Rock And Blues International - January 2024

January 2024

Rock And Blues International Chris O’Leary

ALSO IN THIS ISSUE

Paul McCartney Rolling Stones Stephen Marley Sebastian Lillo KK’s Priest Mick Mars Gov’t Mule and more!

Rock And Blues International January 2024 Hello Rock And Blues International readers. I hope everybody had a great December. Welcome to 2024. I hope and pray that everybody has a better year than last year. Each year should always be better than the last.

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 the Honey Island Swamp Band, Paul Reed Smith, 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 Chris O’Leary 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 January issue of Rock And Blues International. On the cover of this issue you can see Chris O’Leary.

Chris has a new album titled The Hard Line which will be released this month on Alligator Records. In this issue Chris tells us all about his new album. I can hardly wait for you to hear the podcast later this month. We laughed through the whole thing. It was a fantastic interview. He really gives us a lot of great insight into this new gem of an album. We’ve also got a great story by Edoardo Fassio about Sebastiano Lillo. Be sure to check that one out too, it’s very interesting. There are also stories on Paul McCartney, The Rolling Stones, Gov’t Mule, Mick Mars, Stephen Marley, Exit Eden, Tesla, KK’s Priest, Coi Leray, Jarhead Fertilizer, P.O.D., 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” January 2024 • Rock and Blues International

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Contents

VOL. 4 NO. 6

JANIUARY 2024

ISSUE NO. 42

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Page 6 Chris O’Leary Chris O’Leary Releases His New Album The Hard Line On Alligator Records

Page 18 Gov’t Mule Gov’t Mule Announce Their “30 Years Strong Tour” Starting In February

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Rock and Blues International • January 2024

Page 22 Sebastian Lillo Sebastiano Lillo: The duende and the art of personalizing the blues

Page 28 Mick Mars Mick Mars Announces His New Solo Album THE OTHER SIDE OF MARS And Debuts New Music Video For “Right Side Of Wrong”

Contents

VOL. 4 NO. 6

JANUARY 2024

ISSUE NO. 42

Page 88 - THE BIKER Page 38 Exit Eden EXIT EDEN Unveils Dramatic Cover of Journey’s “Separate Ways” & Official Music Video

Page 40 Tesla Tesla Announces The “Keepin’ It Real Tour” Starting January

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

In This Issue:

6 Chris O’Leary 18 Gov’t Mule 22 Sebastiano Lillo (English) 23 Sebastian Lillo (Italian) 28 Mick Mars 32 Odd Eye Circle 34 Rolling Stones 36 Beabadoobee 38 Exit Eden 40 Tesla 44 Rina Sawayama 46 KK’s Priest 48 Coi Leray 50 El Perro Del Mar 54 Jarhead Fertilizer 56 P.O.D. 58 The Dandy Warhols 60 Dead By Wednesday 62 Lord Of The Lost 68 Stephen Marley 72 Paul McCartney & Wings 76 The Biker

Rock And Blues International January 2024 • Rock and Blues International

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Chris O’Leary Releases His New Album The Hard Line On Alligator Records 6

Rock and Blues International • January 2024

By Kevin Wildman Renowned for his devastatingly soulful vocals, dynamic harmonica mastery, and poignant songwriting, Chris O’Leary stands on the brink of a triumphant chapter in his musical journey with the release of his latest album, “The Hard Line.” A luminary in the blues and roots world, O’Leary’s illustrious career has been a tapestry woven with experiences as a Marine veteran, an exFederal police officer, and the former lead singer of The Barn Burners, a band featuring the legendary Levon Helm on drums. With five solo albums preceding this eagerly anticipated Alligator Records debut, O’Leary’s musical legacy has quietly thrived in the background, and “The Hard Line” emerges as his magnum opus, a collection of 12 original tracks that encapsulate the essence of his multifaceted artistry. From intense slow-burners to rollicking blues, the album not only showcases O’Leary’s exceptional musicianship but also delves into the depths of his personal experiences, creating a tapestry of sound and story that captivates the listener’s soul.

Chris O’Leary, an immensely talented soulful vocalist, dynamic harmonica master, and exceptional songwriter, has long been an unsung hero in the blues and roots world.

With a musical journey spanning from upstate New York to global stages, O’Leary has garnered acclaim as an award-winning artist and Marine veteran. His roots run deep, having been a disciple and friend of two legends: The Band’s iconic drummer/vocalist/ songwriter, Levon Helm, and the legendary blues harmonica giant, James Cotton.

Having played professionally since the 1990s, O’Leary boasts a rich background, including being the former lead singer of The Barn Burners, a band featuring Levon Helm on drums. His musical prowess extends beyond vocals and harmonica; O’Leary is also a superb songwriter, with five solo albums to his credit prior to his Alligator Records debut, “The Hard Line.”

Notably, O’Leary’s artistic journey is marked by diversity. A Marine combat veteran and ex-Federal police officer, his blues career took an unexpected turn when Levon Helm, still recovering from throat surgery, invited him to front the house band at his club in New Orleans. O’Leary and Helm collaborated for over a year, performing five nights a week and backing renowned touring musicians.

O’Leary’s latest album, “The Hard Line,” produced by the artist himself, features 12 striking originals. This collection, carefully chosen from over 30 newly-written songs, showcases the breadth of O’Leary’s musical prowess. From intense slow-burners like “Ain’t That A Crime” to the rollicking “Love’s For Sale,” the album reflects O’Leary’s ability to seamlessly navigate various blues styles.

Beyond his musical achievements, O’Leary’s personal experiences, including his time as a Marine, deeply influence his songwriting. “The Hard Line” includes emotionally charged tracks like “I Cry At Night,” a poignant reflection on his Marine service. O’Leary remains committed to

Chris O’Leary (continued from previous page) We had a chance to sit down with shedding light on the challenges faced by Chris and gain a little insight into his new veterans, using his platform to raise awarealbum, “The Hard Line,” where he discussed ness. his musical journey, his time in the service Born in 1968 in Schenectady, New and his desires of being a musician. The York, O’Leary grew up surrounded by conversation was very candid and open and diverse music, from Beethoven to I’d like to share it with you right now, so with Springsteen. His blues journey began after out any ado, here’s Chris O’Leary. witnessing The Band live at age 10, and he Chris O’Leary: Hello. was particularly captivated by Muddy Waters’ performance. O’Leary’s introduction to the Rock And Blues International: Hello harmonica came through James Cotton’s Chris. powerful playing on Muddy’s “Hard Again” album, leaving an indelible mark on his Chris O’Leary: How are you? musical direction.

Despite a hiatus from music to work as Rock And Blues International: Fine, a Federal police officer, O’Leary returned to how you doing. This Kevin with Rock And the blues scene, balancing a demanding job Blues International. with his passion. His dedication eventually led to international touring, connecting with Chris O’Leary: Hey, Kevin. Good to audiences worldwide. “The Hard Line” marks talk to you. a pinnacle in O’Leary’s career, representing the culmination of a life rich in experiences Rock And Blues International: Good to and cementing his place among blues and talk to you, too. So you’ve got a new album roots luminaries. With an athletic stage coming out! presence and a military-style discipline reflected in his “high and tight” haircut, Chris O’Leary: Yep, I’m pumped.

O’Leary commands attention. His performances, characterized by an authentic blend Rock And Blues International: I’ll bet of soulful vocals and urgent harmonica power, resonate deeply with listeners and continued on next page leave an enduring impact.

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Chris O’Leary: No, the pressure was...

Ben Elliot, who was the producer, and the head of the label at Showplace was... he passed during the pandemic. So showplace was no longer. He was that label. And the pressure was... I wrote a lot of songs during the pandemic, and I wanted that music out there. To be a touring musician, without product, you’re sort of beating your head against the wall. And Alligator has always been the apex is where I eventually wanted to end up. So I decided that would be the time.

There’s no better time like now because now I can, and I’ve got some time. I can write songs. So that’s what I did.

Rock And Blues International: How many of these songs are written up after the pandemic and how many were written during the pandemic?

Chris O’Leary: Oh, I would say during the two year, two and a half year hiatus, I betcha I wrote 30 songs. I presented maybe 30, 30 plus to Alligator. And most of it, I mean, there were some, like remnants of previous songs in there. I’m a lyricist, for the most part and there were ideas here and there, but I had the time to put them together. And so that’s what I did.

Rock And Blues International: Alright, so you got enough material for the next two albums?

Chris O’Leary (continued from previous page) you are.

Chris O’Leary: Oh, I am!

Rock And Blues International: You’re certainly moving up on labels now. You’ve been on VizzTone. What was the other one before VizzTone? I mean, after VizzTone?

Chris O’Leary: Oh, that was Showplace.

Rock And Blues International: Showplace. And now you’re on Alligator.

What does the move to Alligator Records mean to you?

Chris O’Leary: It’s huge. I mean, like any other Blues fan, all my heroes were on Alligator. I mean, (James) Cotton’s the reason... he’s the reason I play and between Cotton and Big Walter, and Jr. Wells and Houndog Taylor and Koko Taylor, Albert Collins, whatever... The list is endless. It’s my dream come true. Pretty much. Again, I can’t say it enough. It feels like all those years of driving around in our stinky ass van and playing gig after gig after gig. It’s like sort of a “Yeah, finally, you made it” a little bit. You know, that’s what it feels like.

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Rock And Blues International: Well, it is about the top label for the blues circuit right now.

Chris O’Leary: Yeah. Yep. Rock And Blues International: So you’re in great company with that.

Chris O’Leary: Really! And I, I tried. I mean, it was no easy feat. I wrote a lot of songs and Bruce (Iglauer) is not the easiest person to win over. I mean, he’s very discerning of what he likes and what he doesn’t like and he’s honest about what he likes and what he doesn’t like. So it was a it was process.

Rock And Blues International: Yeah, he can be very opinionated at times.

Chris O’Leary: Yep. Yeah. And I took that to heart because nothing... nothing screams like maybe this guy’s right, like success. And I’ve been listening to Alligator Records my entire life. So. So yeah, I took his critiques, and his advice to heart. And luckily after a while it paid off.

Rock And Blues International: Was it added pressure on you?

Rock and Blues International • January 2024

Chris O’Leary: Well, that’s the thing.

Not all of these songs were big hits with Alligator, you know. So some of them, some of them went by the wayside, but I’m still writing. Yeah, I have. I’m pretty confident I have the next record written. For the first time ever, I have a co writer on a lot of this stuff. I I wrote a song with Levon (Helm) when I was with Levon Helm way back in the day, when I was just getting my feet wet as far as writing songs, but for the most part I was a words and music guy. Well, my piano player Brooks Millgate is one of the best musicians I’ve ever met and so we’ve been collaborating. He’ll give me some music and I put words to it, and so far it seems to work out pretty well. In a short period of time, we’ve come up with a couple pretty good songs in it. You know, as a songwriter you sometimes you get caught in ruts, you find yourself repeating yourself either lyrically and melodically because that’s the way your brain works. My brain only works in a certain way. You get somebody, you get fresh ears, or fresh ideas, and it definitely makes the process better for me. So that’s something new. On the next record, there’ll be probably a couple of compilations, writing compilations between me and Brooks.

Rock And Blues International: Were there any on this album?

Chris O’Leary: No, it was all me.

Rock And Blues International: Okay, because I noticed he’s playing on like five continued on next page

Chris O’Leary (continued from previous page) songs on here.

Chris O’Leary: Yeah, he’s amazing.

For the longest time I went out with horns.

You know, I went out with a baritone and tenor sax. And sometime again, during the pandemic, I decided I might be able to get more bang for the buck. If I just if I if I grabbed somebody who could play piano and organ. It would widen our musical possibilities. I’m a huge New Orleans guy, so having having a guy in the band who can play Smiley Lewis, who can play Huey Smith, Dr. John, or James Booker. He can touch on all that stuff. It widens our output, our musical palette, which I did. It definitely broadens our horizons, so it’s been a good thing.

Rock And Blues International: So you specifically picked him for the songs on this album?

Chris O’Leary: I did.

Rock And Blues International: Okay, you’ve got two other keyboard players on here. Jesse O’Brien and Jeremy Baum.

Chris O’Leary: Yep. Jeremy, I’ve known forever. He’s a Hudson Valley, New York guy where I lived for the longest time.

Jeremy used to play with Shamika (Copeland) for years. And before I met Brooks, Jeremy’s played on albums of mine in the past. So I knew Jeremy would bring it, and Jesse. A few times when we played, we toured Canada when I was with Levon. Jessie was just a kid and he was up in the Toronto area and he came and sat in with us and I was really impressed. Out of the clear blue sky, I was like, I wrote this song like a Sonny Boy thing and I was like, you know, if I could find where Jessie’s at... I located him on Facebook and I saw that he was playing with Steve Mariner who I’m a huge fan of. And so I reached out to him. And yeah, it worked out really well. He brought it just like I remembered that he would and then some so it was good. But those two guys recorded with me before I met Brooks. But once Brooks was in the fold, yeah, that’s, that’s the keeper guy.

That’s that’s the guy who’s gonna be on the future stuff.

Rock And Blues International: Not the other two, or will they be guesting?

Chris O’Leary: They might be guesting if Brooks can’t do something, which, for the life of me, I can’t think of something that he couldn’t do on the keyboards. I mean, he’s that good. But they’re both buddies of mine so somewhere down the road they might contribute again.

But as for now. Brooks is the guy for sure.

Rock And Blues International: Well, let’s go back a little further and tell me a little bit about the beginning of your music career.

How did this start out for you?

Chris O’Leary: At the very beginning, it starts out with my dad. It was a musical household. He played all, he played everything. On weekends there was always music playing in the house. He sang and his brothers played. My Uncle Mike was a working musician. And so there was all sorts of music playing and it was everything from Opera to country to blues and The Band and Bruce Springsteen, whatever. There was always music playing in the house. So he latched on to what I liked. And one day I was in my bedroom listening to KISS. I can imagine. I can remember I was listening to KISS “Destroyer”, I think, Rock And Blues International: Oh, yeah, KISS was a big blues band back then. (laughing sarcastically).

Chris O’Leary: And my dad basically came in, and my dad was... he was in the military. He was a Green Beret, so he was opinionated, and he basically came in and told me to turn that crap off. He’s like, I don’t know what you’re listening to. But make it go away.

Rock And Blues International: I can imagine the look on his face when he saw the album cover.

Chris O’Leary: He did. That’s exactly what it was. He threw this record on my bed and he’s like, put that on and listen to that. I got a feeling you’re gonna like it. So I put it on. And I was like, what is this? And he says,

just give it a chance and the record was Muddy Waters “Hard Again”. And I heard James Cotton and that was it. I was done. You know, I had never heard anybody. And I listened to a lot of music. I’d never heard anybody play an instrument like that. Just for that. You know, that much? Like, it was almost brutal. He attacked the instrument. It was ferocious, and I was done. That was it for me. That’s what got me hooked to that. That moment. I know exactly when it happened and that was it. And after that it led me to Muddy and Wolf and Walter and all the classic Chicago guys. But it started with my dad throwing that album out on my bed. The thing is I got to meet... When I was with Levon I got to meet a lot of the guys. I mean, I met Fuzz, I met Willie “Big” Eyes. I met Bob Margolin and Dan Patton. I met Pinetop, I got to meet a lot of the guys on the record.

So as things often do. It came full circle.

Rock And Blues International: Were you playing an instrument at this time?

Before? I mean, when he threw the record on the bed, were you already playing an instrument or was that the catalyst?

Chris O’Leary: They had got me a guitar, which I fooled around with, you know, a little Sears electric guitar looks sort of like a, like a Gibson SG. It looked like Angus’s guitar. I fooled around with it and eventually I took lessons and stuff but at the time, and my dad had the wherewithal very shortly thereafter to get me a Marine Band “A’ harp.

He saw that I was, I was totally a meshed in that record. So he got me a harmonica, and that’s how I started. I started playing along

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crazy. And we went down and Levon said, I want you to be the house band in my club on Decatur Street in New Orleans. And I’ll be your drummer and we’ll play five nights a week. We’ll take care of your room and board and pay you, but you’ve got to live down there. And so that’s what we did. I told my soon to be wife / ex wife, I was moving. I was moving to New Orleans. And so that’s what I did.

Rock And Blues International: Yeah, I’ll that went over really good.

Chris O’Leary: Oh, it did. It was like a fart in church. It did not go over well at all.

But what are you going to say? I mean, you’re trying to make music, make make a living playing music and a Rock Hall of Famer, a guy that you’ve idolized ever since you were 10 asks you to be in his band. Are you gonna say no? So yeah, we moved to New Orleans and that was a that was a huge deal for me. It opened a lot of doors to musically especially but I just love New Orleans. Still to this day, it’s my favorite place.

Chris O’Leary (continued from previous page) with Cotton. I knew what songs that harmonica would fit, that particular harmonica would fit to and those are the songs I played over and over so I could play along. I didn’t know why. I didn’t figure out the chord changes and first position and all. I didn’t know any of that. I just knew what sounded good. But yeah, he got me a harmonica, but I was playing guitar a little bit at the time as well.

Rock And Blues International: So what would you consider your primary instrument right now? The harmonica?

Chris O’Leary: Harmonica? Yeah, I’m like a tourist guitar player.

Rock And Blues International: Well, I don’t know. That that solo you did in the first song, “No Rest” was really good.

Chris O’Leary: Thanks. Thank you.

I’m working on it. I’m working on it and I’m gonna bring it into the show. I think I’m much more self critical of my guitar playing than my harmonica playing. It’s just the harmonica always came sort of easy to me. I don’t know what it is, but I’m definitely working on my guitar playing. And I played a lot of bass. Before I hooked up with Levon, I was playing bass in some local bands. So bass was always pretty easy for me. But guitars, It’s a challenge sometimes.

Rock And Blues International: Well, it seems that Levon was a big influence on your musical career. So how did you wind up meeting him?

Chris O’Leary: After I got out of the Marine Corps, I went to went to a college in 10

New York and upstate New York called Marist. And it was right across the river from Woodstock. It’s in Poughkeepsie. I started playing out locally. I found this place and we put a band together. School became less and less important and music became more and more. Much to my parents chagrin, music became more and more important and school became sort of like an afterthought. We were playing regional and doing straight traditional blues and we did a demo. Through mutual acquaintance, we knew this guy, George Lembessis, who was the band’s photographer at the time. He took a copy of what we’ve been doing, and he put it on Levon’s stereo and Levon asked him, who are these guys?

And he was like, yeah, they want you to come and play on the record and they’ll pay you. And so Levon came out to the studio in the middle of nowhere, on a winter night and played on a couple tracks. His manager Butch said here’s how it’s gonna go down. He’s gonna come, he’s gonna meet everybody.

He’s gonna do a couple of takes, and then we’re gonna get paid, and he’s gonna go home. And what happened was, he came, and we ended up playing music all night long. He had a blast. And he had just finished up his treatments for his cancer, so he wasn’t... his voice was raspy. And we had a blast. It clicked. We were playing the stuff that he listened to when he was a kid. So he started sitting in every now and then we would be playing a gig, local. And all of a sudden, you know, a Rock and Roll Hall of Famer shows up and he wants to sit in on the drums. It’s crazy. And then one time we’re playing this little Mexican restaurant and his manager, Butch called us and said, ‘fellas, come on down to the barn tomorrow. Hold on, hold on your asses, because things are gonna get

Rock and Blues International • January 2024

Rock And Blues International: Well, it’s distinctively different than New York, the New Jersey area.

Chris O’Leary: Oh, it couldn’t be any more.

Rock And Blues International: It’s like it being in another country.

Chris O’Leary: It is, it is. I mean, when I was in the Corps, I was in the grunts so I got around when I was deployed. And to this day, I’ve never... I’ve never been in any place like New Orleans. There’s some places in the Caribbean and some places in Europe that sort of have that vibe, but New Orleans is its own thing.

Rock And Blues International: All right, well, how long did it take you to break out and suddenly do your first album?

Chris O’Leary: Well, I when I was with Levon, my voice quit. I probably toured with him for about six years, and I got vocal nodes, so I had to quit. I had to stop and the doctor says you can’t sing anymore. You might want to consider again the surgery and with the surgery, there’s no guarantees on that surgery. So I was like, I’m not going to do the surgery. And you know, life took over. One year became three, three became seven, you know, I got a job as a federal police officer.

Because, what was I gonna do with a three years of a history degree and seven years in the corps and playing music, which I couldn’t do anymore. My options are limited. So I got a job working for the Department of Energy as a federal police officer. So I did that for a while, and then I was like, I gotta play music again. It was like, a hole in my soul, that’s what I was meant to do. So I started calling, I started making calls I called Levon I called Bob Margolin, I called Bruce Katz. I called the people that I knew and I made that first continued on next page

Chris O’Leary (continued from previous page) record, probably in about 2010. And it got us a Blues Music Award nomination, and we won a Blues Blast Award and Bob helped me out and got me on VizzTone. So it set me on a path to doing this again. At the time, I was still doing the police work. I was basically keeping a double career. I was doing 100 nights a year playing music and every other night of the year, I’d be working the cop job.

