

And above all the splendid “Kava”, which swings somewhere between boogaloo and afro-beat, performed in Croatian and a possible international standard of the near future. The lyrics hint to the Balkan way to conceive the word, which literally means “coffee”, by extending its meaning to the need of taking a break from the miseries of everyday life. “Have a glass of wine,” goes the Slavic soul sister, “stare at the sea, recognize the world around you. Oh, and don’t forget to dance!”

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Maiiah & the Angels of Libra, una soul sister slava ad Amburgo

By Edoardo Fassio È tutto europeo lo sguardo sul rhythm and blues dell’altro ieri gettato dalla cantante Maiiah. Ha salde radici nei Balcani, è cresciuta in Germania, a Düsseldorf, la città che fino a pochi anni fa ospitava il celebre Unique Club, l’ex locale di spogliarello divenuto tempio della subcultura mod, e la dinamica etichetta dallo stesso nome, e ora risiede ad Altona, un distretto di Amburgo.

Da tempo infatuata del soul più verace, scoprì di avere le stesse inclinazioni artistiche del chitarrista e produttore Dennis Rux, conosciuto durante la pandemia. I due iniziano a collaborare con gli Angels of Libra, l’orchestrina a geometria variabile da poco costituita da Rux. Il progetto era nato come una soul revue ma aveva anche simpatia per le colonne sonore degli anni Sessanta, da Ennio Morricone in giù, e per le tecniche di registrazione analogiche.

Dopo una manciata di singoli e la partecipazione all’album inciso dal complesso con il cantautore irlandese Nathan Johnston, è uscito per la Waterfall Records l’esordio della performer croata, intitolato semplicemente Maiiah & the Angels of Libra. Il risultato è totalmente credibile, e non tanto per la pretesa fedeltà all’estetica di un’era che sopravvive solo nell’immaginazione. Certo, i protagonisti hanno ben presente i fondamentali: abbinare testi genuini e realistici con l’idea della pista e di un pubblico ansioso di scatenarsi. Ma non ne restano schiavi.

La sensuale apertura, con “Can’t Get Over Loving You” e la danzante “Obey”, fanno indovinare lo spirito del lavoro: combinare un coscienzioso revival con la potente, magnetica voce della solista. La quale dà vita a piccole gemme che sembrano estratte dal profondo canzoniere popolare “black”; l’unica cover è una coraggiosa ripresa di “I’m A Good Woman” di Barbara Lynn, diventata obbligatoria nei suoi concerti.

Eppure Maiiah non si sogna di imitare l’accento afroamericano delle possibili modelle, ma lascia trasparire liberamente le sue origini. Non solo sociali - l’incalzante autobiografica “No No No (I’m So Broke)” lamenta con forza bassi salari e condizioni di sfruttamento - ma pure geografiche. Così nasce “I Wanna Go”, un blues moresco dalla commossa nostalgia per il paese natio.

E soprattutto la splendida “Kava”, eseguita in croato e possibile standard internazionale del prossimo futuro, tra boogaloo e afro-beat. Il testo allude all’abitudine balcanica di estendere il significato della parola, che letteralmente significa “caffè”, alla necessità di prendersi una pausa dalle ansie della vita quotidiana.

“Fatevi un bicchiere”, dice la soul sister slava. “Contemplate il mare, riconciliatevi col mondo. Ah, e non dimenticate di ballare”!

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Rock Rock and and Blues Blues International International •• November April 2023 2023

August 2023 • Rock and Blues International 29 December 2023 • Rock and Blues International 33

John

Chart Busting Songwriter/Artist Chris Gardner Literally tens of thousands of radio listeners hear a Chris Gardner release and immediately relate to the lyrics of what the man is presenting within his song. That’s not too surprising as Chris’s writing style breathes life into multiple unspoken personal situations, those experiences that just about every adult has gone through or perhaps may be going through right at the exact moment they hear the song. Chris draws from within exposing intimate snapshots of personal life, memories frozen in time that range from the exhilaration of falling in love to the almost unbelievable, unspoken loss of a child. Across the board on all types of topics the man has been there, experienced it first hand and now he’s sharing them with the world. Interestingly enough Chris’s original instinct was not to sing but to pen songs with the hope that a major artist would choose one and that would open the door. Little did he know that reaching those stars would be more difficult than he could have ever imagined. So he came up with an idea; he would surround himself with quality musicians, hire the best record producer going and he himself would be the vocalist.

All of this in hopes of scoring radio spins just so a major recording artist might like one of his songs and want to record it. Little did he know that fate would step in and his record releases would zoom up the charts. Chris’s 2019 release “One True Love” zoomed to number one on Indie World’s Country Record Report but success as an artist for Chris did not end there. His release would go on to chart on Roots Music Reports for twenty six weeks in a row.

It was a steady increase in chart positions with three songs moving up fast. This is when international publications such as Top40-Charts Magazine would run glowing remarks about the success of this aspiring artist. That was not the plan but what a nice surprise and it didn’t end. In the summer of 2020 Chris would submit his new album “Second Helpings” to radio. At this time Chris had begun to work with legendary radio promoter Bill Wence out of Nashville. Once again another new album was making its way up the RMR charts. It was about this time that Chris decided to produce two new music videos and both were gaining views at a very nice pace on You Tube. Movie Debuts Magazine noted the movement and brought continued on next page 34

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Page 2 - Penning From Personal Experiences, Delivering From The Heart

Chart Busting Songwriter/Artist Chris Gardner even more attention to Chris. However, this time it was not only Chris’s story telling ability that brought the videos to life but he also went a step further and brought a live audience into Wire Road Studios as he and the band recorded the new album.

He would team with vocalist, sax player Evelyn Rubio on one of the songs and then contracted with Relaxing Blues Productions to craft it into a story telling video for You Tube.

This was not the first time Chris would team with a vocalist. Prior to “Miracles” Chris teamed with the late, great Sarah Dash of R&B fame.

Most recently Chris partnered with vocalist Kelley Peters who is currently starring in the stage production of “Patsy Cline”. Between both the audio chart positions and the new music videos Chris’s international visibility was increasing fast and that would lead to both a radio show interview on Tom Tranchilla’s Songwriter’s Studio on KPFT Radio and then a trip to Chicago to be the musical guest on the region’s noted music talk show “In A Nutshell”. To think that it all started with his Mom and then his Uncle which ultimately led to being in the bands in Buffalo New York which would prepare him for participating in future radio contests with his original songs in Dallas Texas is in fact the American dream. The various components that make up this musical mosaic could not have been created if it were not for the those that came into Chris’s life along this journey into musical success. continued on next page

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Page 3 - Penning From Personal Experiences, Delivering From The Heart

Chart Busting Songwriter/Artist Chris Gardner After all Chris was an Air Force brat with Dad being stationed on various bases around the U.S. so for seven years he was with Mom and Dad as they moved around. Mom poured genuine heart felt love on Chris and Dad while doting on his son none the less was a firm believer in discipline. By the time Chris’s formative years in high school rolled around he had already been writing songs since 8th grade and so being in a rock band sounded great to him. He had always admired the Beatles and Pink Floyd starting back when he was twelve so a chance to hang with the guys and maybe present some of his original songs sounded great to him. It’s all history now and today Chris builds off of his previous experiences and works to augment his sound. As good as he is he continually works on both his songwriting skills and vocal presentation. You can feel the forward trend of his music if you listen to his releases in historical order. Chris shares, “The albums that I would like folks to listen to first would be “Second Helpings” and then “Love Thing”. Across the board if someone were to track the musical journey I am fortunate to be on they can experience the new ideas, tempos, and compositions over all. “Love Thing” is definitely my favorite album and the song “Elle” because it is so personal to me although I will say that it was the hardest to write and record but in the end the most satisfying because it has the potential to reach those that have gone through it too. My songs are drawn from personal experiences. Some of the facts are cloaked but the main theme remains intact for the most part. I write about situations I remember, touching in some way. I want to share songs that may hit home with others so they might take comfort in knowing they are not alone, that they are not the only ones. Creating and delivering quality music is not done in a vacuum, it takes a team. In band practice sessions I am fortunate to work with such gifted professionals that I can encourage various ideas as they can add what I call color behind the original story line. Personally, I am more of a story teller, a song writer, more so than a musician but these people on the other hand are over the top.” www.chrisgardnermusic.com 36 Rock and Blues International • December 2023

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The Blues Foundation Announces New Board Of Directors & Officers 38

Rock and Blues International • December 2022

The Blues Foundation

The Blues Foundation has announced the elections of a new Board of Directors and officers. Scott Fitzke, whose tenure as Chairman of the Board is ending due to term limits, will be succeeded

by Terika Dean, who served as Vice Chairman under Fitzke. Under Dean’s leadership, the Board will continue the efforts under Fitzke to build upon a solid base of successful programs and financial stability.

The principal task ahead of the Foundation and its new Board is to complete the Technology upgrade and awareness campaign for the Blues Hall of Fame.

The newly elected Board, to be led by Dean, will consist of: Vice-Chairman: Janice Johnston, Phoenix, AZ Treasurer: Bruce Morel, Dartmouth, NS, Canada Plus the following Executive Committee members: Paul Benjamin, Rockland ME Kathy Bolmer, Nashville TN Scott Fitzke, Littleton, CO Newly elected Board Members are: Shemekia Copeland, Oceanside, CA Terrie Odabi, Oakland, CA Atiba Berkeley, Greensboro, NC The rest of the board consists of returning members: Peter Astrup, Pandrup, Jylland, Denmark Dr. Dina Bennett, Overland Park, KS Billy Branch, Chicago, IL Wayne Goins, Manhattan, KS Ric Whitney, Los Angeles, Ca

Terika Dean is the new Chair of the Blues Foundation. With a heritage deeply rooted in the world of music and community advocacy, Terika is a passionate advocate for the preservation and celebration of blues music, and her journey is an extraordinary testament to the enduring legacy of this genre.

Terika Dean’s connection to the blues runs deep. As the greatgreat-niece of Huddie “Lead Belly” Ledbetter, a renowned figure in the blues and folk music scene, Terika carries forward his legendary artistic excellence and cultural significance. Her involvement extends to her pivotal role in managing the estate of Lead Belly, where she dedicates herself to upholding the contributions of her great-greatuncle. Her unique perspective as a descendant of a beloved musical icon will add depth and authenticity to her efforts in facilitating the growth of the genre both nationally and globally.

Terika is not only an advocate for blues music but an active participant in the broader musical community. She is a proud member of the Americana Music Association as well as Folk Alliance International, where her passion for music and cultural preservation shines brightly. Beyond her role in the Blues Foundation, Terika contributes to her community through various avenues. As a member of the Board of Directors of the MTSU Alumni Association, she actively engages with her alma mater, Middle Tennessee State

Atika Berkeley Terika Dean

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antidote to artifice. She is a commanding presence, a powerhouse vocalist delivering the truth.”

(continued from previous page) University, to foster connections among alumni and support the institution’s growth and success.

Atiba Berkley is president of Piedmont Blues Preservation Society, Director of NC Blues Week & Carolina Blues Festival, and owner of HUMbl Media Svcs. He is a former corporate manager and freelance audio engineer with twenty-plus years experience with “everything live,” as he likes to call it. His experience in both micro & macro arts, special event production, and curation, is extensive. His volunteerism and visionary arts leadership have been assets to the National Folk Festival, North Carolina Folk Festival, Art of Cool Jazz Festival, Juneteenth GSO Executive Committee and more. Atiba hails from Brooklyn, NY and is a married father of five children living in Greensboro, NC with his wife, Selena Wolf Berkley, MFA, who works as an assistant director of a university learning and writing center.

Atiba’s vision focuses on building a 21st Century model for the growth and sustainability of, and healing within, Blues communities through the sharing of Blues as folk culture.

Shemekia Copeland has performed thousands of gigs at festivals and concert halls all over the world, and has appeared in films, on national television, NPR, and in magazine and newspapers.

She sang with Bonnie Raitt, Keith Richards, Carlos Santana, Dr. John, James Cotton and many others. She opened for The Rolling Stones and entertained U.S. troops in Iraq and Kuwait. Jeff Beck calls her “amazing.” Santana says, “She’s incandescent...a diamond.” In 2012, she performed with B.B. King, Mick Jagger, Buddy Guy, Trombone Shorty, Gary Clark, Jr. and others at the White House for President and Mrs. Obama. She has performed on PBS’s Austin City Limits and was recently the subject of a six-minute feature on PBS News Hour.

Currently, Copeland can be heard hosting her own popular daily blues radio show on SiriusXM’s Bluesville. Her latest album, Done Come Too Far, has been named Blues Album of the Year by DownBeat Magazine, MOJO Magazine, as well as garnering her fifth Grammy nomination for Contemporary Blues Album of the Year. The Chicago Tribune’s famed jazz critic Howard Reich says, “Shemekia Copeland is the greatest female blues vocalist working today. She pushes the genre forward, confronting racism, hate, xenophobia and other perils of our time. Regardless of subject matter, though, there’s no mistaking the majesty of Copeland’s instrument, nor the ferocity of her delivery.

In effect, Copeland reaffirms the relevance of the blues.” The Philadelphia Inquirer succinctly states, “Shemekia Copeland is an

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Shemekia Copeland

Terrie Odabi continued on next page

Paul Benjamin is a prominent figure in the blues music scene, known for his extensive contributions as a blues promoter, festival organizer, and music producer. His journey began in 1978 when he started booking blues acts, and over the years, he has played a pivotal role in shaping the blues landscape. Currently, he produces an impressive 50 shows each year at a club in Rockland, ME, featuring national touring blues acts.

In 1990, Paul initiated a festival in the parking lot of his club with a modest attendance of about 50 people. Fast forward to the present, and the North Atlantic Blues Festival, established in 1994, is now in its 30th year, drawing over 10,000 attendees. The festival’s success has been recognized on a national level, with the Blues Foundation of Memphis, TN, voting it as the best in the nation in 2002.

(continued from previous page) Terrie Odabi is a seasoned musical artist who has traveled the world and has been proclaimed by Lee Hildebran to be the and is an educati onal professional with over two decades of dedicated service as a case manager within the Oakland Unified School District. She holds a Bachelor’s degree in Liberal Studies and African American Studies, a testament to her commitment to education and cultural awareness.

Now retired from education, Terrie has embarked on a vibrant new journey as a full-time touring blues artist, songwriter, and recording artist. Her powerful voice and storytelling prowess captivate audiences far and wide.

Terrie’s passion goes beyond the stage, as she ardently champions equality for women and African Americans in the blues genre. She strives to ensure that the authentic history of blues is shared, particularly with children, so that its rich legacy endures for generations to come. Terrie Odabi, is a true force for change and preservation in both music and education.

Paul’s influence extends beyond the festival circuit. He has been a guest speaker at various blues summits, including the Toronto Blues Summit, Cutting Edge in New Orleans, and the New England Blues Summit in Cape Cod, MA. Additionally, he has shared his expertise on festival management by participating in panels for the Blues Foundation of Memphis, TN. In 1999, Paul Benjamin launched North Atlantic Blues Records, contributing to the production of records for several artists. His dedication to the blues was further demonstrated when he was elected to the Board of Directors of the Blues Foundation in 2003. Subsequently, in 2005, he assumed the role of president of the Board for the Blues Foundation, serving for four years.

Paul’s impact on the blues community is also evident in his role as the music producer for the 25th and 26th Blues Music Awards in Memphis, TN. He continued his involvement with the Blues Foundation by being re-elected to the Board of Directors from 2013 to 2017 and serving as Chairman of the board during that time.

Beyond the music realm, Paul Benjamin has contributed to the arts as a commission member of the Maine Arts Commission from 2013 to 2019, a position appointed by the Governor of Maine. His influence has extended to festival consultation, where he has lent his expertise to festivals associated with the Robert Johnson family and the Lead Belly family.

