Rock and Blues International - June 2024 - Evelyn

Rock And Blues International

Rock And Blues International

June 2024

Hello Rock And Blues International readers. I hope everybody had a great May.

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 JJ Gray, Sue Foley,Tinsley Ellis, Biff Byford, Chris O’Leary, Paul Reed Smith, 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 and more!. 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 June issue of Rock And Blues International. On the cover of this issue we have two covers. One cover features Toronzo Cannon and the other cover features Evelyn Rubio. We just couldn’t decide who the best choice was and they both desercved covers this month, so for the first time in our history we did two covers and two issues, We hope that you like both stories. We’ve also got a great story by Edoardo Fassio about K.K. Hammond and her new single, “She Is My Precious”. Be sure to check that one out too, it’s very interesting. We also have a fantastic interview with the legendary Fito De La Parra from Canned Heat. Fito tell us all about Canned Heat’s new album, “Finyl Vinyl.” There are also stories on Alastair Greene, The Fabulous Thunderbirds, Dimitris Loizos, Carmine Appice and Cactus, Beabadoobee, Lara Price, Rising Insane, Kittie, 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

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Evelyn Rubio

Conversations With The Professionals by John in Houston

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Toronzo Cannon

Toronzo Cannon Talks To Rock And Blues International About His New Alligator Records Album Release “Shut Up And Play”

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K.K. Hammond

Edoardo Fassio talks about K.K. Hammond and her new single, “She Is My Precious”

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Alastair Greene

Alastair Greene’s “Standing Out Loud” Released to Resounding Critical Acclaim via Ruf Records

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- The Biker

Photo Credit: Maryanne Bilham

Conversations With The Professionals

This Month Singer Sax Player Actress Evelyn Rubio

I will never forget the phone call I received from entertainment lawyer Al Staehely. Al called and said that a lady named Evelyn Rubio would be performing at a Houston nightclub and I might want to take it in. Well I knew Al rather well and this was the first time he had ever encouraged me to see someone perform. So I met Al there and as the lights were dimmed this gorgeous woman carrying an alto sax steps on stage dressed in all black. I must say I was not impressed as she blended right into the dark stage due to her choice of colors. Then the band started and she moved up to the microphone and removed the black layer of clothing she had been wearing which exposed a bright red outfit that was simply stated stunning in the lights. That was my first clue that this woman was full of surprises. So here I was in this top rated blues club in Houston about to be entertained by a Mexican lady singing the blues. Who ever heard of that? However, my second surprise was her voice and her delivery. Absolutely on the mark and then she added this sexy stage presence with the cherry on top being when she lit up her sax. Oh my God was this ever a treat. That’s Evelyn Rubio, an accomplished, seasoned multi-genre, multi-lingual rising presence in America. Within a year Evelyn climbed the Billboard Charts in three categories earning the #1, #3, and #6 spots with her blues album “Hombres”. An incredible rise to say the least. On May 7th of this year, some eight years later, I sat down with Evelyn and we settled into a lengthy interview session. One of my first questions was: When did you first notice that you were drawn to the blues? Her reply, “Around twenty when my father passed away, the music fit my heart.” That immediately explained a lot to me as the great traditional blues artist Trudy Lynn once told me that the blues is a feeling and you deliver that feeling. So I made the connection right away, one that so many in America made with Evelyn’s “Hombres” album. Trudy was right if the blues is in your heart and you let it out people relate. That’s what happened. I went on to ask her what female blues artist caught her attention early on and she told me, “Big Mama Thornton, she could belt it out and she could also bring a tear to your eye when she slowed it down.” I learned that while living in Mexico City she joined a band as their sax player and then one day they asked her to sing too. She chose the blues and the rest is history as they say. I was curious about what top three artists had influenced her more so than most others and she said Michael Jackson, Aretha Franklin, Tina Turner and on the sax David Sanborn and Maceo Parker. She had been deeply influcontinued on next page

Conversations With The Professionals John in Houston

enced by these artists and that explains the blues rock and jazz presence you feel on so many Evelyn Rubio releases. Evelyn actually became a U.S. citizen years ago and now resides in Houston Texas. She moved to Texas due to her then new husband David who would become the primary inspiration for many of Evelyn’s originals. Since relocating to the states Evelyn has performed on stages in Las Vegas, Chicago, New York City, Memphis and Washington DC to name a few. Her last trip to Europe included headlining with the Black City Band in four different cities across northern Italy. Evelyn commented, “In Italy they are very open to my playing and singing the blues. Because I was able to connect in both Spanish and English all four evenings were extra special.” When it comes to where she was born, Mexico, the better question would be where hasn’t Evelyn performed as she has graced the stages in virtually all of the port cities as well as Mexico City itself. Recently Evelyn completed her second show in Las Vegas with the renowned jazz composer and head of UNLV Latin Jazz studies Uli Geissendoerfer. Evelyn told me, “Uli is amazing, such a professional musician and band leader. Gigging with Uli and his band at The Dispensary is a real treat.” Equally important to Evelyn was this past year’s performance at Houston’s Minute Maid Park, the home of the Houston Astros. The special event was hosted by the Mayor and featured Evelyn performing her music. She commented, “You know nothing feels better than returning home and just before an event like this you get a special warm feeling about it. In this case because I knew I would be performing, I was truly excited.” Beyond the blues and jazz Evelyn performs rock as well. One of her favorite gigs includes performing the iconic song “The Great Gig In The Sky” with the tribute band Pigs On The Wall. It’s one of the hardest songs to master and Evelyn pulls it off superbly. I asked Evelyn to elaborate: “This song requires pure energy and as I am getting into it I feel the joy between the audience and myself. We become one and we get into the vibe together. This song is so beautiful, it invites raw emotion, eyes well up at times. I can see it happening.” Evelyn records at the famous Wire Road Studios in Houston with the renowned recording continued on next page

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Conversations With The Professionals

John in Houston

engineer Andy Bradley at the helm. Andy commented, “We love Evelyn both when she records her own originals and when we hire her for session work. No matter which situation it is she shows up rehearsed and ready to go.” Since Andy said that to me I wanted to know how Evelyn felt about hiring session musicians for her personal releases, “Good question, an impressive session player will have some music education and can read charts. They will deliver their portion in good taste and of course arrive on time rehearsed to perform.”

When it comes to record producers I wanted to know her thoughts on this as well, “It’s important that they have picked up on the artist’s vision regarding the overall feel. Experience helps in this area and of course they need to be open to listen to what the artist says they wish to create. In fact one of the benefits of being a member of the Grammys, the Recording Academy, is that our meetings bring the best of the best together. I pay close attention to what they share with their peers and what others say about them.” I think I would be remiss if I didn’t bring up the actress side of Evelyn’s career. I am sure her experience carries over to her stage presence on the music side. Even as young girl in Mexico City Evelyn was creating and delivering stage plays for children. Then in her early adult years she played the role of Mary Magnalene in Jesus Christ Superstar for a Canadian Production company throughout Mexico. Most recently, here in the states, Evelyn performed the part of Morticia in a Halloween special (right) and then landed the lead in a Spanish comedy that opened to Hispanic audiences in Houston as well. Beyond these not only did Evelyn act in the international release of the award winning movie short “Ocean Child” she also co-wrote the song “Ocean Child”. In the movie (left) Evelyn plays the part of a mermaid that plays the sax and talks to the mermaid children of the sea. Finally, one of Evelyn’s proudest moments was her 2022 induction into the Women Songwriters Hall Of Fame Museum. (right) “They asked for my original sax and now each year when they hold their annual WSHOF gala they bring my sax to the event in an enclosed see through case. So here I am this woman who comes from humble beginnings in Mexico City who the Lord has blessed in America and to be placed among the great females within the music industry is a true honor.” To learn even more about Evelyn visit www.evelynrubio.com

Toronzo Cannon

By Kevin Wildman

Toronzo Cannon is a dynamic force on the contemporary Chicago blues scene, defying clichés with his imaginative songwriting, blistering guitar work, and soulfully powerful vocals. With his third Alligator Records release, “Shut Up And Play!”, Cannon delivers 11 emotionallycharged original songs that showcase his ability to tackle universal human experiences with a fresh, personal perspective.

Drawing inspiration from blues legends like Hound Dog Taylor, Muddy Waters, and Albert King, as well as rock icon Jimi Hendrix, Cannon has forged a sound that is unquestionably his own. From the uncompromising “I Hate Love” to the profoundly autobiographical “Had To Go Through It To Get To It”, Cannon’s songs are brought to life through his passionate guitar solos and authoritative voice.

Born and raised on Chicago’s South Side, Cannon grew up immersed in the blues, soaking up the sounds pouring out of the legendary Theresa’s Lounge. Though his initial musical focus was reggae, Cannon soon found his true calling in the blues. He honed his craft as a sideman for artists like Wayne Baker Brooks and Joanna Connor before stepping into the spotlight as a bandleader in the early 2000s.

Cannon’s star has been on the rise since his Alligator Records debut, “The Chicago Way”, which announced the arrival of a major new talent. His 2019 follow-up, “The Preacher, The Politician Or The Pimp”, further solidified his status as a trailblazer in the genre. Critics and fans worldwide have taken notice, with accolades pouring in from outlets like CNN, WGN, and MOJO magazine.