And that’s how it went for, I don’t know, five or six years, I was doing double duty.

Rock And Blues International: Well, I bet that was a bit interesting. Police officer by day, musician by night.

Chris O’Leary: It was a little crazy when I think about it, and I was putting more effort into getting time off. Getting time off so I could tour, than I was doing anything else. I mean, I had to like beg, borrow and steal the other guys in my shift, so I could so I could tour. But I did that for for like six years and then then I decided my body was breaking down because I took a beating. I took a pretty good beating in the Marine Corps. So I was like, you know what, I can make a living playing music. So that’s what I’m gonna do. And that’s what I did.

Rock And Blues International: So you’ve been a solid musician ever since.

Chris O’Leary: I have. I mean, to tell you the truth, I was doing even when I had that job I was doing... I was touring Europe. I was doing West Coast runs. I mean, I was out there doing it. And then I’d come home and work like a dog. There was not many days off back in those days.

Rock And Blues International: Well, then fast forward down the road. You’ve got four or five albums under your belt. This is your sixth one, right?

Chris O’Leary: It is.

Rock And Blues International: All right.

Chris O’Leary: One of them’s a live record that we recorded in Switzerland, but the other ones are our studio recordings.

Rock And Blues International: Okay, then you meet Bruce Iglauer. And now, how did that happen?

Chris O’Leary: So I had sent Bruce... like I said, I wanted to be an Alligator for a decade. I had sent him my recorded records and I sent him demos that we made. In between while I was between VizzTone and Showplace, I sent him stuff because I heard

that he listens to everything, which he does.

And I never really got a reply. So we were playing Chicago one night, and I’m looking in the audience, and that guy looks familiar.

And we finish the set and the guy comes up to me, and he says, ‘Hey, Chris, I’m Bruce Iglauer from Alligator Records. I was flabbergasted and we just talked. We hit it off and we spent all night talking blues and stuff until they threw us out of there. So at that, I saw that as an opening and I started really sending him a lot of music and then the pandemic hit. And then I was really writing a lot. So I was sending him everything that I could write in to record. He’s been really helpful. As far as my songwriting, he’s made me a better songwriter. Because he’s... where I could say something in three words, I used to use 10 and when I look at the last record, there’s like, 75 minutes in music, and a lot of it is just, there’s a lot of soloing. And he was like, basically a song doesn’t need four verses and two choruses and two solos to get the point across. So, things have become much more succinct for me and the songs are more focused.

Rock And Blues International: So he affected your entire writing altogether.

Chris O’Leary: He absolutely did. He absolutely did. I’m much more of a focused songwriter now. All in all, it’s been a really good, good thing for me. The whole involvement regardless of the record coming out.

Even before that, it’s made me a better songwriter, for sure.

Chris O’Leary: Oh, yeah. So there’s a song called “Things Ain’t Always What They Seem” and that was an old song. I wrote that song years ago. And in its original form, I sent him a demo that we actually made to send to Alligator years ago. I sent it to him and he was like, ‘I like the song and one of my guys likes the song,’ his A&R guy, but we both agree that the three narratives in one song is too much. He’s like, this is a lot to ask of somebody’s listening to this song, you got three separate stories going on. And they all have a central theme, but it’s too much’. So I took that as a challenge. So I’m an insomnia.

I rarely sleep. And so I took that as a challenge. So that night, I stayed up the entire night. He basically said, here’s what you do, take one of the one of the characters, one of your stories and flesh it out and make it the entire song and then you got two characters, two little stories you can use later. And that’s exactly what I did. I took the middle character Juanita, and I fleshed out that story.

And the song is 100% better than it was before I did that. So yeah, it’s directly... that was a direct reaction to the Alligators crew’s critique.

Rock And Blues International: What happened to the other two characters in this song?

Chris O’Leary: I haven’t made them yet but I’m working on it. They will each get their own songs I guarantee it.

Rock And Blues International: Was the song based on friends or acquaintances.

Rock And Blues International: Are there any songs on this album that are a direct result of of that encounter?

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played everywhere in Arkansas, because he was from right around a little little town called Turkey Scratch. So we played everywhere in Arkansas. Hot Springs, Eureka Springs, Fort Smith, Little Rock, West Helma, wherever, we played it. And the one place we sort of avoided was West Memphis.

And he was like, Yeah, let’s just steer clear.

Ain’t nothing good is gonna happen there. I just finished playing the King Biscuit Blues Festival. We went across the river and stopped for lunch in West Memphis and I should have listened to the old man. And sure enough, we’re in lunchtime, they popped the lock and robbed us blind. They robbed all my merchandise. So what are they going to do with a suitcase full of CDs? So we checked all the dumpsters in the area, but I couldn’t find them. That just got tossed in the river, I’m sure. Yeah, so I lived a crazy life, so it affords me like a wide palette to write from and I do.

Rock And Blues International: Well, I’d like to talk about some of the other songs I’m hearing and find out what the inspiration of them are.

Chris O’Leary: Sure.

Rock And Blues International: Let’s just start at the beginning. “No Rest”.

Chris O’Leary (continued from previous page) Chris O’Leary: A couple of them were, Juanita was purely fictional, but the other guy... one of the characters is based loosely on Levon and the other guy is a guy I knew while I was in the corps, an old grizzled veteran. He had retired from the Marine Corps, retired a master gunnery sergeant, and he was not somebody to be trifled with. So he’ll get his own song for sure. He has since passed away, but I will immortalize him in song.

the proof is in the pudding. I’ve listened to those records, my entire adult life. So when he gives me a criticism, I take it to heart.

Rock And Blues International: I can imagine I mean, when it comes to the blues, he’s one of the most knowledgeable people in the business.

Chris O’Leary: No, I’m pretty thick skinned. I’m a Marine. I’m a combat veteran.

I take great pride in my work, but I can take criticism. I mean, I’ve had drill instructors screaming in my face. I’m good.

Rock And Blues International: Well, that’s good. Because you know, a song is like a child and it’s like someone saying, ‘yeah, like your child, but he’s ugly.

Chris O’Leary: Without a doubt, without a doubt. I mean, the guy recorded Big Walter and James Cotton, and Jr, Wells, and Carrie Bell, William Clark, all these guys that I just idolized. And that’s just the harp players, Rick Estrin and Charlie Musselwhite.

So, when he gives me some advice, I listen.

Rock And Blues International: I can imagine. Well your song subjects, they vary a lot on this album. You’ve got humor filled songs, you’ve got some really intense sounding songs. The song “Who Rob’s A Musician?” That’s a good way to not make any money. Can you imagine a person out?

What do you do? I rob musicians. And so he becomes even more poor.

Chris O’Leary: (Laughing) You got an ugly ass kid. I say that when people ask me when they’re going to buy a CD. They’re like, which one’s your favorite? And I’m like, Well, you know, people say your music’s like your kids, but that’s the best kid. My favorite one right there. The other one there. But yeah, I’m thick skinned. And if it was from somebody that didn’t have the utmost respect for, I would tell him piss up a rope. But from Bruce, I absolutely respect his opinion. And

Chris O’Leary: Exactly, every touring band out there can relate to that song. I mean, you’re driving around in a big 15 passenger van with basically a neon sign on the back said, Come on, rob me, because I’m not from here and there’s probably some stuff that’s worth something in the back. So we’ve all gotten robbed, but I mean, it’s like stealing from the poor. Yeah, that’s exactly the point of the song. Go rob somebody that got something. When I was with Levon we

Rock And Blues International: Well, what was the emotion like when you got your first criticism from Bruce. Were you upset?

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Chris O’Leary: Like I said, I am a Insomniac for a variety of reasons. I can fall asleep. That’s not my problem. But I wake up nightly. And once I’m up, I’m up. So if I wake up at one in the morning, I’m up. So a lot of these songs are written by a guy who’s suffering from sleep deprivation, which I always am. I don’t know if you suffer from insomnia. But you get crazy ideas.

Rock And Blues International: Well, I get maybe four hours of sleep a night, maybe five if I’m lucky. It’s just I work till midnight or so and then try to watch a couple of hours of TV and then wake up early in the morning.

Chris O’Leary: Then you know what I’m talking about.

Rock And Blues International: Yeah, and again, I’ve got this weird thought in the back of my mind thinking, I only have so much time on the earth and I would just hate to think I spent most of it asleep.

Chris O’Leary: That’s so true. Yeah, there’s plenty of sleep to be had when you’re dead.

Rock And Blues International: Oh, yeah, yeah, I just, I’ll rest when I’m dead.

Chris O’Leary: I get crazy ideas when I’m on like, a couple days without any sleep and I’ve tried at all between booze and drugs and Ambien or melatonin. Nothing works.

Rock And Blues International: Melatonin? continued on next page

Chris O’Leary (continued from previous page) Chris O’Leary: Yeah, just the stuff, that over the counter sleep aid. It doesn’t work. None of It works.

Rock And Blues International: Okay.

Chris O’Leary: So that’s what the song is about. It’s basically rantings of somebody who, who hasn’t slept in a couple of days.

Rock And Blues International: Okay, and “Lost My Minds.” You lost your mind over a woman?

Chris O’Lear: I have on numerous occasions. That might be part of the sleep deprivation too. But, you know, you fall in love with somebody and it can lead to some doing some crazy stuff, you know. Knocking on her window. She tells you to get lost, and you’re knocking on a window at three in the morning thinking she’s gonna open up and take you back at three in the morning. Just crazy stuff like that when I was younger. And when you look back at it with the benefit of years of maturity, and you look back on some of the stuff you did, and you’re like, ‘what in God’s name was like thinking? Oh, what was I thinking?’ But luckily, I remember some of the things that I did, so it makes for good songs.

Rock And Blues International: Ah, well, at least something good comes out of that.

Chris O’Leary: Yeah. Yep. A divorce.

Like I say this live all the time, as far as my divorce, I got my clock cleaned. And they took my house and my car. I had to sell my hot rod. It was ugly. Half my pension. But the one thing they did not take is my ability to write songs about her in the future. And I have for years.

Rock And Blues International: Hopefully you can make your money back on that deal.

Chris O’Leary: She has supplied me with an endless source of material.

Rock And Blues International: Oh my god. Yeah, I know what it’s like, you have a slight little argument, you tried to lay down and you don’t sleep. You just keep thinking about that. What the hell were we talking about? Three hours ago we were fine. And then an hour ago, we’re not... what the hell?

Chris O’Leary: Yeah, it’s unique. I mean, there’s something about the blues and I don’t care who you are or where you’re from, or what color, what culture or religion or whatever. There’s universal things. There’s universal themes in this music that anyone, just about anybody can relate to. And that’s

what I try to tap into.

Rock And Blues International: Let’s move on to the next song. “Ain’t That A Crime?” Tell me about that one.

Chris O’Leary: I had listened to a Buddy Guy song. I can’t remember which one. And that line stuck in my head. Sometimes the song will start with a vocal hook or a lyrical hook or melody. It was a Buddy Guy song from his early days and he said something about his relationship with this woman being a crime, because he’d either loved her so much or now that it’s gone south it might be a crime when he gets done.

Something about that stuck with me, so I fleshed it out from just that one thought of a relationship being a crime. It’s so this or so that it’s a crime. So I basically fleshed out one one vocal quote that stuck in my head.

And it’s definitely a Buddy Guy song. It might even have been on “Stone Crazy”, I don’t know. That’s my favorite Buddy record.

Rock And Blues International: Well, it was a pretty intense song.

Chris O’Leary: Yeah, yeah. And the groove... I listened to a Chris Stapleton song and it was a similar type groove that stuck in my head and I put the two together. And that’s where the song came from. The Chris Stapleton song is “Death Row”. It’s on one of the studio albums. And that’s the first song that was recorded for this record. It was the first song that was recorded in the studio that I recorded most of them in. There was a few others that I recorded earlier and I use the

basic tracks from those, but as far as the studio where the lion’s share of the record was recorded, that’s the first one that was recorded.

Rock And Blues International: The next song is “My Fault”. So what was your fault?

Chris O’Leary: Well, guys do dumb stuff and I’m not immune to that. I’ve lost relationships over me just messing around.

The mess around. It’s, it’s a story as old as blues. But yeah, I’ve done dumb stuff and regretted it afterwards and I love Sonny Boy Williamson. You put the two together and there you have it. You have “My Fault”. A guy who, who’s... so it’s hard sometimes to admit that, ‘Yeah, it was me. I’m sorry. It was my fault. I did it’. Yeah, so it’s a hard thing to come to grips to sometimes. So that’s that’s basically the the gist of that song.

Rock And Blues International: Well, it’s interesting... the names of the songs and how they lead one after the other, “No Rest”, then “Lost My Mind” and “Ain’t That A Crime?” and then it’s “My Fault”. And then now you’re crying at night on “I Cry At Night”, so it’s like a build up here.

Chris O’Lear: That’s completely unintentional. “I Cry At Night”, that, that’s my favorite song on the record and it’s the most serious song on the record. As a combat veteran and as a national touring recording artist, I have a platform. And one of the

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Chris O’Leary: What it ended up being is about this girl Juanita who... When you meet somebody you have no clue what’s under the surface. You don’t know what they went through. This girl grew up on the street so she had an edge but she also had a pretty face, so you see that pretty face and that beautiful smile and a lot of guys think she sweet and this and that. Like in this song, that can get you killed. The guy pushes too many buttons and he ends up pushing up daisies.

Rock And Blues International: Right.

Chris O’Leary: So one of the lines is if you’re going to look you’d better not touch.

Rock And Blues International: So Juanita is pretty dangerous in this song.

Chris O’Leary: She absolutely is, she’s a woman that doesn’t take any shit.

Rock And Blues International: Right, “Lay These Burdens Down”. Can you tell me a little bit about that one?

Chris O’Leary (continued from previous page) things that makes me go, one of the issues that I connect with is veterans and veteran suicide. And I say this nightly, because I do have a platform and it’s my pleasure and I think it’s my obligation to draw attention to. The last time I checked, 22 veterans a day committed suicide in this country, in the greatest country in the world.

And it’s from those, those are wounds that don’t necessarily show on the outside, but over time are just as devastating. Untreated PTSD in this country is claiming a lot of our veterans and I write songs and I play live. It’s what I do. So, I’m just trying to draw some attention because the way I look at it, the only time anybody ever mentioned that is when somebody’s trying to get elected office. It’s like it’s not even happening. So, that’s the emphasis of that song.

Rock And Blues International: Well, I come from a military family, so I understand those things. And it seems one of the biggest problems with military type people is the alcohol seems to enter into the picture a lot.

Chris O’Leary: It does. Like I said, with my insomnia, that has something to do with it and you’ll do anything to either, less the pain of injuries are less the pain of emotional scars or just to get to sleep. So it’s about that. I lucked out. When I got home, I was slipping a little bit and like I said, my father was a veteran. And not only is he a veteran, when he got out of the army, he went back to school and eventually got his PhD in psychology. So he was a veteran, and he was a psychologist. So he saw that his son was slipping. I was drinking way too much, selfmedicating, doing whatever I had to do to, as normal. I went through a phase and if that 14

phase goes unchecked, that phase can kill you. So he got a hold of me and set me straight and got me to in to see the people that I needed to see. But most veterans don’t. I mean, most veterans don’t have that, they don’t have anybody. You get home. If you got a wife and some kids, God bless you, but chances are they can’t identify with what you just went through. Some people, it seems like it’s like water rolling off a duck’s back. They can see things and do things, but other people not so much. It all depends on the individual and I think guys got to know that, they’re not the only ones that went through it. I just put that song out there. It’s not my first song about that topic, and it won’t be my last.

Rock And Blues International: Well, you went through the Gulf War. It’s hard to come back from the Gulf War to the United States where the majority of people, if not 99% of the people have no idea what went on over there and there’s no way they could even relate to a fraction of what you went through.

Chris O’Leary: It’s true. It’s true. And so it’s a little snippet of something that a lot of guys go through.

Rock And Blues International: All right, well things lighten up a little more in the next song with “Things Ain’t Always What They Seem”. So, what do we do in here?

Chris O’Leary: Like I told you, originally it was a collection of stories.

Rock And Blues International: That’s right, we discussed that one.

Rock and Blues International • January 2024

Chris O’Leary: That song is about a guy who I knew as a kid who lived a double life. And the more deeper he got, the harder it was for him to to give up one or the other. He got himself in over his head. Eventually he came clean. But um, yeah, it’s like, the further out you go into the water, the harder it is to go back to the shore. It seemed. And yeah, that’s about somebody who lived a double life. And I watched it. Like I didn’t know at the time. But when it all came out in the wash, everything made sense. I don’t want to I want to get into particulars, because some of it hits pretty close to home as far as the people who were involved. But um, yeah, it’s about a guy who lived a double life.

Rock And Blues International: You say a double life.

Chris O’Leary: He basically had two families. Yeah.

Rock And Blues International: That’s terrible.

Chris O’Leary: He arranged his work.

He arranged his entire life to keep up a lie. It started with him messing around and then the further he got into it, the harder it was to undo until it wasn’t. He had no options other than to come clean. It devastated a lot of people because he had families. That’s what that song’s about.

Rock And Blues International: All right. Well “Need For Speed”. That’s obviously about you wanting to be a race car driver, right?

Chris O’Leary: No. It’s about a woman in Schenectady, New York, which was the birthplace of Shirley Muldowney. It’s my hometown, and Cha Cha Muldowney, the the fastest woman in the world was from my hometown of Schenectady, but it’s not her. continued on next page

Chris O’Leary (continued from previous page) It’s another woman that I used to date. She’s also the the subject of “Grease Monkey Mama” on my first record.

Rock And Blues International: Oh, she’s good enough to make it into two albums. Which makes me wonder how many how many albums did your ex wife make it into?

Chris O’Leary: (laughing) She made it into all of them. I had a 69 Coupe DeVille convertible, which she helped me keep on the road. She was a really good mechanic. And she also considered herself a race car driver. I swear to God on the streets of Schenectady.

And, I mean, the most terrified I’ve ever been has been in the passenger seat with this woman driving and not because she couldn’t drive. She could drive the wheels off of the car. She just had no common sense. No sense of danger. She just took chances. Just crazy chances. So that’s what that song is about.

Rock And Blues International: Well, “You Break It, You Bought It”. That’s about someone breaking your heart. Is that what that is?

Chris O’Leary: You gotta keep it in your pants.

Chris O’Leary: It’s about somebody breaking the rules.

Rock And Blues International: Well, we already talked about “Who Rob’s A Musician” and I’m thinking “Fun Little Club On Decatur” is about you and Levon.

Rock And Blues International: Oh, breaking the rules.

Chris O’Leary: Relations, breaking the rules of the relationship.

Rock And Blues International: Isn’t that close to almost the same thing?

Chris O’Leary: Yeah, yeah. ‘Marriage is a fragile’ is one of the lines in it. ‘Marriage is a fragile thing, If you’re gonna break them vows, you’re gonna feel that thing’. It’s sort of like a modern day version of Johnny Taylor’s “Cheaper To Keep Her”, which is great song. In fact, when we do that song live, sometimes we break it down into a little bit of “Cheaper To Keep Her” at the end. This is like four bar harmony. I love Johnny Taylor.

It’s about messing up and paying. You got to pay the price. You want to play, you got to pay. As an older man, I’ve learned my lesson.

Rock And Blues International: Okay.

Chris O’Leary: When I was younger, I was an idiot.

Rock And Blues International: Well, we all were when we were younger. It’s all part of the evolution of the male species.

Sometimes we’re thinking with the wrong body parts.

love’s for sale.

Chris O’Leary: Yep, that’s about that club. And it was right on the corner of Decatur and Danville. It was kitty corner from the House of Blues on Decatur, right, one and a half blocks into the quarter from Canal and it was... that place was magical. It was. Some of my greatest nights were spent there, either listening or playing, because when we weren’t working, we’d come down and see Marcia Ball or whoever was coming through. The Dirty Dozen. You know, they would get the best entertainment there, even on the nights when we weren’t playing. One night we played there and I looked up into the balcony and Jeff Beck and all of Jeff Beck’s band was there and he was watching us. He called us over and invited us to his show at the House of Blues the next night. It was that kind of place, just magical.