In addition to his various roles and accomplishments, Paul is also an author and publisher, having documented the 25 years of the North Atlantic Blues Festival in a book. Benjamin remains actively involved in the blues community, producing or assisting with several notable blues festivals, including the Blues Bash at the Ranch in FL, the North Atlantic Blues Festival in Rockland, ME, the Gloucester Blues Festival in Gloucester, MA, Camping With The Blues in Brooksville, FL, the Blues Heaven Festival in Denmark, and the Bradenton Blues Festival in Bradenton, FL. His continued dedication and influence in the blues genre make him a respected and essential figure in the industry.

Please visit The Blues Foundation website at www.blues.org to learn more about The Blues Foundation and their programs.

Rock And Blues International Paul Benjamin December 2022 • Rock and Blues International

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Alastair Greene

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Rock and Blues International • December 2022

By Nathan Pugh In a resounding crescendo of musical excitement, Blues Rock ‘n’ Roll maestro Alastair Greene proudly declares his latest triumph—the signing of a multi-record deal with the illustrious blues giant, Ruf Records.

Anticipation mounts as the legendary label prepares to release Greene’s sixth studio album (his eleventh overall) in the vibrant bloom of Spring 2024.

Radiating enthusiasm, Greene shares his excitement, stating, “Signing with Ruf Records is a dream come true. Ruf is where blues luminaries like Luther Allison and Walter Trout crafted some of their most iconic records. To be a part of the blues rock guitar legacy initiated by Thomas Ruf is an honor beyond words.” The thrill continues as Greene anticipates his collaboration with producer JD Simo (known for his work with Jack White, Phil Lesh, Luther Dickinson, War and Treaty, Chris Isaak) in Simo’s Nashville studio. “JD is an extraordinary guitar player and an incredibly talented artist and producer,” Greene adds.

Having previously released albums through acclaimed labels such as Delta Groove Productions, Rip Cat Records, and more recently, Tab Benoit’s Whiskey Bayou Records, Greene reflects on his journey, expressing gratitude, “I am truly grateful for all the label opportunities leading up to signing with Ruf. This feels like a natural, organic progression of my career, and I couldn’t be happier.”

Label president Thomas Ruf extols, “Alastair Greene paid his dues with rock greats like Alan Parsons and Starship. After years of forging his unique brand of Blues Rock, it’s thrilling to witness him realizing his full potential. We are proud to release Alastair’s forthcoming album and have him headline the 2024 Blues Caravan tour alongside Eric Johanson and Katarina Pejak.”

A multi-charting Top 10 Billboard Album of the Year. The 2020 release “The sounds of Bach and Beethoven introduced by artist, Alastair Greene and his band, drawing New World Blues” debuted at number three his father and the trumpet legacy of his comparisons to the likes of Gov’t Mule, ZZ on the Billboard blues chart, gaining grandfather, Chico Alvarez.

Top, and Cream, have traversed the United accolades from Joe Bonamassa and featuring From piano lessons and saxophone in States extensively. Greene’s recent support prominently on SiriusXM Bluesville. his youth to discovering the guitar in high dates for Tab Benoit exceeded 100, and he Beyond his solo career, Greene’s rock school, Greene’s musical evolution was seized the opportunity to support Walter credentials include eight years of internainfluenced by ’80s heavy rock icons Iron Trout on tours in the UK and Germany. tional touring with the Alan Parsons Live Maiden and Def Leppard. The pivotal As Alastair Greene’s Project (2010-2017) and major dates prolific career enters its third with Starship featuring Mickey “Alastair Greene is killing it!

He is decade, he arrives at a new yet Thomas. In the blues realm, he is a familiar destination. Following a singing great, writing great, he is at the regular and host at Memphis-based celebratory 2018 live album Blues Foundation events, a featured height of his powers.” —Joe Bonamassa performer at the Big Blues Bender commemorating the 20th anniversary of the Alastair Greene Band and the Legendary Rhythm & Blues and his 2020 solo collection “The New World moment came with the timeless sound of the Cruise, and a touring member of Sugaray Blues,” produced by Tab Benoit, he returned Rayford’s band, nominated for a 2020 Blues Blues, opening doors to musical treasures with the inspired live album “Alive In The Music Award. from B.B. King, Buddy Guy, Johnny Winter, New World” in 2023. Now, on the illustrious Greene encapsulates his musical The Allman Brothers Band, and Stevie Ray Ruf Records label, Alastair is set to release a philosophy, stating, “I endeavor to play the Vaughan. brand new studio record in 2024.

Blues. It’s some of my favorite music that is A Berklee College of Music alum, A native of Santa Barbara, CA, now basically responsible for everything we love Greene formed the Alastair Greene Band in rooted in Austin, TX, Greene’s Blues-soaked 1997, releasing 10 solo albums, including live today!” With the Ruf Records partnership, rock transcends into the 21st century, Alastair Greene is poised to continue leaving sets and a compilation record, over two navigating a dynamic global and musical an indelible mark on the Blues and Rock ‘n’ decades. His 2017 studio effort, “Dream landscape. Equipped with diverse musical Roll landscape, his journey reflecting a rich Train,” earned a four-star review and Best interests cultivated at an early age and tapestry of influences and a commitment to Album of the Year nod in DownBeat, while inspired by family influences, Greene’s musical excellence.

“Live from the 805” in 2018 received a Blues journey is enriched by the sophisticated Blast Magazine nomination for Rock Blues

Alastair Greene’s Blues Odyssey: Inks Deal with Ruf Records, Spring Album Release, and Blues Caravan Extravaganza More info at alastairgreene.com

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Round, and a myriad of other top cigar box guitar performers.

Thursday Night Symposium promises intellectual delights, with second-generation Louisiana Blues maestro and acclaimed actor Chris Thomas King discussing his book, “The Blues: The Authentic Narrative of My Music and Culture.”

Accompanying him is the noted New Orleans visual artist Charles Gillam, sharing insights into his folk-art guitars. The symposium sets the stage for an exploration into the depths of music and artistic craftsmanship.

Friday afternoon hosts an instrument builders’ forum and contest, adding an exciting dimension to the festival. It’s a unique opportunity to witness the creativity and craftsmanship behind these distinctive musical instruments.

With only one-hundred-and-fifty all-inclusive tickets available, attendees can relish in the intimate cultural experience within the welcoming confines of the Jazz Museum.

Immerse yourself in the enchanting melodies and vibrant atmosphere, a celebration that transcends boundaries and brings together music enthusiasts from all walks of life.

8th Annual New Orleans Cigar Box Guitar Festival: A Symphony of Strings, Art, and History

The New Orleans Cigar Box Guitar Festival (NOCBGF), founded in 2016, has garnered acclaim for its outstanding entertainment. The 2019 edition was recognized with Offbeat Magazine’s “Neighborhood Festival of the Year” award. In 2020, the festival joined forces with the internationally acclaimed singer/guitarist Samantha Fish, expanding its growth and outreach. While the global pandemic prompted virtual shows in 2021 via Mandolin.com, the return to live performances at NOCBGF 2023 marked a triumphant comeback, setting the stage for the upcoming festivities.

Thursday, January 18 Through Saturday, January 20 https://www.NewOrleans CBG.com https://www.Facebook.com/NewOrleansCBG https://www.Instagram.com/explore/tags/https:// www.neworleanscigarboxguitarfestival/

By Greg Fontaine

Prepare to be immersed in the rich tapestry of art, music, and history as the 8th annual New Orleans Cigar Box Guitar Festival takes center stage at the New Orleans Jazz Museum from Thursday, January 18 through Saturday, January 20. This exceptional event pays homage to the homemade stringed instruments that played a pivotal role in the early development of Jazz and Blues in the vibrant city of New Orleans.

Step into a three-day extravaganza featuring stellar performances by renowned artists, celebrating the spirit of creativity inherent in cigar box guitars. Guitar phenom Erin Coburn, Louisiana Blues veteran Lil’ Jimmy Reed, and Louisiana Music Hall of Fame inductee Jonathon “Boogie” Long will grace the stage, alongside the mesmerizing tunes of Cigar Box Serenaders, Ghalia Volt, Steve Arvey, John Nickel, La Durance Blues Band, Memphis Lightning, John Mary Go 44

Rock and Blues International • December 2023

Jonathon “Boogie” Long Performing at the 2023 Cigar Box Guitar Festival (Photo Courtesy of Offbeat Magazine)

Dive into the roots of U. S. history, where pioneers, Civil War soldiers, farmhands, street singers, and resourceful musicians ingeniously crafted expressive instruments from household items and random hardware, notably in Appalachia and the Mississippi Delta.

“Cigar Box Guitar” is the umbrella term embracing a diverse array of improvised stringed musical devices – banjos, basses, dulcimers, fiddles, mandolins, and more. Musicians worldwide continue to embrace homemade gear for recording, live performances, and personal enjoyment, making these unique instruments and their authentic, traditional sound a cornerstone of today’s music scene. The New Orleans Cigar Box Guitar Festival stands as a testament to this enduring musical legacy, inviting everyone to join in the celebration of creativity, innovation, and the timeless allure of handcrafted instruments.

November 2023 • Rock and Blues International 45

Blues Guitarist-Vocalist Jon Geiger Releases New Album, “Live At Harvelle’s” Jon Geiger, who’s quietly become one of the busiest blues guitarists in the Southland, releases his new album, Jon Geiger: Live at Harvelle’s.

The thirteen-track album was recorded completely live this past Spring and Summer at famed blues club Harvelle’s in Santa Monica, Calif., where Geiger was a regular, headlining performer.

Jon Geiger has been called one of SoCal’s hardest-working blues men, and for good reason: The blues-rock guitarist and vocalist is seemingly always gigging, whether throughout Southern California, at a Blues Festival, or elsewhere. Through hard work, solid performances and stick-to-it persistence, Geiger has emerged as a national touring act, performing on the Main Stage at the 2023 Woodystock Blues Festival in Lake Havasu City, and set to perform at the New Blues Festival in Long Beach, California in September 2024.

A veteran of the Austin music scene, Geiger grew up in New York and became a brown belt in Jiu Jitsu just to make it home from school safely on the tough streets of Harlem. The deep soul of BB King’s “Live at the Regal” and the ferocious intensity of Eric Clapton’s guitar work were life-changing for Jon. Playing guitar became Jon’s reason for living.

The talent and passion of teen-aged Jon were quickly recognized by jazz greats such as Emily Remler and Hiram Bullock, both whom took him on as a student. Remler even referred to Jon as her ‘protégé.’ His talent and hard work paid off with a full scholarship to the Berklee College of Music. “John Scofield and Mike Stern (both whom played with Miles Davis) were both as big a part of my path as Emily and Hiram. They would hand me off in some cases from one to the other when they toured,” recalls Geiger. “I studied at their knee in their homes and no one cheered louder when I got my scholarships,” Geiger says. continued on next page 46

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Jon Geiger (continued from previous page) After completing his studies in Boston, Jon promptly moved to Austin and began working alongside Austin’s numerous great musicians while playing Antone’s and the Texas’ numerous blues haunts. Presently, Jon and band continue their ascent on the Los Angeles music scene, with his unique blend of captivating guitar work, soaring vocals and artful songwriting.

Geiger has opened for Robben Ford, John Mayall, Charlie Sexton, Doyle Bramhall, and Joe Ely among other greats.

Below is a short synopsis of each of the tracks on Jon Geiger: Live at Harvelle’s.

1) Bullet (original): “Hard-driving Texas shuffle with sophisticated, harmonic chord changes. Blends a palette of influences, from John Scofield and Robben Ford to Freddy King, Peter Green, and Cream-era Clapton.”

2) I Dream (original): “An ‘Are You Experienced’/’Angel’ vibe. Ethereal mood is set musically and aurally; a metaphor of being caught in a storm, with a relationship at its’ eye. The music summons up a nod to Hendrix, and the solos reminiscent of B.B. King.”

rhythmic take; re-harmonization of the chorus and solo section that gives a nod to where jazz horn lines meet blues cries and vibrato.”

7) Texas Flyer: “Uptempo, funky blues-rocker with a Freddie Kinginspired vocal growl and old-school blues roots.”

3) Desert Of My Heart (original): “Driving toms reminiscent of Cream’s “Disraeli Gears” and “Tales of Brave Ulysses” set the mood, with a driving song, chorus, and guitar solos.”

8) Guardian Angel (original): “Crowd favorite that sounds like a Black Crowes-meets-Rolling Stones classic/ Lyrics give thanks to all the forces unseen that have guided and protected.”

4) Ain’t No Sunshine: “Modernday standard written by Bill Withers.

Heartfelt lyrics, reaching down deep to capture the audience, going from a whisper, building to a height of intensity.”

9) Prison Of Love: “Driving blues and solo on this tasty Robben Ford cover. Vocals tell the tale of hindsight being 20/20 in the game of love.”

5) The Voice (original): “Bo Diddley-like groove and a shout of verses, delivering raw lyrics of a man caught in a battle he doesn’t realize he signed up for. Builds up to a driving funk, influenced crescendo. An audience favorite.”

6) Feeling Good: “Nina Simone song with a re-arranged harmonic and

10) Don’t Hang Me Out To Dry (original): “Rocker with catchy guitar hook, driving groove and angry guitar riff anchor this song, about finding a change in the vibe of a relationship and hoping it doesn’t mean the worst.”

11) Day To Day (original): “Hip hop grooves mixed with soulful rock.

Funky vamp about relationships gone south, and the personal state of affairs as a result. Blends elements of jazz and

psychedelic rock, with a hard-driving finish.”

12) These Blues (original): “Powerful call-and-response. A deep, heavy, powerful vibe. Mood is one of high intensity, digging very deep.”

13) Cross To Bear: “Re-arranged Gregg Allman song, taking on the vocals of a legend. Sang with the passion of an old soul. A perfect way to close the album, playing with the fervor of carrying the torch forward.”

JON GEIGER - LIVE FROM HARVELLE’S (2023) - TRACK LISTING 1.

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Bullet I Dream Desert of My Heart Ain’t No Sunshine The Voice Feeling Good Texas Flyer Guardian Angel Prison of Love Don’t Hang Me Out To Dry Day To Day These Blues Cross To Bear

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Indie Artist Adrie Releases Deeply Personal Debut EP “Motel Kilomango” Watch The Video For “Drowning” Here at https://www.youtube.com/watch?v=r47FHrHFuhw Spanish-Mexican singer and songwriter Adrie has experienced a remarkable 2023, and she has taken her fans on a powerful, emotional journey over the last six months as she has unveiled five stunning singles from her highly anticipated debut EP “Motel Kilomango,” a profound project that today she finally releases in its entirety on all digital streaming platforms.

Adrie pays tribute to her SpanishMexican-American roots on this EP, infusing the project with a vibrant global touch through the use of inviting rhythms and melodies born from a variety of influences, such as psychedelic cumbia, flamenco, and even American folk music. Remarkably immersive, these alluring arrangements make a fitting foundation for her striking lyrical poetry that pays tribute to family and gives way to insightful explorations of human existence, self-reflection, and other themes that fans around the world continue to find

relatable.

“Motel Kilomango” was developed in collaboration with Spanish artist and producer Pablo Lesuit, as well as various artists and producers from Spain, Mexico, Argentina, Colombia, and Peru. Staying true to her devotion to family, Adrie also enlisted the artistic talent of her mother, artist Amelia Mendívil Blanco, who created oil paintings that have served as the cover art for each of the EP’s singles. The EP cover features one of her drawings as well, which depicts Figueras del Mar, the town from which Adrie’s greatgrandfather hailed.

In addition to the successful singles “Julieta”, “Se Acaba,” “Los Quietos,” “Broken,” and “Japón,” “Motel Kilomango” also features Adrie’s latest single “Drowning,” a beautiful English-language pop ballad penned by the talented artist herself and one of the most personal songs on the EP. The

Follow ADRIE: Instagram @ https://www.instagram.com/adriemusica/ YouTube @ https://www.youtube.com/@adriemusica Facebook @ https://www.facebook.com/adriemusica TikTok @ https://www.tiktok.com/@adriemusica 48

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music video, also out now, reflects the song’s poignant story propelled by introspection and self-reflection, making it a compelling conclusion to “Motel Kilomango” by carefully bringing listeners full circle.