Now, with “Shut Up And Play!”, Cannon continues to push the boundaries of contemporary blues. The album bookends, “Can’t Fix The World” and the title track, serve as powerful mirrors of our times, reflecting Cannon’s anger and frustration with hypocrisy, injustice, and being silenced. As he explains, “These are NOT protest songs. I try to create honest, common sense understanding with my songs.”

In this candid interview, Toronzo Cannon opens up about his life, music, and the stories behind the songs on “Shut Up And Play!”. He discusses the therapeutic nature of songwriting, the importance of staying true to his own voice, and his mission to create blues that speaks to the experiences of today. Join us as we dive deep into the mind and music of one of Chicago’s most compelling blues artists.

Toronzo Cannon: Hello.

Rock And Blues International: Hello Toronzo.

Toronzo Cannon Talks To Rock And Blues International About His New Alligator Records Album Release “Shut Up And Play”

Toronzo Cannon: Hey, how are you doing?

Rock And Blues International: Fine, how you doing today?

Toronzo Cannon: It’s good. It’s good. Another day on the other side of the flowers, you know what I mean...

Rock And Blues International: Every day above ground is a good day...

Toronzo Cannon: Oh, yeah.

Rock And Blues International: Well, I’ve been listening to the album. I find it quite interesting. You seem to have had... How can I put this there? You seem to have been going through a bit of turmoil since 2019.

Toronzo Cannon: Yeah, life has been lifing as they say.

Rock And Blues International: Yeah. I mean, the subjects on this album are pretty, pretty extreme at times.

Toronzo Cannon: Yeah, I’ve had some, I’ve heard some discourse about some of my songs being too personal.

Rock And Blues International: Oh, personal is not... I’m not talking about them being personal. It just sounds like you’ve been through a lot in the last five years.

Toronzo Cannon: Yeah, well, you know, I mean, who wants a blues band that’s living everything cool. You know what I mean? What, what kind of songs will come out if everything was, was great with me? Right!

Rock And Blues International: Well, yeah, if you’re too happy, it can’t be the blues.

Toronzo Cannon: Yeah, yeah. Or have some type of... at least some type of, switching up, where it’s like, okay, you know, this happy blues, and there’s thoughtful blues, and there’s sad blues. They have some kind of arrangement... not arrangement, but what am I trying to say? Trying to do diversity in my blues, you know. There’s things that you have to go through to... So you can write songs like this, that I’m sure other people are living also, right. This might be might be therapeutic and cathartic for some of the listeners.

Toronzo Cannon

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Rock And Blues International: Well, this touches on a range of subjects here from, well, a lot of women problems. Did you have a lot of women problems lately?

Toronzo Cannon: Um, there’s been disagreements. There’s been, you know, if you’re not heading down the same road, of what you think a relationship is, then it’s time to pause, you know, get together, get apart. That was one of my first my first songs on my second CD. But yeah, I don’t think... I hope it’s not a “woe is me” type album, this being what people listen to. I hope there’s some arrangement where they can hear like, okay, there’s a shining light in his life. You know, everything is not like a downer type song.

Rock And Blues International: Right. Well, you said you hoped it doesn’t come across as a “woe is me” album. At times I’m scratching my head and the other times on one or two of the other songs, I’m kind of just laughing a little bit.

Toronzo Cannon: Okay, what songs at least? Oh, I’ll give you a backstory.

Rock And Blues International: Oh, well, why don’t we just start at the very beginning. “Can’t Fix My World”, that is about the hypocrisy of the world, people getting shot, things going bad, right?

Toronzo Cannon: Well, yes, it was supposed to be I guess, because it’s like, I can’t fix the world because I’m too busy playing blues. But by the fact that I am playing blues and bringing light to all these subjects. I’m sure in my own kind of ways

fixing the world. You know what I mean?

Rock And Blues International: Okay.

Toronzo Cannon: So it’s supposed... it was supposed to be ironic, you know, but we’ll see where it goes.

Rock And Blues International: Okay, well, I took it like, well, I can’t fix the world, so I’m just gonna sit here and play my damn guitar.

Toronzo Cannon: But the lyrics though, the lyrics, when people listen to lyrics, they’ll see that I’m bringing certain subjects to light that might, you know, bring us together or it might be the forest for the trees to some people have all these things going on around us. And if we get together then maybe some of these things will cease to exist if we got together so I think the lyrics to the song should bring people to that understanding. Like, yeah, he’s not fixing the world. He can’t fix it now because he’s too busy playing blues, but he’s actually trying to fix the world by bringing these lyrics to light.

Rock And Blues International: Right, right.

Toronzo Cannon: Yeah.

Rock And Blues International: Well, the next song, “I Hate Love.” “When they say they love me, it ain’t no love at all, loves just an illusion. Love isn’t real. It’s just a made up word.” That sounds like it was a rough time there for you.

Toronzo Cannon: Well, well, that was a

song where it really is a different take on the outlook of love. Love is like an itch that needs to be scratched. Your heart is a muscle, and it needs attention, it needs something. It doesn’t have to be from another human being. It can be from a dog or cat or fish, or plants, you know what I mean? So love is really not a thing to me where it’s, of course, it’s something you can’t grab and touch, but it touches you. So so if you can’t find love in a human being sometimes love is found in other things, right. You know, money, whatever or anything, whatever you love. So it’s really to me, it’s not a real thing. It’s, it’s, you know, I was just having a different take, I do love the concept of love. But sometimes love can be misunderstood. And I think I added to that misunderstanding by that song.

Rock And Blues International: You say it’s a made up word. Well, exactly, what do you mean, it’s a made up word?

Toronzo Cannon: Well, well, it’s... all words are made up, like, Okay, who says that? You know, okay, people love. Who says that emotion just because your heart feels a certain way because of something, not someone is love. It’s like, it’s a made up word. It’s a word that’s been made to... That’s what you’re supposed to feel when your heart is itching for something. Again, it might be itching for another person or human contact, or it might be itching just to take care of someone or take care of something like a dog or, again, a cat or just, you know, it’s kind of a made up concept. But, there’s a lot of made up concepts. We just roll with it as a society.

Rock And Blues International: Okay. Well, I thought it was interesting what you said on it. I thought it was interesting when you said it could be a fish. I really never thought about love and a fish.

Toronzo Cannon: Well you know, people. You’ve heard of people that maybe they might be unlucky in love, so they buy 20 cats, or 14 Dogs. You know what I mean? Because they need that attention. They, they want something to love them so they can love it back.

Rock And Blues International: Oh, gosh.

Toronzo Cannon: You have to see the fish every day, so that that fish needs your attention, which means you can give love to this fish because you have to feed it every day. I can give love to this dog because I have to feed it every day. And he looks at me or the dog looks at me, she looks at me, like, give me some attention. And that’s how you express love. Because the heart needs to be scratched with the concept of love. It’s like an itch.

Rock And Blues International: Oh, okay, well, then I must have an itch really bad

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Toronzo Cannon

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because I’ve got nine dogs.

Toronzo Cannon: Okay. So, so, well, there you go. Like if you can find love in a human being or a love that you think is consistent with another human being, love tends to go in other areas, where it’s like, you need to attend to those dogs every day, because they’re going to be looking for you to give them attention, to feed them, to take care of them. And your heart and your spirit wants to take care of something. You don’t want to just be in the house by yourself. Some people just don’t want to be by themselves. They need something to want them so they can want it back, which is the concept of love or is it. I might be getting too neurotic on this song. It might be, it might be a little bit too heady, but that’s the direction that I was feeling at the time when it came to a few relationships that didn’t work. I was like, what is this love thing about? Let me put a different take on it. It’s like, let me go somewhere, which I did. Let me go somewhere and sit down and think about myself and think about why my, why am I attracted to certain relationships that might not be, producing the same type of feeling or love, in quotes that I’m trying to give them. They’re not reciprocating and bringing it back to me. So let me sit down and think about this concept of love in quotations.

Rock And Blues International: Okay.

Toronzo Cannon: So it’s, it was just a thought that I had and it sounds like it was a great conversation.

Rock And Blues International: It’s a great song. It’s a great song. I really enjoy it.

Toronzo Cannon: Thank you. Thank you.

Rock And Blues International: And the next one, “Him”. Evidently this person broke your woman’s heart and she can’t get him out of her mind and she takes it out on you. She’s bad to you, because this guy hurt her.

Toronzo Cannon: Well, there’s bleed over. I think in a lot of relationships where sometimes you hear your new girlfriend affectionally talk about x and it’s like, okay, all right. That’s a little bit too much. Like, you know, and sometimes I feel, and this happened to me that consciously some women and some men, they take out things that didn’t go right, with their previous relationships on their relationship now, their present relationship. So it’s, I hate to say it’s normal, but there’s things where you hear

people say, oh, my, my ex-girlfriend used to do this, like to the present girlfriend, and I’m sure the ex-girlfriend don’t want to hear that. I’m sure in my situation, I didn’t want to hear about what this other guy has done to you all the time. Or compared to what I’m doing, for you, and with you and things like that. It’s like, what’s what the bleed over it, the emotional bleed over where you you just feel compelled to tell me about something that your ex did. And then you still kind of sound like you’re pineing for him other than telling me, he’s, he’s done something bad to you, all the things he’s done bad to you. But yet and still get that feels like there’s this constant pineing for this previous relationship that I don’t want to hear? Because it’s like, you should focus on what we’re trying to do, so that song was, call him!