Chris O’Leary: This is gender nonspecific. This could happen, but when two people are living together or married or whatever and one person decides to leave, not only do they leave, but very often they leave all their unwanted shit behind. So, like it’s your job. Like, it’s your responsibility to clean up after them when they’re gone. You know, whether it’s leaving the stuff in the bathroom or the bedroom or garage, what have you. Somehow their unwanted stuff becomes your problem. So in my past, it’s resulted in a few garage sales or yard sales.

So that’s what the song is about. I’ve sold my share of women’s shoes, whether she wanted them back or not. Once she was gone, she wasn’t getting them back.

Rock And Blues International: I hope you haven’t had too many garage sales.

Chris O’Leary: I just feel like, I’m not gonna sell tools and you need something to sell. So there you have it. I’m not gonna sell a guitar or an amplifier.

Rock And Blues International: I bet it was. Well, when you’re playing with Levon you’re gonna run into every every major celebrity that comes into town.

Rock And Blues International: No, that’s a sin, it is. That’s a sin. No doubt.

Getting rid of anything like that is bad.

Chris O’Leary: It was fantastic. Not gonna lie. It was fantastic. I have lived a blessed life. Truly, I consider myself blessed.

Chris O’Leary: Every time I’ve done it, I’ve regretted it. I have stuff that Levon bought for me down in New Orleans that will... That stuff will be buried with me.

Rock And Blues International: That’s wonderful. Well, the last song on the album is “Love’s For Sale”. So what do you mean

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the people in your band, 30 days can seem like 30 years. The guys I’m with now, I love being out on the road with them. They’re all amazing musicians and I think it shows in our live show. We have a blast.

Rock And Blues International: Well, I don’t have a list of the band here, but it looks like there’s 30 musicians on this album.

Chris O’Leary (continued from previous page) Rock And Blues International: Yeah, I know what you mean. I told people Yeah.

They go what do you do with all those guitars and I go, I’m gonna have them burned and all the ashes dumped in my grave with me.

Chris O’Leary: Yeah, I know you’re talking about. I just... I moved to Virginia and took the proceeds from the house I had in New York and I built myself a garage where I’m going to keep my... I have an old ’34 Ford. So I’m going to keep my Ford in there.

And I’m going to, on the upside of the garage, I made a studio. So now I have a place to keep all my guitars and amps. It’s a wonderful thing. You can only play one at a time, but whatever. Who cares.

Rock And Blues International: That’s right. I turned my garage into a studio.

Chris O’Leary: Yes. Rock And Blues International: That’s where I’m at right now. It’s my favorite room.

Chris O’Leary: Yeah, I can’t wait till it’s done. My girlfriend’s like, you really think you’re gonna... you’re not gonna spend all day out there. I’m like, I’m not only gonna spend all day out there. I’m gonna spend all night up there.

Rock And Blues International: I’m in that situation right now. Without a doubt. I spend all my time in here. I see my wife occasionally. A guys gotta leave the studio to go to the bathroom. That’s the one thing I haven’t put in here yet.

Chris O’Leary: Oh, I have one in there.

So there’s no reason to leave. If I put a hot plate up there. I’m going to be set.

Rock And Blues International: Oh, yeah, I got a microwave and refrigerator in 16

here.

Chris O’Leary: Oh, you’re set.

Rock And Blues International: Oh, yeah. Well, I’ll tell you. What haven’t we talked about on this album that we should have. I mean, I know there’s a lot more you want people to know about this. So what have I missed?

Chris O’Leary: Just that, we are live band to heart. So sometimes we’ll take, like I said like that one tune. We’re going to go on to that Johnny Taylor song. We expound on this, somewhere along the lines. With “Who Rob A Musician”. I think when Brooks came on board, he made it into like this Russian tragedy.

Rock And Blues International: Oh, a Russian tragedy.

Chris O’Leary: It’s unexplainable. I mean, sometimes it sounds when we play it live, it sounds like it’s out of Fiddler on the Roof. It’s crazy. It’s crazy. I feel like if you like the tunes on the record, you’ll love them live. I’ve been playing for a long time, but I’ve never really broke through to that next level. And with Alligator coming on board, I’m hoping that I can can share this stuff with more people. And that’s the whole purpose.

You know, any new touring musician will tell you, you’re not in it for the money. I’m in it because I love playing music to people. I love it. So the more the merrier. Come on out and see the band.

Rock And Blues International: So you would consider yourself more of a live band than a studio band.

Chris O’Leary: Absolutely. One of the beautiful things is the band I have now. When you’re on a 30 day run, and if you don’t like

Rock and Blues International • January 2024

Chris O’Leary: That’s because that record was recorded over, if you count the bass tracks from.... If you count the tracks we did for “Things Ain’t Always What They Seem”, that record was recorded over the span of five years. Most of it was recorded at Chris Vitarello’s studio within the span of about six months, but a lot of it, a lot of those earlier tunes, that’s where you get a lot of the other guys on because the the tracks were recorded a while ago and then we flushed them out. I added some more stuff. But yeah, that’s why there’s so many musicians on the record. The next record is probably gonna be my road band.

Rock And Blues International: Well, is Chris Vitarello part of part of the band?

Chris O’Leary: He comes out sometimes. He’s got a day gig now. He teaches, so.

Rock And Blues International: Oh my god.

Chris O’Leary: Yeah, when he’s not teaching, he plays with Vanessa, Vanessa Carlton a lot.

Rock And Blues International: Yeah, I know who that is.

Chris O’Leary: I get him when I can.

Rock And Blues International: Well, he does some amazing work on his album. He’s on every song but one. Yeah, he’s pretty much on every song but one and you’ve got Monster Mike Welch on that one.

Chris O’Leary: Yeah, yeah. So that tune, “I Cry At Night”. I was originally going to play guitar on it and we were going to sort of like... I wanted to have sort of a Fenton Robinson feel and and Bruce heard it. And we both agreed that maybe it should have sort of like an Otis Rush feel. And so we we both agreed that Monster Mike would be a great player to have it with that kind of feel. And what a pro. What a total pro. He like knocked that out in a day. And then we asked him to readdress a few of the things and he knocked that out. I mean, each take that he sent us was better than the last. He was just a pro. One of my favorite guitar players on the planet.

Rock And Blues International: Well, you play bass on “You Break It, You Bought It” and then it’s the only song you do bass on here. What was the catalyst for that?

Chris O’Leary: My bass player didn’t show. continued on next page

Chris O’Leary (continued from previous page) Rock And Blues International: Oh, no.

Chris O’Leary: And he didn’t show up for the session. He had gotten a cold. So what we basically did is, we laid the basic tracks down first, and then I came back with harmonica and vocals, but yeah.

And on that particular song, that’s Chris Peet’s son, Danny playing drums on it. He engineers the whole record. He’s just a kid. I mean, I think he just turned 21. He’s a kid. But man is he talented. So yeah, we laid it down. And then I came back and did the vocals and harmonica right afterwards. Yeah, I love that track. It’s one of my favorites on the record. I love playing bass. I rarely get to do it anymore.

Rock And Blues International: Well, it looks like Andy didn’t show up for “Things Ain’t Always What They Seem”, because you’ve got Matt Raymond on there.

Chris O’Leary: Yeah, Matt. Matt was the our bass player for years. The two records on American Showplace, Matt’s on those. Our last record on on VizzTone, Matt is on that. He decided that going out on the road... He’s getting married, and settling down and doing more local stuff. But that track, “Things Ain’t Always What They Seem” was recorded back when Matt was still still playing bass with us.

Rock And Blues International: He’ll be ready to go back on the road pretty soon, probably.

Chris O’Leary: I’m not gonna say that, but I was thinking that.

Rock And Blues International: And drums, you got Dan Vitarello on there. Obviously he must be the son or the brother of Chris Vitarello.

Chris O’Leary: He’s Chris’s son, yeah. Yeah. He’s a great drummer. He engineered the whole record. I mean, he’s the guy pushing the buttons and the knobs and the flags. He’s doing it all.

Yeah. Chris sent him to the Berklee School of Music and he got a degree in engineering and producing and all that stuff. And then they they built a studio much like you and I out of their garage. And they get great sound there. I mean, Danny knows what he’s doing. And he has the right equipment, and he gets great sounds. So I was really happy. And it made it easy for Chris. Chris has been on all my records in the past. So I know he was going to be on this one, but this one, it made it easy for him. He didn’t have to travel anywhere and just roll out of bed and head to the garage.

Rock And Blues International: So that’ll work.

Chris O’Leary: Yeah, yep.

Rock And Blues International: Saves a lot of money on gas there for sure. What was the easiest song on here? And what was the hardest song to do? Was there any song in particular that you just kept starting over and over and over again?

Chris O’Leary: Yeah. The beginning of “Lost My Mind”. We went through... we had a few different versions of that beginning and that end before we settled on the one that we had. So that was a tough one to eventually get down. But once we did, once we got an idea that wasn’t... The first couple of ideas I had for that, they’ve been done before. They’ve definitely been done and they were definitely recognizable. This one, we switched up just a little bit to make it more of our own, but that took time.

Rock And Blues International: So Is there anything that we’ve missed that we need to go over?

Chris O’Leary: I think we got it all. I’m going to be out this summer, big time in support of the record. Hopefully going to do a

West Coast run, which hopefully will bring us into Texas. I played once in Midland, just a couple of years back. But I haven’t done Texas dates, really since I was with Levon. So I would like to play. I mean, when I was with Levon, we played New Braunfels. We played the Gruene Music Hall. Yeah. It was fantastic. It was like it was like to swear to God, I felt like I was I was playing in history. You know.

Rock And Blues International: It’s a Texas tradition.

Chris O’Leary: The place was amazing. I love places like that.

There’s places that have history, and then there you’re playing in a strip mall, and we do both. But that place had like history oozing out of it. There used to be a place in Charlotte called Double Door. That one closed down. There’s a place right outside of Tallahassee called the Bradford Ville Blues Club, that one closed down. There’s still a place out in Lincoln, Nebraska called the Zoo Bar. But those old places that have so much history, as far as I’m concerned. They should be made historical landmarks so somebody can’t take him down and put up a damn parking lot.

Rock And Blues International: I understand that. We’ve lost a couple of clubs around here. Well, I’m based out of Houston. We’ve lost a couple of clubs around here. That was just was terrible. And yeah, one of one of the clubs I used to go to all the time did turn into a parking lot.

Chris O’Leary: That’s what they did with Manny’s Carwash in New York City. New York City has never been like a huge blues town, more of a jazz town. But Manny’s was a great blues club. And I don’t know what the hell happened to Double Doors... made into a parking lot. Wrong. Wrong on so many levels. Muddy Waters played at the Double Door and they closed it down. It’s good to see Antone’s is up. There’s some clubs in Texas Rock And Blues International: Oh, yeah. Yeah.

Chris O’Leary: So yeah, hopefully we’ll get through. I got the opportunity to play with, to meet and play with Anson around this fall and I know he’s a Texas guy. So hopefully we’ll we’ll be able to do that some more in the future.

Rock And Blues International: Anson Funderburgh.

Chris O’Leary: Yeah, he’s one of my all time favorite guitar players. So we had discussed it. Who knows? Maybe sometime in the future, we’ll do a little tour together. That will be fantastic because he is one of my favorite players on the planet.

Rock And Blues International: All right. Well, I hope to see you through Houston one of these days, and I’ll go ahead and let you go.

We’ve been on the phone too long probably.

Chris O’Leary: Alrighty, sir.

Rock And Blues International: All right. Thank you very much for your time. I really appreciate it. And much success on the album.

Chris O’Leary: Thank you, sir.

Rock And Blues International: All right. Bye bye.

Chris O’Leary: Bye. You can see here that Chris is indeed a humble man and a devout patriot of this country. I commend him for his service to the country and his dedication at bringing awareness to the plight of the returning soldier to civilian life. It’s not an easy transition, but Chris is dedicating a part of his life to help his fellow soldiers. Without a doubt, Chris has released a fine album here and I would recommend this album to any Blues aficionado out there. It is a wonderful album filled with heart-felt lyrics, funny stories, and life lessons as only Chris can tell them. Next time you get a chance, pick up a copy of “The Hard Line” and give it a spin. It will be well worth your time.

Rock And Blues International January 2024

• Rock and Blues International

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Gov’t Mule Announce Their “30 Years Strong Tour” Starting In February

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Gov’t Mule “30 Years Strong Tour” (continued from previous page)

By Troy Wilson In 2024, the illustrious quartet Gov’t Mule, led by the multifaceted Warren Haynes, is on the cusp of celebrating a remarkable milestone – their 30th Anniversary. To commence the revelry, they are embarking on the “30 Years Strong Tour” in February, a grand odyssey that promises to be a testament to three decades of musical prowess.

This momentous occasion follows the release of their latest studio album, the critically acclaimed “Peace…Like A River.”

Released this past summer, the album stands as the band’s 12th studio venture and a sequel to their chart-topping and GRAMMY-nominated blues album, “Heavy Load Blues.”

Lauded as “perfection,” “captivating,” and “riveting,” the 12-song rock collection has been praised as one of the band’s crowning achievements. The singles from the album, including “Dreaming Out Loud” featuring Ivan Neville and Ruthie Foster, “Same As It Ever Was,” and “Made My Peace,” showcase Gov’t Mule’s ability to captivate audiences with their soulful and evocative sound.

The album also features guest appearances from luminaries such as Billy F Gibbons, Billy Bob Thornton (on “The River Only Flows One Way”), and Celisse.

Recorded concurrently with “Heavy Load Blues” at The Power Station New England and co-produced by John Paterno (known for his work with Elvis Costello, Bonnie Raitt, Los

FOLLOW GOV’T MULE: Website @ https://mule.net/ Facebook @ https://www.facebook.com/govtmule Twitter @ https://twitter.com/govtmuleband Instagram @ https://www.instagram.com/govtmule/ YouTube @ https://www.youtube.com/@gmmule TikTok @ https://www.tiktok.com/@govtmuleband Scott (bass) – has crisscrossed the Lobos), “Peace…Like A River” retains its distinct identity despite U.S., Canada, and Europe with their acclaimed live shows. Their sharing sessions with its blues tours included headline perforcounterpart. Thematically, the mances and notable appearances album delves into the seismic at festivals, such as the summer changes the world has experiDark Side of the Mule amphitheenced over the past few years. ater run and multiple stops on Influenced by what Warren Willie Nelson’s Outlaw Music Haynes describes as “the golden era of rock, soul, jazz, and blues,” Festival Tour.

Gov’t Mule masterfully weaves As Gov’t Mule stands on the enduring qualities from these threshold of their 30th year, the musical strains, creating a time“30 Years Strong Tour” promises less piece of art that could have seamlessly emerged in the 1970s. to be a jubilant celebration of a musical journey that has left an indelible mark on the hearts of Before embarking on the fans worldwide. This tour is more 30th-anniversary celebrations, Gov’t Mule will conclude another than a series of concerts; it’s a testament to Gov’t Mule’s endurmomentous year with a 3-night ing legacy and their unwavering New Year’s Run in Philadelphia commitment to delivering power(December 29th) and New York ful and soul-stirring music. The City (December 30th and 31st).

Throughout the past year, the stage is set for a year filled with musical festivities, reflective of quartet – Warren Haynes (guitar, the band’s remarkable journey vocals), Matt Abts (drums), Danny Louis (keyboards, guitar, continued on next page and backing vocals), and Kevin January 2024

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changing currents of the music landscape. “Shout,” released in 2013, marked their return after an extended recording break, offering 11 new songs accompanied by a bonus disc featuring an array of guest vocalists, a testament to the band’s collaborative spirit. In their quest to commemorate the 20th anniversary, archival recordings like “Dark Side of the Mule” and “Sco-Mule” emerged, adding further dimensions to their sonic tapestry.

Gov’t Mule “30 Years Strong Tour” (continued from previous page) over the past three decades.

In the vibrant tapestry of the jam band scene, Gov’t Mule stands as an enduring emblem of musical prowess and innovation.

As the renowned quartet, led by the incomparable Warren Haynes, gears up to celebrate its 30th Anniversary in 2024, the anticipation is palpable. The “30 Years Strong Tour” looms on the horizon, promising to be a spectacular commencement of the festivities set to unfold in February.

Gov’t Mule’s journey, much like their music, has been a mesmerizing odyssey through the realms of bluesy hard rock and virtuosic improvisation. Originally a power trio, the trio of Warren Haynes, bassist Allen Woody, and drummer Matt Abts made waves with their distinctive sound, a harmonious blend of Southern rock’s roots and the psychedelic, bluesy power trio feel reminiscent of Cream. However, in the year 2000, tragedy 20

Rock and Blues International

struck with the untimely passing of bassist Allen Woody. Undaunted by the loss, Gov’t Mule displayed resilience uncommon in the face of adversity, opting to continue their musical expedition with guest bassists like Flea and Bootsy Collins for their subsequent endeavors.

The inaugural chapter of their musical saga was etched in 1995 with a self-titled album on Capricorn Records. It was a prelude to their stellar concert date, “Live at Roseland Ballroom,” a testament to their magnetic stage presence. Subsequent studio releases like “Dose” in 1998 and “Life Before Insanity” in 2000 showcased the band’s evolution, a trajectory that became all the more poignant with “Déjà Voodoo” in 2004 — the first studio album post-Woody, featuring bassist Andy Hess and keyboardist Danny Louis.

Over the years, Gov’t Mule continued to navigate the ever-

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As the band approached its 25th anniversary, the milestone was celebrated with the release of “Bring on the Music: Live at the Capitol Theatre,” a concert film capturing the essence of two shows in Port Chester, New York.

The film not only showcased the band’s musical prowess but also provided a glimpse into the lives of band members, family, and friends.

In 2021, Gov’t Mule presented “Heavy Load Blues,” a Grammy-nominated back-tobasics collection, featuring six originals and covers paying homage to blues legends. In an unexpected turn of creative fervor, another album emerged during the same recording sessions, in a different room, with entirely different gear and instruments.

“Peace ... Like a River,” unveiled in June 2023, carried the torch forward, inviting collaborations with Ruthie Foster, Ivan Neville, Billy Gibbons, Celisse, and Billy Bob Thornton.

Before plunging into the 30th-anniversary revelries, Gov’t Mule bid adieu to another momentous year with a 3-night New Year’s Run in Philadelphia and New York City. The past year saw them crisscrossing the U.S., Canada, and Europe on various headlining tours, leaving an indelible mark on diverse audicontinued on next page

Gov’t Mule “30 Years Strong Tour” ences worldwide.

As Gov’t Mule stands on the precipice of its 30th year, the legacy woven into the fabric of blues, rock, and improvisation

continues to resonate. The “30 Years Strong Tour” is not merely a concert series; it’s a celebration of three decades of musical alchemy that has not only shaped Gov’t Mule but has left an endur-

ing imprint on the soul of the jam band scene. With each note, they continue to carve their indomitable path, inviting music enthusiasts around the globe to join in the jubilation of 30 years strong.

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Sebastiano Lillo: The duende and the art of personalizing the blues

by Edoardo Fassio It may seem odd, but the official debut album by Sebastiano Lillo, born in 1985, seasoned guitarist, singer and producer, was only issued in recent weeks. The founder of the independent label Trulletto Records is of course familiar to the public, but never with releases under his name, apart from his 2022 EP New Way to Live and “Faulty Boy”, a lovely single with hints of both Pee Wee Crayton and David Lynch.

He had previously stood out as a co-leader, or partner, in many independent projects: along with raw soul singer Angela Esmeralda, with whom he released two acclaimed CDs that blended deep blues and Apulian vernacular, and participated to the International Blues Challenge in Memphis. He was also part of The Drive, the quartet that represented Italy at the 2019 European Blues Challenge, held at Ponta Delgada, in the Azores Islands, and more recently half of “Cianfrusaglie” (Junk), the duo he shares with double bass player Carletto Petrosillo.

Always careful to roots music and bottom-up creativity, born out of thought as well as spontaneity, Lillo titled his debut Loving Duende, inspired by Federico García Lorca’s 1930 essay Juego y teoría del duende (Theory and Play of The Duende). According to the poet from Granada, in Spanish popular culture the duende is an elf, a demon, a hidden force that pushes towards creation, action, movement, dance, particularly animating the moves of flamenco. The record comes out on the prestigious US label Vision & Vitality Entertainment, in collaboration with Trulletto Records, in digital format and on 12-inch vinyl, for both the European and American markets.

Sometimes contemplative of the inner self, some other cheeky, even sublimely expressionistic, in these ten mainly instrumental tracks, Lillo with his fellows (his regular trio, Dado Penta on bass and Teo Carriero on drums and percussion, is sometimes augmented with other soloists) never strays too far from the blues. It’s not a case of lazy loyalty to a style he has always followed, out of passion or profession; he simply rediscovers that this is the basis of everything.