With “Motel Kilomango,” Adrie has announced her arrival as one of the most astute and intriguing new artists today, refreshing the scene with a unique proposal that demonstrates the extraordinary artistic power that can result from the thoughtful union of different cultures and languages.

Adrie Lanza EP Profundamente Personal “Motel Kilomango” Mire el vídeo de “Drowning” aquí en https://www.youtube.com/watch?v=r47FHrHFuhw La cantante y compositora hispanomexicana Adrie ha vivido un 2023 extraordinario, y ha llevado a sus fans en un viaje poderoso y emocional durante los últimos seis meses en los que fue presentando cinco impresionantes singles de su esperado EP debut “Motel Kilomango”, un profundo proyecto que hoy por fin lanza en su totalidad en todas las plataformas digitales de streaming.

Adrie rinde homenaje a sus raíces hispano-mexicanoamericanas en este EP, infundiendo al proyecto un vibrante toque

global a través del uso de ritmos y melodías acogedoras nacidas de una variedad de influencias, como la cumbia psicodélica, el flamenco, e incluso la música folk americana.

Notablemente envolventes, estos seductores arreglos constituyen una base adecuada para su impactante poesía lírica, que rinde homenaje a la familia y da paso a perspicaces exploraciones de la existencia humana, la autorreflexión y otros temas que los fans de todo el mundo siguen encontrando identificables.

“Motel Kilomango” ha contado con la colaboración del artista y productor español Pablo Lesuit, así como de varios artistas y productores de España, México, Argentina, Colombia y Perú. Fiel a su devoción por la familia, Adrie también contó con el talento artístico de su madre, la artista Amelia Mendívil Blanco, que creó pinturas al óleo que han servido de portada para cada uno de los singles del EP. La portada del EP también incluye uno de sus dibujos, que representa Figueras del Mar, la ciudad de la que es

originario el bisabuelo de Adrie.

Además de los exitosos singles “Julieta”, “Se Acaba”, “Los Quietos”, “Broken” y “Japón”, “Motel Kilomango” también incluye el último single de Adrie, “Drowning”, una preciosa balada pop en inglés escrita por la propia artista y una de las canciones más personales del EP. El vídeo musical, que también ya está disponible, refleja la conmovedora historia de la canción, impulsada por la introspección y la autorreflexión, lo que la convierte en una convincente conclusión de “Motel Kilomango”, que cierra el círculo de los oyentes.

Con “Motel Kilomango”, Adrie ha anunciado su llegada como una de las nuevas artistas más elocuentes e intrigantes de la música indie en la actualidad, refrescando la escena con una propuesta única que demuestra el extraordinario poder artístico que puede resultar de la unión reflexiva de diferentes culturas y lenguas.

Seguir ADRIE: Instagram @ https://www.instagram.com/adriemusica/ YouTube @ https://www.youtube.com/@adriemusica Facebook @ https://www.facebook.com/adriemusica TikTok @ https://www.tiktok.com/@adriemusica December 2023 • Rock and Blues International

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ALLMAN BETTS FAMILY REVIVAL (l to r) Duane Betts and Devon Allman 50

Rock and Blues International • December November 2023 2023

By Albert Schwartz Brace yourselves for the crescendo of an unforgettable musical journey as The Allman Betts Family Revival, proudly presented by Gibson, kicks off its eagerly awaited 2023 tour. The anticipation soars as the latest round of special guests, including Ghalia Volt and Mattie Schell, join the stellar ensemble. The lineup is further enriched with the addition of Mike Zito for the tour kickoff in St. Louis, MO, on November 25, and the enchanting Sierra Ferrell, who will grace the Revival on December 15 at The Ryman in Nashville, TN. This celebration of musical legacy initially germinated as a one-of-a-kind concert in 2017 at The Fillmore in San Francisco, paying homage to the late Gregg Allman on what would have been his 70th birthday. Now, in its seventh glorious year, The Allman Betts Family Revival has evolved into a full-fledged tour set to unfold its magic starting November 25 in Saint Louis, MO. Earlier this year, the tour embraced a significant transformation, officially rebranding as the Allman Betts Family Revival. Spearheaded by Devon Allman, the son of the legendary Gregg Allman, and Duane Betts, the son of the iconic Dickey Betts, this revival has become a beacon of musical brilliance. The duo has meticulously curated a lineup of exceptional guests who will take center stage, rendering two sets each—one dedicated to the legendary Gregg Allman and the other to the revered Dickey Betts.

Fans are in for a treat as the Allman Betts Family, featuring Tal Wilkenfeld on Bass (Jeff Beck), Anders Osborne, Luther Dickinson & Cody Dickenson (North Mississippi Allstars), Jimmy Hall (Jeff Beck, Wet Willie), Jackie Greene, Larry McCray, Alex Orbison, and Ally Venable, weave together the hits and deep cuts from the iconic Allman Brothers catalog. The musical spectacle is further elevated with guest artists gracing select cities, including Chuck Leavell (The Allman Brothers, The Rolling Stones), Greg Koch, J.D. Simo, Vaylor Trucks, Melody Trucks, Frank Hannon (Tesla), Sierra Hull, and G. Love, with more surprises yet to be unveiled.

The Allman Betts Family Revival beckons the return of The Brotherhood of Light, promising otherworldly visuals and trippy liquid light shows reminiscent of the Allman Brothers’ zenith. With nearly three action-packed hours of musical mastery, this revival guarantees an unparalleled experience that will resonate in the hearts of fans for a lifetime.

Immerse yourself in this musical odyssey by securing your tickets and staying updated on all the excitement at AllmanBettsFamilyRevival.com. The stage is set, and the curtain is about to rise on a musical saga that promises to be nothing short of extraordinary

Epic Beginnings: The Allman Betts Family Revival Unleashes Musical Odyssey with a StarStudded Lineup ALLMAN BETTS FAMILY REVIVAL KICKS OFF NOVEMBER 25; ADDS SPECIAL GUESTS TO SELECT DATES PRESENTED BY GIBSON PERFORMED BY: DEVON ALLMAN, DUANE BETTS, THE ALLMAN BETTS BAND FEATURING TAL WILKENFELD ON BASS (JEFF BECK), ANDERS OSBORNE, LUTHER DICKINSON, CODY DICKINSON (NORTH MISSISSIPPI ALLSTARS), JIMMY HALL (JEFF BECK, WET WILLIE), JACKIE GREENE, LARRY MCCRAY, ALEX ORBISON, AND ALLY VENABLE Dec 1 @ Orpheum Theater | Boston MA** Dec 2 @ Beacon Theatre | New York NY** Dec 3@ The Paramount| Huntington NY** Dec 5 @ Capital One Hall | Tysons VA Dec 7 @ Macon City Auditorium | Macon GA*** Dec 8 @ Gaillard Theater | Charleston SC Dec 10 @ Sunrise Theater | Fort Pierce FL**** Dec 12@ Van Wezel PAC | Sarasota FL**** Dec 13 @ Florida Theater | Jacksonville FL**** Dec 14 @ Spartanburg Memorial Audiorium | Spartanburg SC***** Dec. 15 @ Ryman Aufditorium | Nashville TN****** **Special Guests: Sierra Hull, Greg Koch ***Special Guests: Chuck Leavell, Melody Trucks, Butch Trucks ****Special Guests: J.D. Simo, Melody Trucks, Frank Hanna *****Special Guest: J.D. Simo ******Special Guest: G. Love December 2023 • Rock and Blues International

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BRITISH-AMERICAN ACID BLUES BAND BEES DELUXE RELEASE THEIR NEW ALBUM, “HALLUCINATE”

Bees Deluxe Performing “A Quitter Never Wins” Live At The Crooked Eye @ https://youtu.be/wMOBgjmPjuA 52

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BEES DELUXE (continued from previous page) Hallucinate is the new, all-original album by Bees Deluxe. Recorded between tour dates after the past twelve months and produced by Joe Egan, the album celebrates the band’s distinct perspective on on what they call “acid blues.”

Hallucinate is a collection of contemporary tales about aliens, gasoline, French bread, guitars, gambling, and asteroids, and features the angular guitar pyrotechnics of the British bandleader Conrad Warre, the harmonica laments of keyboard player Carol Band and a slew of Boston-based friends and musicians who were coerced into adding their voice and their instruments to the tracks on the album. While respecting the traditional aspects of the Chicago analog blues in the 60s, Bees Deluxe tread where the other blues musicians fear to go. Lyrically and melodically the band stretches the edges of their compositions, instruments and voices into the uncharted wilds of the musical world.

Hallucinate is available for streaming and downloading at Amazon, Spotify, Apple Music, ITunes, Deezer, Bandcamp and and nearly everywhere.

Bees Deluxe music can be purchased from the band’s website: www.beesdeluxe.com.

Bees Deluxe, a British-American acid blues band, bend the genre by infusing elements of jazz, funk, psychedelia and rock. The result is a sound that’s clearly distinctive, highly musical, and infused with a bit of insanity. On Hallucinate, Bees Deluxe continue to push the limits of the blues and color outside the lines of convention.

Musicians who contributed to this album are: Carol Band - keyboards, vocals and harmonica Poogie Bell - drums (Nitro) Allyn Dorr - bass and vocals Jared Egan - guitar (Sharkskin Suit) Joe Egan - keyboards and mentoring James Gildea - bass and vocals Paul Giovine - drums and percussion Adam Sankowski - bass guitar Conrad Warre - guitar, bass, vocals, trumpet, and keys

When Is Yesterday You know the holes in the road Were made by people from outer space You know the holes in the road Were made by people from outer space You know the harder you fly the faster you fall The air in your tires - smells like fine French wine The gas in your tank smells like burnt

French toast You know the things that we eat and drink Turn into thoughts in your head When is yesterday? We need it early this week It’s been so long coming here - that we can hardly speak They called me for the news I told them there’s nothing you can do

Catch Bees Deluxe In Concert In A Town Near You December 2 (Sat) STARK BREWERY Manchester NH December 8 (Fri) LIZZIE ROSE MUSIC ROOM Tuckerton NJ December 16 (Sat) EXHIBIT ‘A’ BREWERY Framingham MA December 20 (Wed) THE BULL RUN Shirley MA December 22 (Fri) VINCENT’S Worchester MA January 13 (Sat) BLACK EYED SALLY’S Hartford CT

http://www.beesdeluxe.com http://www.facebook.com/beesdeluxe http://www.youtube.com/beesdeluxe http://www.twitter.com/beesdeluxe December 2023 • Rock and Blues International

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Photo Credit: Jean Baptiste-Mondino

ALA.NI RELEASES NEW FESTIVE EP CHRISTMAS VOL. 2 Follow ALA.NI: Spotify @ https://open.spotify.com/artist/3BCNtA8XR8vzu0uTMdMJrF Apple Music @ https://music.apple.com/gb/artist/ala-ni/1185654238 YouTube @ https://www.youtube.com/channel/UC9ly4SQPr0HD6W0hnBFL7QQ Facebook @ https://www.facebook.com/alaniofficial/ Instagram @ https://www.instagram.com/alaniofficial/

By Deshaun Phillips In “Christmas Vol. 2,” ALA.NI masterfully wields her exquisite voice to encapsulate the myriad emotions that surface during the festive season. True to her signature style, ALA.NI’s songs unfold beautifully with spacious arrangements, characterized by minimal instrumentation, predominantly featuring piano and percussion. This album marks the second installment in ALA.NI’s Christmas series, following the release of Vol. 1 in 2020, recorded during the challenges of lockdown.

Opening up about her complex relationship with Christmas, ALA.NI admits, “I won’t lie. I do struggle with Christmas. The overconsuming part of it is what I don’t like, but the coming together of family, luxurious food, and fun times always suck me in. I try to not get caught up in the Christmas hysteria, but I always end up surrendering, to some degree, in the end.”

This ambivalence, where sentimentality manages to overcome cynicism, sets the tone for the EP’s initial track, “Christmas Cheer.”

On the surface, its time-honored approach to seasonal tunes may conceal its “bah humbug!” spirit, but as sleigh bells chime in, it becomes evident that even ALA.NI yields to the festive joy eventually.

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The EP introduces two other original compositions. “You Broke My Heart (On Christmas Eve)” exudes a timeless grace that makes it feel like a classic from the Christmas songbook, though its black-humored lyrics (“Your Rolex present I will keep / Or better yet, I’ll smash it up”) add a distinctive twist.

The EP concludes on a high note with “Now I Believe,” a heartwarming tale of discovering love at first sight during an initially reluctantly attended Christmas party.

In addition to her original compositions, Christmas Vol. 2 includes ALA.NI’s soulful renditions of two classics: Joni Mitchell’s “River,” originally from the iconic Blue album, and Elvis Presley’s “Blue Christmas.”

Rob Shirakbari, acclaimed for his role as the long-term musical director for Dionne Warwick and Burt Bacharach, took on the role of producer for the EP. The recording sessions took place at Abbey Road, Rob Shirakbari’s studio, and ALA.NI’s home studio in Paris.

ALA.NI’s musical journey is steeped in a rich heritage, born to Grenadian parents and raised in London.

Her great-uncle, Leslie ‘Hutch’ Hutchison, was a renowned cabaret icon of the pre-WWII era. ALA.NI’s early years involved attending London theatre schools, forming her first band at the age of 11, and signing with Sony at 15.

Her trajectory continued with roles as a backing vocalist for artists like Mary J. Blige, Blur, and Andrea Bocelli.

Subsequently, her debut album captivated a global audience, marked by a memorable TV debut on Later… with Jools Holland and performances alongside Benjamin Clementine, Ibeyi, and Rufus Wainwright.

Check us out at http://www.rockandbluesinternational. com Also available on Spotify, Google Podcasts, Podcast Index, Amazon Music, Podcast Addict, Podchaser, Pocket Casts, Deezer, Listen Notes & More!

December 2023

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Photo by Giuseppe Maffia

ICON DAVE STEWART RELEASES COOL JAZZ / JAZZ BLUES ALBUM CLOUD WALKING companion film, premiered at the Rome Film and uplifting nature of the studio sessions,

By Sheena Johnson Festival, Stewart adds another feather to his emphasizing the infectious mood that Dave Stewart, hailed as a Rock & Roll cap with the debut of his musical, “The Time Hall of Famer, Songwriter Hall of Famer, UK permeated the creative process.

Traveler’s Wife,” in London.

The title track, “Cloud Walking,” Music Hall of Famer, and a decorated Currently, Stewart enraptures audistands out as a favorite, encapsulating the musician with GRAMMY, Brit, and Ivor ences across Europe with his “Eurythmics album’s abstract, fun, and light essence.

Novello Awards, unveils his latest musical Songbook: Sweet Dreams 40th odyssey – “Cloud Walking.”

Tour.” A nostalgic This nine-song cool jazz/jazz “An explosive musician, Captain Dave is a dreamer and Anniversary sojourn through four decades of blues album, co-written and coa fearless innovator, a visionary of high order, very delicately groundbreaking hits, the tour produced alongside pianist tractable on the surface but beneath that, he’s a slamming, showcases Dave alongside an allHannah Koppenburg, is a thumping, battering ram, very mystical but rational and female band, creating a mesmertestament to Stewart’s perpetual sensitive when it comes to the hot irons of art forms..” izing musical experience. Further, creativity. Embellished with Stewart is set to open for Bryan contributions from top-flight – Bob Dylan Adams in 2024, extending the musicians, the album is now reach of the Eurythmics digitally available across DSPs, “He is my hero.” – Stevie Nicks Songbook. with a promise of a limited With a remarkable career vinyl release on the horizon “I love Dave’s passion for making music.” spanning over four decades and (details TBA).