Rock And Blues International: Well

was that from experience?

Toronzo Cannon: Oh, yeah, yeah, yeah. Most of these I’m just maybe like, one or two songs that I did, I just kind of made up and I thought it was a gospel story. But 85%, 90% of the songs are what I’ve lived through in the past five years.

Rock And Blues International: It sounds like the next one is something that you lived through, “Had To Go Through It To Get To It.” Evidently, your your grandfather left Tennessee to go to Chicago for respect.

Toronzo Cannon: Yeah, “Go Through It To Get To It”. Yes, yeah, that’s my family history. Yeah, and my grandfather came up to Chicago in ’43 because, 1943, because of the

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Toronzo Cannon

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segregation laws and the whole thing is going on down south, and not being respected as a man. So he made a, he made a life choice to to come up north and provide for his family in a respectable way and not be disrespected with the laws that was going on down south. And, you know, you have to go through trials and tribulations or whatever, you have to go through some hardships, and some pain to get to where you trying to do what you have to do. And as a man, he went through it to get to it, and he raised a family here in Chicago, took care of me and my mother and, of course, his daughter, and his family. And, you know, he had to go through it to get to it, which I did also, when I have worked on a bus for 27, really 29 years, to provide for my family. There’s certain things you have to do, certain fires you have to go through to get to the other side.

Rock And Blues International: Right. So you got to go through it to get to it. Okay, watching him go through his struggles, how did that affect you? Because you weren’t born to what, ’68?

Toronzo Cannon: I was born 68. But you know, you hear stories. He never talked to the family about these things though. These are things that my grandmother would talk about to my mother and what she heard, the things that went on in the South. The disrespect, the colored water fountains, you know, the whole thing is that the segregation of the South in 1943 wasn’t a pretty picture if you were a black man in the south.

Rock And Blues International: Segregation in the South back in those days was terrible.

Toronzo Cannon: Oh, yeah. Yeah. And he didn’t want to live like that. He didn’t

want to continue having his family go through that. So as a man, he made a choice. And you know, you have to again, you have to go through it to get to it.

Rock And Blues International: So this song is kind of a tribute to your grandfather.

Toronzo Cannon: Yes. And at my grandfather, myself and my ancestors, they went through a whole lot of things so I can stand today and be proud as a black man and American, but we contributed to the society and things like that. So, yeah, I don’t want to forget his parents and what they went through, you know, my, my grandmother’s parents. She was from Memphis, Tennessee, he was from Jackson, Mississippi. Yeah. So, you know, the things they went through, I don’t want to... I don’t ever want to forget what my ancestors and my family went through,to do what they had to do to have a better life under the circumstances of the law at that time.

Rock And Blues International: I take it he was a big inspiration to you.

Toronzo Cannon: Yeah, he was a strong man. Yeah, he was, I got my work ethic from them. You know, it’s, I saw how he would work night shift, on a forklift for Continental Can in Chicago for 40 years. He would take my grandmother to Spiegels. She worked at Spiegels catalog. And he’d take care of me, because my mother was a young mother, take care of me and my mother, you know. He’d cook me my eggs and breakfast, and I’ll get in the car in the backseat. When he came home from work, he’ll take my grandmother and myself, take her to work, and bring me back in and then watch me as a kid, as a young kid.

Rock And Blues International: Right.

Toronzo Cannon: While my mother worked, you know.

Toronzo Cannon: So, yeah, I mean, he was a well rounded, not a hard man, but he didn’t take no mess. You know what I mean? You got to clean your plate. You know what I mean? One of them type things, because he come from the time and the hardships. He was born in 1917. I got his birth certificate. And yeah, he was it wasn’t a hard man, but he was disciplined.

Rock And Blues International: Right. Right.

Toronzo Cannon: And yeah, that’s life. And he disciplined me and reared me and showed me things that he didn’t know he was showing me when I was a kid. And because as a young kid, you soak up things, your surroundings and things that you see and I’m glad it rubbed off on m, the work ethic, the sense of respect to other people. But if you’re being disrespected, then you got to take up for yourself, you know.

Rock And Blues International: Right. Toronzo Cannon: So yeah, I love and appreciate my grandparents and their parents for what they’ve done. and all down the line, which turned out to be ancestors.

Rock And Blues International: All right. Well, the next song “Something To Do.” This sounds like one of those “Honey, Do” songs. Only do this for me, Honey, do that. Come on over and I need you to take care of this. Did someone put you to a lot of work?

Toronzo Cannon: No, no, no, no, that was actually that was a.... that was a song. I was dating a woman and she flippantly kind of, unconsciously I should say, said ‘I was gonna call you because I needed something to do.” And I’m so I’m like, Oh, so that’s the basis of our relationship. Like, why couldn’t you call me just because we’re in a relationship? What do you need, like, you need something to do.’ Like I’m, I’m, I’m company for you. You know what I mean? Like, you know, like, I just needed something to do, so I was gonna call you. So I thought it was funny at the time, but I thought it was a great concept for a song. I teased her about it for a little bit. But as I started writing the song, it developed into a double entendre kind of like an innuendo song. You know, it’s like, yeah, I’ll give a woman something to do. Oh, you know what I mean, I’m, your something to do man. You need something done, I’ll do it for you.

Rock And Blues International: Okay.

Toronzo Cannon: So, so it could be from painting the walls to other things, we’ll let your imagination run wild. But, you know, it’s something to do, man.

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Toronzo Cannon

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Rock And Blues International: So let’s think of the other things.

Toronzo Cannon: What’s the other things?

Rock And Blues International: Let’s think of the other things there that’s better than painting the wall.

Toronzo Cannon: Yeah. I don’t know if this is a PG magazine or not, so...

Rock And Blues International: Yeah. We can talk about anything you want.

Toronzo Cannon: Yeah, no, I’m not. I’m not a vulgar person. But I will do some innuendos. double entendres, you know.

Rock And Blues International: Right. Well, that’s good for the songs. It gives you a little something more to think about. Yes, I took it the wrong way. I thought it was someone kept calling you over to come over and work on her house or something.

Toronzo Cannon: No, no, no. ‘Friday night, lying in bed, half asleep and half undressed, got a call on the phone. Female voice said, Are you alone? I said, Yeah. You know, you say, I want you to do something. Come on over. You know what I mean? It’s like, okay, all right. Yeah, I’m you’re something to do man, baby.’

Rock And Blues International: Yeah, that’ll work.

Toronzo Cannon: Well, you want some fun. When you want some fun, so I don’t think painting the walls will be fun for her.

Rock And Blues International: Probably. What the next one, “Message To My Daughter.” Are you divorced?

Toronzo Cannon: Yes.

Rock And Blues International: Okay, so this is a heartfelt message to your daughter.

Toronzo Cannon: Yes, yes.

Rock And Blues International: Okay, then I’m sure that this has even a deeper meaning than what the lyrics can really illustrate.

Toronzo Cannon: Well, me and my daughter are great now. I had to change the

lyrics of the song at the end, because this was going to be in my opinion, like a testament song, a last will and testament song for my daughter, because you know, when you’ve challenged divorce... I’ve never been a child of divorce, but I’m sure it’s a weird feeling because now you’re in the middle of your mom and dad and their problems, you know what I mean? And one side is telling you one thing, and one side is telling you another thing. So who do you believe, what do you do, so I’m sure there’s some misunderstanding there and some bad feelings as a young adult, a young person trying to find their way. My daughter now actually, she lives with me now. So she’s, she wanted to live me her last year in college. So, so we’re good. But there was a time and a point where, I couldn’t get the proper acknowledgement or conversations and things with my daughter. And I understood all of that. And I gave her her time to try to understand it as a young adult. You know, she’s lived with her mom. She lived on

our own for a couple of years. And, you know, I just gave her that space where she can figure it out, but still was present in her life. I didn’t just not, I didn’t just disengage from my daughter’s life. I gave her time to digest it all. And then when the time was right, I told her my truth about everything that went down. And as a young adult, I relied on her, figuring it out, okay, things that her mom has said, or her mother said, and things that her father said, who was right in this part who was wrong in this part, and for her to figure it out as a young adult, and I have no bad feelings, or it will towards my ex-wife or anything. It is what it is. We still talk, you know, we still are part of each other’s lives because of our daughter. You know, things didn’t work out, it was a a bad contract, as one of my previous songs talked about. So yeah, I had to change the ending of the song, because I was supposed to die. And

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my daughter was supposed to be looking in my grave. You know, saying, My father really was a good guy. He was uh, you know, he was a strong man, he took care of us and blah, blah, blah, the whole thing. So after me and my daughter’s relationship was repaired, Bruce Iglauer said, Well, you need to make a change in the ending of the song because things are cool now. So that’s why I got the ending of the song there could be love and still be loved, even in a broken family.

Rock And Blues International: Yeah, Bruce has some good ideas, doesn’t he...

Toronzo Cannon: Well, yeah, he does. He does. You know, he does, I still wanted to hit the listener over the head with me dying and it was kind of like, you know, I look at a lot of Twilight Zone movies.

Rock And Blues International: Okay.