It is not a trite cliché: be it personalized, contaminated, spicy or downright stoned, the duende of the blues takes the forms of a tight “Babylonya”, of a “Cat’s House”, which would not be out of place in a lounge jazz playlist, of the pressing “Tostadora”, with its smell of gringos, fusion music and Latin America, or the supreme title track, a movie ticket to an imaginary spaghetti western. While the video clip that accompanies it, directed by Marco Meledandri, offers evocative glimpses of Puglia.

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Rock and Blues International • January 2024

Sebastiano Lillo: Il duende e l’arte della personalizzazione del blues

by Edoardo Fassio Sembra paradossale, ma esce soltanto in queste settimane l’album ufficiale d’esordio di Sebastiano Lillo, classe 1985, navigato chitarrista, cantante e produttore. Il fondatore della label indipendente Trulletto Records è già familiare al pubblico, mai però con realizzazioni esclusivamente a suo nome, a parte l’EP uscito nel 2022 New Way to Live e un godibile singolo, “Faulty Boy”, un’allucinazione con la mente a Pee Wee Crayton e a David Lynch.

In precedenza si era messo in luce come coprotagonista, o partner, in numerosi progetti indipendenti: in compagnia della cantante di “raw soul” Angela Esmeralda, con la quale ha pubblicato due CD tra deep blues e dialetto pugliese e partecipato all’International Blues Challenge di Memphis, o in seno al quartetto The Drive che nel 2019 ha rappresentato l’Italia all’European Blues Challenge alle Isole Azzorre, fino al più recente duo “Cianfrusaglie”, condiviso insieme al contrabbassista Carletto Petrosillo.

Sempre attento alla roots music e alla creatività “dal basso”, figlia della riflessione quanto della spontaneità, Lillo ha intitolato il suo debutto Loving Duende, ispirato dal saggio del 1933 di Federico García Lorca Gioco e teoria del duende. Secondo il poeta di Granada, nella cultura popolare spagnola il duende è un folletto, un demone, una forza nascosta che spinge alla creazione, all’azione, al movimento, alla danza, animando in particolare le mosse del flamenco.

L’album è pubblicato dalla prestigiosa etichetta statunitense Vision & Vitality Entertainment in collaborazione con Trulletto Records, in formato digitale e su vinile a 12 pollici, sia per il mercato europeo che per quello nordamericano.

A volte contemplativo dell’interiore, altre impertinente, altre ancora sublimemente espressionistico, in dieci tracce, tutte strumentali o quasi, Lillo con i suoi - lo stabile trio con Dado Penta al basso e Teo Carriero alla batteria e alle percussioni, talora integrato da altri solisti non si allontana mai troppo dal blues. Non per pigra fedeltà a uno stile che frequenta da sempre, per passione o per mestiere, ma perché riscopre che è qui la base di tutto.

E non è un banale luogo comune: personalizzato, contaminato, speziato o decisamente stoned, il duende del blues assume le forme di una serrata “Babylonya”, di una “Cat’s House”, che non stonerebbe in una playlist di lounge jazz, di un’incalzante “Tostadora”, in odore di gringos, di fusion e di altre Americhe, o della suprema title track, biglietto d’ingresso per un immaginario spaghetti western. Mentre il videoclip che la accompagna, diretto da Marco Meledandri, regala evocativi scorci di Puglia.

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THE OTHER SIDE OF MARS

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Rock and Blues International • January 2024

By Johnny Ghoul In a monumental announcement, Mick Mars has disclosed the second revelation from his inaugural solo album, titled “THE OTHER SIDE OF MARS.” Embark on a journey through the profound narrative of the official music video for “Right Side Of Wrong” by following this link: https://youtu.be/onhdroCPM0. The song lyrically delves into the intriguing oxymoron of divergent perspectives within individual minds, a theme resonating in interpersonal relationships and serving as a catalyst for global conflicts.

Mark the date, February 23, 2024, for the highly anticipated release of the album. The gateway to this auditory odyssey opens with the launch of pre-orders at the newly unveiled merchandise emporium: shop.mickmarsofficial.com. Choose from diverse configurations, including a 180G LP and CD, available both in signed and unsigned editions.

“The Other Side Of Mars” is poised to make its grand entrance into the world through Mick’s own label, 1313, LLC, in collaboration with the powerhouse entity, MRI. Regardless of the myriad directions explored on the album, Mars asserts, “that people are going to hear my tone – my sound.”

Unapologetically declaring, “I am what I am. Nobody else can do it,” Mars emphasizes his commitment to making the most of the limited years he, like everyone else, possesses. The culmination of Mars’s hiatus from touring with Mötley Crüe, the iconic band he co-founded over 40 years ago, marked not an end but the genesis of a new era.

The legendary guitarist, whose riffs and solos fueled L.A. icons through four decades of worldconquering, multi-platinum sonic mayhem, showcases an unwavering force in his debut solo endeavor.

Listeners are now reckoning with more Mars than ever before, travers-

Mick Mars Announces His New Solo Album THE OTHER SIDE OF MARS And Debuts New Music Video For “Right Side Of Wrong” Check Out The Video For The “Right Side Of Wrong” at https://youtu.be/onhdroC-PM0 ing the distinctive realms of the “Mötley side” and the “Mars side.”

As Mars affirms, “Either way, I always have a very clear vision of what I want to do.”

“The Other Side of Mars” unfolds in its full, multifarious glory,

promising a plethora of characteristically riff-tastic, tough-as-nails hardrock anthems. The album ventures into uncharted territories, tearing through caustic, modern metal, continued on next page

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THE OTHER SIDE OF MARS (continued from previous page) conjuring gothic-tinged soundscapes, and delving into anguished, slow-burning power balladry. Bluesy, cinematic instrumental workouts punctuate the collection, embellished with slide guitars, violins, violas, keyboards, glitchy freak-outs, and an array of 30

sonic surprises.

Mars, unapologetic in his stylistic turns, shares, “There’s a lot of ideas that I have that, I don’t want to call them ‘left,’ but they are, you know what I mean?” Reflecting on these artistic choices, he continues, “My feeling has always been, I might

Rock and Blues International • January 2024

gain some fans, I might lose some fans. But what they’re hearing, it’s all me.”

Collaborating with a stellar ensemble, including Paul Taylor, Jacob Bunton, Ray Luzier, Chris Collier, and Brion Gamboa, Mars orchestrates a symphony of sound.

The supporting band, a blend of diverse talents, contributes to the dynamic range of the album. Notably, Michael Wagener, a significant figure from Mars’s storied past, plays a pivotal role. Having worked together on Mötley Crüe’s 1981 debut, Wagener’s understanding of Mars’s artistic vision is unparalleled, resulting in a record unlike anything offered in the guitarist’s more than 40-year career.

Even as “The Other Side of Mars” prepares to make its global debut, Mars is already immersed in crafting a follow-up. In his own words, “I’m trying to keep growing.”

Mars emphasizes the importance of continuous learning, playing new things, and maintaining an open mind. The resounding declaration remains, “Next!”—a testament to Mick Mars’s unwavering commitment to perpetual creativity and musical evolution.

When Mick Mars gracefully exited the touring scene with Mötley Crüe after their colossal summer 2022 Stadium Tour, an era appeared to draw its final breath.

In truth, it marked the commencement of a new epoch.

Captured in a moment of reverence, Mick knelt in a crypt, a visual testament to the transformative journey he was about to embark upon.

The legendary guitarist, whose seismic riffs, soulful solos, and profoundly heavy sound catapulted the L.A. icons through four decades of global dominance in multiplatinum mayhem, reveals in his debut solo endeavor that he remains continued on next page

THE OTHER SIDE OF MARS (continued from previous page) an indomitable force. Listeners now grapple with an intensified manifestation of Mars’s musical essence.

“When it comes to my playing, there’s the Mötley side and the Mars side,” shares the guitarist. “Either way, I always have a very clear vision of what I want to do.”

Aptly titled “The Other Side of Mars,” the album unravels Mick’s vision in its full, multifaceted glory.

While delivering characteristically fierce hard-rock anthems such as the relentless “Loyal to the Lie,” the groove-laden “Ain’t Going Back,” and the hook-infused “Right Side of Wrong,” the record also catapults the 72-year-old guitarist into uncharted territories. From tearing through caustic, modern metal in “Broken On the Inside” to crafting gothic-tinged soundscapes in “Undone” and delving into anguished, slow-burning power balladry with “Killing Breed,” Mick Mars navigates diverse musical landscapes. Bluesy, cinematic instrumental workouts like the album-closing “L.A. Noir” showcase a sonic tapestry adorned with slide guitars, violins, violas, keyboards, glitchy freak-outs, and a myriad of surprises.

Mars reflects on his artistic choices, stating, “There’s a lot of ideas that I have that, I don’t want to call them ‘left,’ but they are, you know what I mean?” His philosophy is steadfast, “My feeling has always been, I might gain some fans, I might lose some fans. But what they’re hearing, it’s all me.”

Collaborating with a skilled ensemble, including Paul Taylor, Jacob Bunton, Ray Luzier, Chris Collier, and Brion Gamboa, Mars orchestrates a symphony of sound.

The supporting band, an amalgamation of diverse talents, contributes to

the dynamic range of the album.

Notably, Michael Wagener, a pivotal figure from Mars’s storied past, plays a significant role. Having worked together on Mötley Crüe’s 1981 debut, Wagener’s understanding of Mars’s artistic vision is unparalleled, resulting in a record unlike anything offered in the guitarist’s more than 40-year career.

The album unfolds with tracks like “Memories,” a piano-and-strings composition born during Mars’s Mötley Crüe days, and the film noirinspired “L.A. Noir,” offering a rich palette of sonic diversity. For “Memories,” Mars desired simplicity, focusing on melody sans drums or unnecessary embellishments. “L.A. Noir” pays homage to ’30s and ’40s B-movies, channeling a sleazy, noirish vibe.

Exploring uncharted sonic territories doesn’t mean compromising the core essence that defines Mars’s unmistakable sound. “That people are going to hear my tone – my sound,” he asserts. “I am what I am. Nobody else can do it.”

In assembling a new cast of musicians for the album, Mars turned to Paul Taylor, who not only performed on the record but also cowrote many tracks and introduced powerhouse vocalist Jacob Bunton.

The supporting band, featuring Ray

Luzier, Chris Collier, and singer Brion Gamboa, contributes to the album’s rich tapestry. Brion Gamboa’s vocals on “Undone” and “Killing Breed” add an angsty, desperate touch that resonates with Mars’s artistic vision. Chris Collier’s role extended beyond playing bass to mixing and mastering the debut solo album.

While forging ahead with new collaborators, Mars ensured a crucial link to his past remained intact: Michael Wagener. The esteemed German producer and engineer, with a history dating back to Mötley Crüe’s 1981 debut, worked seamlessly with Mars on the new album. Wagener’s commitment to Mars’s vision, without imposing changes, led to a record that defies expectations.

As Mars unleashes “The Other Side of Mars” upon the world, he’s already contemplating a follow-up.

Despite remaining a part of Mötley Crüe, Mars now dedicates more time to pursuing his personal musical journey, emphasizing growth and continuous creation. In his words, “I’m trying to keep growing. Because if you stop learning new things, if you stop playing new things, if you close your mind, you’re done. You have to keep moving and creating. Next!”

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Odd Eye Circle Announce 2024 ‘Volume Up’ Tour

By Sheena Johnson Get ready for an electrifying extravaganza as the sensational K-pop trio, Odd Eye Circle, comprising the dynamic members HeeJin, Choerry, and Kim Lip from the LOONA and ARTMS universe, is set to ignite the stage on fire with their upcoming blockbuster 10-date tour of the US and Mexico! Brace yourselves for an unforgettable journey into the heart of their mesmerizing musical universe, scheduled to unfold across the sizzling months of January and February 2024.

Emerging as a force to be reckoned with, Odd Eye Circle, a three-member K-pop girl group unit under the powerful banner of Modhaus, has etched its name in the annals of K-pop history. Bursting onto the scene in 2017 with their debut album, ‘Mix & Match,’ this powerhouse trio swiftly captured the hearts of international fans, soaring to new heights on the prestigious Billboard charts, earning a coveted spot on “The Best K-pop Songs of 2017” and “The 100 Greatest K-Pop

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Songs of the 2010s.”

In a triumphant return, the year 2023 witnessed the triumvirate’s triumphant comeback with the scintillating album ‘Version Up’ in July. As a “Summer Unit Hot Unit,” the title track ‘Air Force One’ catapulted to the pinnacle of the iTunes Top Songs chart, firmly establishing Odd Eye Circle’s dominance in the global K-pop scene. Each track, including the enchanting ‘Je Ne Sais Quoi’ and the ethereal ‘Lucid,’ serves as a testament to the group’s evolution, showcasing a more mature vocal and performance prowess as they unequivocally declare, “Version Up.” Having already set Europe ablaze with their captivating tracks and mesmerizing choreography, Odd Eye Circle is now ready to enchant fans in the USA with their inaugural tour, promising an unprecedented one-time experience. Prepare to be transported into their unique universe, where a proven setlist and exhilarating live performances are set to create indelible memories, marking the perfect gift to kickstart your

Rock and Blues International • January 2024

2024 with a bang!

Odd Eye Circle’s music is an embodiment of the girl crush concept, revolving around the themes of love and attraction.

Playful and tempting, the members express fondness and seduction towards their beloved ones, touching upon subjects of playfulness, temptation, romance, and intimacy. These three extraordinary girls convey a powerful message – don’t wait for love to happen passively; take the initiative and make it happen yourself.

Delving deeper into their fantastical world, each member possesses a unique eye that glows in an upward crescent, representing their distinctive colors. Linked to the moon, Kim Lip possesses the power of time travel through speed, JinSoul can traverse through space via teleportation, and Choerry has a mysterious link to mirrors, enabling her to transport through other members’ universes. Buckle up, because Odd Eye Circle is not just a K-pop sensation; they are a powerhouse of enchantment and a musical journey like no other!

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THE ROLLING STONES SINGLES 1966-1971 VINYL SET COMING FROM ABKCO FEBRUARY 2 Follow-Up To Singles 1963-1966 Collection Consists of Faithful Reproductions of 18 Vinyl Singles & E.P.s, Including Rare B-Sides, Mixes, & Sleeve Art, As Well As 32-Page Book Hold on tight, music enthusiasts!

ABKCO Records is gearing up to drop a sonic bombshell with The Rolling Stones Singles 1966-1971, hitting shelves on February 2nd. This limited-edition vinyl set, a 34

gripping sequel to the acclaimed Singles 1963-1966 collection, is not just an album release—it’s a time-traveling expedition through the heart of rock ‘n’ roll history.

Imagine the urgency as you lay your

Rock and Blues International • January 2024

hands on 18 7” vinyl singles and extended play records, each an authentic reproduction continued on next page

THE ROLLING STONES (continued from previous page) of the originals released by Decca, London Records, and ABKCO Records. Feel the pulse of a crucial period in The Rolling Stones’ evolution—from the experimental and psychedelic sounds of “We Love You” and “She’s a Rainbow” to the rootsy, bluesbased rock of “Honky Tonk Women” and “Wild Horses.” This set captures the essence of a band in flux, a journey marked by stylistic shifts and the seismic lineup change as guitarist Brian Jones makes way for Mick Taylor.

This isn’t just a collection of songs; it’s a chronicle of the Stones’ dominance, with seven Top 10 singles on both sides of the Atlantic, including four Number Ones. Bob Ludwig, a 13-time Grammy Award-winning engineer, has remastered every track, and Third Man Pressing in Detroit has manufactured the discs, ensuring an audio experience that reverberates through the decades.

Sense the urgency as you explore rare B-sides like “Who’s Driving Your Plane” and “Child Of The Moon,” and exclusive mono mixes of “We Love You” and “Dandelion.”

The haunting “Paint It, Black” takes center stage with both US and UK versions featured, the latter including the rare non-LP track “Long Long While.”

Relive the controversial 1968 “Street Fighting Man”/”No Expectations” single, a snapshot of protest and police brutality during a turbulent time. This release faithfully reproduces that infamous record art, adding to the urgency and historical resonance. Don’t forget the 1971 UK maxi-single version of “Street Fighting Man,” along with Mick Jagger’s solo gem “Memo From Turner.”

But wait, there’s more! Dive into the depths of the Stones’ catalog with “I Don’t Know Why,” “Out Of Time,” and the stereo mix of the 1969 #1 hit “Honky Tonk Women.” These 45s, though recorded in the ’66-’71 timeframe, emerged in 1975-76, coinciding with ABKCO’s release of the Stones rarities album Metamorphosis. And for an extra adrenaline rush, experience the remixed “Sympathy For The Devil,” a 2003 gem by The Neptunes and Fat Boy Slim, presented here as a 7” vinyl record.

ABKCO Records, the guardian of The Rolling Stones’ early legacy, has meticulously crafted this collection. With a 32-page book, featuring liner notes by Stones authority Nigel Williamson, rare photos, ephemera, five photo cards, and a poster—all housed in a hard-shell box—this set is a collector’s paradise.

February 2nd marks the date when the music world stands still in anticipation. The Rolling Stones Singles 1966-1971 isn’t just an album; it’s a seismic event, a pulsating journey through a pivotal era of rock ‘n’ roll.

Don’t just hear the urgency—feel it! The countdown has begun.

The Rolling Stones Singles 1966-1971 tracklist: “Paint It, Black” US version (originally released May 1966) Side A: Paint It, Black Side B: Stupid Girl “Paint It, Black” UK version (originally released May 1966) Side A: Paint It, Black Side B: Long Long While “Mother’s Little Helper” (originally released June 1966) Side A: Mother’s Little Helper Side B: Lady Jane “Have You Seen Your Mother, Baby, Standing In The Shadow?” (originally released September 1966) Side A: Have You Seen Your Mother, Baby, Standing In The Shadow?

Side B: Who’s Driving Your Plane “Let’s Spend The Night Together” (originally released January 1967) Side A: Let’s Spend The Night Together Side B: Ruby Tuesday “We Love You” (originally released August 1967) Side A: We Love You Side B: Dandelion “She’s A Rainbow” (originally released November 1967) Side A: She’s A Rainbow Side B: 2000 Light Years From Home “In Another Land” (originally released December 1967) Side A: In Another Land Side B: The Lantern “Jumpin’ Jack Flash” (originally released May 1968) Side A: Jumpin’ Jack Flash Side B: Child Of The Moon “Street Fighting Man” US version (originally released August 1968)

Side A: Street Fighting Man Side B: No Expectations “Honky Tonk Women” (originally released July 1969) Side A: Honky Tonk Women (mono mix) Side B: You Can’t Always Get What You Want “Memo From Turner” (originally released November 1970) Side A: Memo From Turner (Mick Jagger) Side B: Natural Magic (Ry Cooder) from the film Performance “Street Fighting Man” UK maxisingle (originally released June 1971) Side A: 1 Street Fighting Man 2 Surprise Surprise Side B: Everybody Needs Somebody To Love “Brown Sugar” (A-side originally released April 1971; B-side originally released June 1971) Side A: Brown Sugar Side B: Wild Horses “I Don’t Know Why” (originally released May 1975) Side A: I Don’t Know Why (aka Don’t Know Why I Love You) Side B: Try A Little Harder “Out Of Time” (originally released September 1975) Side A: Out Of Time Side B: Jiving Sister Fanny “Honky Tonk Women” (originally released April 1976) Side A: Honky Tonk Women (stereo mix) Side B: Sympathy For The Devil “Sympathy For The Devil” Remix (originally released as part of SACD E.P. & CD single September 2003) Side A: Sympathy For The Devil (The Neptunes Remix) Side B: Sympathy For The Devil (Fat Boy Slim Remix)

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beabadoobee 36

Rock and Blues International • January 2024

By Pinky Black Concluding a year of resounding success marked by the release of a series of lauded singles, accompanying Taylor Swift as the main support for The Eras Tour, and surpassing 5 billion global streams, the critically acclaimed indie icon beabadoobee has unveiled her latest offering, the live album titled “Live In LA.” This special recording captures the essence of her sold-out headline show at the Greek Theatre in Los Angeles, featuring live renditions of recent breakout singles like “Glue Song” and “the way things go,” along with fan favorites spanning Bea’s discography, including standout tracks from her acclaimed albums Beatopia and Fake It Flowers. Explore the captivating Live In LA, available now via Dirty Hit at https://beabadoobee.ffm.to/ liveinla This release follows the sultry single “A Night To Remember,” featuring the rising jazz sensation Laufey, and “the way things go,” currently in rotation on the A-list at BBC Radio 1. Earlier this year, the hit single “Glue Song” achieved over 200 million streams and received an alternative version featuring indie singer-songwriter Clairo. Immerse yourself in the music by listening here at https:// beabadoobee.ffm.to/clairo beabadoobee’s ascent to indie pop stardom has been meteoric over the past few years, earning widespread acclaim for her artistry. With the recent launch of her first live album, Live In London, and the success of her sophomore album Beatopia, she graced The Tonight Show Starring Jimmy Fallon and NPR’s Tiny Desk Concert, received global praise, and adorned the covers of The Face, GQ Hype, and NME. The artist opened for Halsey, embarked on sold-out headline tours across North America, the UK, Australia, and Asia (including two headline dates at New York’s Terminal 5), and performed at major festivals worldwide, including Coachella, Glastonbury, and Gov Ball. Her most recent stage appearance at Camp Flog Gnaw also featured a meeting with the legendary interviewer Nardwuar. beabadoobee, the highly celebrated indie sensation, has consistently demonstrated her musical prowess, with her muchanticipated debut album, “Fake It Flowers,” earning a stellar 5-star rating from NME and being hailed as a “thrilling debut” that left an indelible mark in 2020. The momentum continued with her sophomore album, “Beatopia,” released in 2022, which not only debuted in the top 5 of the UK charts but also garnered critical acclaim on both sides of the Atlantic.