– Mick Jagger over 100 million album sales The genesis of “Cloud worldwide, Dave Stewart, the Walking” emerged from singer, songwriter, musician, and Eurythmics Koppenburg reminisces, “Dave had the idea Stewart’s joyous jam sessions with Eurythco-founder, stands as one of the most of ‘cloud walking,’ which is such a great mics co-founder Hannah Koppenburg. respected figures in popular music history.

Stewart shares his enthusiasm, stating, “I love concept and perfectly describes the entire album.” The album, a fusion of improvisation Beyond the Eurythmics collaboration, his jamming with Hannah. We turned a couple of extensive work includes collaborations with and melody, promises an immersive journey our jam sessions into these jazz/bluesy tunes musical luminaries such as Bob Dylan, Mick through Stewart’s musical landscape. and decided we loved them. It really was a Fresh from the acclaim of his modern joy to make this album.” Koppenburg echoes continued on next page rock opera album, “WHO TO LOVE,” and its the sentiment, highlighting the spontaneity 56

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DAVE STEWART (continued from previous page) Jagger, and Katy Perry.

Stewart’s multifaceted career, marked by over fifty ASCAP and BMI Awards, four Ivor Novello Awards, and four BRIT Awards, extends into film and TV production, authorship, photography, public speaking, and entrepreneurship. Notably, “Sweet Dreams (Are Made Of This)” by Eurythmics recently earned a place in the GRAMMY Hall of Fame® and U.S. Library of Congress National Recording Registry.

The accolades continue with Stewart and Annie Lennox’s induction into the Songwriters Hall of Fame in 2020 and their entry into the Rock & Roll Hall of Fame in 2022, a tribute to their profound impact on music. With an illustrious career, Stewart’s creative journey persists, with “Cloud Walking” being the latest testament to his enduring commitment to artistic exploration and innovation.

CLOUD WALKING TRACK LISTING: “Cloud Walking” “Echoes of You” “Speechless” “Soho Secrets” “Bar Italia Blues” “Wandering Down Wardour Street” “Dean Street Swinger” “Drury Lane” “Closer To You”

“EURYTHMICS SONGBOOK: SWEET DREAMS 40TH ANNIVERSARY TOUR” Jan 20, 2024 - First Interstate Arena at MetraPark - Billings, MT with Bryan Adams Jan 21, 2024 - Spokane Veterans Memorial Arena - ≠Spokane, WA with Bryan Adams Jan 23, 2024 - Ford Idaho Center Arena - Boise, ID with Bryan Adams Jan 24, 2024 - Tahoe Blue Event Center - Stateline, NV with Bryan Adams Jan 26, 2024 - SAP Center at San Jose - San Jose, CA with Bryan Adams Jan 28, 2024 - Honda Center - Anaheim, CA with Bryan Adams Jan 30, 2024 - UTEP Don Haskins Center - El Paso, TX with Bryan Adams Feb 1, 2024 - Moody Center ATX - Austin, TX with Bryan Adams Feb 2, 2024 - American Bank Center Arena - Corpus Christi, TX with Bryan Adams Feb 8, 2024 - Hallenstadion - Zürich, Switzerland Art on Ice Feb 9, 2024 - Hallenstadion - Zürich, Switzerland Art on Ice Feb 10, 2024 - Hallenstadion - Zürich, Switzerland Art on Ice Feb 11, 2024 - Hallenstadion - Zürich, Switzerland Art on Ice Feb 12, 2024 - BCF-Arena - Fribourg, Switzerland Art on Ice Feb 13, 2024 - BCF-Arena - Fribourg, Switzerland Art on Ice Feb 14, 2024 - BCF-Arena - Fribourg, Switzerland Art on Ice Feb 15, 2024 - Eishalle - Davos, Switzerland Art on Ice Feb 16, 2024 - Eishalle - Davos, Switzerland Art on Ice Feb 17, 2024 - Eishalle - Davos, Switzerland Art on Ice Feb 21, 2024 - CHI Health Center Omaha - Omaha, NE with Bryan Adams Feb 22, 2024 - Fiserv Forum - Milwaukee, WI with Bryan Adams Feb 23, 2024 - Vibrant Arena at The MARK - Moline, IL with Bryan Adams Feb 27, 2024 - Van Andel Arena - Grand Rapids, MI with Bryan Adams Feb 28, 2024 - Allen County War Memorial Coliseum - Fort Wayne, IN with Bryan Adams Feb 29, 2024 - Truist Arena - Highland Heights, KY with Bryan Adams Mar 1, 2024 - PNC Arena - Raleigh, NC with Bryan Adams Mar 3, 2024 - Scope Arena - Norfolk, VA with Bryan Adams Mar 5, 2024 - VyStar Veterans Memorial Arena - Jacksonville, FL with Bryan Adams Mar 6, 2024 - Amerant Bank Arena - Sunrise, FL with Bryan Adams Mar 8, 2024 - Amway Center - Orlando, FL with Bryan Adams Mar 10, 2024 - Spectrum Centerspe - Charlotte, NC with Bryan Adams Mar 12, 2024 - North Charleston Coliseum - North Charleston, SC with Bryan Adams Mar 13, 2024 - EagleBank Arena - Fairfax, VA with Bryan Adams Mar 15, 2024 - PPG Paints Arena - Pittsburgh, PA with Bryan Adams Mar 16, 2024 - Prudential Center - Newark, NJ with Bryan Adams Mar 17, 2024 - Cross Insurance Center - Bangor, ME with Bryan Adams December 2023 • Rock and Blues International

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Phtoto Credit: Ashley Alvarez @caged.la

Headline: Caress Unveils Debut Album “Night Call” Today, Showcasing in Los Angeles at Rubycon Records on Dec. 16 Listen to ‘Night Call’ on YouTube @ https://youtu.be/AZJSyBYtNT4 Instagram: https://www.instagram.com/sheiscaress Bandcamp: https://caress.bandcamp.com/album/night-call Facebook: https://www.facebook.com/sheiscaress/ 58

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• December 2022

By Troy Wilson Caress is thrilled to announce the release of her inaugural album, “Night Call,” today. The LP, crafted by Caress, also known as Tara Jane, is now available through Negative Gain Productions.

In her own words, Caress elaborates, “For the album ‘Night Call,’ I sought to explore various themes associated with the allure of darkness. Each track delves into a unique aspect: heartbroken love spells, frigid city nights, obsession, destruction, vampires, and my personal journey as a queer woman.”

Detailing the production process, she shares, “I incorporated a range of synths, primarily relying on my vintage 80’s Korg Poly-800 and Casio CZ-101, which contributed to the cohesive 80’s synth-inspired sound. All the songs were penned and recorded in my former residence, aptly named ‘The Dungeon.’ This Echo Park loft had only one barred window, crazy high ceilings, and my home studio was ingeniously nestled beneath the loft bed, creating a creatively confined space for tracking and recording.”

Speaking about the title track, Caress states, “The song ‘Night Call’ draws inspiration from a yearning for the night, love spells, and sensuality. I envisioned my vocals echoing like the voice of an ex-dead lover haunting a city tunnel. It’s actually my favorite to perform live. Exclusively utilizing my Casio CZ-101 for all the synths, I aimed for a more playful 80’s vintage sound. Due to the elusive, energetic, and dark nature of the song, I believed ‘Night Call’ perfectly encapsulated the overarching themes of my upcoming full-length album, inspiring its title: ‘Night Call’.”

Tara Jane, the mastermind behind the solo darkwave electronic project Caress, draws inspiration from dreamy vintage 4AD Goth and contemporary dark pop artists such as TR/ST, Kontravoid, and Boy Harsher.

Known for fronting the LA shoegazers Blood Candy, Jane uses Caress as a platform to venture into new sonic landscapes. Her muse for this project encompasses the essence of eighties dark wave, industrial tones, and modern synth pop. Through Caress, Tara Jane is on a journey of musical exploration, blending influences from the past and present to craft a unique and evocative sound.

Caress’s musical repertoire is characterized by hypnotic pulsating drum beats, shimmering analogue synths, and guitar melodies drenched in reverb, providing a backdrop for haunting vocals and lyrics that delve into themes of desire, lust, and pain.

During the pandemic, her solo work garnered attention, particularly with a reinvention of Patti Smith’s “Dancing Barefoot.”

In reflecting on her artistic vision, Caress shares, “I’ve always been drawn to darkness in various forms, whether it’s humor, aesthetics, or interests, and the album is a reflection of that. I wanted the compositions to be simultaneously energetic, dark, and tender, wrapped in a cloak of mystery and sensuality that resonates with both my personality and the essence of Caress. It’s exciting to share this goth-infused party that is the ‘Night Call’ album.”

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Rock and Blues International • December 2023

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December2023 2020 •• Rock Rockand andBlues BluesInternational International 61 71 November

NOFX photo by @susanmossphotography

NOFX Final Tour: 40 Years, 40 Cities, 40 Songs Per Day Culminating With October 4, 5 & 6 Shows In Los Angeles NOFX Website: www.nofxofficialwebsite.com Instagram: https://www.instagram.com/nofx/ - @nofx Twitter: https://twitter.com/nofxband - @nofxband TikTok: https://www.tiktok.com/@nofx_official - @nofx_official Facebook: https://www.facebook.com/NOFX - /nofx Punk In Drublic Festival Website: www.punkindrublicfest.com Facebook / Instagram: @punkindrublicfestival Hashtag: #punkindrublicfestival As part of the NOFX Final Tour, an additional 15 shows across 8 North American cities have been unveiled, marking the concluding performances for the influential punk band. The last three NOFX shows ever are set for October 4, 5, and 6, 2024, at San Pedro’s Berth 46 in Los Angeles. Tickets for these new dates will be available for purchase starting Monday, November 20, at 10:00 AM PT on http://www.PunkInDrublicFest.com.

Ticket options include single-day passes, the Bro Bundle, VIP packages, and more, with each ticket purchase including a digital download of the respective show.

The ongoing global tour, which commenced on April 22, 2023, in Austin, TX, spans forty cities worldwide, with upcoming shows in Australia in January and Europe in May and June. The North American leg of the tour, taking place from 62

April to October 2024, promises an unparalleled experience as NOFX plans to perform forty songs each night, featuring full albums and rarities. To ensure the uniqueness of every show, NOFX commits to never repeating a setlist.

Comprising Fat Mike (vocalist/ bassist), guitarists Eric Melvin and El Hefe, and drummer “Smelly” Eric Sandin, NOFX has left an indelible mark as one of the most controversial and influential punk bands since their formation in Los Angeles in 1983. With over 6 million records sold worldwide, including two gold records in the US and Canada, NOFX has consistently pushed boundaries at live performances, and their final tour promises to be no exception.

Reflecting on the tour, Fat Mike shared, “We’ve played over 2000 shows in 33 countries, in more than 300 cities, and darn it…we’re a bit tired. One thing I know in my heart…this is going to be the most emotional, heartbreaking, greatest tour of our career. I’ve never been so excited and at the same time terrified. Mostly excited…”

The North American NOFX Final Tour events are curated and produced by Cameron Collins from Brew Ha Ha Productions and the Punk In Drublic Craft Beer & Music Festival. Most tour dates feature craft beer and craft beverage tastings for festival patrons aged 21 and above from Noon to 3:00 PM. Collins expressed his sentiments about working with NOFX over the years, saying, “Working with NOFX as their U.S. promoter for these many years has been the highlight of my professional career. The friendships between the BHHP and NOFX crew that have developed over the years will continue long after these shows have gone and the last chords are played. This final year of NOFX will be one of joy, celebration and tears…I can’t wait to make some final memories with NOFX and send them off into whatever is next for each of these talented and exceptional dudes!”

The newly announced tour dates for NOFX Final Tour are as follows: Saturday April 6, 2024 - Fort Worth, TX - Panther Island Sunday, April 13, 2024 - Salt Lake City, UT - Pioneer Park * Saturday, June 29, 2024 - Portland, OR - Waterfront Park Sunday, June 30, 2024 - Portland, OR - Waterfront Park Saturday, July 20, 2024 - Denver, CO - The Stockyards Sunday, July 21, 2024 - Denver, CO - The Stockyards Saturday, August 10, 2024 - Edmonton, AB, Canada - Fan Park at Ice District Sunday, August 11, 2024 - Edmonton, AB, Canada - Fan Park at Ice District Friday, August 23, 2024 - Montreal, QC, Canada - Parc Olympique Saturday, August 24, 2024 - Montreal, Quebec, Canada - Parc Olympique Saturday, August 31, 2024 – Brockton (Boston), MA - Campanelli Stadium Sunday, September 1, 2024 – Brockton (Boston), MA - Campanelli Stadium Friday, October 4, 2024 - San Pedro (Los Angeles), CA - Berth 46 Saturday, October 5, 2024 - San Pedro (Los Angeles), CA - Berth 46 Sunday, October 6, 2024 - San Pedro (Los Angeles), CA - Berth 46 * No craft beer tasting at this event.

Rock and Blues International • December 2023

Store.

Photo credit: Drew Johnston

Nonpoint Releases Highly Anticipated EP “Heartless” and Drops Latest Single “Golden Gloves” For More Information Please visit: Official Website @ https://nonpoint.com/ Facebook @ https://www.facebook.com/nonpointofficial/ Twitter @ https://twitter.com/nonpoint Instagram @ https://www.instagram.com/nonpointband/ Nonpoint Store @ https://nonpoint.com/ 361 Degrees Records @ https://361-degrees-records-llc.myshopify.com/ 361 Degrees Records Facebook @ https://www.facebook.com/361degreesrecords/

By Tank Martin Nonpoint, the esteemed American rock band, is thrilled to announce the release of their eagerly awaited EP, “Heartless,” accompanied by the debut of their latest single, “Golden Gloves,” on November 17th.

Serving as the fourth single from the EP, “Golden Gloves” is poised to be a sonic masterpiece, offering listeners a tantalizing glimpse into the band’s evolution and creative prowess.

Both “Golden Gloves” and the “Heartless” EP are now available for digital streaming and purchase. In a nod to nostalgia, the EP is also offered as a limited edition cassette, making it a coveted collectible for dedicated enthusiasts. Going above and beyond, Nonpoint has included a custombranded cassette player, with only 300 units ever produced, exclusively available on Nonpoint’s official website, Nonpoint.com.

The excitement for Nonpoint fans doesn’t end there. The band has announced “The Million Watts Tour 2023,” featuring musical powerhouses (hed p.e.), Sumo Cyco, and Special Guest VRSTY. The tour is set to

kick off on December 1st in Harrisburg, PA, at HMAC on Herr. Promising an unforgettable experience, the tour brings together diverse musical influences and unmatched energy. Tickets are available at Nonpoint

Nonpoint’s latest offerings, “Heartless” and “Golden Gloves,” underscore the band’s unwavering commitment to musical excellence and delivering authentic, powerful performances. With a legacy of captivating audiences worldwide, Nonpoint continues to assert its dominance in the rock music scene.

Hailing from South Florida, Nonpoint has been captivating audiences with their energetic sound and passionate performances for over two decades. Formed in 1997, the band has consistently pushed the boundaries of modern rock, seamlessly blending heavy metal, nu-metal, and hard rock into a unique and formidable musical force. Over their 20year career, Nonpoint has released several critically acclaimed albums, establishing themselves as one of the most exciting live acts in the industry.

Throughout their journey, Nonpoint has garnered praise for their signature sound and impactful lyrics, often addressing social and political issues. Their powerful sound and emotionally charged live performances have earned them a dedicated fanbase and recognition from the music industry, with multiple award nominations and acclaim from publications such as Rolling Stone, Revolver, and Alternative Press.