Toronzo Cannon: And sometimes I just like to leave the ending the way it is, but this was a song of triumph, because I do have the understanding of my daughter now, and we have a great relationship. And I have a really great relationship with my ex-wife. Things just didn’t work out. That’s the way it is. You know, as life moves on.

Rock And Blues International: Well, I don’t know, I got the feeling that if you kept the first idea on the end of the song, it would have changed the whole song really, really

drastically.

Toronzo Cannon: Yeah, well, my mindset was what if I didn’t live to tell my daughter these things. That’s why I wrote the song. Where it’s like, if I didn’t live to tell my daughter, these things, she wouldn’t have known that I saw that you didn’t call me, you saw that there was a problem in the house, and I was sleeping on the couch. There’s no way you couldn’t have seen or felt that me and your mother was not quite getting along. But I want you to know that I love you. I want you to know that I’m still your father, and I’m here. So luckily, I lived. But what about situations where men, they don’t have that opportunity to tell their daughters or sons, that they love them and they die. And you know, during that process of healing. They died during that process of healing. The son or daughter don’t know their side of the story, they only know what their mother said. And if their mother is bitter or angry about what happened either way, then the second half of the story has never been revealed because the father is dead. Does that make sense?

Rock And Blues International: Oh, yeah, absolutely. Without both points of view, there’s only one point of view. And depending on how it’s spun, it may not be exactly what really happened.

Toronzo Cannon: And that child will grow up thinking that their father or mother,

it can be either way. Most of the time it’s the father that’s demonized, or whatever, you know, for the most part. But that child would grow up thinking that their father is no good because it’s only one side of the story. And I understand the hurt and the pain that women go through and divorce and men also, but I’m here to say men also go through pain and separation, because we want to be part of our children’s lives. Just because it didn’t work out with me and the mother, it shouldn’t affect too much the sensibilities of the sons and the daughters. It should be a thing where it’s like, we didn’t make it but this has nothing to do with our children. We should make sure they’re well adjusted because they’re going to go through breakups also. 52% of Americans go through divorce, so this is not like we’re a rarity. Divorce is not a unicorn. Right?

Rock And Blues International: Right.

Toronzo Cannon: So when things like that happen... There was some talk that song was too personal, it shouldn’t be on this on the album. And my thing is, what about the fathers out there that are going through divorce, even the mothers also. Things can go either way nowadays, but as a father I can only speak from my side, my pronoun. I can only speak from my pronoun. As a father, I sympathize with men that can’t and don’t have the time to deal with trying to repair relationships with their children, because the mother has laid the foundation of un-truths, maybe uncertainties and just different things because she’s hurt, so they’ll fill a kid’s head with different things that’s not all the way true.

Rock And Blues International: Right. Well, I didn’t sense any real negativity in this song. It just, it seemed like a very, very well thought out song about the subject.

Toronzo Cannon: Yeah, yeah. I’m hoping to reach a certain audience that can understand exactly what I’m talking about as a man that again, they can’t get the attention of their children because the mother has set a storyline to make her feel good or make her come out to be, you know, maybe the victim or like she’s being done an injustice, you know, and that’s, that’s not fair, but it happens.

Rock And Blues International: Okay. That brings us to the next song, “I’m Lovable”. I’m sensing a theme to this album.

Toronzo Cannon: Okay, well, this is a thing.

Rock And Blues International: Well, she said, Every man in her life gave her a dirty deal. And so, when a good one came by, she didn’t do him at all, she just didn’t know how to feel.

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Toronzo Cannon: Yeah, that was another relationship of the few relationships I’ve been in. Actually the same woman, actually the same woman. Um, you know, there’s some people that don’t know what love looks like, or they don’t know what caring looks like, because they’re used to living a life where people have taken advantage of them. People, that stem from parents, or whatever, who knows. But some, I hate to say women, but men also don’t know what affection or what a caring partner feels like because they have always been in toxic relationships, or relationships where they’re being used, and they don’t know it. So they figure that’s just the way it is. If they’re not being taken advantage of in some way, emotionally, physically, spiritually, they’re not being taken advantage of, then when a pure person comes along and says, I’m here for you, I care about your mental state, your physical state and your spiritual state, like, I care about all of you, you know what I mean? And, to some people, that’s alien, because they’re not used to that. They think, what is this guy up to, because he’s not acting like all of my previous relationships that dogged me out. So now I’m uncomfortable. Now I don’t know how to enjoy and feel comfortable in a healthy relationship. And there’s a lot of people out there like that, they, they can’t, they can’t see a healthy relationship. That’s why you get the, you know, people are jealous. And they’re afraid to just let go and trust someone, and it’s like, it’s unhealthy, but that’s their life, that’s what they’re used to. I’m not a therapist, that’s something that therapist might need to deal with, with them, so they can get out of the fog or the cloud of unhealthy interactions with the opposite sex, so that they don’t have to go out and just a regular relationship when you’re trying to relate to someone, and it doesn’t work, and they keep bumping heads, and they’re not trusting you, and you’re letting them know, I’m here. Or they asking all these questions? There’s, there’s out of, you know, you know, there’s just like, way out, and what he wants you to treat them a certain way and what they’re, again, stressing about how their last relationship treated them. And, you know, and, uh, you’re not doing that, you know, it becomes it becomes tiresome after a while. And it’s like, if, okay, we shouldn’t do this anymore because we’re at an age now where if you can’t get it together now, then I don’t know when you’re going to get it together. And I don’t have time to invest in trying to be a therapist, and a lover and a man to you and a provider, you know, spiritually, physically, emotionally, whatever. You know what I mean? I don’t have time to do that. If you’re going to keep wanting to mold me into a user

and an abuser and a person that takes you for granted. I can’t do that. So yeah, there’s some people out there, that are just unlovable.

Rock And Blues International: Well, was this one of the catalysts to your marriage not working out?

Toronzo Cannon: No, no, no, not at all. Now, this was after, this was after.

Rock And Blues International: Okay. All right. Well, the next one, I found a little bit humorous here “Guilty”. I don’t know if I should have found it humorous. But the the man cheated on the woman, the woman cheated on the man. Now the man has to pay hush money and he’s not quite sure that the kid looks like him.

Toronzo Cannon: Oh, no, no, no, no, no, that’s two different songs. The song “Guilty”...

Rock And Blues International: Oh, yeah. Yeah, “You Got Me By The Short Hair”. That’s the one thing but the man cheated on the woman on “Guilty”. The woman cheated on the man, but the man is paying hush money to keep the woman quiet.

Toronzo Cannon: Yeah, and she knew, and she knew she wasn’t on the pill. So everybody has a agenda. That’s what I’m saying. And as we all can be guilty of something nobody’s clean, is what I was trying to convey, nobody’s clean. If you walk past a man on the street, and you’re looking down at him, because you’re doing good in your life, you could be a little empathetic or sympathetic to another person’s plight without being, an ass. So, my focus, I guess, writing the song was to try to say that we all have some blind spots in our life, where we’re guilty of something, that we should be a little bit more caring, or understanding

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about how we move in this life. And, and that was just to me, the first story was just about how people are where it’s like, yeah, he’s cheating. But she’s also trying to get paid, because she knew she wasn’t on the pill, when she told him that. So, but again, it’s an agenda driven type of situation where it’s like, you know, everybody’s guilty of something. It might not be with the same strength of what other people are doing but there’s things, blind spots in your life that I think we all can focus on and clear up and be a better person.

Rock And Blues International: Right. And someone’s always judging you no matter what.

Toronzo Cannon: Yeah, yeah and I’m judging myself, because at the end, I say, I’m just like you, I’m guilty of some things that I’ve done, that I’ve made right in my head and talked to the people that needed to be talked to, namely, one being my daughter, one being my ex wife, one being, maybe ex girlfriend, or whatever the case is the things that didn’t work. We’re all guilty of something, and we’re all being judged rightly or not not, I should say. People are looking, how you roll, if you’re a good person or not, so people don’t want to be around you because

they feel that, that energy is like, that’s not a good person. You know, that’s a judging.

Rock And Blues International: Right.

Toronzo Cannon: So judging the source, so, yeah, that’s what that song was about.

Rock And Blues International: Okay. Yeah. And the next one is the one I got a little mixed up with. “You Got Me By The Short Hair”. A one night stand, the person got pregnant. Now she’s your wife, but the baby doesn’t look like you.

Toronzo Cannon: (laughing) Yeah, that’s not an autobiographical song. That’s one I made up.

Rock And Blues International: Well, good. I’m glad to hear that.

Toronzo Cannon: Yeah. In five years, my life didn’t turn to all of that. My thing was, I like the quote “Got Him By The Shorthairs”. So I tried to write a song around that quote. So that’s what I came up with. Where you’re in a relationship and you have a one night stand, it’s, you know, everything’s above board. You know, it’s agreed to or

whatever, and she’s gets pregnant. Now, her father wants a shotgun wedding. So now you have to get married. It’s like, oh my god. So now I’m in the hospital. I’m sitting waiting. And it’s like, now this baby don’t even look like me. So now I got her by the short hairs. So it’s a song of trial. But I wrote that song around just that quote, because I thought that quote was funny. You know, somebody gots your back against the wall or you’re behind the eight ball or something like that. Hey, “Somebody’s Got You By The Short Hair”.