NPR commended the album, describing it as “a blend of timelessness and immediacy,” while Rolling Stone expressed the hope that beabadoobee continues to create

beabadoobee Wraps Monumental Year with Release of New Live Album Live In LA Listen At https://beabadoobee.ffm.to/liveinla albums “as good as this one.” Pitchfork lauded the LP as “simultaneously heavy and light, dense and playful, melodic and dissonant,” and Stereogum characterized it as “...a leap forward… a woozy, pretty, accessible record.” The Sunday Times recognized her unique sound, noting, “She still sounds like nobody else today — meshing the music of her parents’ generation with a Gen Z shrug,” while NME praised Bea for “exploring a new sonic palette with

confidence.”

Dork magazine celebrated “Beatopia” as a pivotal moment, marking beabadoobee as an artist capable of setting her own terms.

They described it as “inventive, playful, and truly magical,” highlighting her ability to evolve and captivate audiences with her distinctive musical style. As beabadoobee continues to ascend the echelons of indie pop stardom, her journey unfolds as a captivating narrative of innovation and artistic brilliance.

FOLLOW BEABADOOBEE Instagram @ https://www.instagram.com/radvxz/ TikTok @ https://www.tiktok.com/@gnocchi500 Facebook @ https://www.facebook.com/radvxz/ Twitter @ https://twitter.com/beabad00bee Spotify m @ https://open.spotify.com/artist/35l9BRT7MXmM8bv2WDQiyB YouTube @ https://www.youtube.com/channel/UCOf6pX571cKC0rhOZqv2y7Q Apple Music @ https://music.apple.com/us/artist/beabadoobee/1307650474 continued on next page January 2024 • Rock and Blues International

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EXIT EDEN Unveils Dramatic Cover of Journey’s “Separate Ways” & Official Music Video Watch Here At https://youtu.be/I4Y0jm2LFRk New Album, Femmes Fatales, out January 12, 2024 via Napalm Records Pre-Order Now at https://www.napalmrecordsamerica.com/exiteden EXIT EDEN online: Website @ https://exit-eden.com/ Facebook @ https://www.facebook.com/ExitEdenMusic/ Instagram @ https://www.instagram.com/exitedenmusic/ X @ https://twitter.com/i/flow/login?redirect_after_login=%2FExitEdenMusic Napalm Records @ https://label.napalmrecords.com/exit-eden

By Greg Fontaine First off I must tell you that I was just captivated by the vocal stylings of Exit Eden on their new cover of Journey’s “Seperate Ways.” This is without a doubt my favorite cover version of that song.

Quite honestly, if I can’t hear Steve Perry sing it, then this would be the version that I would want to hear. As for the video, I 50 38

don’t know where to start. It mesmerized me from the very start. It was if 3 wood nymphs were beckoning to me to join them in the forest and I got completely caught up in the video, almost becoming a part of it myself. Kudo go out to the band and the crew that shot this masterpiece. I loved ever second of it. Now here is everything you wanted to know about his new release

Rock and Blues International • January November 2024 2023

and more.

In the scorching crucible of symphonic metal, emerges EXIT EDEN, an enchanting triumvirate of talent featuring the celestial voices of Clémentine Delauney (Visions of Atlantis), the dynamic Anna Brunner (League of Distortion), and the continued on next page

EXIT EDEN (continued from previous page)

spellbinding Marina La Torraca (Phantom Elite). Their latest revelation, a dramatic cover of Journey’s monumental hit, “Separate Ways,” ignites the musical landscape, setting the stage for their impending second album, “Femmes Fatales,” slated for release on January 12, 2024, via the prestigious Napalm Records.

The meteoric rise of EXIT EDEN commenced with the release of their debut album, “Rhapsodies in Black,” a magnum opus that etched its place at #15 on the German album charts. Their prowess was further exemplified by the viral success of the cover of Bonnie Tyler’s “Total Eclipse Of The Heart,” amassing a staggering 12 million views. The crescendo of their inaugural journey culminated in an electrifying performance at Wacken, solidifying their status as three of the most virtuosic women in metal.

“Femmes Fatales,” their forthcoming masterpiece, is a testament to strength and female empowerment, a symphony of original compositions and reimagined international hits. The trio breathes new life into the iconic “Separate Ways,” adorning the ’80s AOR hit with a majestic veil of symphonic heaviness.

In their own words, EXIT EDEN declares, “Our version of this Journey classic is a tribute to rock ‘n roll and timeless tunes. We are thrilled to retell this musical tale with our own voices and share it with you today.”

The genesis of EXIT EDEN, a fusion of Clémentine Delauney, Anna Brunner, Marina La Torraca, and Amanda Somerville, manifested in the summer of 2017 with the release of “Rhapsodies in Black.” A revelation that this collective would be a force to be reckoned with, merging symphonic heaviness with pop music in an unprecedented manner. This quartet of exceptional and independent female vocalists shattered expectations, transforming well-known classics into an unheard sonic tapestry, transcending the mere label of a covers album.

Now, metamorphosed into a trio, EXIT EDEN’s musical odyssey continues in their new full-length masterpiece.

Following the trailblazing footsteps of their debut, this opus features six cover versions of cross-generational super-hits and introduces six original compositions. The creative synergy between Anna Brunner and Hannes Braun (Kissin’ Dynamite), responsible for recording, production, and mixing, brings these originals to life. The album is meticulously mastered by Jacob Hansen (Delain, Amaranthe, Volbeat, Destruction, and more), ensuring an auditory experience of unparalleled quality.

Embark on an auditory voyage into the tantalizing world of EXIT EDEN as the album unfolds with the enchanting “Femme Fatale,” “Buried in the Past,” and “Hold Back Your Fear.” These opening tracks weave a mystical atmosphere, intertwining strings and orchestral elements, harmonized by the complementary vocals of the all-femme trio.

“Dying In My Dreams” and the album’s crescendo, “Elysium,” set the tone with captivating mid-tempo tracks and intense choruses that resonate deep within the heart. As EXIT EDEN continues along the path charted by “Rhapsodies in Black,” they select a new roster of international super-hits, transforming them into their own creation while paying homage to the originals on “Femmes Fatales.”

“It’s a Sin” (Pet Shop Boys), “Desanchantée” (Mylène Farmer), “Poison” (Alice Cooper), “Alone” (Heart), and “Kayleigh” (Marillion) are reimagined as striking rock/symphonic metal compositions, forming the connective thread between the debut and “Femmes Fatales.”

With stellar vocals, an ingenious concept, and impeccable production, EXIT EDEN has once again forged a standout album, elevating the identity of the supergroup. “Femmes Fatales” beckons fans to experience the harmonious convergence of three of the most beautiful and talented women in metal, united as one.

EXIT EDEN, the symphonic metal enchantresses, beckon you to join their ethereal journey, where strength, empowerment, and sonic brilliance converge. As they stand poised to release “Femmes Fatales,” the world eagerly awaits the mesmerizing tales these musical sirens shall weave. Clémentine Delauney, Anna Brunner, and Marina La Torraca — a trinity of talent — invite you to embrace the symphony that is EXIT EDEN. 1 2 3 4 5 6 7 8 9 10 11 12

Femmes Fatales tracklisting: Femme Fatale It’s a Sin Run! (feat. Marko Hietala) Separate Ways Buried in the Past Désenchantée Dying in my Dreams Poison Alone Hold Back Your Fear Kayleigh Elysium

Femmes Fatales will be available in the following formats: 1-LP Gatefold MARBLED RED/ BLACK – ltd. to 300 copies worldwide 1-LP Gatefold BLACK 1-CD 48pages Earbook – ltd. to 300 copies worldwide 1-CD 6p Digipak Bundle 1-CDs DGS + Shirt Digital Album [1-LP Gatefold MARBLED RED/ BLACK – ltd. to 300 copies worldwide] continued on next page

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Tesla Announces The “Keepin’ It Real Tour” Starting January Follow Tesla Online At: Official Website @ https://teslatheband.com/ Spotify @ https://open.spotify.com/artist/ 0dgnITyIAN4NrmUVisvxHU?si=w5Bg57qBTcuAcfKsOcX2dA&nd=1 Facebook @ https://www.facebook.com/TeslaBand/ Twitter @ https://twitter.com/teslaband Instagram @ https://www.instagram.com/teslaband/ YouTube @ https://www.youtube.com/teslaband

By Nathan Pugh As the curtain rose on the eve of 2024, the iconic rock band Tesla unveiled their grand plans for a journey that would reverberate across the United States—the “Keepin’ It Real Tour.” With a flourish of excitement, the veteran rock act announced a spectacle that would kick off on January 11th in Immokalee, Florida, promising an 40

extensive exploration of their classic anthems and the unveiling of new tracks that would further solidify their place in the annals of rock history.

The tour, a testament to Tesla’s enduring legacy, held the promise of captivating audiences with their signature sound and unparalleled stage presence. The anticipation

Rock and Blues International • January 2024

reached a crescendo as Tesla revealed the intricacies of their musical odyssey—a hiatus in February, a triumphant return to the road in March, and the grand culmination known as “TESLA: The Las Vegas Takeover” in April. The House of Blues in Las Vegas would host five extraordinary shows on April 5th, 6th, 10th, 12th, and 13th, marking a continued on next page

Tesla “Keepin’ It Real Tour” (continued from previous page) residency that promised to be etched in the memories of all who experienced it.

But the journey didn’t end there. Following the Las Vegas residency, Tesla charted another leg of the tour that extended from late May into mid-June, a sonic sojourn that would lead to a crescendo, a one-off performance at the Beaver Dam Amphitheater in Kentucky on July 20th. Tesla’s highly anticipated tour of 2024 was not merely a series of concerts; it was a musical pilgrimage, a celebration of their fourdecade-long commitment to rock and roll.

In an intimate glimpse into the band’s inner workings, Tesla’s lead singer, Jeff Keith, shared insights in a recent interview with Rockin’ Metal Revival. Reflecting on the enduring joy of performing on stage for over 40 years, Keith delved into the nuances of their craft. “I will admit that back in the ’80s or in the ’90s, I could sing things in the regular key of E,” he explained, peeling back the layers of time. The years brought adjustments, as the band tuned down and experimented with different arrangements to accommodate the evolution of his voice.

“We don’t do three-in-a-rows anymore; we just do two [shows] in a row and have a day off,” Keith continued, offering a glimpse into the meticulous care taken to preserve the instrument that is his voice. The challenges of maintaining vocal prowess over the years were met with strategic planning, ensuring that each performance remained a powerhouse without compromising the longevity of his voice.

Yet, in the face of challenges and the passage of time, Tesla continued to roar and soar. Their resilience and enduring spirit weren’t just characteristics; they were inherent to their very essence. Born in the mid-80s, Tesla’s bluesy, soulful sound delved into the roots of organic, authentic 1970s rock and roll. The band’s birth in 1984, against the backdrop of Sacramento, CA, marked the inception of a musical earthquake that would soon produce platinum.

Originally named City Kidd, the band underwent a metamorphosis, emerging as Tesla and paying homage to the eccentric inventor Nikola Tesla. Their 1986 platinum debut album, “Mechanical Resonance,” set the stage with Top 40 hits like “Modern Day Cowboy” and “Little Suzi.” The journey continued with the double-platinum success of 1989’s “The Great Radio Controversy,” featuring hits such as “Heaven’s Trail (No Way Out)” and the iconic “Love Song.”

Tesla’s rise to prominence reached new heights as they headlined alongside renowned acts like Def Leppard and David Lee Roth. In 1990, they revolutionized modern

rock by stripping down to the “Five Man Acoustical Jam,” a spontaneous collection of hits peppered with rock and roll classics that produced their biggest hit single, a cover of Five Man Electrical Band’s “Signs.”

The 90s saw the release of platinum-selling albums like “Psychotic Supper” and “Bust a Nut,” solidifying Tesla’s position as a powerhouse in the rock scene. The band continued to record and release material, including nine new albums since 2000, showcasing their commitment to evolving with the times while staying true to their roots.

Tesla’s legacy, far from fading, continued to thrive as they recorded, sold out venues worldwide, and endured like a favorite pair of boots—comfortable, rugged, and dependable. The blues-based hard rock band, marked by clever songwriting and technical acumen, weathered the storm of grunge in the ’90s with a six-year hiatus before reuniting in the 2000s. Their albums, including “Forever More,” “Simplicity,” and “Shock,” seamlessly blended classic rock with bluesy popmetal. continued on next page

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Tesla “Keepin’ It Real Tour” (continued from previous page) The story of Tesla reached its zenith with a glance at their lineup: Jeff Keith on vocals, Frank Hannon on guitar, Brian Wheat on bass, Dave Rude on guitar, and Steve Brown on drums. This cohesive unit, a testament to their ability to adapt while preserving the essence of Tesla, forged ahead with a spirit that defined the greatest spirits of rock and roll.

As the narrative of Tesla unfolded, it wasn’t just a story of a band; it was a tale of resilience, evolution, and an unwavering commitment to the craft. The “Keepin’ It Real Tour” of 2024 was not just a series of performances; it was a celebration of a journey that began in the ’80s, echoed through the decades, and continued to reverberate in the hearts of fans worldwide. The stage was set, and Tesla stood ready to deliver an unforgettable experience, proving once again that their music wasn’t just a sound—it was a celebration of the greatest spirits of rock and roll.

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Tesla Tour Dates 2024 Jan 11 @ Seminole Center in Immokalee , FL SOLD OUT Jan 13 @ Kings Center of Performing Arts in Melbourne , FL Jan 14 @ The Stage at Coco Outdoors in Coconut Creek , FL Jan 16 @ Seminole Hard Rock Tampa Event Center in Tampa , FL SOLD OUT Jan 17 @ Seminole Hard Rock Tampa Event Center in Tampa, FL Jan 20 @ Buffalo Thunder Resort & Casino in Santa Fe, NM Jan 26 @ UW-Milwaukee Panther Arena in Milwaukee , WI Jan 27 @ Mystic Lake Casino in Prior Lake , MN SOLD OUT Mar 1 @ Paramount Arts Center in Ashland , KY Mar 2 @ Blue Gate PAC in Shipshewana , IN Mar 5 @ American Music Theatre in Lancaster , PA Mar 6 @ Sound Board at MotorCity Casino Hotel in Detroit , MI Mar 8 @ EPIC Event Center in Green Bay, WI Mar 9 @ Silver Creek Event Center @ Four Winds Casino in New Buffalo , MI Mar 12 @ Ryman Auditorium in Nashville , TN Mar 13 @ Durham Performing Arts Center in Durham , NC Mar 16 @ MGM Northfield in Northfield, OH Mar 23 @ Grand Sierra Resort in Reno, NV Apr 5 @ House of Blues in Las Vegas, NV Apr 6 @ House of Blues in Las Vegas, NV Apr 10 @ House of Blues in Las Vegas, NV Apr 12 @ House of Blues in Las Vegas, NV Apr 13 @ House of Blues in Las Vegas, NV May 29 @ Pikes Peak Center in Colorado Springs, CO May 31 @ House of Blues in Dallas , TX Jun 4 @ ACL Live at Moody Theater in Austin , TX Jun 5 @ Aztec Theatre in San Antonio , TX Jun 7 @ House of Blues in Houston, TX Jun 11 @ Mission Ballroom in Denver, CO Jun 13 @ Peppermill Concert Hall in Wendover , NV Jun 14 @ Peppermill Concert Hall in Wendover , NV Jul 20 @ Beaver Dam Amphitheater in Beaver Dam , KY ROCK the DAM

Rock and Blues International • January 2024

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!

January 2024

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Rina Sawayama 44

Rock and Blues International • January 2024

by Sheena Johnson Celebrating the one-year milestone of her lauded album “Hold The Girl,” Rina Sawayama graces us with the Hold The Girl (Bonus Edition). This latest rendition is a testament to Rina’s commitment to artistic evolution, featuring an original single titled “Flavour of the Month” and a mesmerizing new version of “Imagining,” featuring the illustrious Ghanaian-American platinum artist Amaarae.

In the twelve months since the album’s initial release, Rina has emerged as a force to be reckoned with, not only in the music realm but also on the silver screen. Her acting debut alongside Keanu Reeves in John Wick: Chapter 4 captivated audiences and marked a new chapter in her multifaceted career. The film itself shattered box office records for the franchise, claiming the top spot at the domestic box office, while Rina’s performance garnered high praise. The Wrap highlighted her exceptional choreography, Mashable celebrated her “ruthless amounts of cool,” and The Hollywood Reporter predicted that Rina would undoubtedly be a presence in future cinematic endeavors.

Beyond the cinematic realm, Rina embarked on a masterfully reimagined world tour, bringing fans an immersive experience that delved deeper into the creative journey behind Hold The Girl. The Hold The Girl: Reloaded tour showcased Rina’s inventive prowess, with an entirely redesigned show featuring new performance looks and a simplified set design that amplified the intimacy of her creative process. The North American leg of the tour saw Rina gracing major festivals such as Governor’s Ball, Bonnaroo, Lollapalooza, Life is Beautiful, Portola Music Festival, and Austin City Limits.

In a revealing interview with the BBC, Rina offered more context behind the intricacies of her sophomore album Hold The Girl. This bonus edition, with its fresh tracks and reimagined compositions, serves as an extension of that narrative, inviting listeners into the artist’s evolving world.

As a fitting complement to her musical and cinematic endeavors, Rina’s vocals in the end credits track “Eye For An Eye” in John Wick: Chapter 4 further solidify her presence in the film’s sonic landscape. Her appearance on Good Morning America and a captivating conversation with Jimmy Fallon underscore the broader impact of her artistic footprint.

Hold The Girl (Bonus Edition) stands not only as a musical offering but as a testament to Rina Sawayama’s artistic dexterity and her unyielding commitment to pushing creative boundaries. With each endeavor, Rina continues to captivate audiences and carve her niche as a powerhouse in both music and cinema.

Rina Sawayama Releases Hold The Girl (Bonus Edition) LISTEN TO “FLAVOUR OF THE MONTH” AND “IMAGINING” FEAT. AMAARAE OUT NOW Hold The Girl (Bonus Edition) https://rinasawayama.ffm.to/holdthegirlbonus Connect with Rina Sawayama: Instagram @ https://www.instagram.com/rinasonline/ Twitter @ https://twitter.com/rinasawayama Facebook @ https://www.facebook.com/rinasawayamamusic Hold The Girl (Bonus Edition) Rina Sawayama Dirty Hit 1. Minor Feelings 2. Hold The Girl 3. This Hell 4. Catch Me In The Air 5. Forgiveness 6. Holy (Til You Let Me Go)

7. Your Age 8. Imagining 9. Frankenstein 10. Hurricanes 11. Send My Love To John 12. Phantom 13. To Be Alive 14. Imagining feat. Amaarae (Bonus Track) 15. Flavour of the Month (Bonus Track) January 2024 • Rock and Blues International

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[photo credit: Mind Art Visual]

KK’S PRIEST Reveals Futuristic Official Music Video for Album Track “Sons Of The Sentinel” Watch Here at https://youtu.be/yaywBB3nR4w New Album, The Sinner Rides Again, Out Now via Napalm Records Order Here at https://www.napalmrecordsamerica.com/kkspriest Stay Tuned for 2024 Touring News - Coming Soon!