In 2021, Nonpoint’s track “Ruthless” reached #16 on Billboard’s Rock Chart and was featured on notable Spotify playlists. The single also gained prominence on SiriusXM Octane’s Big Uns Countdown, LA Lloyd top 30, and became the featured track for AEW’s nationally televised event BLOOD AND GUTS on TNT in May. With over 3.5 million streams, “Ruthless” solidified Nonpoint’s continued impact in the rock music scene.

Nonpoint is: Elias Soriano (Lead Vocals) , Robb Rivera (Drums) , Rasheed Thomas (Guitar /Backing Vocals) , Adam Woloszyn (Bass) , Jason Zeilstra (Lead Guitar) HEARTLESS Tracklisting: Heartless Paper Tigers Golden Gloves A Million Watts Wannabe King

Buy/Stream the Heartless EP at https://lnk.to/Nonpoint_Heartless

2023 The Million Watts Tour Dates: 12/1 Harrisburg, PA @ HMAC on Herr SOLD OUT 12/2 Hartford, CT @ Webster Underground SOLD OUT 12/3 Hampton Beach, NH @ Wallys 12/5 Montreal, QC @ Foufounes 12/6 Toronto, ON @ Lees Palace 12/8 Green Bay, WI @ Epic Event Center 12/9 Belvidere, IL @ The Apollo Theatre 12/10 Chicago, IL @ Bottom Lounge 12/12 Louisville, KY @ Mercury Ballroom 12/14 Angola, IN @ Eclectic Room 12/15 Flint, MI @ Machine Shop SOLD OUT 12/16 Flint, MI @ Machine Shop SOLD OUT Nonpoint Festival Dates 2024 4/25 Las Vegas, NV - Sick New World SOLD OUT 5/9-12 Daytona Beach, FL - Welcome to Rockville 6/6-9 Soperown, GA - Throwdown at the Campground Tickets on sale at nonpoint.com December 2023 • Rock and Blues International

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Rock and Blues International • December 2023

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Jim James In a harmonious blend of rock and soul, Warren Haynes proudly releases the first single from ‘The Benefit Concert Volume 20,’ a soul-stirring rendition of Fleetwood Mac’s “Gold Dust Woman.”

Performed alongside My Morning Jacket’s Jim James and the enchanting Grace Potter, this track sets the stage for the electrifying live album recorded at the 30th Annual Christmas Jam on December 7th and 8th, 2018 in Asheville, North Carolina. The trio brings a raw, magnetic energy to the classic song, creating a version that resonates with both nostalgia and fresh, fiery passion.

Warren Haynes Releases The Lead Single from ‘The Benefit Concert Volume 20’ - “Gold Dust Woman” with Jim James and Grace Potter Out December 8th, the Multi-CD/DVD/ Vinyl Showcases the Electrifying Live Performances From the 30th Annual Christmas Jam From Dave Grohl, Eric Church, Joe Bonamassa, Jim James, Gov’t Mule, Grace Potter, and many more Recorded December 7th and 8th, 2018 in Asheville, North Carolina Pre-order here: https://lnk.to/warrenhaynes 66

Rock and Blues International • December 2023

“Gold Dust Woman,” with its haunting harmonies and gritty guitar riffs, captures the essence of the historic event—celebrating the joy of live music and the power of collaboration. This release not only pays homage to the continued on next page

Grace Potter

‘The Benefit Concert Volume 20’ (continued from previous page) legendary roots of the song but also spotlights the chemistry between these acclaimed artists. Each voice melds seamlessly with the others, against the backdrop of Haynes’ masterful guitar work, to reinterpret this timeless hit for a new generation of listeners.

The full album, ‘The Benefit Concert Volume 20,’ due out December 8th via Evil Teen Records/Mascot Label Group, is an anthology of these unforgettable moments. It’s a sonic journey through the night’s most memorable performances, encapsulating the spirit of giving, community, and music. This collection not only serves as a historical record of one of the most significant musical events in Asheville, but also stands as a beacon of what can be achieved when artists unite for a cause greater than themselves.

This importance is further underscored by the concert’s longstanding impact on the local community, having raised over $2.8 million for the Asheville Area Habitat for Humanity. ‘The Benefit Concert Volume 20’ isn’t just a celebration of Warren Haynes’ three decades of musical gatherings; it’s a continuation of a legacy that uplifts, unites, and gives back.

Despite its name, the “Christmas Jam” was less about festive tunes and more about gathering local musicians to celebrate the holidays and give back to the community. Over 30 years later, this humble event transformed into a nationally recognized spectacle, raising over $2.8 million for Asheville Area Habitat for Humanity and the construction of over 50 homes in the region.

Reflecting on its growth, Haynes notes, “As an Ashevillean, it’s heartening to see the progress Asheville has witnessed over these three decades.

In many ways, Christmas Jam mirrors this city’s vibrant spirit.”

Listen to Warren Haynes, Jim James, and Grace Potter Perform Fleetwood volumes (in different colors: purple, orange, blue, red), 2-CD + DVD set, and 3-CD + 2 Blu-ray set, along with a digital-only format. Bundles are also available now to pre-order.

In addition to Haynes, James and Potter, other featured artists on the forthcoming set include Dave Grohl, Eric Church, Joe Bonamassa, Gov’t Mule, Mike Gordon, Marco Benevento, Jamey Johnson, Edwin McCain, Kevn Kinney, Tyler Ramsey, Scott Murawski, and Ron Holloway, along with Mac’s “Gold Dust Woman” at https://youtu.be/iezLDMt-ym4 Machan Taylor, Mini ‘The Benefit Carlsson, Mike Barnes, and Ray Sisk Concert Volume 20’ stands out not only Starting in December of 1988, sitting in with Gov’t Mule. ‘The Benefit as a testament to three decades of Warren Haynes launched what would Concert Volume 20’ will be available become a cherished tradition in his continued on next page physically on four different double vinyl hometown of Asheville, North Carolina.

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C1. Sweet Emotion (Mike Gordon) C2. Pendulum (Mike Gordon) C3. Record Year (Eric Church) C4. Ain’t Wastin’ Time No More (Eric Church) D1. Spanish Boots (Joe Bonamassa) D2. SWLABR (Joe Bonamassa) D3. Tea For One > I Can’t Quit You Baby (Joe Bonamassa) Vinyl Volume 2 (2LP Orange) A1. Play pt 1 (Dave Grohl) B1. Play pt 2 (Dave Grohl) C1. Thorazine Shuffle (Gov’t Mule) C2. Million Miles From Yesterday (Gov’t Mule feat. Machan Taylor & Mini Carlsson) C3. Dreams & Songs (Gov’t Mule feat.

Machan Taylor & Mini Carlsson) D1. Revolution Come Revolution Go (Gov’t Mule) D2. Rockin’ In The Free World > Machine Gun > Rockin’ In The Free World (Gov’t Mule feat. Dave Grohl)

Dave Grohl

‘The Benefit Concert Volume 20’ (continued from previous page) musical celebrations, but also the enduring spirit of Christmas Jams.

Throughout the years, it’s the impromptu collaborations (often times between artists and musicians meeting backstage or on stage), the unwavering commitment of all participants, and the unity in music that truly define this legacy.

“Although Christmas Jam, the main event, is traditionally a one-night event, there have been three occasions where we felt the need to make it two nights — the 20th, 25th, and 30th Anniversaries, each of which featured extraordinary line-ups,” Haynes adds.

“The performances being represented in this package are culled from the 30th Anniversary in 2018, which was in itself a milestone for ‘the Jam.’ However, its importance is amplified by the fact that the next year we would take a welldeserved break with every intention of resuming business as usual in 2020, not knowing that 2020 would bring about the COVID-19 pandemic which affected not just the music business, but the entire world. Thankfully, we were able to bring it back in 2022 with a stellar lineup and will continue on this year with another memorable event. It feels great to be back.”

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Warren Haynes is a cornerstone of the American music landscape, lauded as one of the most formidable guitarists and vocalists of our time. His prolific career includes his tenure with the Allman Brothers Band and The Dead and as a founding member of Gov’t Mule.

Produced by Haynes and executive produced by Stefani Scamardo, ‘The Benefit Concert Volume 20’ shines a light on the enduring appeal of live music and the camaraderie it fosters.

Christmas Jam returns for the 32nd annual event on December 9th, 2023.

Visit www.xmasjam.com for ticketing details and to purchase.

Warren Haynes Presents: The Benefit Concert Volume 20 – Track Listing Vinyl Volume 1 (2LP Purple) A1. Greenpoint (Marco Benevento) A2. Pepper (Marco Benevento) A3. In Color (Jamey Johnson) A4. I Think I’ll Just Stay Here And Drink (Jamey Johnson) B1. Medicine (Grace Potter & The Nocturnals) B2. The Lion The Beast The Beat (Grace Potter & The Nocturnals) B3. A New Life (Jim James) B4. State Of The Art (A.E.I.O.U.) (Jim James)

Rock and Blues International • December 2023

Vinyl Volume 3 (2LP Blue) A1. Just Before The Bullets Fly (Warren Haynes) A2. One (Warren Haynes) A3. Paris (Ooh La La) (Grace Potter & The Nocturnals feat. Ron Holloway) B1. I’ve Seen A Love (Edwin McCain) B2. Ray Ray’s Juke Joint (Jamey Johnson) B3. Victim (Mike Gordon) B4. Smoke A Little Smoke (Eric Church) B5. The Weight (Eric Church) C1. Here In Spirit (Jim James) C2. Red Baron (Gov’t Mule feat. Ron Holloway & Mike Barnes) C3. Soulshine (Warren Haynes) D1. Us And Them (Gov’t Mule feat. Jim James) D2. Any Colour You Like (Gov’t Mule) D3. Welcome To The Machine (Gov’t Mule) Vinyl Volume 4 (2LP Red) A1. Glory Road (Warren Haynes feat.

Ray Sisk) A2. I’m Telling You (Planet of the Abts) A3. Underground Umbrella (Kevn Kinney, Jamey Johnson & Christmas Jam Band) A4. Straight To Hell (Kevn Kinney, Jamey Johnson & Christmas Jam Band) B1. 1000 Black Birds (Tyler Ramsey) B2. The Nightbird (Tyler Ramsey) B3. If Heartaches Were Nickels (Warren Haynes & Joe Bonamassa) B4. Crazy Sometimes (Mike Gordon & Scott Murawski) C1. Captured (Warren Haynes & Jim James) C2. Gold Dust Woman (Warren Haynes, Jim James & Grace Potter) C3. Times Like These (Dave Grohl & continued on next page

‘The Benefit Concert Volume 20’ (continued from previous page) Warren Haynes) C4. Everlong (Dave Grohl) D1. Time > Breathe (Reprise) (Gov’t Mule) D2. Money (Gov’t Mule) D3. Comfortably Numb (Gov’t Mule) 2CD + DVD CD 1: 1. Greenpoint (Marco Benevento) 2. Pepper (Marco Benevento) 3. Ray Ray’s Juke Joint (Jamey Johnson) 4. In Color (Jamey Johnson) 5. The Lion The Beast The Beat (Grace Potter & The Nocturnals) 6. Good Times Bad Times > Paris (Ooh La La) (Grace Potter & The Nocturnals feat. Ron Holloway) 7. Sweet Emotion (Mike Gordon) 8. Pendulum (Mike Gordon) 9. A New Life (Jim James) 10. State Of The Art (A.E.I.O.U.) (Jim James) 11. Record Year (Eric Church) 12. Ain’t Wastin’ Time No More (Eric Church) 13. The Weight (Eric Church) CD 2: 1. Spanish Boots (Joe Bonamassa) 2. Tea For One > I Can’t Quit You Baby (Joe Bonamassa) 3. Play (Dave Grohl) 4. Revolution Come Revolution Go (Gov’t Mule) 5. Million Miles From Yesterday (Gov’t Mule feat. Machan Taylor & Mini Carlsson) 6. Rockin’ In The Free World > Machine Gun > Rockin’ In The Free World (Gov’t Mule feat. Dave Grohl) DVD: 1. Greenpoint (Marco Benevento) 2. Ray Ray’s Juke Joint (Jamey Johnson) 3. In Color (Jamey Johnson) 4. Medicine (Grace Potter & The Nocturnals) 5. The Lion The Beast The Beat (Grace Potter & The Nocturnals) 6. Sweet Emotion (Mike Gordon) 7. Pendulum (Mike Gordon) 8. A New Life (Jim James) 9. State Of The Art (A.E.I.O.U.) (Jim James) 10. Record Year (Eric Church) 11. Ain’t Wastin’ Time No More (Eric

Church) 12. Spanish Boots (Joe Bonamassa) 13. SWLABR (Joe Bonamassa) 14. Play (Dave Grohl) 15. Revolution Come Revolution Go (Gov’t Mule) 16. Million Miles From Yesterday (Gov’t Mule feat. Machan Taylor & Mini Carlsson)

3. Play (Dave Grohl) 4. Revolution Come Revolution Go (Gov’t Mule) 5. Million Miles From Yesterday (Gov’t Mule feat. Machan Taylor & Mini Carlsson) 6. Rockin’ In The Free World > Machine Gun > Rockin’ In The Free World (Gov’t Mule feat. Dave Grohl)

3CD + 2 Blu-ray CD 1: 1. Greenpoint (Marco Benevento) 2. Pepper (Marco Benevento) 3. Ray Ray’s Juke Joint (Jamey Johnson) 4. In Color (Jamey Johnson) 5. The Lion The Beast The Beat (Grace Potter & The Nocturnals) 6. Good Times Bad Times > Paris (Ooh La La) (Grace Potter & The Nocturnals feat. Ron Holloway) 7. Sweet Emotion (Mike Gordon) 8. Pendulum (Mike Gordon) 9. A New Life (Jim James) 10. State Of The Art (A.E.I.O.U.) (Jim James) 11. Record Year (Eric Church) 12. Ain’t Wastin’ Time No More (Eric Church) 13. The Weight (Eric Church)

CD 3: 1. Captured (Warren Haynes & Jim James) 2. Gold Dust Woman (Warren Haynes, Jim James & Grace Potter) 3. Underground Umbrella (Kevn Kinney, Jamey Johnson & Christmas Jam Band) 4. Honeysuckle Blue (Kevn Kinney, Jamey Johnson & Christmas Jam Band) 5. 1000 Black Birds (Tyler Ramsey) 6. I’ve Seen A Love (Edwin McCain) 7. I’m Telling You (Planet of the Abts) 8. Times Like These (Dave Grohl & Warren Haynes) 9. Everlong (Dave Grohl) 10. Us And Them (Gov’t Mule feat. Jim James) 11. Any Colour You Like (Gov’t Mule) 12. Comfortably Numb (Gov’t Mule)

CD 2: 1. Spanish Boots (Joe Bonamassa) 2. Tea For One > I Can’t Quit You Baby (Joe Bonamassa)

continued on next page

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‘The Benefit Concert Volume 20’ (continued from previous page) 24. SWLABR (Joe Bonamassa) 25. Tea For One > I Can’t Quit You Baby (Joe Bonamassa) 26. Play (Dave Grohl) 27. Thorazine Shuffle (Gov’t Mule) 28. Revolution Come Revolution Go (Gov’t Mule) 29. Million Miles From Yesterday (Gov’t Mule feat. Machan Taylor & Mini Carlsson) 30. Dreams & Songs (Gov’t Mule feat. Machan Taylor & Mini Carlsson) 31. Red Baron (Gov’t Mule feat.

Ron Holloway & Mike Barnes) 32. Rockin’ In The Free World > Machine Gun > Rockin’ In The Free World (Gov’t Mule feat.