Rock And Blues International: I’ve heard the quote before, I’ve heard it. I’ve heard that several times or so in my lifetime, I just thought it was unusual the way you put it to work here in this song. I’m glad to hear it was a made up song.

Toronzo Cannon: Yeah, I’m not living that life. I’m not living that life.

Rock And Blues International: Now. I hope the next one’s more of a realistic song for you. “Your woman loves you too much. You don’t know why but she wants to make love to you morning noon and night.” “My Woman Loves Me Too Much.”

Toronzo Cannon: Yeah, um, that song. I’ve been singing that song for years. To me, it was a song about a woman’s sexual peak. A man’s sexual peak is 20 something, and a woman’s sexual peak is in their 40s. And I just always thought that was funny that God had a sense of the humor doing that. So that’s why I said she started to act this way around the age of 45 and I would always shout out to women of 45 or older, that this song was for them, because I’m sure there’s a certain demographic of women in the audiences going through their sexual peaks in their 40s and 50s. And so this is a song of acknowledgement, a song of ‘I see you ladies, I see you’. It’s something to be proud of. But for the man that has of a certain age, that has to supply a woman in her area of sexual peakness, if I can say it like that, he has to produce, and he has to deliver. You know what I mean? And so that could be a certain amount of blues. If she wants it morning, noon and night. You’re gonna have to do what you got to do... drink an energy drink, eat a pill, do whatever, take calisthenics, yoga, you gonna have to do something to keep this woman’s high nature high, if that makes any sense.

Rock And Blues International: Well, I don’t know that you had a solution in here. Did you ever solution and I didn’t catch it.

Toronzo Cannon: Well in the solution. No, I didn’t lose in this solution. No, in the song, I achieved what she needed. You know what I mean? But I complain about, because it’s like, sometimes it’s like, wow, that’s a lot, baby. But I didn’t lose in this song.

Rock And Blues International: Right.

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Toronzo Cannon: Yeah. No, I delivered. No, she’s satisfied. But sometimes it’s just like, it’s tiresome, you know. So in the song, I thought I worded it where people would realize it’s like, he sounded like he’s taking care of his business. That’s why the end I said, ‘y’all smell, y’all smell blackberry pie. You know, I do’. And then that’s that that’s me going to take care of her needs. Because whenever she say, you want some blackberry pie. That’s a code word, you know. So at the end of the song I tied it up where it’s like, yeah, I’m taking care of business, but it’s tiresome. You know, we’ve all been on a job where we love our job. But we come home some time. It’s like, wow, that’s, I worked a whole lot today. You know what I mean?

Rock And Blues International: Yeah, the blackberry pie.

Toronzo Cannon: Yeah. And that’s the code word or the safe word is they might say.

Rock And Blues International: So, I imagine you eat a lot of blackberry pie.

Toronzo Cannon: If she fixed it, yeah. If it smelled good, Yeah. I’m sorry, you might want to strike that from the publication. I don’t know.

Rock And Blues International: No, no. We like that kind of stuff.

Toronzo Cannon: What publication is this again?

Rock And Blues International: Rock And Blues International.

Toronzo Cannon: Oh, Rock And Blues International, Good. Okay. All right. All my favorite fans like BlackBerry Pie. If it’s warm and it smells good, it’s a good pie.

Rock And Blues International: All right. Oh my god. Okay, “If I’m always wrong”, “leave me alone”.

Toronzo Cannon: Hold on, hold on.... You brought that out of me for the record.

Rock And Blues International: Okay.

Toronzo Cannon: I know some people might fall out they see like, oh my god, what is he talking about! That’s the double entendre that I love that I is right there, it’s right there.

Rock And Blues International: Oh,

maybe we should talk about that a bit more.

Toronzo Cannon: I think the exclamation mark is on the on the end of that. If the pie is warm and smells good, it’s a good pie.

Rock And Blues International: See, I told you some of the songs just seem really kind of humorous to me.

Toronzo Cannon: Oh, yeah. The song “If I’m Always Wrong, Leave Me Alone”, That was an epiphany song. One of my relationships, she was always complaining about things. And I was like, you know, I had an epiphany one day and I was like, I even addressed it. I said have you noticed every time If we have a disagreement or argument or whatever, you’re, you’re saying, I’m doing something wrong. I’ve never had a problem with you. You always have a problem with me. And it’s always a thing where I’m, like, defending myself all the time. So I said, in

conversation, if I’m always wrong then why are you with me? What are we doing? Like, I’m not going to be your whipping post, a whipping boy or whatever. I’m not going to be a person for you just to complain to all the time, like, I’m doing something wrong. And I’m here, I’m present, you know, I’m awful. I’m whatever. So again, that goes to, it probably lends itself to the song “Unlovable”, because some people just can’t, they can’t function without some kind of disarray in their life, without some kind of, you know, something going on, some kind of negative energy to keep them motivated. So that was an epiphany song where it’s like, do you think I really wake up in the morning to find ways to make you angry at me? Like, what are we doing? So at a certain age, my wick, you can bleep this out my wick of giving a shit burns quick. You know what I mean? Whereas, like, what are we doing? What are

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you doing, you’re not going to belittle me emotionally all the time by always finding something wrong that I supposedly did and then go tell my friends, your side of the story or your friends, like I don’t like being played with like that. So that was an epiphany song for me. And I think it I think I conveyed the message.

Rock And Blues International: Right, Right. All right, the last song, which is also the name of the album, which is usually the most important song on the album, “Shut Up And Play”, which the album cover has a picture of you with tape over your mouth?

Toronzo Cannon: Yeah, yes.

Rock And Blues International: So tell me about that song. Tell me about the the image that you’re portraying on the album cover.

Toronzo Cannon: There’s a demographic of fans or people that don’t like artists expressing themselves. They’ll say things like, why don’t you just stick to the music Toronzo. So, you know, whatever they like about me is music. They don’t want to hear about politics that might be affecting my life, or my children’s life, or my friend’s children, or even their children’s lives. They don’t want to hear books being banned in America with African American themes that doesn’t show my daughter, or my friend’s daughter or their children, the real America, the things that went on here in America in the past, and the reason why a certain demographic of people might not have as much as another demographic of people might have. They don’t want to hear about the history of, again, like my grandfather coming here in 1943 to make a better life, the great migration of the ’40s when blacks moved from the South to the North to find a better way of living. You know, voting, voting laws are being changed. People don’t want to hear that from their favorite entertainers I guess. They just want to hear the music, which to me seems kind of weird because if we’re talking blues, and you want to know about your blues person and blues man in their life, and song, why can’t I just talk about it, so I had to sing about it. People getting shot in churches and schools and stores, goes to “Can’t Fix The World”. I mean, those songs kind of, they blend in together. No, there’s some heavy, some heavy energy going on in America right now, when it comes to people seeing who you are and me as a black man in America. I see that laws are being stripped away of, women’s rights are being stripped away with their bodies, but they don’t want you to talk about it, just to just live with it. I think that’s very disingenuous and not cool and I refuse to like shut up and play. You know what I mean? They told Bruce Springsteen, when he wrote a song about Amadou Diallo getting

shot 31 times, they didn’t want him to talk about it. I guess it’s a heavy feeling people, they just want to hit a happy blues or they just want to hear, you know, blues that make them feel good, but they don’t want to think. And as a black man living in America playing blues, I got to see what’s around me. I got to know where I’m going. There’s sundown towns still in America, I can get pulled over just from driving a nice car and, and being searched or whatever. I mean, my rights can be taken away at any given moment and for me not to try to bring that to life, I think it’d be disingenuous for me, and my children and the blues itself. I’m sorry, what do you got to say?

Rock And Blues International: I was gonna say it’s a shame that we still go through that.

Toronzo Cannon: It is, my grandfather been through that. That’s why he moved up here. The attitudes and the laws, sometimes, it’s not cool towards... Why is it that black Americans can’t teach their children in the school books, that history. They don’t want to say slaves anymore. They just want to say, unwilling servants. Like, you know, all these words to try to soften it up so America won’t look bad, or their children won’t feel bad about the history of what really happened in America, but give my child a sense of feeling like a second class citizen, because they can’t properly learn the history, or feel some kind of pride about what we went through, again, going to the song “Had To Go Through It To Get To It”, what black Americans went through to get what little rights and laws that we have now, that our voting rights have to be amended about every 25 years. You know what I mean? So, when you were a second class citizen in this America, there’s certain things that you still have to, as they say, and this is the original meaning for you, you still have to stay woke, and be aware of what’s going on around you. And not just say, oh, everything is cool. And then when you get shot in a church because somebody has a belief that your kind is subhuman, or not a real person, or you asking for too many rights too fast. When those nine people got shot in the black church in Virginia, it’s like, wow, that’s hate! So for me shut up and play, I cannot as a blues man, as a black man, I can’t just shut up and stop and write feel good songs about life. Everything is great. Everything is great. No, this is if you want to get to know your blues man and know my life and know what’s going on. Because, you know, music is almost like voyeurism a little bit when you want to get into the feeling of who wrote the song and why and things like that, and that’s where fans come from, because they want to know the backstory sometimes. But why? Why would you write a song like that? So it’s almost like a voyeurism, which is great, you know, yeah. But that