By Johnny Ghoul In the realm of heavy metal, where the echoes of legends reverberate, KK’S PRIEST, a powerhouse ensemble featuring Judas Priest alumni and GRAMMY Award musicians K.K. Downing (guitar) and Tim “Ripper” Owens (vocals), emerged with their scorching sophomore masterpiece, “The Sinner Rides Again,” in September, drawing accolades and fervent praise. Blabbermouth hailed it as “an absolutely ripping metal record,” and Paste declared, “…with all respect to Rob Halford and co., nothing they’ve produced in recent years feels as dynamic and as heavy as the material that their former guitarist has been forging with his project KK’S PRIEST.” The relentless assault of “The Sinner Rides Again” continues unabated as KK’S PRIEST unveils another spectacular addition to their arsenal—an enthralling and highquality music video accompanying the highoctane anthem “Sons Of The Sentinel.”

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Rock and Blues International

Transporting audiences into the future, the video is a visual extravaganza that complements the sonic intensity of the track.

K.K. Downing, the virtuoso behind the guitar, shares his insights on the genesis of “Sons Of The Sentinel”: “Following the epic ‘Return Of The Sentinel,’ it was inevitable that this sequel would evolve. The history of these intergalactic mercenaries has to justifiably continue as long as there is metal in our veins.

It was with great sorrow that our first great father, and warlord, met his demise upon his return, but the powers of those that would be have initiated an even more powerful force to be the protectors of the entire universe. Though - heed the warning you must always beware to never stand in their way because they are a force that is like no other and has never been seen before!

They are The ‘Sons Of The Sentinel.’”

With “The Sinner Rides Again,” KK’S PRIEST doubles down on the ripping

• January 2024

melodic force that defined their debut, “Sermons Of The Sinner.” Metal Hammer UK dubbed it “hugely enjoyable,” and Metal Injection praised its “catchy hooks and plenty of guitar wizardry.” The new album, a compilation of nine tracks of pure auditory hellfire, showcases the mastery of K.K. Downing, who not only produced but also wrote the enthralling compositions. The finishing touches, including the impeccable mixing and mastering, were orchestrated by Jacob Hansen. The album stands as a resounding call to the classics while hurtling full force into the future, a testament to the prowess of heavy metal’s essential performers.

The lineup of KK’S PRIEST comprises Tim “Ripper” Owens commanding the vocals, K.K. Downing leading the charge on guitar, A.J. Mills on guitar, Tony Newton on bass, and Sean Elg on drums. As the sonic juggernaut of “The Sinner Rides Again” reverberates, fans eagerly anticipate the band’s future exploits, with whispers of 2024 touring news creating an air of excitement.

The saga of KK’S PRIEST unfolds as an epic narrative etched in the annals of metal history, a testament to the enduring spirit of heavy metal and its indomitable torchbearers.

KK’S PRIEST online: WEBSITE @ https://kkdowningofficial.com/ FACEBOOK @ https://www.facebook.com/KKsPriest NAPALM RECORDS @ https://label.napalmrecords.com/kks-priest The Sinner Rides Again track listing: 1. Sons Of The Sentinel 2. Strike Of The Viper 3. Reap The Whirlwind 4. One More Shot At Glory 5. Hymn 66 6. The Sinner Rides Again 7. Keeper Of The Graves 8. Pledge Your Souls 9. Wash Away Your Sins The Sinner Rides Again is available in the following formats: -Digital Album -1CD Digipak Edition -1LP Gatefold in Black -1LP Gatefold in Transparent Orange Napalm Mail Order only, limited to 300 -Wooden Box Edition (incl. Digipak, Flag, Logo Wristband, Artprint, Patch) - Napalm Mail Order only, limited to 500

ADVERTISE HERE Advertise in a revolutionary new magazine that will be taking the music world by storm! call us now at 281-650-1953

Rock And Blues International

May 2022 • Rock and Blues International

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Grammy Nominated Superstar Coi Leray Releases “Wasted” Performance Video Watch Here at https://youtu.be/bCAxAJtXSn0 Follow Coi Leray Online At: Instagram @ https://www.instagram.com/coileray/ YouTube @ https://www.youtube.com/channel/UCiHc6oRZnXXZHZlaxbNkfQg Twitter @ https://twitter.com/coi_leray Spotify @ https://open.spotify.com/artist/6AMd49uBDJfhf30Ak2QR5s TikTok @ https://www.tiktok.com/@coileray

By Deshaun Phillips Coi Leray, the multi-platinum and GRAMMY-nominated recording artist, is capping off an incredible year with the release of a performance video for her song “Wasted,” sprinkled with some holiday flair. Out now via Uptown Records/Republic Records, this rendition showcases Coi Leray’s versatility as a dynamic R&B singer.

Originally unveiled a year ago, “Wasted” demonstrated Coi Leray’s fiery vocal prowess. In this performance video, accompanied by TaylorHill on the piano, the holiday-themed chords set the mood as Coi Leray pours her heart into 48

the song through a vintage microphone.

As the lyrics delve into the complexities of relationships, Coi Leray shines in this intimate display, showcasing both her emotional depth and impressive vocal range.

In a heartwarming gesture, Coi Leray recently returned to her hometown of Boston, MA, where she hosted a giveback event in collaboration with her nonprofit organization, Camp Courage.

The event brought together students and parents from Horizons for Homeless Children, providing nearly 200 families with the opportunity to meet Coi Leray and enjoy a family-friendly dance party.

Rock and Blues International • January 2024

Adding to her list of achievements, Coi Leray earned her first-ever GRAMMY nominations last month. The breakthrough artist secured two nominations in the categories of “Best Rap Performance” for her chart-topping hit “Players” and “Best Pop Dance Recording” for “Baby Don’t Hurt Me,” a collaboration with David Guetta and Anne Marie.

Coi Leray stands as an exceptional musician, a vocal powerhouse, a charismatic personality, and a trailblazing superstar unparalleled and unrivaled.

Hailing from Boston, raised in New continued on next page

Coi Leray Releases “Wasted” (continued from previous page) Jersey, and currently based in Los Angeles, this multiplatinum GRAMMYnominated force of nature has captivated audiences without compromise.

Throughout her career, Coi has delivered a series of anthems, notably from her debut album TRENDSETTER. Among them are the double-platinum “No More Parties,” the gold-certified “Big Purr (Prrrd)” [feat. Pooh Shiesty], the Billboard Hot 100 Top 40 hit “Blick Blick” [with Nicki Minaj], and the viral sensation “TWINNEM.” Coi Leray secured her first Billboard Hot 100 Top 10 with the highest-charting single to date, “Players,” landing at #9.

Notably, “Players” has taken over social media, with popular remixes like ”Players (David Guetta Remix),” ”Players (Tokischa Remix),” “Players (DJ Smallz 732 Jersey Club Remix),” “Players (DJ Saige Remix),” and “Players (DJ Saige Remix)” feat. Busta Rhymes. These remixes set TikTok ablaze with a staggering 10 billion views and nearly 3 million video creations, simultaneously dominating streaming platforms. The track has also ruled the radio, boasting three consecutive weeks

at #1 on Rhythmic Radio, #1 on Urban Radio, #1 on the Billboard Hot Rap Songs Chart, and #6 on Billboard’s Radio Chart.

Building on this success, Coi Leray released her critically acclaimed full-length album, Coi, in June 2023. She has continued to cross over into other genres with the hit song “Baby Don’t Hurt Me” with David Guetta and AnneMarie. Another highlight is her blockbuster R&B anthem “Self Love” with Metro Boomin, featured on the SpiderMan: Across the Spider-Verse soundtrack.

This incredible momentum in the music industry led to Coi receiving her first-ever GRAMMY nominations in 2023, with “Players” nominated for Best Rap Song and “Baby Don’t Hurt Me” for Best Pop Dance Performance. Her influence extends beyond music, with appearances on XXL’s coveted Freshman Class cover, performances on NBC’s The Tonight Show Starring Jimmy Fallon and ABC’s Jimmy Kimmel Live!, and serving as the face of the SKIMS “Cozy Collection” by Kim Kardashian West.

Coi Leray has collaborated with major

fashion brands such as Kenzo, Moschino, Fendi By Marc Jacobs, YSL Beauty, and contributed to Slime Language 2, which debuted at #1 on the Billboard 200.

Coi Leray’s impact expands further through collaborations with artists like Calvin Harris, RAYE, K Pop’s TOMORROW X TOGETHER, and more. Her achievements include magazine covers and nominations at the GRAMMYs, American Music Awards, BET Awards, and iHeart Radio Music Awards. Critical acclaim has poured in from publications like the New York Times, Billboard, E! Online, and beyond.

A powerhouse performer, Coi Leray has graced major stages, including Beyonce’s Rennaissance World Tour (LA), Rolling Loud, Lollapalooza Festival, Governors Ball, and more. Yet, she continues to push forward, solidifying her reign with the release of her new EP, Blue Moon, and promising much more to come in her meteoric rise to success.

Debut Album, Metamorphosis out May 12, 2023

Rock And Blues Rock And Blues International

International

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By Troy Wilson Sarah Assbring, the accomplished Swedish singer, multi-instrumentalist, and composer known by the moniker El Perro del Mar, introduces her latest single, “Kiss of Death.” Collaboratively produced with Vessel (renowned for work with Fever Ray, Evian Christ, Malibu), this new track boasts a sweeping, cinematic composition harmonized with empowering vocals. “Kiss of Death” offers another glimpse into Assbring’s upcoming album, Big Anonymous, scheduled for release on February 16th, 2024, via City Slang.

Following the lead of the previously unveiled single, “In Silence,” this new creation, “Kiss of Death,” is intricately tied to a segment from the broader art/ horror film Big Anonymous, co-written

by El Perro del Mar herself, along with longtime collaborator and stylist Nicole Walker, and photographer Joseph Kadow.

Delving into the essence of “Kiss of Death,” Assbring shares, “I think of the album as a journey into the Underworld and back. ‘Kiss of Death’ is about returning to the world of the living, scarred but with the insight of how close death is. Loss is a scar. We should carry it with us; not as a threat but as a promise of making the most of the time we’re here.”

In addition to her recent support for José González in Berlin, headline performances in Sweden, and preceding her European and UK tour dates, Assbring will mark her return to the United States live stage for the first time since 2016. El Perro del Mar is set to enchant audiences across the nation with a series of shows, accompanied by Vera

El Perro Del Mar Shares New Single “KISS OF DEATH” Announce 2024 US Tour Dates BIG ANONYMOUS Due February 16TH Via City Slang “Kiss of Death” LISTEN: epdm.lnk.to/BigAnonymous WATCH: https://epdm.lnk.to/KOD_Video Big Anonymous PRE-ORDER / SAVE: https://epdm.lnk.to/BigAnonymous_Buy 50

Rock and Blues International • January 2024

El Perro Del Mar (continued from previous page) Sola on select dates. Commencing in Seattle on March 19th, 2024, the tour will grace cities such as Los Angeles, Chicago, Philadelphia, Brooklyn, and more, concluding in Washington, D.C. on March 29th.

Delving into the profound complexities of existence, Big Anonymous

by Sarah Assbring, widely recognized as El Perro del Mar, transcends the boundaries of traditional music. The album, slated for release on February 16th, 2024, delves into existential questions surrounding life and death. Shaped by personal experiences of loss, Sarah found herself grappling with persistent grief, haunted by the weight of mortality and survivor’s guilt. This emotional journey is not solely autobiographical; it encompasses a universal theme, inviting listeners to contemplate their own mortality. Through the album’s diverse voices and characters, Assbring weaves a narrative that resonates with collective human experiences, offering a cathartic exploration of life’s finite nature and the joy found in embracing the present.

Big Anonymous’s genesis can be traced back to a commission from Stockholm’s historic Royal Dramatic Theatre. In collaboration with a choreographer, El Perro del Mar staged a performance concert in 2019, with musicians Jacob Haage and Petter Granberg. The music, recorded live with sound engineer Daniel Rejmer, employed a minimal setup, creating an atmosphere reminiscent of the underworld— timeless, occasionally austere, and intensely evocative.

El Perro del Mar, a musical shapeshifter since her debut in 2005, has continually defied genre constraints. Her musical repertoire spans doo-wop redux, mystic ballads, electronic dance, loner’s laments, ecstatic love songs, film soundtracks, dance scores, global pop, political pop, and existential pop. Her debut album, Look! It’s El Perro del Mar!, catapulted her to international acclaim, earning awards and catching the attention of David Bowie. Pitchfork hailed her as a “modern world pop purveyor” with the release of her seventh album, KoKoro, in 2016. Noteworthy releases include the EPs We Are History (2018) and Free Land (2020), featuring a collaboration with Blood Orange.

Experience the enchanting single

“Kiss of Death” and anticipate the rich tapestry of Big Anonymous. Pre-order or save the album, explore El Perro del Mar’s tour itinerary and delve into the captivating world of this versatile artist, promising more musical revelations in the near future.

Big Anonymous album artwork El Perro del Mar Big Anonymous City Slang

February 16, 2024 1. Underworld 2. Suburban Dreams 3. Cold Dark Pond 4. In Silence 5. The Truth the Dead Know 6. Between You and Me Nothing 7. Please Stay (Anonymous Version) 8. One More Time 9. Wipe Me Off This Earth 10. Kiss of Death

Upcoming Live Dates * = supporting José González ^ = w/ support from Vera Sola 2/15/24 - Berlin, DE @ Theater des Westens* 3/06/24 - Göteborg, SE @ Pustervik 3/08/24 - Stockholm, SE @ Kulturhuset 3/09/24 - Malmö, SE @ Malmö Live 3/19/24 - Seattle, WA @ Barboza^ 3/20/24 - Boise, ID @ Treefort Music Fest 3/22/24 - San Francisco, CA @ Bottom Of The Hill^ 3/23/24 - Los Angeles, CA @ Zebulon 3/25/24 - Chicago, IL @ Old Town School Of Folk Music^ 3/27/24 - Philadelphia, PA @ The Lounge at World Cafe Live^ 3/28/24 - Brooklyn, NY @ Public Records 3/29/24 - Washington, D.C. @ The Kennedy Center 5/06/24 - Paris, FR @ Badaboum 5/08/24 - London, UK @ Kings Place 5/21/24 - Berlin, DE @ Silent Green January 2024 • Rock and Blues International

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Rock and Blues International • January 2024

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Jarhead Fertilizer Release Their New Album Carceral Warfare On Closed Casket Activities

By Tank Wilson Ocean City, Maryland’s own Jarhead Fertilizer is not merely a band; they are sonic architects, crafting a cacophony that mirrors the tumultuous birth of chaos on a battlefield. Their 2023 full-length offering, “Carceral Warfare,” released through Closed Casket Activities, is a visceral journey through a celestial prison, a tale deeply rooted in the life experiences of drummer and vocalist Dave Bland’s late father.

This auditory odyssey unfolds against a backdrop of shuddering industrial groans, grimy hip-hop beats, and a relentless barrage of cathartic screams. The double bass onslaught and machine gun-sharp riffing, infused with 54

elements of death metal and powerviolence, create a cataclysmic soundscape that is both chaotic and irresistibly catchy.

Dave Bland sheds light on the album’s thematic core, stating, “Growing up, I watched a lot of crazy shit. My dad was an ex-convict, and that’s where the prison idea came from. I was surrounded by that lifestyle. Many of the lyrics compare earth to a prison, and they explore all the atrocities of man. My relationship with my father definitely influenced the band, and this album is almost like me getting to tell his story since he passed away two years ago.”

After the success of their 2021 EP “Product of My Environment,” which solidified Jarhead Fertilizer as an

Rock and Blues International • January 2024

underground favorite, the band embarked on the creation of “Carceral Warfare.”

Recorded at Developing Nations with producer Kevin Bernstein, the album delves into a diverse range of influences, from extreme metal acts like Mortal Decay, Lucifer’s Hammer, and Demilich to jazz drummers Billy Cobham and Tony Williams. Hip-hop legends Three Six Mafia, as well as electronic acts like Techno Animal and The Prodigy, also left their imprint on the band’s sonic landscape.

“This time around, we experimented with putting samples in the middle of songs,” Dave explains. “They don’t hear that much in death metal. The continued on next page

Jarhead Fertilizer (continued from previous page) samples aren’t just for noise or texture.

They’re actually a part of the songwriting.”

The single “Parasitic Pathology” serves as an exemplary showcase of the album’s essence. An ominous sample sets the tone, leading into a relentless onslaught of distorted guitars and guttural growls. The track seamlessly weaves technicality, groove, and unusual jazzy elements into a cohesive sonic tapestry, all while exploring overarching religious themes.

The narrative deepens with “Mark of the Beast,” where the primal roar and shattering glass embody the arrival of

angels into the prison, signifying a transformative moment within the mental and physical confines of the listener.

Exploring the mental and physical aspects of imprisonment, the band delves into the metaphorical prison within one’s mind. Vocalist Sam expands on this, saying, “It’s not just a physical place, but it’s a mental state. It could be a drug or whatever vice you’re addicted to. In this case, the rapture is the second coming of yourself.”

The epic conclusion arrives with the title track, “Carceral Warfare.” Dave details its connection to the album

artwork, which fuses graffiti-style with oil painting, creating a grimy yet angelic aesthetic. The artwork portrays a riot within the prison where the prisoners seemingly triumph, while beautiful angels, untouched by the chaos, observe.

The presence of a lady blowing a horn signifies one of the seven horns before the end times, offering a final warning.

The ambiguity of eight horns at the album’s conclusion leaves listeners contemplating whether it’s truly over or if life still lingers.

Jarhead Fertilizer’s “Carceral Warfare” is more than an album; it’s an unrelenting sonic journey that demands introspection. Dave encapsulates the band’s vision, saying, “We want to leave you speechless. We don’t want you to get up and change the song. We want you to sit and think about what you heard.” This

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P.O.D. featuring Jinjer’s Tatiana Shmayluk

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Rock and Blues International

• Janueary 2024

By Tank Martin Platinum-selling rock powerhouse P.O.D., comprising Sonny Sandoval on vocals, Marcos Curiel on guitar, and Traa Daniels on bass, initiated the fall season with the release of the video for their latest single “DROP.” The track boasts a fierce vocal collaboration with Randy Blythe, the lead singer of Lamb of God, and swiftly garnered praise from various press outlets, including Metal Injection, Consequence, Revolver, Idioteq, The Pit, Yahoo!, and Knotfest.

Building on their momentum, the band is back with yet another explosive release, presenting the video for their equally intense single “AFRAID TO DIE.” This latest offering features the powerful vocals of Tatiana Shmayluk, the vocalist from Jinjer.

This anthemic track with an edgy flair emerged as a collaboration during P.O.D. and Jinjer’s joint tour in the fall of 2022.

According to Curiel, “‘AFRAID TO DIE’ is a fusion of enigmatic and triumphant melodies. It features storytelling rhymes, chugged verses, and a wide-open, melodic yet semi-morbid chorus. It embodies anthemic qualities in every sense of the word. –Our dear friend Tatiana Shmayluk brings her unique approach, and we experienced incredible musical chemistry with her. In this piece, P.O.D. delves into the core of human existence, grappling with themes of love, fear, integrity, and, most importantly, family and friends. It’s ultimately a celebration of love and life.”

P.O.D., the enduring rock icons with over 30 years of musical prowess under their belts, embrace a perpetual underdog mentality, driven by a continuous desire to prove themselves with each new album and live performance.

Guitarist Marcos Curiel emphasizes their unwavering commitment to creating some of their best music, stating, “When it comes to heart, grit, and soul, P.O.D. is your band.” Vocalist Sonny Sandoval echoes this sentiment, noting, “We’re always still proving who we are — always having that punk-rock mentality.”

This resilient mindset has long been a defining characteristic of P.O.D., propelling them through a successful career marked by platinum-selling albums. Despite being nearly five years since their last studio album, “Circles,”

P.O.D. Share V ideo For “Afraid To Die” featuring Jinjer’s Tatiana Shmayluk Watch at https://youtu.be/ah80WZaJH54 Follow P.O.D. Online Facebook @ https://www.facebook.com/POD/ Twitter @ https://twitter.com/POD Instagram @ https://www.instagram.com/POD/ Website @ https://payableondeath.com/ Spotify @ https://open.spotify.com/artist/6KO6G41BBLTDNYOLefWTMU the band remains a force to be reckoned with. The album garnered over 50 million streams and featured the hit “Listening to Silence.” This year, P.O.D. made a triumphant return with the release of the single “DROP,” a sonic explosion of sound featuring a captivating vocal contribution from Lamb of God singer Randy Blythe. Inspired by guitarist Marcos Curiel’s deep appreciation for electronic music, “DROP” showcases the band’s signature style with a unique twist.

P.O.D.’s dedication to their audience is unwavering, with live shows remaining a cornerstone of their identity.

Over the years, they have graced major festivals like Sick New World, INKcarceration, and Hell and Heaven Fest. Sharing stages with iconic acts such as KORN, Red Hot Chili Peppers, Evanescence, and Seether, P.O.D. continues to captivate audiences with their electrifying performances, solidifying their status as rock legends on an enduring journey.