Dave Grohl)

Eric Church Blu-ray 1: 1. Just Before The Bullets Fly (Warren Haynes) 2. One (Warren Haynes) 3. Soulshine (Warren Haynes) 4. Greenpoint (Marco Benevento) 5. Pepper (Marco Benevento) 6. Ray Ray’s Juke Joint (Jamey Johnson) 7. In Color (Jamey Johnson) 8. I Think I’ll Just Stay Here And Drink (Jamey Johnson) 9. Medicine (Grace Potter & The Nocturnals) 10. The Lion The Beast The Beat (Grace Potter & The Nocturnals) 11. Good Times Bad Times > Paris (Ooh La La) (Grace Potter & The Nocturnals feat. Ron Holloway) 12. Victim (Mike Gordon) 13. Sweet Emotion (Mike Gordon) 14. Pendulum (Mike Gordon) 15. Here In Spirit (Jim James) 16. A New Life (Jim James) 17. State Of The Art (A.E.I.O.U.) (Jim James) 18. Record Year (Eric Church) 19. Smoke A Little Smoke (Eric Church) 20. Ain’t Wastin’ Time No More (Eric Church) 21. The Weight (Eric Church) 22. Glory Road (Warren Haynes feat.

Ray Sisk) 23. Spanish Boots (Joe Bonamassa)

Blu-ray 2: 1. If Heartaches Were Nickels (Warren Haynes & Joe Bonamassa) 2. 1000 Black Birds (Tyler Ramsey) 3. The Nightbird (Tyler Ramsey) 4. Underground Umbrella (Kevn Kinney, Jamey Johnson & Christmas Jam Band) 5. Straight To Hell (Kevn Kinney, Jamey Johnson & Christmas Jam Band) 6. Captured (Warren Haynes & Jim James) 7. Gold Dust Woman (Warren Haynes, Jim James & Grace Potter) 8. Crazy Sometimes (Mike Gordon & Scott Murawski) 9. I’ve Seen A Love (Edwin McCain) 10. I’m Telling You (Planet of the Abts) 11. Times Like These (Dave Grohl & Warren Haynes) 12. Everlong (Dave Grohl) 13. Time > Breathe (Reprise) (Gov’t Mule) 14. Money (Gov’t Mule) 15. Us And Them (Gov’t Mule feat. Jim James) 16. Any Colour You Like (Gov’t Mule) 17. Welcome To The Machine (Gov’t Mule) 18. Comfortably Numb (Gov’t Mule) Digital Release 1. Greenpoint (Marco Benevento) 2. Pepper (Marco Benevento)

https://www.xmasjam.com https://www.facebook.com/xmasjam https://www.twitter.com/xmasjam https://www.instagram.com/xmasjam 70

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3. Ray Ray’s Juke Joint (Jamey Johnson) 4. In Color (Jamey Johnson) 5. The Lion The Beast The Beat (Grace Potter & The Nocturnals) 6. Good Times Bad Times > Paris (Ooh La La) (Grace Potter & The Nocturnals feat. Ron Holloway) 7. Sweet Emotion (Mike Gordon) 8. Pendulum (Mike Gordon) 9. A New Life (Jim James) 10. State Of The Art (A.E.I.O.U.) (Jim James) 11. Record Year (Eric Church) 12. Ain’t Wastin’ Time No More (Eric Church) 13. The Weight (Eric Church) 14. Spanish Boots (Joe Bonamassa) 15. Tea For One > I Can’t Quit You Baby (Joe Bonamassa) 16. Play (Dave Grohl) 17. Revolution Come Revolution Go (Gov’t Mule) 18. Million Miles From Yesterday (Gov’t Mule feat. Machan Taylor & Mini Carlsson) 19. Rockin’ In The Free World > Machine Gun > Rockin’ In The Free World (Gov’t Mule feat. Dave Grohl) 20. Captured (Warren Haynes & Jim James) 21. Gold Dust Woman (Warren Haynes, Jim James & Grace Potter) 22. Underground Umbrella (Kevn Kinney, Jamey Johnson & Christmas Jam Band) 23. Honeysuckle Blue (Kevn Kinney, Jamey Johnson & Christmas Jam Band) 24. 1000 Black Birds (Tyler Ramsey) 25. I’ve Seen A Love (Edwin McCain) 26. I’m Telling You (Planet of the Abts) 27. Times Like These (Dave Grohl & Warren Haynes) 28. Everlong (Dave Grohl) 29. Us And Them (Gov’t Mule feat. Jim James) 30. Any Colour You Like (Gov’t Mule) 31. Comfortably Numb (Gov’t Mule)

Joe Bonamassa

Check us out at http://www.rockandbluesinternational. com Also available on Spotify, Google Podcasts, Podcast Index, Amazon Music, Podcast Addict, Podchaser, Pocket Casts, Deezer, Listen Notes & More!

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In celebration of the 30th anniversary of their groundbreaking debut Everybody Else Is Doing It, So Why Can’t We?, Island/UMe is releasing a special edition of the album on solid gold vinyl on December 1, 2023.

The Cranberries Celebrate The 30th Anniversary Of Its Groundbreaking Debut “Everbody Else Is Doing It, So Why Can’t We?” With Its Release On Solid Gold Color Vinyl Follow The Cranberries Online At: Website @ https://www.cranberries.com/ Facebook @ https://www.facebook.com/TheCranberries/ Instagram @ https://www.instagram.com/thecranberries/ YouTube @ https://www.youtube.com/channel/UCb0vzLwvr7xbJgdqMzejDhw

Originally released on March 1, 1993, Everybody Else Is Doing It, So Why Can’t We? hit the No. 1 spot in both the UK and Ireland and has sold more than six million copies worldwide.

Spawning two Top Ten singles – the debut lead single “Dreams” and its mainstream breakthrough follow-up “Linger” which cemented the band’s position within the rock world, the album highlighted the unique vocal stylings of Dolores O’Riordan (whose untimely passing in 2018 rocked the music industry). Combining Gaelic, Catholic, and indie vocal influences, O’Riordan coupled her relatable lyrics that captured the frustrations of late adolescence, giving these songs universal appeal. In the 30 years since its release, this carefully crafted debut has stood the test of time as a landmark album.

Says drummer Fergal Lawler, “We wanted to do something special for you, our fans, as you have been so supportive since this this album was released 30 years ago,” Fergal continues. “‘Linger’ first became a big hit in America and that had a knock-on effect and broke the album around the world. We are eternally grateful to you for that.”

Everybody Else Is Doing It, So Why Can’t We? tracklisting 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

“I Still Do” “Dreams” “Sunday” “Pretty” “Waltzing Back” “Not Sorry” “Linger” “Wanted” “Still Can’t...”

“I Will Always” “How” “Put Me Down”

The Cranberries “Dreams” Link/Embed: https://youtu.be/Yam5uK6e-bQ?si=gGJQBtT9I5uU5RwJ The Cranberries “When You’re Gone” Link/Embed: https://youtu.be/RUmdWdEgHgk?si=4Ara_Peho0E41Jem Pre-ordered here: http://thecranberries.lnk.to/EverybodyElseGoldVinyl 72

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Maybe You Should Run Your Next Tour Schedule In Rock And Blues International! email: rockandbluesinternational@gmail.com or call today 281-650-1953 For Fast Service

MOTÖRHEAD ‘ANOTHER PERFECT DAY’ ENJOYS ANNIVERSARY CELEBRATION DELUXE 40th ANNIVERSARY EDITIONS OF “ANOTHER PERFECT DAY” OUT NOW! Motorhead “Climber” Demo Official Video at https://youtu.be/hjeI-6bR_mU Always the most controversial album in Motörhead’s catalogue, Another Perfect Day was up against it from the start. After former Thin Lizzy guitarist Brian Robertson replaced Fast Eddie Clarke, the band’s sixth studio album presented what Lemmy called a more “musical” approach, the classic line-up’s full-tilt ferocity harnessed to more traditional guitar rock tropes 74

enhanced by carefully crafted production.

In 1983, it was initially startling to hear Lemmy and Phil’s patent hell-bound express draped in Robbo’s effects-laden multi-storey guitar overdubs instead of getting hot-wired by Eddie’s deceptively complex thermonuclear blues riffs and embellishments. Following the likewise

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lambasted Iron Fist and its reappraisal, Another Perfect Day stands before us forty years on from the turbulent time that spawned it as an inevitably divisive one-off chapter in Motörhead’s chaotic early history. continued on next page

MOTÖRHEAD (continued from previous page) Forty years on, Another Perfect Day holds its own as this most surreal detour in Motörhead’s early roller coaster, deserving its reappraisal away from the heat of the moment when the classic lineup dissolved and Robbo joined the band.

To celebrate the 40th anniversary of this sixth record in the Motörhead album arsenal, it is being presented in new deluxe editions. There are hardback book-packs in two CD and triple LP formats, featuring an amplifier blowing remaster of the original album, previously unreleased demo bonus tracks and a previously unreleased, full concert recorded at Hull City Hall on 22nd June 1983. Plus the story of the album and many previously unseen photos. There’s also a limited edition, blue and black swirl of the original standalone album.

See below for full details of the Another Perfect Day releases and be sure to visit www.iMotorhead.com for news and updates!

LP AND CD TRACKLISTING Original Another Perfect Day album 1. Back At The Funny Farm 2. Shine 3. Dancing On Your Grave 4. Rock It 5. One Track Mind 6. Another Perfect Day 7. Off To War 8. I Got Mine 9. Tales Of Glory 10. Die You Bastard

12. Hoochie Coochie Man (Live, Shine B-Side) 13. (Don’t Need) Religion (Live, Shine B-Side) 14. Climber (Demo) 15. Fast One (Demo) 16. Chinese (Demo) 17. Climber (Instrumental Demo) Live at Hull City Hall, 22nd June 1983 (Previously unreleased) 1. Back at the Funny Farm 2. Heart of Stone 3. Shoot You in the Back

4. Marching Off to War 5. Iron Horse / Born to Lose 6. Another Perfect Day 7. Hoochie Coochie Man 8. (Don’t Need) Religion 9. One Track Mind 10. Go to Hell 11. America 12. Shine 13. Dancing on Your Grave 14. Rock It 15.Bite the Bullet 16. The Chase Is Better Than the Catch

CD & Digital Bonus Tracks 11. Turn You Round Again (I Got Mine, B-Side)

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(Photo by Derick Smith)

Ministry Releases Brand-New Track & Video For “Just Stop Oil” The Latest Single From Forthcoming HOPIUMFORTHEMASSES Out March 1, 2024 Via Nuclear Blast Pre-Orders Available Now Here At https://ministry.bfan.link/hftm 16th Studio Album Features Guest Appearances From Gogol Bordello’s Eugene Hutz, Jello Biafra & Pepper Keenan Ministry To Perform New Songs Live On Spring 2024 Tour Beginning Feb 27 Tickets On Sale Now At MinistryBand.com Find Ministry Online Website: http://www.ministryband.com Facebook: http://www.Facebook.com/WeAreMinistry Twitter: http://www.Twitter.com/WeAreMinistry Instagram: http://www.Instagram.com/WeAreMinistry 76

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(continued from previous page) Corporate greed. Sharky politicians. Climate out-of-control.

Questionable government interests. All of it comes to a head in Al Jourgensen’s latest diatribe against the system, “Just Stop Oil.” The brandnew track – from Ministry’s upcoming 16th studio album HOPIUMFORTHEMASSES – is shared alongside a visually stimulating music video that begs for action for the benefit of our collective future.

Says Jourgensen of the track: “Ministry approves this message and the movement behind it. ENOUGH is ENOUGH!” See the video for “Just Stop Oil” here at https://youtu.be/7T7TThGcrAY “Just Stop Oil” follows the release of earlier single “Goddamn White Trash” (https://youtu.be/8imYWda6MOs), both anchor tracks from HOPIUMFORTHEMASSES (out March 1, 2024 on Nuclear Blast Records) that give a preview of the state of mind of creator and band leader Al Jourgensen who is cantankerous as ever about a f***ed up world ripe for a boot up its ass. Like always, he’s merely looking around at the same dumpster fire we all are, but he’s got a microphone and uses it well to rage on about the state of the world.

Joined by Ministry’s current frontline of musicians – John Bechdel (keyboards), Monte Pittman and Cesar Soto (guitars), Roy Mayorga (drums) and Paul D’Amour (bass) – HOPIUMFORTHEMASSES also has a slew of special guest contributors including Gogol Bordello’s Eugene Hutz, long-time collaborator and Lard companion Jello Biafra and Corrosion of Conformity frontman Pepper Keenan.

Born in 1981 in Chicago, Ministry has been the lifetime passion project of founder Al Jourgensen, considered to be the pioneer of industrial music. In its early days, Ministry was identifiable by its heavy synth-pop material in line with the new sounds and technology that were being developed in the ‘80s. Ministry’s output began with four 12” singles on Wax Trax! Records in 1981 before the first LP With Sympathy in 1983 via Arista Records. As time progressed however, so did Ministry, quickly developing a harsher, and more stylized sound that the band soon became infamous for on seminal albums Twitch (1986), The Land of Rape and Honey (1988), and The Mind Is A Terrible Thing To Taste (1989). With the release of Psalm 69: The Way to Succeed and The Way to Suck Eggs (1992), Ministry hit an all-time high in the mainstream musical realm and received its first Grammy nomination. In total, Ministry has been nominated for a Grammy award six times. Eight more albums would follow before an indefinite break in 2013, only to be unearthed again in 2018 with AmeriKKKant, continuing to reflect Jourgensen’s views on the frightening state of society and politics. The 2021 album Moral Hygiene marked a new creative era of Jourgensen and the band. Ministry’s 16th studio album, HOPIUMFORTHEMASSES, will be released in early 2024 via Nuclear Blast Records.

HOPIUMFORTHEMASSES will be available in three vinyl variants, a CD jewelcase and digital/streaming platforms. The vinyl variants include: green with yellow splatter (in stores everywhere); blue with pink splatter (nuclear blast exclusive); red with white splatter (band/ tour exclusive).

Pre-order HOPIUMFORTHEMASSES HERE AT https://ministry.bfan.link/hftm Tracklist for HOPIUMFORTHEMASSES: B.D.E. Goddamn White Trash*** Just Stop Oil Aryan Embarrassment** TV Song 1/6 Edition New Religion It’s Not Pretty Cult of Suffering* Ricky’s Hand

*Featuring Eugene Hütz (Gogol Bordello) **Featuring Jello Biafra ***Featuring Pepper Keenan Ministry will play the new songs live on a Spring 2024 tour, kicking off February 27, supported by Gary Numan and Front Line Assembly.

MINISTRY SPRING 2024 NORTH AMERICAN TOUR Joined By Gary Numan & Front Line Assembly February 2024 27 San Francisco, CA @ The Warfield 29 Eugene, OR @ McDonald Theatre March 2024 1 Portland, OR @ Roseland Theater 2 Seattle, WA @ Showbox SoDo 3 Vancouver, BC @ Commodore Ballroom 5 Calgary, AB @ Palace Theatre 6 Edmonton, AB @ Midway Music Hall 8 Winnipeg, MB @ Burton Cummings Theatre 9 Minneapolis, MN @ The Fillmore 10 Madison, WI @ The Sylvee 12 Columbus, OH @ Kemba Live 13 Detroit, MI @ Royal Oak Music Theater 14 Chicago, IL @ Aragon Ballroom 16 Toronto, ON @ History 17 Montreal, QC @ MTelus 18 Boston, MA @ Roadrunner 19 New York, NY @ Terminal 5 20 Bethlehem, PA @ Wind Creek Casino 22 Cherokee, NC @ Harrah’s Cherokee 23 Orlando, FL @ Hard Rock Live 24 Tampa, FL @ Jannus Landing 26 Birmingham, AL @ Avondale 27 Biloxi, MS @ Hard Rock Casino Biloxi*** 29 Houston, TX @ House of Blues 30 Dallas, TX @ The Factory 31 Tulsa, OK @ Tulsa Theater April 2024 2 Denver, CO @ Mission Ballroom 4 Las Vegas, NV @ The Theater at Virgin Hotels Las Vegas 5 Tucson, AZ @ Rialto Theatre ***Front Line Assembly is not appearing For tickets and more information, visit www.ministryband.com/tour

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Check us out at http://www.rockandbluesinternational. com Also available on Spotify, Google Podcasts, Podcast Index, Amazon Music, Podcast Addict, Podchaser, Pocket Casts, Deezer, Listen Notes & More!