certain demographic, they’re not gonna tell me like Laura Ingram told LeBron James shut up and dribble. That man is a multimillionaire, making schools and doing things and trying to make differences and disenfranchise kids lives. And she don’t want to hear his politics because it goes against her politics. And it’s like, shut up and dribble, as a taxpaying citizen. No, I can’t shut up and play or shut up and dribble, as she told him to do. And, you know, I’ve always said, I encourage, my white blues, peers, to write a song on their side of the story, as a white blues person, playing the blues in this society, and injustices, injustices that they might see, towards their black blues, peers, and the laws as being put down and things like that. What kind of songs are they gonna, are they gonna sing, to kind of bring light to this whole thing will bring, you know, let some of the fans know. Hey, white and black, we are together when it comes to injustice. And they can write from their perspective about what they see. I write from my perspective, women write in their respective about being a woman in the blues. You know, things like that. It’s like, you know, I mean that a lot to tell a woman what to do with her body. Oh, my God, that’s it’s like, really? I mean, you know, Is it going to be a thing where men could just come up and touch a woman because it’s law? I mean, it’s like, I have a daughter, I have a daughter, only one child, a daughter, and for a government to tell her what she could do with her body, it’s scary and it’s happening. Seven states already have adopted or more. I know, seven states have adopted banning books about African American themes. But see, that’s when you become aware. And when again, I know they demonize the term woke. But that comes from when black people used to drive in the south, and they had certain sundown towns. They had only places that you can only go to a hotel, and eat because you were a black person traveling through the South. That’s why they had a thing called the Green Book for African Americans to go to certain towns. You know this is a black hotel, this is a black place where you can eat and the saying was, when your family members going down south, you tell them, they woke. Don’t go to sleep on the side of the road because if a sheriff run up on you, in the dark, you don’t know what’s gonna happen to you. So stay woke till you get where you going! But they demonize that whole term and make it seem like it’s something that is not. So yeah, I wrote this, “Shut Up And Play” because I am staying awake and aware of what’s going on in these policies and legislations and things like that, that affects me, my daughter, their kids, also, my friends kids and so on. I mean, because our time as older adults, you know, they said these laws are not for us, they set them for 20 to 25 years down the line. And all of a sudden if this if it keeps going, they’ve taken African American themes out of books and the real history, then we’re just going to be unwilling servants in America, or slavery

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benefited the African American because it gave us a skill. Yeah, okay, but it was 400 or 300 something years of slavery. How do you wrap your head around that?

Rock And Blues International: Right.

Toronzo Cannon: So, again, I just think what some people are trying to say when they tell me to stick to the music. Okay, I’ll stick to the music, but you’re gonna hear the lyrics you’re going to hear! Yeah, I’ll shut up and play. I’ll give you the roc guitar. I’ll give you that stuff that you’d like to hear. But then when you hear the lyrics, you’re going to have to put your hand on your chin and say, Wow, that was deep. Yeah, it’s deeper than just the sound, the texture of the music, you know, which is heavy, is deeper than that. The lyrics, listen to the lyrics.

Rock And Blues International: right, right. Well, this isn’t your ordinary blues album, there’s a lot of messages in this album. Did you plan on that to begin with? Or did they just fall in line as you went, as you started presenting the songs?

Toronzo Cannon: I was at one point, because I wasn’t happy where I was living and how my life was going. So a lot of this was writer’s block, coming out of writer’s block type, you know, feelings. And I’ve had concepts in my head for a long time. But I’ve just, I just, you know, during a pandemic, you know, going through a divorce and things like that. I just didn’t feel right. And I didn’t think it would affect me like that. The person I was with, the relationships I had after my marriage. just didn’t feel right. You know, so I was going through that, looking for some kind of happiness, but going into relationships too fast. So yeah, and I’m sorry. I hope. I hope I answered. I forgot your question I think. What was your question again? I’m sorry, brother.

Rock And Blues International: Oh, don’t worry. I think you’ve got it, you got it. You got it.

Toronzo Cannon: Well, it was just a ride. Well, I did well, I’m sorry, I didn’t intend for it to all be heavy, but thoughtful because I don’t want to belittle my audiences, how they digest songs. I wrote songs before, funny songs about bad contracts and insurance, and all that. But the deeper meaning was, yeah, there’s a thing called divorce that is kind of a bad contract. I mean, there’s insurance. There’s a problem in America with insurance. Yeah, it’s funny about colonoscopy and all that stuff. But you

don’t get a colonoscopy and you found out you got cancer, it’s not so funny because you didn’t have insurance. So I always try to write songs that have a meaning to it and not just a song about a woman with a big booty, or a woman that likes to eat or a woman that’s cheating on me all the time. I try to write deeper meaning songs and not belittle my audience, how to digest songs.

Rock And Blues International: right? Well, it seems to be a very introspective album. So when writing this, what did you learn about yourself?

Toronzo Cannon: That it’s therapeutic. When I sing my songs, I know, it’s my song, I’m not going to do “Thrill Is Gone” and all that stuff. And, you know, I might, I might do

it if I’m in a pinch or something, but that’d be under very special circumstances, maybe if one of the band members don’t show up or whatever and I’m trying to get along by the night or something like that. But I do not like singing cover songs. I like to sing my songs. So my songs are therapeutic to me because they’re real subject matter and that’s my blues. I know sometimes, what do you call them, traditional blues peers... they think that my contemporary blues is kind of messing up the blues, because it’s not pure Blues as they see it. But my blues, those are my things, that’s my life. So for them to say that my blues is not like Muddy Waters, postwar type blues, just because I’m not doing a 1, 4, 5 thing all night, every album every night... continued on next page

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Now I do have my standard blues in there but I also have to write differently, and use a couple of extra chords to get my songs out, to get my message out. So you know, I have nothing. I have no problem with traditional blues. But it seems like sometimes traditionalists have a problem with how I present it. But I just think as far as to get back to your question, I apologize. I learned about myself as these are my blues and it’s therapeutic for me. I love singing my own songs. You know what I mean? It gives me a strength because it is, again, it’s therapeutic. You know, it’s, it’s something that I’ve lived through and that’s the way it is and that’s what every blues man. That’s the that’s the basis of it, a man thing or woman thing in their life story and people want to hear it. And that’s the, that’s the basis of it.

Rock And Blues International: Well, when you say therapeutic for you, can you pick out one of the songs on here that really gave you better, a better introspective of yourself?

Toronzo Cannon: “If I’m Always Wrong” would probably be one because I found out you do not... I’m not taking what’s not mine. Don’t give me what’s not mine and some people will do that. They will accuse you of something and you turn around sometime and you take it and you shrink yourself into what they think you are. And for you to try to get along in a relationship, you shrink yourself, which is not good. You’re shrinking yourself to what they accuse you of because you’re always apologizing, you’ve apologized and tried to reason with them and tell them, so now you always hit your back against the wall, trying to explain something that’s not explainable. So, yeah, that’s one of the songs that I think I could put my finger on, where I’m not going to take something that’s not mine. I’m not going to be accused of anything. That’s not just in relationships and friendships, and anything, I’m not going to take something that’s not mine. Nobody’s going to give me anything that’s not mine and I’m just going to shrink myself to it just to appease them because they have their own problems that they can’t figure our, so they’re going to make you the whipping boy, or whatever the case is just so they can sleep at night. And then I’m thinking like, what did I do? So yeah, I live my life differently after that, where it’s like, I’m not, I’m not taking nothing from nobody. Now, you know, I think I’m a reasonable enough person. If I did something to somebody that was wrong, I can say I am sorry. I’m not too proud to say I’m sorry about something or to see somebody else’s view of something that I might have done. But I’m not just going to, I’m not going to lay down and let people tell me who I am in relationships and all. It’s another thing I think I’ve learned about myself. Yeah.

Rock And Blues International: Okay. Well, one thing that I noticed about the album here is you say it’s not traditional, but it seems very much traditional to me. The subjects that people wrote about 60 years ago, are just as viable as the subjects that you write about now.

Toronzo Cannon: Yeah, yeah. Lost Love, trying to figure it out, being proud of your past, you know what I mean, that kind of thing. You know, it. Yeah, it does, there’s, there’s been a outcry of people saying that that’s not real blues. Real blues has to have the template of 1, 4, 5. If it doesn’t sound like Muddy Waters, you’re you’re not playing blues, and I always tell my blues, traditionalist friends, Muddy Waters was a revolutionary. When he applied a lesson to it, that was not what Son House was doing. That’s not what Robert Johnson was doing. You know what I mean? It’s like, when he came to Chicago and put electric to it, he was being contemporary. You know what I mean?

Rock And Blues International: Exactly.

Toronzo Cannon: He was keeping up with the times. And I always say, I just said it on a Facebook post earlier. Muddy Waters loved Son house, but didn’t sound like Son House. Buddy Guy loved Muddy Waters, but didn’t sound like Muddy Water, but you are a person. Your influences mold you and I have more influences than maybe Muddy Waters had back in the day, because he had those guys, you know, the guys before him, you know, that he looked to. Buddy Guy had people that played electric Blues. I forgot the first guy who said he saw the things I used to do, the guy that made that song. I forgot his name. But you know, Buddy Guy had his influences when things became electric. We our a makeup of our influences and for my blues to sound a little bit different. I did a couple of acoustic things, one acoustic thing on... I tried a little slide. I’m not the greatest slide player, but the thing was to get my message out, and put it in, put it in a bed that I think that the public might want to hear. Or the bed that I feel that that song should go in. You know what I mean? It’s like, I can draw from Son House, I can draw from Muddy Waters, I can draw from Buddy Guy, but also can draw from Jimi Hendrix. You know what I mean, I could draw from Albert King. You know, it’s like, I think I have that luxury as a contemporary blues man living in this contemporary time to draw from all of those influences without being ashamed. But you know, and me being me trying to write my original music and write original songs. I have to draw from those different influences. it’s just sometimes you get into these skirmishes with traditionalist and it’s like I can’t let you tell me how to write my blues. Or, you know, if you don’t like how I’ve been served to you then go to another restaurant.