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by Sheena Johnson After dropping their dynamic single “The Summer of Hate” and its innovative three-minute science fiction cinematic experience generated by A.I., THE DANDY WARHOLS are set to hit the road for a Spring 2024 tour across North America. The tour launches on March 4th at DC’s 9:30 Club, and The Dandy Warhols will weave through the continent with performances in Boston, NYC, Montreal, Denver, and more, culminating in a grand finale at Los Angeles’ Fonda Theatre on March 19th.

The Dandy Warhols Announce Spring 2024 North American Tour Watch “The Summer of Hate” Video Here At https://youtu.be/VPUBOJmXDg4 Follow The Dandy Warhols Online at Website: https://www.dandywarhols.com/ Facebook: https://www.facebook.com/TheDandyWarhols Twitter: https://twitter.com/TheDandyWarhols Instagram: https://www.instagram.com/thedandywarhols/

Date March 2 March 5 March 6 March 7 March 9 March 11 March 12 March 14 March 15 March 16 March 18 March 19 58

City, State Washington, DC Boston, MA Philadelphia, PA Hamden, CT New York, NY Montreal, Qbc Toronto, Ontario Columbus, OH Indianopolis, IN St. Louis, MO Denver, CO Los Angeles, CA

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Venue 9:30 Royale Ardmore Space Ballroom Webster Hall Le Studio TD Danforth Music Hall Newport Music Hall Vogue Delmar Hall Gothic Theatre The Fonda

Celebrating the acclaimed reception of “The Summer of Hate,” dubbed

by BrooklynVegan as “a new, heavier direction for the band” and characterized

by Post-Punk as “a dark-rock manifesto about this chaotic moment in American history,” the tour follows their recent Fall tour with The Black Angels and gears up for a series of dates in Australia in April 2024.

Musically paying homage to The Damned, The MC5, and the Stooges, Courtney Taylor-Taylor shared insights into their single, stating, “The record was the manifestation of our desire to hear a record of heavy raw punk and metal guitar riffs handled in a way that we felt was cooler than the standard knuckle draggin’ man-rock that still tends to dominate a lot of popular culture in America.”

A psych-rock manifesto integrating gritty guitars and fuzzed-out vocals with a rhythm so supple and sexy that it belongs on constant rotation on a midnight dancefloor, it perfectly embodies what Rock And Folk hailed as “the band we’ve all been waiting for.”

Hailing from Portland, OR, The Dandy Warhols blend the finest elements of shoegaze, alternative powerpop, and heavy rock with a wicked satirical touch.

Their repertoire includes alt-rock classics such as “Bohemian Like You,” “Not If You Were the Last Junkie on Earth,” “Have a Kick Ass Summer (Me and My Friends),” and the synth-disco gem “We Used to Be Friends.” Presently, the band is crafting a successor to 2020’s experimental concept album, “Tafelmuzik Means More When You’re Alone,” and the 2023 digital EP “The Wreck of the Edmund Fitzgerald.”

Comprising Courtney TaylorTaylor (vocals, guitar), Peter Holmström (guitar, keyboards), Zia McCabe (keyboard, bass, percussion), and Brent DeBoer (drums, backing vocals), The Dandy Warhols continue to shape their sonic legacy.

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!

January 2024 • Rock and Blues International

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wasteland’s essence. Inclusion of footage from Wasteland World enhances the video’s authenticity and immersive quality.

Metal Titans DEAD BY WEDNESDAY Drops PostApocalyptic Music Video for “Wasteland” & Announces a Special Hometown “Throwback” Show Follow Dead By Wednesday Online at: http://www.dbwmusic.com http://www.facebook.com/deadbywednesday http://www.instagram.com/deadbywednesday http://www.twitter.com/deadbywednesday http://www.reverbnation.com/deadbywednesday http://www.youtube.com/DBWtv

By Nathan Pugh Metal powerhouse DEAD BY WEDNESDAY (D.B.W.) unveils a captivating post-apocalyptic music video for their track “Wasteland,” an adrenaline-fueled anthem from the latest Capital Conspiracy album. Released worldwide on Mindsnap Music / Combat Records, distributed by Von Artists, Ltd. (The Orchard), the song draws inspiration from the haunting Mojave Desert

In other exciting news from DBW, the band has announced a “Now & Then” set at their annual “OPUS” BLIZZARD BASH 2024! This exceptional all-day, all-age extravaganza is scheduled for Saturday, January 13th, at the iconic Toads Place venue in their hometown of New Haven, CT. The band is poised to deliver a groundbreaking performance, dividing their live set into two parts. The first half will showcase the current DBW lineup, which has been consistently captivating audiences with songs from their recent 2023 album, Capital Conspiracy.

But the excitement doesn’t end there.

For the second half of the show, DBW will reunite the original old-school crew, featuring Opus’ cousins, Ceschi & David Ramos, who played crucial roles as co-founding vocalists.

This reunion will transport fans back in time as the band revisits the era of Dead By Wednesday’s inaugural album, Democracy is Dead. This album made a resounding impact upon its release in 2006 under Jamey Jasta of Hatebreed’s Stillborn Records, setting the stage for DBW’s ascent in the music scene.

DEAD BY WEDNESDAY is: Esteban Alvarez - Vocals, Opus - Drums, Mike Modeste - Bass, Dave Sharpe - Guitar Tracklisting: 1. Invincible 2. Mars in Exile 3. Here Comes the Dead 4. The Wake 5. Darkened Times 6. Antahkarana 7. Sludge 8. S.O.S. 9. Wasteland 10. Pawns 2022

in California. Shot partially at the renowned “Wasteland Weekend” festival, known for its post-apocalyptic fervor, the video resonates with the song’s intensity. Interestingly, “Wasteland” was written and recorded before the band’s performance at Wasteland Weekend, adding a cosmic connection to the experience. Jessica Spinelli’s expert production and cinematography, combined with Gary Sandler’s deft editing, vividly brings the auditory journey to life, capturing the

Check out the new “Wasteland” video here: https://youtu.be/qUVpt8htQMk?si=Gn8ZxseXmv7V3uxN Grab “Wasteland” or the entire Capital Conspiracy album from Dead By Wednesday here: https://orcd.co/dead-by-wednesday_capital-conspiracy 60

Rock and Blues International • January 2024

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

Photo Credit: Jan Season/Moritz Högemann

LORD OF THE LOST Reveals Cover Version of Cutting Crew’s “(I Just) Died In Your Arms”, Featuring Anica Russo Full Covers Album Weapons Of Mass Seduction Just Out December 29, 2023 Listen To “(I Just) Died In Your Arms” Here at https://lnk.to/LOTL-WOMS Pre Order Weapons Of Mass Destruction Here at https://woms.lordofthelost.de LORD OF THE LOST online: WEBSITE @ https://www.lordofthelost.de/ FACEBOOK @ https://www.facebook.com/lordofthelost/ TIKTOK @ https://www.tiktok.com/@lordofthelostofficial NAPALM RECORDS @ https://label.napalmrecords.com/lord-of-the-lost 62

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LORD OF THE LOST (continued from previous page)

By Johnny Ghoul Shortly after revealing an exciting new music video for Roxette’s “The Look”, featuring German pop star Blümchen (a.k.a. Jasmin Wagner) as a duet partner, LORD OF THE LOST have unveiled a cover of another legendary 80s classic, Cutting Crew’s “(I Just) Died In Your Arms“!

The new song off of LORD OF THE LOST’s upcoming first full covers album Weapons Of Mass Seduction, out December 29, 2023, features a guest appearance from rising singer-songwriter Anica Russo, who also took part in Germany’s Eurovision Song Contest 2023 preliminary round Unser Lied für Liverpool (EN: Our Song for Liverpool) alongside LORD OF THE LOST. “(I Just) Died In Your Arms”, Featuring Anica Russo, is now available on all streaming services worldwide.

Representing Germany at the ESC finals in May 2023 brought LORD OF THE LOST to the attention of mainstream media across Europe (with features from BILD, The Sun, BBC among others), exposing their artistic universe to much wider audiences, and was one of the main highlights of the band’s most successful year to date - together with the late 2022 release Blood & Glitter, which charted at #1 (Official German Album Charts). Check out the new cover single “(I Just) Died In Your Arms”, featuring Anica Russo, and pre-order your version of Weapons Of Mass Seduction now!

Chris Harms on “(I Just) Died In Your Arms“: ”When we heard Anica’s great voice for the first time in the run-up to the German Eurovision preliminary round, we immediately wanted to do a duet with her. Anica was our clear favorite and we are very happy about it, and we are very happy to have realized this wish in our ESC year!”

Anica Russo comments: ”When two completely different worlds come together and something harmonious and unique is created - that’s the magic of music. I am grateful that LORD OF THE LOST invited me to be part of their album, in line with the Eurovision motto: United by Music!”

Anica Russo, a versatile independent musician, pop artist, and songwriter, boasts Croatian and Italian roots, finding her base in the vibrant city of Berlin. At just 23 years old, she has already carved a significant niche for herself with over 120,000 followers on social media and an impressive track record of more than 30 million streams.

Anica Russo’s musical journey includes collaborations with esteemed artists like Paul Russell, Adam Lambert, and Zoe Wees, showcasing her ability to seamlessly blend genres.

Her standout performance in the Eurovision Song Contest 2023 national final, where she presented the enchanting “Once Upon a Dream,” underscored her international potential. This recognition was further solidified by a prestigious nomination for the upcoming German

Songwriting Awards, affirming Anica Russo’s position as a rising star in the music industry.

A year unfolds since the triumphant ascent of their chart-topping album, Blood & Glitter, reigning at #1 on the Official German Album Charts.

LORD OF THE LOST returns with a thrilling endeavor, a covers album titled Weapons Of Mass Seduction, slated for release on December 29, 2023, via Napalm Records. This eagerly anticipated offering boasts a diverse array of genre-crossing tracks, marking the culmination of the band’s most eventful year to date. Beyond dominating the charts with their recent studio release, notable achievements encompass representing Germany at the Eurovision Song Contest in Liverpool in May, providing direct tour support for Iron Maiden (once again!), earning acclaim from mainstream media worldwide, hosting numerous sold-out headline shows, and gracing the summer stage with spectacular appearances at prominent festivals. continued on next page

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LORD OF THE LOST (continued from previous page) LORD OF THE LOST state: ”During the production of our last album, Blood & Glitter, while recording our Roxette cover ‘The Look’ in Finland, it had already become clear that we had opened Pandora’s box. The energy and fun of covering the songs of beloved and respected colleagues and idols was something we were determined to continue. So even before the release of Blood & Glitter we started working on this ‘covers album’ project, which for us is the perfect dessert to Blood & Glitter, before we embark on the adventure of reinventing ourselves again for a new studio album.”

Weapons Of Mass Seduction unveils a diverse array of songs spanning different eras and genres, uniquely interpreted in the unmistakable LORD OF THE LOST style. The album seamlessly blends classic heavy metal vibes with modern pop hits, revealing unexpected connections that form a 64

harmonious collection of covers. Judas Priest’s timeless heavy metal anthem “Turbo Lover” shares space with contemporary pop sensations like Sia’s “Unstoppable,” Bishop Briggs’ “River,” and Zella Day’s “High.”

The musical journey continues with Ultravox’s ethereal “Hymn,” followed by the iconic Michael Jackson ballad “Give In To Me” and Keane’s heartfelt “Somewhere Only We Know,” broadening the selection’s multifaceted allure. LORD OF THE LOST adds a darker, heavier touch to Bronski Beat’s 80s electro-pop gem “Smalltown Boy,” infusing it with rougher elements and a captivating transformation.

The emotional depth reaches its peak with a poignant rendition of The Pretty Reckless’ “House On A Hill,” providing a impactful closure to Weapons Of Mass Seduction.

The covers album offers a variety of formats, including a deluxe box set featuring a third CD with 10 exclusive

Rock and Blues International • January 2024

acoustic tracks. This special edition provides a comprehensive overview, showcasing covers that were previously released or performed live throughout LORD OF THE LOST’s illustrious career. Notable tracks include the Roxette cover “The Look” featuring Blümchen, a familiar gem from Blood & Glitter. Additionally, the album features “Children Of The Damned,” paying homage to Iron Maiden, and a unique cover of the Finnish ESC song “Cha Cha Cha” by Käärijä, sung entirely in Finnish

by Chris Harms.

LORD OF THE LOST are: Chris Harms – Vocals, Guitar Pi Stoffers – Guitar Class Grenayde – Bass Gared Dirge – Piano, Synths, Percussion, Guitar Niklas Kahl – Drums continued on next page

LORD OF THE LOST (continued from previous page) Weapons Of Mass Seduction Tracklist: CD 1 1 Shock To The System (Billy Idol Cover) 2 Unstoppable (Sia Cover) 3 Smalltown Boy (Bronski Beat Cover) 4 Turbo Lover (Judas Priest Cover) 5 Hymn (Ultravox Cover) 6 Give In To Me (Michael Jackson Cover) 7 River (Bishop Briggs Cover) 8 Somewhere Only We Know (Keane Cover) 9 (I Just) Died In Your Arms (feat.

Anica Russo) (Cutting Crew Cover) 10 High (Zella Day Cover) 11 House On A Hill (The Pretty Reckless Cover) CD 2 1 The Look (feat. Blümchen) (Roxette Cover) 2 Ordinary Town (Celebrate The Nun Cover) 3 Cha Cha Cha (Käärijä Cover) 4 Judas (Lady Gaga Cover) 5 Children Of The Damned (Iron Maiden Cover) 6 Wig In A Box (Hedwig and the Angry Inch Cover) 7 Bad Romance (Lady Gaga Cover) 8 The Most Radical Thing To Do (The Ark Cover) 9 This Is The Life (Amy MacDonald Cover) 10 It’s A Sin (Pet Shop Boys Cover) 11 Ordinary World (Duran Duran Cover) CD 3 - Ltd Deluxe Edition only 1 Starman (David Bowie Cover) 2 Girl, You’ll Be A Woman Soon (Neil Diamond Cover) 3 The Days Of Pearly Spencer (David McWilliams Cover) 4 Hey You (Pink Floyd Cover) 5 I Had Too Much To Dream Last Night (The Electric Prunes Cover) 6 Where Do You Go To My Lovely (Peter Sarstedt Cover) 7 Turn! Turn! Turn! (To Everything There Is A Season) (The Byrds Cover) 8 In The Year 2525 (Exordium & Terminus) (Zager & Evans Cover) 9 All I Have To Do Is Dream (The Everly Brothers Cover)

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Perfect Day (Lou Reed Cover)

Weapons Of Mass Seduction will be available in the following formats: 1 3 CD Boxset, incl 2 CD 6 pages Digisleeve (Ltd Deluxe Edition) and CD 3 incl 10 acoustic songs, exclusively available in the Deluxe Box + pink Sweatband with black logo, sharped patch and sticker - Napalm Records Mailorder and LORDSHOP exclusive – strictly limited to 1000 copies worldwide 2 2 LP RECYCLED COLOR Vinyl - Die Hard Edition incl Slipmat, record butler and 12 inch booklet – Napalm Records Mailorder exclusive – strictly limited to 300 copies worldwide 3 2 LP RECYCLED COLOR Vinyl incl 12 inch booklet - LORDSHOP exclusive – strictly limited to 300 copies worldwide 4 2LP Gatefold RECYCLED BLACK Vinyl 5 2 CD 6 pages Digisleeve (Ltd Deluxe Edition), 12p booklet 6 1 CD 6 pages Digisleeve, 12p booklet 7 Cassette (PINK w/ Black print) - Napalm Records Mailorder and LORDSHOP exclusive – strictly limited to 300 copies worldwide 8 Digital Album et, incl 2 CD 6 pages Digisleeve (Ltd Deluxe Edition) and CD 3 incl 10 acoustic songs, exclusively available in the Deluxe Box + pink Sweatband with black logo, sharped patch and sticker] 15 Years Of LORD OF THE LOST Tour 2024: 22.03.24 DE – Nuremberg 23.03.24 DE – Munich – LOW TICKETS! 24.03.24 IT – Trezzo sull’Adda 26.03.24 CH – Pratteln

27.03.24 FR – Grenoble 29.03.24 ES – Barcelona 30.03.24 ES – Madrid 02.04.24 FR – Paris 03.04.24 LU – Luxembourg 04.04.24 DE – Frankfurt 05.04.24 DE – Cologne – SOLD OUT! 06.04.24 NL – Amsterdam – LOW TICKETS! 17.04.24 CZ – Prague 18.04.24 HU – Budapest 19.04.24 AT – Vienna 20.04.24 DE – Stuttgart – LOW TICKETS! 24.04.24 DE – Berlin 25.04.24 PL – Warsaw 26.04.24 PL – Krakow 27.04.24 DE – Leipzig BACK TO EUROVISION: 10.05.24 SE – Malmö Special show one day before the ESC Grand Final Festivals 2024: 29.01. – 02.02.24 US – Miami / 70000tons of Metal 06.06. – 08.06.24 PL – Gda?sk / Mystic Festival 14.06. – 06.06.24 UK – Donington Park / Download Festival 09.08. – 11.08.24 BE – Kortrijk / Alcatraz Festival 10.08. – 11.08.24 DE – Hildesheim / M’era Luna 14.08. – 17.08.24 DE – Dinkelsbühl / Summer Breeze 24.08.24 DE – Wuppertal / Feuertal Festival 06.09. – 08.09.24 DE – Festival Mediaval (Exclusive Acoustic Show) / Selb 29.11. – 30.11.24 DE – Plage Noire / Weissenhäuser Strand Tickets available here: http://tour.lordofthelost.de

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Rock and Blues International • Augusst 2023

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!

January 2024

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Stephen Marley’s New Album ‘Old Soul’ Just Released on CD, 2LP, And LimitedEdition 2LP Colored Vinyl Formats Available Now Here At https://stephenmarley.lnk.to/OldSoulAlbum The Album Features Guest Appearances By Bob Weir, Eric Clapton, Jack Johnson, Ziggy Marley, Damian “Jr. Gong” Marley, Buju Banton, And Slightly Stoopid Follow Stephen Marley Online At: http://www.stephenmarleymusic.com/ http://www.instagram.com/stephenmarley/ http://www.facebook.com/stephenraggamarley http://www.twitter.com/stephenmarley/ http://www.youtube.com/realstephenmarley 68

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By Albert Schwartz In a triumphant resurgence, Stephen Marley, the acclaimed 8-time GRAMMY® Award-winning singer/songwriter/producer, has made a monumental return with the release of “Old Soul,” marking his first fulllength project in seven years. This highly anticipated album, available in various formats including digital, CD, standard black 2LP vinyl, and a limited-edition double LP vinyl in stunning translucent yellow and green discs, is released by Tuff Gong Collective/UMe/Ghetto Youths International.

“Old Soul” boasts a star-studded lineup of special guests, featuring music legends like Eric Clapton, Bob Weir, Jack Johnson, Ziggy Marley, Damian “Jr. Gong” Marley, Buju Banton, and Slightly Stoopid.

In celebration of the album’s release, Stephen Marley presents the official music video for “Winding Roads,” a poignant track that features Bob Weir of the Grateful Dead and singer/songwriter Jack Johnson. This emotionally charged single concludes “Old Soul” on a soul-stirring note, with Marley, Weir, and Johnson’s vocals intertwining to create an unforgettable bluesy classic.

“Winding Roads” serves as a profound metaphor for life’s journey, challenges, and ultimate redemption. Notably, this is the only track on the album recorded with a full band at Bob Weir’s esteemed TRI Studios, featuring his Wolf Bros band, including Don Was and Dead & Company members Jeff Chimenti and Jay Lane.

Following two previous singles, “Old Soul” and “Cool As The Breeze,” the release of “Winding Roads” is a testament to the depth and versatility of Stephen Marley’s musical prowess. The retrospective music video for the album’s title track, “Old Soul,” released earlier this summer, features unseen family images and a montage of Jamaican musical heritage. The song takes listeners through Stephen’s evolution, intertwined with the Marley legacy, presented in a warm acoustic narrative. Lyrics like “April 1972, my mom and poppa brought me through, back then I was the favorite, so they say,” nod to his lineage and early years. Initially penned

by Jamaican artist Omi, Stephen adapted the song to reflect his own journey, suggesting a

or separation from a loved one, providing solace by making them feel eternally close.

Until we reunite once more, the song beautifully conveys this enduring connection.

familiarity with past life experiences and echoing his father’s sentiments, such as mental freedom and unity.