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BLUE ÖYSTER CULT NEW ALBUM ‘50th ANNIVERSARY LIVE – FIRST NIGHT’ SET FOR RELEASE ON DECEMBER 8th Pre-Order at https://orcd.co/boc50thfirstnight Frontiers Music Srl is pleased to announce the upcoming release from Blue Öyster Cult, ”50th Anniversary Live – First Night” on December 8, 2023.

The legendary American hard rock band BLUE ÖYSTER CULT celebrated their 50th Anniversary with a very special set of 3 sold-out shows in a row in September 2022 at Sony Hall in NYC. For this historic career milestone, each show featured the band playing in its entirety one of their first three albums (BLUE OYSTER CULT, TYRANNY AND MUTATION, and SECRET TREATIES), followed by a set of deep cuts and classics from their other albums.

Founding member Albert Bouchard was a

special guest on all three nights.

The band played for nearly 3 hours and delivered an amazing set performing the S/t debut album back to back and the second set also included some fans’ favorite and deep cuts along with some of their best-known songs. BLUE ÖYSTER CULT were truly on fire. All in, they played for nearly three hours for the delight of the fans that filled the venue.

The Frontiers label will release each night as a special individual package.

For over five decades, BLUE ÖYSTER CULT has been thrilling fans of intelligent hard rock worldwide with

powerful albums loaded with classic songs. Indeed, the Long Island, NY-based band is revered within the hard rock and heavy metal scene for its pioneering work. They occupy a unique place in rock history, because it’s one of very few hard rock/heavy metal bands to earn both genuine mainstream critical acclaim and commercial success.

The band is often cited as a major influence by other acts such as Metallica, and BÖC was listed in VH1’s countdown of the greatest hard rock bands of all time.

Upon the release of BÖC’s selftitled debut album in 1972, the band was praised for its catchy-yet-heavy music and lyrics that could be provocative, terrifying, funny or ambiguous, often all in the same song. BÖC’s canon includes three stone-cold classic songs that will waft through the cosmos long after the sun has burned out: The truly haunting “(Don’t Fear) The Reaper” from 1976’s AGENTS OF FORTUNE, the pummeling “Godzilla” from 1977’s SPECTRES and the hypnotically melodic “Burnin’ for You” from 1981’s FIRE OF UNKNOWN ORIGIN. Other notable BÖC songs include “Cities on Flame with Rock and Roll,” “Then Came the Last Days of May,” “I Love the Night,” “In Thee,” “Veteran of the Psychic Wars,” “Dominance and Submission,” “Ascontinued on next page

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BLUE ÖYSTER CULT (continued from previous page)

tronomy,” “Black Blade” and “Shooting Shark.”

The intense creative vision of BÖC’s original core duo of vocalist/lead guitarist Donald “Buck Dharma” Roeser and vocalist/rhythm guitarist Eric Bloom is complemented by Richie Castellano on guitar and keyboards, and the longtime rhythm section of bass guitarist Danny Miranda and drummer Jules Radino.

“We realized we’re a ‘classic rock’ band. That’s what we are, that’s what we do best, and that’s what we know,” declares the band.

They’re proud of BÖC’s classic sound, and pleased the band is creating vibrant work for disenfranchised music lovers who don’t like the homogenized, prefabricated pop or sound-alike, formulaic rap-metal that monopolizes the radio airwaves and best-seller charts.

BÖC has always maintained a relentless touring schedule and an album of new material, THE SYMBOL REMAINS, was released October 9th, 2020, to rave reviews.

Tracklisting: DISC 1 1 TRANSMANIACON MC 2 I’M ON THE LAMB BUT I AIN’T NO SHEEP 3 THEN CAME THE LAST DAYS OF MAY 4 STAIRWAY TO THE STARS 5 BEFORE THE KISS, A REDCAP 6 SCREAMS 7 SHE’S AS BEAUTIFUL AS A FOOT 8 CITIES ON FLAME WITH ROCK AND ROLL 9 WORKSHOP OF THE TELESCOPES 10 REDEEMED DISC 2 1 DR. MUSIC 2 BURNIN’ FOR YOU 3 TRAIN TRUE (LENNY’S SONG) 4 TAINTED BLOOD 5 HARVEST MOON 6 DANCIN’ IN THE RUINS 7 THE VIGIL

8 CAREER OF EVIL 9 BOX IN MY HEAD 10 GODZILLA 11 (DON’T FEAR) THE REAPER 12 IN THEE 13 THAT WAS ME 14 HOT RAILS TO HELL DVD - BLURAY 1 TRANSMANIACON MC 2 I’M ON THE LAMB BUT I AIN’T NO SHEEP 3 THEN CAME THE LAST DAYS OF MAY 4 STAIRWAY TO THE STARS 5 BEFORE THE KISS, A REDCAP 6 SCREAMS 7 SHE’S AS BEAUTIFUL AS A FOOT 8 CITIES ON FLAME WITH ROCK AND ROLL 9 WORKSHOP OF THE TELESCOPES 10 REDEEMED 11 DR. MUSIC 12 BURNIN’ FOR YOU 13 TRAIN TRUE (LENNY’S SONG) 14 TAINTED BLOOD 15 HARVEST MOON 16 DANCIN’ IN THE RUINS 17 THE VIGIL 18 CAREER OF EVIL 19 BOX IN MY HEAD

20 21 22 23 24

GODZILLA (DON’T FEAR) THE REAPER IN THEE THAT WAS ME HOT RAILS TO HELL

Total time: 3.44.38 CD1: 0.43.03 CD2: 1.07.56 DVD: 1.59.31 Line-up: Eric Bloom – Guitars, Keyboards, Vocals Donald “Buck Dharma ” Roeser – Guitars, Vocals Richie Castellano – Guitars, Keyboards, Vocals Danny Miranda – Bass, Vocals Jules Radino – Drums Special Guest: Albert Bouchard - Drums, Percussion, Guitars, Vocals SOCIAL MEDIA Facebook @ https:// www.facebook.com/blueoystercult/ YouTube @ https://www.youtube.com/ channel/ UCToiTDJNmKtyBHAUUsbdZnQ Twitter @ https://twitter.com/ theamazingBOC

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photo credit: Mind Art Visual

Dave Mason Reimagines Classic Hit with Blues-Rock Superstar Joe Bonamassa in a New Release of “Dear Mr. Fantasy” Uniting Rock Heritage with Guitar Virtuosity, The New Single Blends Mason’s Classic Sound with Bonamassa’s Dynamic Flair Stream “Dear Mr. Fantasy” on all digital platforms here at https://ffm.to/dearmrfantasy2023 Watch the new animated music video now at https://youtu.be/EcS5xvv_UGI 82

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Legendary rock musician and songwriter Dave Mason has unveiled a new version of the timeless Traffic hit, “Dear Mr. Fantasy,” breathing new life into the classic song with the help of modern blues rock icon Joe Bonamassa.

The collaborative effort delivers a fresh yet reverent take on a piece that has captivated audiences since its original release in 1967. The single is available on all streaming platforms via Joe Bonamassa’s KTBA Records.

“Dear Mr. Fantasy” has been a cornerstone in Mason’s live sets, a testament to its enduring brilliance and his personal connection to the song. “’Fantasy’ has been a favorite song of mine since its release in 1967,” Mason shared. “I’ve played it live for years in a number of different arrangements. As I’ve often said, there are no old songs, just good songs, and ‘Dear Mr. Fantasy,’ in my mind, is one of the finest examples around.”

In an exciting turn for fans, Mason has joined forces with Joe Bonamassa, whose guitar mastery and vocal prowess are well-suited for the complexity and depth of the iconic track. Mason’s enthusiasm about the collaboration is palpable: “To have the opportunity to incorporate one of the modern-day great guitar players, Joe Bonamassa, is as exciting to me as playing with Jimi Hendrix. He is the first person I wanted to include on this new version of ‘Fantasy.’”

The synergy between Mason’s seasoned artistry and Bonamassa’s fresh perspective has culminated in a rendition of “Dear Mr. Fantasy” that honors the original while standing firmly with a foot in the contemporary music scene. “The combination of talent with great song structure is exhilarating to me, and I knew Joe would play it like nobody else,” Mason expressed. “He has a uniquely keen sense of precise timing, unobstructed by a bluesy groove that’s perfect for this song.”

This collaboration is more than just a revisit to a beloved classic; it’s a fusion of tradition and innovation. Bonamassa’s contribution is not limited to his guitar genius; his vocal ability adds a new dimension to the track. Mason celebrates this, saying, “He brings everything up, and ‘Dear Mr. Fantasy’ is both classic and current, an exceptionally difficult balance to do but Joe Bonamassa pulled it off powerfully with grace and genius.”

The new version of “Dear Mr. Fantasy” featuring Dave Mason with Joe Bonamassa is available now on all major streaming platforms. It serves as a poignant reminder of Traffic’s musical genius and as a bridge connecting generations of rock enthusiasts.

Fans and critics alike hail Rock & Roll Hall of Famer Dave Mason as one of the most talented songwriters and guitarists in the world - which is why he is still performing over 100 shows a year to sold-out crowds. Best known for his soulful voice and unsurpassed guitar playing, Dave founded two bands by the age of 15: The Deep Feeling, and The Hellions. At 18, the Worcester, England native teamed up with Steve Winwood, Jim Capaldi, and Chris Wood to form the legendary band Traffic. At 19, Mason penned the song “Feelin’ Alright.” The rock anthem, first recorded by Traffic and then covered by dozens of other

artists (including Joe Cocker), cemented both Dave’s and Traffic’s legacy, and had a profound influence over rock music that continues today. www.davemasonmusic.com Blues-rock superstar Joe Bonamassa is one of the most celebrated performing musicians of today. As a three-time GRAMMYnominated artist and 13x Blues Music Award Nominee (4 wins), he achieved his 27th No. 1 album on the Billboard Blues Chart with his latest release, Blues Deluxe Vol. 2. Only in his mid40s, Bonamassa has become a living legend with an astounding multi-genre catalog. He has released more than 40 albums, including studio and live recordings, as well as collaborative albums with his adventurous side projects: Black Country Communion and Rock Candy Funk Party. www.jbonamassa.com

Follow Dave Mason at Instagram: https://www.instagram.com/davemasonmusic/ FaceBook: https://www.facebook.com/DaveMasonMusic Youtube: https://www.youtube.com/channel/UCdF6Tz_3y30lU9BAr-eARxA Twitter: https://twitter.com/davemasonband December 2023 • Rock and Blues International

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Celebrating 50 Years of Sonic Brilliance: Frank Zappa’s Over-Nite Sensation Unveils Uncharted Dimensions 84

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Frank Zappa’s Over-Nite Sensation (continued from previous page)

By Greg Fontaine In a grand celebration of the 50th anniversary of Frank Zappa’s iconic 1973 album, “Over-Nite Sensation,” a dazzling Super Deluxe Edition is unveiled, chronicling the album’s journey with a trove of 57 unreleased and rare studio and live tracks. This expanded edition, a five-disc masterpiece comprising four CDs and a Blu-ray Audio disc, delves into the creation of the benchmark gold-selling record, offering a comprehensive exploration of the musical genius that is Frank Zappa.

The Super Deluxe Edition unfolds with an impressive 88 tracks, inviting listeners on an immersive journey through Zappa’s sonic universe. Among these gems are outtakes, alternate edits, and unedited bonus vault masters. The collection also boasts two previously unreleased shows recorded at the iconic Hollywood Palladium and Detroit’s illustrious Cobo Hall, showcasing the raw energy and brilliance of Zappa’s live performances.

The Blu-ray component of the edition is a treasure trove for audiophiles, featuring the original Quad mix along with new surround sound and Dolby Atmos mixes of the core album. This auditory adventure promises to elevate the listening experience, providing fresh perspectives on the timeless compositions that define “Over-Nite Sensation.”

For vinyl enthusiasts, the celebration extends to a 2LP 180-gram black vinyl edition, meticulously crafted for audiophile enjoyment. Additionally, digital and Dolby Atmos-only digital options cater to the diverse preferences of modern music enthusiasts, ensuring that Zappa’s genius is accessible in various formats.

“Over-Nite Sensation” remains a favorite gateway into Frank Zappa’s vast musical universe. This Super Deluxe Edition stands as a testament to the enduring legacy of an

album that transcends time, inviting both devoted fans and new listeners to embark on a sonic journey through the genius of Frank Zappa.

In a triumphant crescendo honoring the golden jubilee of Frank Zappa’s iconic album, “Over-Nite Sensation,” a spellbinding 50th-anniversary edition emerges from the musical cosmos, beckoning listeners into an unparalleled sonic odyssey.

This auditory marvel, released through Zappa Records/UMe, takes the form of a five-disc (4CD/1Blu-ray Audio) Super Deluxe Edition, a tapestry of 88 tracks, including 57 previously unreleased treasures and mixes. Helmed by Ahmet Zappa and Zappa Vaultmeister Joe Travers, this monumental collection, named “Over-Nite Sensation: 50th Anniversary Edition,” not only showcases the 2012 remaster of the original album by Bob Ludwig but also unveils additional unreleased masters, highlights, and mix outtakes from the groundbreaking 1973 sessions, all meticulously mastered by John Polito.

Elevating the auditory experience, the Super Deluxe Edition unfolds with two riveting live concert recordings from 1973. These rare gems capture the essence of the same band that etched the classic album, resonating through the hallowed halls of the Hollywood Palladium in Los Angeles and the electric ambiance of Cobo Hall in Detroit. The Blu-ray component adds a modern twist, presenting the core album freshly remixed in Dolby Atmos and 5.1 surround sound by the dynamic duo, Karma Auger and Erich Gobel at Studio1LA. This dynamic team, renowned for their acclaimed Dolby Atmos and surround mixes on 2022’s Waka/Wazoo release, infuses new life into Zappa’s original 4-channel Quadraphonic mix, a treasure resurrected for the first time since 1973. continued on next page December 2023 • Rock and Blues International

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Frank Zappa’s Over-Nite Sensation (continued from previous page) Additionally, the Blu-ray offers the hi-res stereo 2012 remaster in both 24bit/192kHz and 24-bit/96kHz, ensuring a sonic journey that transcends the boundaries of time.

Completing this auditory tapestry, the Super Deluxe Edition is encased in a lavish box, adorned with a 48-page booklet and unseen photos from the album cover shoot by Sam Emerson. The narrative unfolds through liner notes and new essays penned by the distinguished audiophile journalist Mark Smotroff and Joe Travers. Immerse yourself in this unparalleled experience: Stream/ purchase here: https://zappa.lnk.to/OverNiteSensationPR.

Beyond the confines of the Super Deluxe Edition, “Over-Nite Sensation” extends its reach on 2LP 180-gram black audiophile vinyl. The album, cut at 45 rpm for the first time from the original analog tape by Chris Bellman at Bernie Grundman Mastering in 2023, comes bundled with a bonus 24” x 12” poster, offering a visual feast of the complete cover art.

For the digital audiophiles, the Super Deluxe Edition is available in all its glory, with all 88 tracks accessible in both hi-res 24-bit/96kHz and standardres 16-bit/44.1kHz options. Dive deep 86

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into the auditory wonderland, where a standalone Dolby Atmos mix of the core album’s seven tracks awaits on major hires streaming services.

In homage to this milestone release, Frank Zappa’s official YouTube channel presents a captivating two-part series. Hosted by Joe Travers, these episodes unveil the intricate artistry behind the original album’s iconic artwork and photography, as well as the meticulously crafted packaging of the 50th anniversary edition. Tune in and explore the essence of Over-Nite Sensation.Watch here: https://frankzappa.lnk.to/ONS_SeriesPR Embark on Episode 1 of the OverNite Sensation Series, engaging in a riveting conversation with Joe Travers and Michael Mesker. Delve into the intricacies of the 50th Anniversary Super Deluxe Edition, where every note resonates with the passage of time.