But this is, this is what I’m cooking over here. You know I mean?

Rock And Blues International: Exactly, exactly.

Toronzo Cannon: My thing, when I wrote a song “Insurance”, which is on the last album, I wanted to prove to my traditional blues peers, that you can write a different subject matter in that particular Jimmy Reed context. You know what I mean, because I was thinking Jimmy Reed when I wrote that song. That’s why I’ve had Billy Branch on the album, on that song. You can write more songs other than my woman left me or always ‘woe is me,’. You can write other subjects that you can write in that one, four or five, Jimmy Reed context, or template. But other songs, I need a couple of extra cords. I need to lay a certain type of feeling so the listeners hear differently or hit their spirit differently where they might say, ‘Okay, wow’, okay, that’s the head nod so let me listen to the lyrics because I know Toronzo’s about lyrics. So, you know, there’s different ways to get to the heart and the soul of people musically, I feel.

Rock And Blues International: Right, right. Well, when people listen to the new album, what do you want people to come away with after they’ve listened to this album? What is the ultimate goal that you want to hear them say?

Toronzo Cannon: It was a well thought out album. It’s interesting, not everybody’s not going to be on board with it, but I want them to give it a chance and listen to the lyrics on it and maybe how it’s delivered on some of the songs. But this is an honest album, I’m really not writing anything I don’t know about on these songs. I mean, I don’t know about getting a woman pregnant off a one night stand, but it could happen. I mean, I’m not making up a ‘woe’ type story. I don’t know how it feels to pick cotton. I don’t know what it feels to be called ‘Boy’. I don’t know what it feels like when I go to vote and they tell me ‘no’ I don’t feel any of that. You know what I mean? But I do feel this type of blues. So I don’t make up songs to give me credibility. Like, I’ve been this and that, you know what I mean? Like some people think they’re living good, and they’re doing a thing, but they’ll write a song about how something’s gonna wrong. I don’t have to make up anything for credibility. This album and most of the all of my albums, I should say, all of my albums are, and it sounds so cliche that I hate to say it, but it’s like a diary. It’s things I’ve been through, things I’ve seen, things I hope for them to come to pass, you know, so I hope people go away thinking like Toronzo. He writes real lyrics about real life. And I hope they respect it as such, whereas I’m not just pulling the songs out trying to get everybody to like him. I would like at least seven, six or seven people to say, ‘You know continued on next page

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what, I don’t live like that. But I understand. I get it.’ They don’t have to hate it, but they don’t have to say I know exactly what he’s talking about. But understand, yeah, this is happening to a person, you know, and if they can sympathize with or empathize with it, great. If they can’t, then there’s people out here that live like this.

Rock And Blues International: Right.

Toronzo Cannon: So, I think that’s what I want to portray, if that answers the question.

Rock And Blues International: Well, I find that your blues is just as traditional as the blues from 60 years ago, it’s just traditions change. You’re not going to be singing about picking cotton. You’re not going to be singing about being unable to vote. These things change, traditions change, and you’re part of the new tradition of blues.

Toronzo Cannon: Thank you. Thank you. And I do owe... as far as the the traditional blues, I love Elmore James, J.B. Hutto and all those guys, but again, those guys love the tradition because they were playing electric now. I love the guy Lightning’ Hopkins, you know, Reverend Gary Payton, you know, it’s like, you know, I love that kind of blues because the lyrics really shine. You know, I’ve been for some reason for the past three days. I’ve been really listening to “Death Has No Mercy In This Land” by Reverend Gary Payton. That is a haunting song. It’s almost like strange fruit to me where it’s like the lyrical content. It’s like whoa, and that’s why I like the Crossroads type blues or the, you know, the blues of RL Burnside, you know, those cats, but then too, the lyrics shine better. You know, I would love to do a album Where it’s me and doing some acoustic stuff, so my words, so they can hear the lyrics better. I’m gonna somewhere down the line. But yeah, I love traditional and contemporary Blues. I could be wrong but I could be right.

Rock And Blues International: Okay. Well, is there anything I haven’t touched on on this that we should have discussed?

Toronzo Cannon: Oh, no, no, no. I just want the people to... I hope that even if they don’t like the album, I hope they understand it. Every song on there is not going to be for you. You know, I understand there’s a certain amount of audience that should be 50% love it, hopefully or 60% love it 70% love it and 30% people may be scratching their head, but scratching their head enough to want to learn more about it. And listen to it twice. Give it

two chances, three chances and listen to to see what I’m talking about. Not just discount it as too loud. I think lyrically I express myself where you don’t... Well, I’m not trying to evoke some kind of vocal emotion and act like I’m singing all this rangy and you know, this false, Singing hard when you can’t really understand the lyrics. You know, you know, some of that too. You’re gonna be emotional, but the lyrics... I think lyrics hit the soul other than the guitar playing, or the solos. You know, Bruce told me years ago, he said people go away from the shows, singing your lyrics, not your guitar solos. And I was like, wow, okay, you know, and that made me again, want to write more and be more lyrical, you know, subject matter. But, yeah, but I just, I just want people to give the CD a chance, get the album a chance and listen to the lyrics.

Rock And Blues International: All right. Well, I want to thank you for the time you spent with me. I think I’ve got a I think we had a great conversation together. Anything else we need to talk about?

Toronzo Cannon: No, no, I just want to thank you for doing what you’re doing. As far as you know, getting me out there letting the people hear the reason why I’m writing these songs the way I do. And I hope it encourages younger bluesmen’ I even told Kingfish when he was coming up, write what you know about I tell all the young blues cats, write what you know about. Oh, man. Thank you for your time on this. And again, your your place in the blue that how you, you know, interview on me and other artists to get our stories out, man. So thank you very much.

Rock And Blues International: All right. Well, it’s my pleasure. So you have a great day and we’ll talk again.

Toronzo Cannon: Take it easy.

Rock And Blues International: Okay, bye.

Toronzo Cannon: Bye bye.

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As our conversation draws to a close, we at Rock and Blues International want to express our heartfelt gratitude to Toronzo Cannon for taking the time to share his insights, experiences, and passion for the blues with us. This interview has been a true pleasure, and we are honored to have had the opportunity to delve into the mind and music of one of Chicago’s most compelling blues artists.

Throughout our discussion, it has become abundantly clear that Toronzo Cannon is not just a gifted musician, but a man with a mission. His dedication to creating honest, meaningful blues music that speaks to the experiences of his community is evident in every word he speaks and every note he plays.

Cannon’s rising star has not gone

unnoticed by his peers in the music world. Blues rock sensation Gary Clark, Jr. has praised him as “a beast” who “lights the room up,” while guitar virtuoso Joe Bonamassa has hailed Cannon as “a great guitar player, excellent vocalist and an amazing personality.”

But Cannon’s impact extends far beyond the admiration of his fellow musicians. He has become a true ambassador for Chicago blues, carrying the torch lit by the legendary figures who came before him. From the stages of the Chicago Blues Festival to clubs and festivals across the United States, Canada, Europe, and even Japan, Cannon has brought his electrifying live performances to countless fans, earning critical acclaim and a devoted following along the way.

With the release of “Shut Up And Play!”, Toronzo Cannon once again demonstrates his unwavering commitment to creating blues music that matters. As he explains, “It’s not about the solos, it’s about the songs.” Through his powerful lyrics and impassioned performances, Cannon shines a light on the struggles, joys, and everyday

realities of life in Chicago, the city that shaped him and gave birth to the blues giants who inspired him.

As Cannon himself puts it, “I feel like I’ve become an ambassador for Chicago blues. People expect a lot from me. But it’s good, because I’m forced to keep upping my game.” And with each new album and live performance, he continues to do just that, cementing his place among the greats of contemporary blues.

In the end, for Toronzo Cannon, the blues is not just a genre of music—it’s a calling. “You don’t choose the blues,” he says. “The blues chooses you.” And with “Shut Up And Play!”, it’s clear that the blues has chosen wisely in Toronzo Cannon, a man who is not only a master of his craft but a vital voice for his community and a shining example of the enduring power of the blues.

Once again, we thank Toronzo Cannon for this enlightening and engaging interview. We look forward to following his continued journey as a torchbearer for the Chicago blues and a voice for his community. With artists like Cannon at the forefront, the future of the blues is undoubtedly in good hands.

The Curse of K.K. Hammond can be the blues folk’s blessing.

by Edoardo Fassio

Crowded with bone collectors, allusive drownings in the swamps, hints to gloomy Haitian rites and an insistent cemeterial mood, Death Roll Blues topped the iTunes Blues Charts in the UK and US and reached number seven on the Billboard charts. In the wake of that successful debut album, K.K. Hammond ‘s new single is now out.