Take a reflective respite with the recently released visualizer for the second single, the acoustic-folk rock masterpiece, “Cool As The Breeze,” wherein Marley’s raw emotions are palpable, with his soothing lyrics resonating more profoundly with each subsequent listen. As he soulfully sings, “When the wind blows, I can hear your voice,” and “And when the sun shines, I can see your smile,” Marley encapsulates the sentiment of those who have experienced loss

“Old Soul” comes as a complete revelation and explores a musical palette that spans a variety of cultures and genres alike, with hand-selected special guests furthering the spiritual journey that encompasses the album. While grounded from the road during the COVID lockdown, Stephen set up a new studio on a remote family farm in the Florida

Fans can listen to Old Soul or order the album here at https://stephenmarley.lnk.to/OldSoulAlbum Experience the new video for “Winding Roads” Here at https://youtu.be/u9IJx1Onsy0 Get lost in the imagery of the official music video for “Old Soul” here at https://stephenmarley.lnk.to/OldSoulVideo Watch the “Cool As The Breeze” visualizer on Stephen Marley’s Official YouTube Channel Here at https://www.youtube.com/channel/UC3TjpVgIwQQ_YCViABi-Gag

Debut Album, Metamorphosis out May 12, 2023

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Things (Reminds Me Of You),” which incorporates a ska beat, a walking bass line, and Marley’s lyrical touches that make it more personal, as well as a take on The Beatles’ perpetually pleading “Don’t Let Me Down” in which Marley incorporates bright, shiny harmonies and an energetic guitar groove.

After completing two hugely successful tours supporting “Old Soul” in 2023, Stephen is gearing up to hit the road again for his next round of shows. This week, he will be setting sail for the “Welcome To Jamrock Reggae Cruise” out of Miami, FL. In early 2024, Stephen will join his brother, Damian “Jr. Gong” Marley, on select festival dates, including Cali Vibes Fest, Lake Tahoe Reggae Fest, and Reggae Rise Up Florida.

Stephen Marley (continued from previous page) countryside, holding nightly jam sessions in a converted garage. With a stripped-down ensemble comprising binghi drums, bass, acoustic guitar, and flute, Stephen played whatever he felt like — ranging from original compositions and reggae rarities with deep personal meaning to classics recorded by Ray Charles, Frank Sinatra, and The Beatles. “Irie vibration,” Stephen says of the sounds made together on the farm. The lion’s share of “Old Soul” was recorded during these “unplugged” jam sessions.

The song selection on the album demonstrates Stephen’s courage to defy expectations. “You have to be true to yourself,” he says. “I refuse to be put into any category. I am inspired by everything. So, if I feel like I want to play some jazz music, I will go play some jazz music. Who dig it, dig it.”

Collaborating with his elder brother Ziggy, Stephen presents “There’s A Reward,” a heartfelt tribute to Joe Higgs, who mentored young Bob Marley, Peter Tosh, and Bunny Wailer when they were all aspiring singers in Trenchtown. Meanwhile, Stephen’s younger brother Damian “Jr. Gong” Marley features on “Cast The First Stone,” a commanding, thought-provoking tune set to an ominous groove that sounds like something from a lost spaghetti Western soundtrack.

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Banton on the ska-flavored “Thanks We Get (Do Fi Dem),” a Lee “Scratch” Perry composition made famous by Junior Byles that explores the idea that no good deed goes unpunished. Eric Clapton adds tasty lead guitar riffs over a powerful acoustic version of Bob Marley’s “I Shot The Sheriff,” a song Clapton initially helped to immortalize. And Kyle McDonald of Slightly Stoopid joins on a verse on “Standing In Love,” a beautiful ballad that hearkens back to reggae’s sweet rocksteady era.

Among the more unexpected selections embedded on “Old Soul” is a disarmingly sweet cover of Sinatra’s “These Foolish

Stephen “Ragga” Marley, born into a musical family as the child of reggae legends Bob Marley and Rita Marley, is a worldrenowned singer, songwriter, and producer whose work has earned no fewer than eight Grammy Awards. He began singing professionally at 6, touring the world with his elder siblings Ziggy, Sharon, and Cedella in The Melody Makers. In 2008, he released his first solo album, “Mind Control,” which won the Grammy Award for Best Reggae Album. His subsequent solo albums include “Mind Control Acoustic,” “Revelation Part I: The Root of Life,” and “Revelation Part II: The Fruit of Life.” Stephen’s first new full-length album in more than seven years, “Old Soul,” was released on September 15 via Tuff Gong Collective/UMe/Ghetto Youths International.

The new album is a departure from his previous Reggae repertoire, showcasing more photosoul credit: Mind Art Visual of his bluesy, acoustic side, as evidenced by the first single, “Old Soul.” Stephen is also an acclaimed producer, working closely with his brother Damian “Jr. Gong” Marley on the massive crossover hit “Welcome To Jamrock.” In addition, Stephen continues to champion charitable endeavors centered in Jamaica as a co-founder of the Ghetto Youths Foundation, along with his brothers Damian and Julian Marley. In 2017, Stephen established Kaya Fest, the annual music festival, which features special guests and rare family performances, all with the larger purpose of raising awareness around the benefits of cannabis, guided by the mantra “Education Before Recreation.”

STEPHEN MARLEY: OLD SOUL [Digital, CD & 2LP] Don’t You Believe Cool As The Breeze Cast The First Stone – Feat. Damian “Jr. Gong” Marley Thanks We Get (Do Fi Dem) – Feat. Buju Banton Don’t Let Me Down Georgia On My Mind Let The Children Play Old Soul There’s A Reward – Feat. Ziggy Marley This Time These Foolish Things (Reminds Me Of You) I Shot The Sheriff – Feat. Eric Clapton Standing In Love – Feat. Slightly Stoopid Winding Roads – Feat. Jack Johnson and Bobby Weir & Wolf Bros

Stephen enlists his old friend Buju Rock and Blues International • January 2024

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Paul McCartney & Wings 72

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Paul McCartney & Wings Band on the Run 50th Anniversary Edition Featuring Previously Unreleased “Underdubbed” Mixes Album Due For Release February 2nd, 2024 Title Track ‘Band on the Run – Underdubbed Mix’ Already Released December 7th Experience the 50th anniversary edition of Band on the Run here at https://shop.paulmccartney.com/collections/band-on-the-run By Kevin Wildman Celebrating its 50th anniversary, MPL and UMe proudly present the expansive 50thanniversary edition of the legendary album “Band on the Run” by Paul McCartney & Wings, scheduled for release on February 2nd, 2024.

A timeless classic consistently featured in the greatest album lists over the decades, this multiple GRAMMY-winning #1 masterpiece initially graced the music scene in December 1973.

With iconic tracks like the title song, the global hit ‘Jet,’ the poignant ‘Bluebird,’ the enduring live favorite ‘Let Me Roll It,’ the intricate ‘Picasso’s Last Words (Drink to Me),’ and the climactic finale ‘Nineteen Hundred and EightyFive,’ Band on the Run stands as Wings’ most triumphant and revered album.

The 50th-anniversary edition of the timeless masterpiece “Band on the Run”

by Paul McCartney & Wings will be presented in a rich assortment of formats,

offering fans an immersive experience.

To commence this celebratory release, the essential 1LP vinyl edition takes center stage. Crafted with meticulous care, this special vinyl edition was cut at half speed, utilizing a high-resolution transfer of the original master tapes from 1973 by the skilled Miles Showell at the prestigious Abbey Road Studios, London. This single vinyl album configuration faithfully mirrors the US

tracklist, incorporating the captivating ‘Helen Wheels,’ and includes an exclusive Linda McCartney Polaroid poster.

For those seeking an even more comprehensive journey, the 2LP vinyl edition unfolds. It not only features the remastered original US album at half speed but also introduces a second LP titled the “Underdubbed Mixes Edition,” presented in an elegant premium slipcase. This deluxe set also includes two enchanting Linda McCartney Polaroid posters.

Diving deeper into the auditory realm, the 2CD format emerges, boasting the original US album, “underdubbed” mixes, and a doublesided fold-out Polaroid poster captured

by Linda McCartney herself. The digital realm will also host the release of “Band on the Run (Underdubbed),” offering the nine classic songs in their purest form, continued on next page

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Band on the Run (continued from previous page) without any orchestral overdubs.

In Paul McCartney’s own words, “This is Band on the Run in a way you’ve never heard before. When you are making a song and putting on additional parts, like an extra guitar, that’s an overdub. Well, this version of the album is the opposite, underdubbed.”

“Band on the Run (Underdubbed)” unveils the album’s nine timeless tracks as they were originally conceived, providing a unique digital experience.

These previously unreleased rough mixes, skillfully crafted by Geoff Emerick, with assistance from Pete Swettenham at AIR Studios on October 14th, 1973, present the tracklist in a newly ordered sequence, mirroring the discovery of the original analog tapes in the MPL archives.

To elevate the listening experience further, “Band on the Run” will make its debut in Dolby ATMOS. The reimagined mix, expertly crafted by Giles Martin and Steve Orchard, promises to add a new dimension to this iconic musical journey.

In the extensive tapestry of Paul McCartney’s illustrious musical journey, the album “Band on the Run” by Wings stands as a pinnacle of achievement.

Beyond fulfilling the promises hinted at in “Wild Life” and “Red Rose Speed74

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way,” it firmly established Wings as torchbearers of 1970s rock ‘n’ roll.

Serving as a sonic backdrop for an era shaped by the rock radio playlists it dominated, “Band on the Run” not only raised the bar for Paul’s subsequent endeavors but also left an indelible mark on generations of arena rock stars.

Celebrating its golden jubilee, “Band on the Run” resonates with a timeless vibrancy and relevance, marking five decades of musical brilliance. This momentous milestone invites a renewed celebration of the incredible story that surrounds this iconic album.

As the summer of 1973 unfolded, Paul McCartney found himself armed with a fresh collection of songs destined for a new musical endeavor. Scanning through EMI’s list of international studios, he was drawn to Lagos, Nigeria, captivated by the prospect of recording in Africa. However, just days before their departure, lead guitarist Henry McCullough and drummer Denny Seiwell unexpectedly parted ways with the band, leaving Wings as a trio – Paul, his wife Linda, and band member Denny Laine, along with recording engineer Geoff Emerick. Despite the relatively rudimentary conditions of the Lagos studio, they immersed themselves in the

• January 2024

creative process, dedicating two months to crafting the new songs.

Tragedy struck one fateful night as Paul and Linda McCartney fell victim to a knifepoint robbery while strolling home. The thieves absconded with a cassette containing home demo recordings of the songs intended for the new album. Yet, Paul’s formidable memory allowed him to reconstruct the lost songs, a testament to the indomitable spirit of creation.

In hindsight, the challenges faced during the recording of “Band on the Run” only add layers to its legendary status. The album’s resilience, coupled with its enduring impact, reinforces its position as a cornerstone in Paul McCartney’s illustrious career. As the world marks the 50th anniversary of this masterpiece, the remarkable tale behind “Band on the Run” deserves to be recounted and celebrated once more.

Known for its suite-like structure, ‘Band on the Run’s’ title track defied expectations, topping the US Billboard Hot 100 and catapulting the album to #1 in the US and UK. It reclaimed the top spot twice in the US, emerging as the best-selling studio album of 1974 in Australia, Canada, and the UK. Over the years, ‘Band on the Run’ has ascended in stature, securing two Grammy Awards in 1975. The Deluxe Edition garnered a third in 2012, with the album entering the Grammy Hall of Fame in 2013. Revered as the definitive Wings album and a cherished fan favorite, its genius continues to captivate new generations. Although ‘Nineteen Hundred and Eighty-Five’ debuted live in 2010, it now graces Paul’s solo sets regularly.

Paul, amidst his ongoing Got Back tour, showcases songs from ‘Band on the Run’ and his extensive catalog.

Launched in February 2022, the tour featured 16 monumental US gigs, culminating in a historic Glastonbury headline set in June 2022. Notably, the Glastonbury performance featured a special duet with Dave Grohl on ‘Band on the Run.’ The current leg of the tour marks Paul’s return to Australia after six years, with performances in Belo Horizonte, Brazil, and upcoming concerts in São Paulo, Curitiba, and Rio De Janeiro, emphasizing the enduring appeal and global resonance of ‘Band on the Run.’

Band on the Run 2LP / 2CD Track list Disc One – Band on the Run 1. Band on the Run 2. Jet 3. Bluebird 4. Mrs.Vandebilt 5. Let Me Roll It 6. Mamunia 7. No Words 8. HelenWheels 9. Picasso’ s Last Words (Drink to Me) 10.Nineteen Hundred and Eighty Five Disc Two Band on the Run (Underdubbed Mixes) 1. Band on the Run 2. Mamunia

3. No Words 4. Jet 5. Bluebird 6. Mrs. Vandebilt 7. Nineteen Hundred and Eighty Five 8. Picasso’s Last Words (Drink to Me) 9. Let Me Roll It 1LP Band on the Run 1. Band on the Run 2. Jet 3. Bluebird 4. Mrs.Vandebilt 5. Let Me Roll It 6. Mamunia 7. NoWords 8. HelenWheels 9. Picasso’ s Last Words (Drink to Me)

10.Nineteen Hundred and Eighty Five Digital Formats Band on the Run (Underdubbed Mixes) 1. Band on the Run 2. Mamunia 3. No Words 4. Jet 5. Bluebird 6. Mrs. Vandebilt 7. Nineteen Hundred and Eighty Five 8. Picasso’s Last Words (Drink to Me) 9. Let Me Roll It Band on the Run will also be available to stream in Dolby ATMOS.

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The Biker, The Blues & No Need For Viagra No animals were injured during the production of this narrative and of course the content is 100% fictional. Any references to any real person or persons would only be to get even for some sort of injustice like running me out of town because I was “visiting” with the Sheriff’s daughter. Not that it really happened, I am just saying…but then again I probably will not be returning there soon.

It was Friday afternoon and I was coming in to Houston Texas from points north and I noticed this billboard that read “Del Castillo Tonight - Heights Theater”. Well Del Castillo is the best there is when it comes to rock with a Spanish flair so I naturally wheeled on in to that part of town. The Heights Theater is located in what is known as the heights area of town, an artsy community full of creation stations, original art works stores if you will. So I wheel up toward the theater with the local gendarme right behind me. I don’t know maybe it’s my award winning smile that attracts police officers it certainly couldn’t be the loud pipes of a custom made motorcycle obviously. Well he stuck with me through about five lights but when I turned into a parking spot he kept going. I don’t have any beef with cops but if you ride you must admit that at times when Barney Fife gets out of the cruiser you just go ah shit here we go… Now pulling into blues bar only adds to their curiosity and you hope like hell that Barney has not watched Easy Rider otherwise all your stuff gets laid out on the ground. If you ride you know the drill. If I’m lying, I’m dying. Ok so I pulled into a parking spot right out front of the theater and it was early and my hunger alarm was going off. Sort of caddy corner across the street there was this place named Torchy’s Tacos with a line extending outside. Once I got over there I could see why, this place is like Taco Bell but on steroids. The menu included a hot dog length sausage inside a flour tortilla smothered in stuff that is absolutely great on sausage but not exactly a cardiologist’s dream meal. However it was good and I could fully understand the line outside. By the way this place serves beer and specialty drinks so what’s not to like? So I had a “taco” and a couple of cold ones, well ok maybe four and then decided to find a spot outside for dessert, a nice cigar. Back across the street there was an ice cream shop with outdoor tables with no one sitting there so that seemed like a logical landing spot. I pulled out the air pods, popped them in and fired up a Houston favorite “Gangster of Love” by Johnny Guitar Watson. I fired up a Macanudo 48 ring and as soon as I lit it there she was baby. This good looking gal with silver hair and a beautiful smile with a double dip of banana ice cream in a sugar waffle cone. She came over and sat down at the table. I took off the air pods and asked if cigar smoke bothered her and she said no in fact she actually enjoyed the smell of cigar smoke. She asked what I was listening to and I told her that Anastacia was next with “Don’t Stop Doing It”. She nodded and said that is from her Freak Of Nature album and I said cool you know the album. She smiled and nodded. Now this where it gets a little weird. That cop car that I told you about was now driving down the street we were on and he looked over and stopped his patrol car. He rolled his window down and waved and I thought I don’t know this guy but as it turned out he knew the banana ice cream continued on next page

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The Biker, The Blues & No Need For Viagra lady and she waved back. I thought great I am probably sitting here with a female under cover cop but that was not the case. Nope, it turned out to be her brother. I didn’t know whether to feel better about that or not so I just puffed on my stogie and kicked back. He drove away and she got up and said it was nice talking to you. She told me she was going to the theater to hear Del Castillo. I said me too if I can get a last minute ticket to the show. She told me that this would be her fifth time seeing them live this year. Now that’s a real fan if there ever was one. Good looking gal and knew her music.

Right about then a Mom and Dad came out of the ice cream shop with a young one and I thought cigar smoke I don’t know maybe now is a good time to move on. So I did. Next song up was T Bone Walker’s “Woman You Must Be Crazy” a great cut and one of the lesser known Walker songs but it’s 100% blues and T Bone gets it done. That song is way cool especially when the brass comes up behind him. I began my walk around the corner to the theater and ended up at the front door beside an outdoor ash tray. I cashed the cigar and made my way inside. Here would be the litmus test, could I score a ticket? Yep no problem and it was open seating except for the tables marked reserved so I made my way into the performance center and waited for my eyes to adjust. Nice stage, two floors, cool arrangement. Then I saw the ice cream gal again, sitting alone no less so I made my way over to where she was sitting. She told me that she knew the theater rather well and sitting right next to the sound board in the back of the room was the best place to see the performance and hear the music. I asked her if I could sit there too she smiled and nodded sure. Right at that moment the theater speakers began to play “Miss You” by the Rolling Stones. Great beat, sexy lyrics what’s not to like? We began to talk about the Stones and their history. It was cool to actually be sitting next to someone that could talk about their history having lived those years like I did too. Afterward the music turned to a local artist/ producer Richard Cagle and the Voodoo Choir. His song “Headed Into Houston” is a local favorite. Cool lyrics with a driving beat. Then they spun Prince and his “Cream” song, it was clear this place was going to be humming. Two ladies about three rows up stood up and started dancing.

I was sitting behind them and as much as I tried not to look while sitting with this fine woman well those backsides were swaying and saying no Viagra needed big boy just hug and stir. Something in my pants was beginning to dance, figuratively speaking of course. The room was filling up rather quickly, the lights dimmed and Monte Montgomery opened the show. Absolutely continued on next page January 2024 • Rock and Blues International

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The Biker, The Blues & No Need For Viagra great guitarist and showman. The excitement was beginning to become noticeable. They had a cash bar out in the lobby area and once the live music started people were scrambling for seats. Once everybody was in place the evening peaked when Del Castillo took to the stage. Incredible skill, top shelf sound, even their in between song narratives were brief and that kept the ambiance flowing yet even though they were brief they were informative. You could see the band having a good time between themselves and the sound, the beat, their vocals were spot on. At the end of the event the members of the band were out front signing autographs and cutting up with their fans. A good time for sure.

The lady was correct I could see why she would drive for three hours to see them perform. They are that good.

My bike was parked right in front of the theater. When I went outside I could see the high gloss finish and the chrome sparkling due to the bright light from the marque. I remembered how construction started out, every external piece including the frame was hand crafted. The gas tank for example was extended so that it wrapped onto the frame more majestically. On this night for anyone who would be leaving the theater the gas tank would be one of the stand out noticeable features. Now it was time to find a gin joint to round out the night. I knew to head to The Big Easy over on Kirby Drive because if any place was going to have the blues cooking that night it would be The Big Easy. On this night Jonn Del Toro Richardson would laying down some heavy blues rock and that was just what the doctor ordered. Outside a man was smoking brisket, sausage and chicken. It was good, real good. The parking lot was overflowing, people were both inside and out. You could hear Jonn laying it down and even the people outside were into the sounds inside. Home run! On this night the Houston Blues Society was in the house.

They’ve had numerous bands win the International Blues Challenge in Memphis. That’s saying something as acts from all over the world go to that event. I was at home, the joint was jumping, the smoked brisket was over the top and did I mention the fine ladies that were there. Oh yes wall to wall people and lots of good looking female blues lovers. The bar maid poured scotch like someone with a broken arm and let me tell you they were stout. It had been a great day earlier and now I could add an evening to remember. Houston’s got it working and for a moment I thought maybe I should look into living there then I thought nah too much road to cover and so many good people yet to meet. Maybe at my age I am not born to be wild anymore but I am not born to be mild either. Screw it I am moving on. “I’m walkin’ down this rocky road wondering where my life is leadin’ - rollin’ on to the bitter end - I’m finding out along the way what it takes to keep love living - you should know how it feels my friend” - Bad Company. And finally remember this bit of advice: Keep smiling, it makes people wonder what you have been up to!

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