Transported to the musical landscape of 1973, Frank Zappa and The Mothers embarked on a transformative journey. Emerging from the shadows of 1972’s lauded Waka/Jawaka and The Grand Wazoo, Zappa envisioned a reimagined Mothers collective, exploring new compositional frontiers. September 1973 witnessed the birth of “Over-Nite

• December 2023

Sensation,” a timeless masterpiece that beckoned listeners into the Zappaverse.

This stone-cold classic not only marked a musical shift but also showcased Zappa’s prowess as the lead vocalist and sole guitarist, steering a band with a novel sound that resonated globally, eventually achieving gold status in 1976.

Over the years, its tracks, including “I’m The Slime,” “Fifty-Fifty,” “Zomby Woof,” and “Camarillo Brillo,” etched themselves as live staples, enduring fan favorites.

The ensemble of Mothers heard on “Over-Nite Sensation” comprised virtuoso musicians, melding jazz (George Duke, Jean-Luc Ponty, Ralph Humphrey, Sal Marquez) and classical elements (Ian Underwood, Ruth Underwood), with the Fowler brothers (Bruce Fowler on trombone, Tom Fowler on bass) adding the finishing touches.

Zappa’s arrangements transformed existing material like “Cosmik Debris” and “Montana” while birthing new compositions to showcase the ensemble’s strengths.

The recording sessions at Bolic Sound and Whitney Studios witnessed the addition of iconic guest vocalists, including Ricky Lancelotti and Kin Vassy, imparting their unique styles. The legendary Tina Turner and The Ikettes, although uncredited, left an indelible mark with their background vocals, creating a sonic landscape that was funky, funny, challenging, and undeniably mighty.

As “Over-Nite Sensation” unfurled its sonic tapestry, it explored various sequencing options, teasing listeners with instrumental gems like “Inca Roads” and “RDNZL.” The album’s completion at Paramount Studios in Hollywood marked the band’s departure for Hawaii and Australia, with the album masters submitted to the label in July.

Disc 1 of the Super Deluxe Edition includes three compositions as “Bonus Session Masters,” unveiling a treasure trove of unreleased material, including a complete edit of “Wonderful Wino” in its 1973 vintage mix, a 1973 vintage mix of “RDNZL” with Zappa’s guitar solo, and a newly mixed “Inca Roads” from the rediscovered 16-track master.

Zappa and The Mothers took their sonic exploration to the stage in 1973, touring auditoriums, theaters, and college venues. The concerts melded new compositions with rearranged classics, embodying Zappa’s penchant for the avant-garde. The Super Deluxe Edition echoes these live experiences with 27 previously unreleased live tracks from Hollywood and Detroit shows.

From the guru blues of “Cosmik Debris” continued on next page

to the sleazy funk of “Curse Of The Zomboids (I’m The Slime),” fans were treated to a musical feast. In Detroit, the horn-driven instrumental sneer of “FiftyFifty” and the troika medley of “Don’t Eat The Yellow Snow,” “Nanook Rubs It,” and “St. Alphonzo’s Pancake Breakfast” unfolded with Zappa’s trademark narrative prowess.

While “Over-Nite Sensation” opened new commercial doors for Frank Zappa, the maestro resisted the pull of corporate conformity. The 50th Anniversary Super Deluxe Edition serves as a testament to Zappa’s unyielding creativity, unraveling tales of dental floss farming, mindless video drones, and poncho-clad lotharios. This expanded edition not only commemorates the past but also propels the legacy forward, affirming that Zappa’s musical journey had only just begun.

FRANK ZAPPA: OVER-NITE SENSATION 50th ANNIVERSARY EDITIONS Tracklists 4CD + 1BLU-RAY AUDIO SUPER DELUXE EDITION CD 1 Over-Nite Sensation – The Album 1. Camarillo Brillo 2. I’m The Slime 3. Dirty Love 4. Fifty-Fifty 5. Zomby Woof 6. Dinah-Moe Humm 7. Montana Bonus Session Masters 8. Wonderful Wino (Complete Edit)* 9. Inca Roads (1973 Version, 2023 Mix)* 10. RDNZL (1973 Mix)* 11. For The Young Sophisticate (Dolby EQ Copy) 12. I’m The Slime (Single Version) 13. Montana (Single Edit With Intro) Bonus Vault Sensations 14. Inca Roads (Bolic Take-Home Mix)* 15. RDNZL (Take 2)* 16. X-Forts (Echidna’s Arf (Of You))* CD 2 Bonus Vault Sensations 1. Camarillo Brillo (Alternate Mix)* 2. Face Down (I’m The Slime – Demo)* 3. I’m The Slime (Basic Track Outtake)* 4. Dirty Love (Session Rehearsal)* 5. Dirty Love (With Quad Guitar)* 6. Fifty-Fifty – Pipe Organ Intro Improvisations* 7. Fifty-Fifty (Basic Tracks, Take 7)* 8. Dinah-Moe Humm (Session Rehearsal)* 9. Dinah-Moe Humm (Bolic Take-Home Mix)* 10. Montana (Bolic Take-Home Mix)* Live In Hollywood, California, Hollywood Palladium – March 23, 1973

Frank Zappa’s Over-Nite Sensation (continued from previous page) 11. Montana* 12. Dupree’s Paradise (Intro)* 13. Dupree’s Paradise* CD 3 Live In Hollywood, California, Hollywood Palladium – March 23, 1973 Continued 1. Cosmik Debris* 2. “The Dynamic Sal Marquez!”* 3. Big Swifty* 4. “…The Successor To Willie The Pimp”* 5. The Curse Of The Zomboids (I’m The Slime)* 6. Don’t You Ever Wash That Thing?* 7. FZ & The Percussion Section* 8. Palladium Jam – Part 1* 9. Palladium Jam – Part 2*

BLU-RAY AUDIO Over-Nite Sensation – The Album Dolby Atmos* / Dolby TrueHD 5.1* / Dolby TrueHD 1973 Quadraphonic / 24-bit/192kHz Stereo / 24-bit/96kHz Stereo 1. Camarillo Brillo 2. I’m The Slime 3. Dirty Love 4. Fifty-Fifty 5. Zomby Woof 6. Dinah-Moe Humm 7. Montana * Previously unreleased 2LP – 45 RPM VINYL EDITION LP One – Side 1 1. Camarillo Brillo 2. I’m The Slime

CD 4 Live In Detroit, Michigan, Cobo Hall – May 12, 1973

LP One – Side 2 1. Dirty Love 2. Fifty-Fifty

1. Cobo Hall ’73 Band Intros And Sound Check* LP Two – Side 3 2. Exercise #4* 3. Dog Breath* 1. Zomby Woof 4. The Dog Breath Variations* 2. Dinah-Moe Humm 5. Uncle Meat* 6. Fifty-Fifty* LP Two – Side 4 7. Inca Roads* 1. Montana 8. FZ Introduces the Don’t Eat The Yellow Snow Medley* DOLBY ATMOS – DIGITAL 9. Don’t Eat The Yellow Snow* 10. Nanook Rubs It* Over-Nite Sensation – The Album 11. St. Alfonzo’s Pancake Breakfast* 1. Camarillo Brillo 12. Father O’Blivion* 2. I’m The Slime 13. St. Alfonzo’s Pancake Breakfast (Re3. Dirty Love prise)* 4. Fifty-Fifty 14. Join The March* 5. Zomby Woof 15. Cosmik Debris* 6. Dinah-Moe Humm 16. Medley: King Kong/Chunga’s Revenge/ Son Of Mr. Green Genes* December 2023 • Rock and Blues International 87

The Biker, The Blues, The Recording Session & The Tour Bus Accident One of the nicest places to ride to and visit in Southern New Mexico is the town of Ruidoso. A nice sort of sleepy community with its cool craft stores and pubs but it’s also home to a class A horse track, a major casino and dare I say it legalized marijuana dispensaries. On just about any given day through the end of September there’s around 40,000 visitors just to give you an idea of what kind of draw Ruidoso has these days.

My friend Richard Cagle lives there and he has this really cool recording studio named Montrose Records where professional artists and producers go to record new music. I like to visit with Rich once in a while because we sit on their porch rockers, take in the marvelous view and swap lies. He drinks Shiner Bock while I sip scotch and smoke cigars. This time around I got to meet world class music producer Dale Penner. Dale is famous among other accomplishments for his work with Loverboy and Nickelback. His easy going but firm command of the recording sessions are something to experience, they are very good. Easy to see why he ranks high with artists and recording engineers. It’s not always this way in a studio but the man made it look easy and on these two days both the artists and the session players were digging the vibe quite well.

Upon arrival the tour bus folks stayed at a hotel named Elevate and I stayed at the Mountain Inn. I met up with Rich early the next morning before the sessions began. We opted for something quick and that meant Denny’s. The food was Denny’s food I guess you might say and the service was good. We talked about the days when Rich recorded Johnny Winter, Carloyn Wonderland and Annika Chambers. All of which would go on to knock the heck out of the charts. We paid our bill and left to go up the mountain to the studio. Man was it ever beautiful and peaceful. Inside there was a wall with one heckuva selection of amps, guitars, a piano and a drum kit. A studio is not my habitual habitat but I know cool when I see it. The good folks from Synapse Publishing and Entertainment showed up next. Darice G, the CEO, was personally attending today’s session. The artist/songwriter that arrived with her is known commercially as Delaney Ann. Delaney hails out of Texas but also resides part of the year in Nashville. She’s in her twenties and a very pleasant person to be around. Her success to date is quite impressive and while sometimes quick success fills the head of a young artist and ruins them not so with this one. On this day they would record four of her originals before 10pm that night, talk about a long day. For an old scooter tramp like me to sit around and take it all in was cool for sure. I saw the session musicians meld with Delaney and Dale as they listened to all sorts of entrances and continued on next page

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exits then lock down what he wanted from the suggestions. Next they started recording and was it ever cool.

There is this thing called a click track, A click track keeps them all at the same tempo and some headphones were picking up the click just fine but others were not.

When I went into the control room I could hear what they were hearing and that increased my understanding of how music is created in a studio. Me, I specialize in lunch and Darice had lunch catered up to us. We all sat outside and the musicians talked about places and concerts they had worked over the years. At one point they began to speak to Dale about all sorts of musical stuff. It was all foreign to me but they knew what was what. I just thought it was interesting that there is this language culture going on perhaps like listening to an Indian chief share his wisdom in another language. After lunch everyone went back inside but not me. The mountain air along with the peaceful feeling that was enveloping me combined with the serene view of the mountains was too much to leave. No regrets at all. Recording artist/songwriter/guitar stylist Rich Chorné stopped by and we had a nice conversation and then I left at dinner time heading back down the mountain to the motel.

Chorné had told me about a singer that was performing on the main street downtown that I thought I might take in. However, once I sat my back side down on the motel

room sofa I quickly dozed off.

The next morning I met up with Rich and then off to the studio for another day of recordings, four more songs in one day. This day Dale and Rich would be recording Americana songwriter/artist Julia Cozby (left). If you haven’t listened to Julia’s original songs you would be in for a real treat. Well there she was and so were the session guys and like a fine tuned piano they all knew the sound they wanted to deliver and deliver they did. Darice arrived with Delaney around lunch time and the two of them brought another nice meal. Darice told us some interesting facts about a place named The Villages in Florida. A gated retirement community, quite interesting. If you ever meet Darice she can fill you in, trust me you probably have not heard these facts about any retirement community. Basically what I learned was that just because there is snow on the roof doesn’t mean continued on next page December 2023 • Rock and Blues International

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the furnace is out.

Ok so here I was in this cool, hip sleepy town of Ruidoso and what do I learn about? The new marijuana retail shops. Now you have to understand that when I was in high school we used to get high and talk about some day wouldn’t it be cool to just walk into a convenience store and ask for Panama Red or Acapulco Gold? Well now decades later of course you can do just that in some states in the U.S. New Mexico being one of them. Now get this - at some of the dispensaries as they are labeled you can even drive through - go figure! How modern is that? “Good Morning Sir, I would like a half ounce of Mellow Midday, a Latte and give me one of those gummy bear things too.” Is that nuts or what? Too cool! I was told that some places are generating as much as a hundred thousand in gross profit per month. Ok so you go to Ruidoso, you visit the horse track, go up to the Inn of the Mountain Gods Casino, stop by your favorite “convenience” store, rent a cabin with a dynamite view and kick back. Now if you are a touring band and you need a break well here you go and if you need to lay some tracks down you can do that too. I’m still blown away by a drive through lane wow! Well all good things must come to an end so too must a guy leave southern New Mexico. The recording sessions were over and the tour bus was going east and so was I so I thought I would tag along for a ways. I had followed them for several hours and we gassed up at a number of stops along the way.

The bike seemed to need gas at about the same time the bus did so it worked out. Then it happened - about fifty miles west of Fort Worth Texas around Mingus the left front tire on the bus blew out and it veered into the passing lane, a car that was passing got involved and ended up in the median. I could see the bus was going into the sloped median too with a bit more speed than was probably ok. I am sure there was nothing the driver could do as the bus entered the median went down into its valley and then rose up its far side bank. It was at this point I saw the bus start to angle as if it was going to flip over and it almost did, man it was close. The bus righted itself and came to a complete stop. I slowed down and went back to see how everyone was doing and learn if the driver in the car was ok too. Everyone was shook up but all of them were ok. Then came the damage assessment. It would take two new front tires for them to get going again. That meant calling the insurance company and getting them involved which they did immediately.

The Texas State Police showed up about two hours later and the officer was more than cordial. He stayed with them until much later. The incident happened just before sunset on a Sunday no less.

So everybody was ok and the waiting was for the two tires. They finally arrived and the workers did a great job in this remote location near Mingus. Once the tires were on the officer instructed the bus driver on how they would continued on next page 90

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enter back onto the freeway. The driver said ok and that is when he realized that the bus did not have any brakes. So he left the bus and told the officer. He also told him that he could stop the bus with the emergency brake and that there was an exit less than a quarter mile ahead. They agreed that would be the plan and they went for it. It worked and then after the move the bus was in front of an Exxon station that was about to close at 10 pm.

The folks on the bus told me that they had no choice but to sleep on the bus until they could get the new brake line in the morning. However another problem surfaced. The CO2 detector on the bus kept going off. It turned out that the exhaust routing for the auxiliary generator on the bus was routed on the left front side of the engine compartment of course was bent upward and not outward into the air due to the tire blowing up. That meant that they needed a place to stay because they could die if they slept on the bus. Low and behold right behind the Exxon was this small motel (see photo above) named The Longhorn Inn. You talk about luck. A bad situation that could have been worse wouldn’t be. I decided to stay too and tied my iron horse up out front. Nice clean room so all was ok. In the morning the driver called the roadside service center and they would have to go to the dealership to get the part. The good news would be that once they picked up the part the installation should only take about an hour, wrong! They meant well but the factory unsealed package was missing the threaded connector fitting so off to an Ace Hardware of all places to get the part they needed. Quite the bus trip for sure. We met a gal named Lani who joined us outside the little gift shop that was attached to the motel. I was having a stogie and she was ready for a cigarette. Turned out that she was/is a professional horse trainer and worked/works as a trainer at some rather famous race tracks around the country with some notable race horses. She tolerated my ramblings about Las Vegas and sports betting and shared the names of some of the tracks she was involved with over the years.

Quite impressive. One of the most interesting points that came up was where she was born, Hawaii. Lani is the name everyone in Texas calls her but Mom had named her a beautiful Hawaiian name. Soon the part was installed and the rest of the trip went without a hitch but what a wild experience. Me, well I had my eye on this pretty young philly down the road and no I am not talking about a race horse. But then again a gentleman never reveals some things and this is one of them.

Merry Christmas to all of you. Hope you get what you want for the holidays. I know I will.

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