The full nom-de-blues of the girl who grew up in London, lived around the back roads of peripheral America and now is a self-professed hermit on an isolated farm in Dunsmore, a remote toponym in Buckinghamshire, is The Curse of K.K. Hammond. Under the cover, which shows her toxic passion for macabre comics, the liturgy of “Memento Mori,” old haunted mansions and the Southern gothic horror subculture, lives a complete and credible artistic persona.

The Brit self-contained singer-songwriter makes it clear from the start that she is not yet another late generation JanisJoplin-wannabe. Armed with a bottleneck, she plays an array of vintage resonator guitars along the lines of Skip James, Bukka White, Memphis Minnie, and other bards of the Thirties, she writes songs with surprisingly original lyrics and style and sings them with a false-naive voice, like an Anglo pop diva of the late twentieth century.

In “She Is My Precious,” an explicit cut reminiscent of the dirty blues of the pre-war era, she raises the alarm about the limits (and risks) of virtual reality and online eroticism. The single, whose folklike metric reminds Lead Belly’s, ends with a verse which leaves little to political correctness or even the double entendre of the blues of old, reclaiming the joy and dignity of sex in real life.

A self-taught musician, K.K. became infatuated with slide guitar from a very young age; the love of the six strings won her heart when watching her father play flamenco. Beside roots blues, among her influences there are Woody Guthrie, Tom Waits, Nick Cave, Ennio Morricone and some obscure murder ballads of old English folk music. Oddly, her charming, spooky, acoustic songs, where obvious inflections of classic rock meet a typically dark touch, bring together rock and metal fans with those of more traditional blues.

As much as she blames it, Hammond is in all respects a child of the virtual age. While she recognizes that the advent of social media has allowed to small independent musicians an audience of unprecedented size, she dreams of “people to listen to and enjoy my music while I remain to be a ghost of sorts skulking round in the shadows of the back woods!” After all, it’s not hard to understand why the creator of songs that focus so much on death doesn’t feel like performing live.

La maledizione di K.K. Hammond può essere la fortuna della gente di blues.

by Edoardo Fassio

Popolato di collezionisti di ossa, annegamenti nelle paludi, richiami ai riti mortiferi haitiani e un inquietante umore cimiteriale, Death Roll Blues è arrivato in testa alle Blues Chart di iTunes in Gran Bretagna e negli Stati Uniti e ha raggiunto il settimo posto sulle classifiche di Billboard. Sulla scia di quel fortunato album d’esordio, è uscito il nuovo singolo di K.K. Hammond.

Il nome d’arte per esteso della blues girl cresciuta a Londra, vissuta tra le strade secondarie e gli angoli marginali degli Stati Uniti e ora esule volontaria in una fattoria isolata a Dunsmore, un toponimo sperduto nel Buckinghamshire, è The Curse of K.K. Hammond. Sotto la copertura, che ne svela la passione tossica per i fumetti macabri, il “Memento Mori”, le vecchie magioni infestate e la subcultura del Southern gothic horror, abita un personaggio completo e credibile.

La cantautrice e strumentista britannica fa capire subito di non essere l’ennesima Janis-Joplin-wannabe di ultima generazione. Armata di bottleneck, suona modelli vintage di chitarra resofonica sulle linee di Skip James, Bukka White, Memphis Minnie e altri bardi degli anni Trenta, scrive brani dal testo e dallo stile sorprendentemente originale e li canta con voce falso-ingenua, da diva pop anglo di fine Novecento.

In “She Is My Precious”, un pezzo esplicito che ricorda i dirty blues dell’era prebellica, lancia un allarme sui limiti (e sui rischi) della realtà virtuale e dell’erotismo online. Il singolo, dalla metrica folk affine a quella di Lead Belly, si conclude con versi che, concedendo poco al politically correct e pure al double entendre del vecchio blues, rivendicano la gioia e la dignità del sesso reale.

Musicista autodidatta, K.K. si è infatuata di chitarra slide fin da giovanissima; le sei corde le sono entrate nel cuore osservando il papà quando suonava il flamenco. Oltre al blues delle radici, nella sua formazione ci sono Woody Guthrie, Tom Waits, Nick Cave, Ennio Morricone e certe oscure ballad omicide di musica popolare dell’antica Inghilterra. Curiosamente, le sue canzoni, acustiche, invitanti e spettrali, con evidenti inflessioni del rock classico e un tocco tipicamente dark, mettono d’accordo gli appassionati di rock e di metal con quelli del blues più tradizionale.

Per quanto la critichi, Hammond è a tutti gli effetti figlia dell’età virtuale. Mentre riconosce che l’avvento dei social media ha offerto ai piccoli musicisti indipendenti un pubblico dalle dimensioni impensabili, sogna che “la gente ascolti e apprezzi la mia musica mentre io rimango una sorta di fantasma che si aggira tra le ombre dei boschi”. Dopo tutto, non è difficile comprendere perché l’ideatrice di brani che puntano così tanto l’attenzione sulla morte non ami esibirsi dal vivo.

Alastair Greene’s “Standing Out Loud” Released to Resounding Critical Acclaim via Ruf Records

LISTEN TO THE SINGLE: Am I To Blame?

https://save-it.cc/ruf-records/am-i-to-blame

By Troy Wilson

Blues guitar virtuoso Alastair

Greene’s highly anticipated studio album, “Standing Out Loud,” released on May 17, 2024, through the prestigious German label Ruf Records, has been met with resounding critical acclaim. The album, featuring eleven tracks, including ten original compositions and a classic nod to Canned Heat and Rory Gallagher, showcases Greene’s exceptional songwriting and guitar mastery.

Recorded in Nashville with coproducer JD Simo and in his current hometown of Austin, TX, with engineer Hunter St. Marie, “Standing Out Loud” draws upon the nostalgic sounds of the 1960s and 70s. Greene’s masterful blend of driving slide guitar, energetic blues arrangements, Southern Rock undertones,

intricate funky riffs, and emotive slow blues interludes has captivated listeners and critics alike. The album’s lyrical content, delving into philosophical reflections, personal narratives, and subtle humor, highlights Greene’s multifaceted approach to songwriting.

The lead single, “Am I To Blame?”, accompanied by a captivating music video, has been widely praised for its skewed blues riff and aggressive shuffle beat. Greene’s inspiration for the track, drawn from his experiences playing countless bar gigs, has resonated with fans and critics, who appreciate the song’s rocked-up blues style and engaging storytelling.

Other standout tracks on the album include the soulful “Slow Burn,” the funkinfused “Only Do,” the introspective “The Last To Cry,” and the Southern Rock-

tinged title track, “Standing Out Loud.” Greene’s rendition of the classic “Bullfrog Blues,” originally performed by Canned Heat and later covered by Rory Gallagher, serves as a fitting tribute to his musical influences and showcases his exceptional guitar skills.

With “Standing Out Loud,” Greene has successfully captured his interpretation of the music that initially drew him to the blues and blues rock. The album has been hailed as a gateway for listeners to discover the roots of rock and roll in the blues, with Greene’s exceptional musicianship and songwriting serving as a compelling guide.

Critics have been effusive in their praise for the album. Blues Blast Magazine raves, “‘Standing Out Loud’ is a testament

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to Alastair Greene’s exceptional talent and his ability to breathe new life into classic blues rock sounds. This album is a must-listen for any fan of the genre.” Guitar World notes, “Greene’s guitar work on ‘Standing Out Loud’ is nothing short of spectacular. His tone, phrasing, and emotional depth are on full display, cementing his position as one of the most exciting guitarists in the blues rock scene today.”

The album’s production, split between Nashville and Austin sessions, features an impressive lineup of talent. Co-produced by JD Simo and recorded at his House of Grease studio, the Nashville sessions showcase Greene’s collaboration with Todd Bolden on bass and Adam Abrashoff on drums and percussion. The Austin sessions, recorded at Homegrown Studios and engineered by Hunter St. Marie, feature Mark Epstein on bass and Kevin Hall on drums, further highlighting Greene’s versatility and musical chemistry.

Following the album’s release, Greene has embarked on a series of tour dates, including his Ruf Blues Caravan appearances alongside Eric Johanson and Katarina Pejak. His 2024 tour schedule includes festival and club dates across the U.S. and over 40 European dates, where he has previously toured extensively as the guitarist with the Alan Parsons Live Project.

With “Standing Out Loud,” Alastair Greene has solidified his position as a seasoned veteran in the blues rock world, delivering a commanding and honest record that pays homage to the spirit of his favorite music from the 1960s and 70s. As the album continues to garner critical acclaim and attract new fans, Greene’s star continues to rise, cementing his place among the most exciting and innovative artists in the genre today. Fans and critics alike have welcomed “Standing Out Loud” as a refreshing and dynamic addition to the blues rock canon, and eagerly anticipate Greene’s future musical endeavors.

The album’s track list includes:

1You Can’t Fool Me

2Slow Burn

3Only Do

4In Trouble

5The Last To Cry

7Am I To Blame?

8Standing Out Loud

9Temptation

10Rusty Dagger

11Bullfrog Blues

6Trouble Blues

Canned Heat

By Kevin Wildman

For nearly six decades, Canned Heat has been a defining force in the world of blues rock. Founded in Los Angeles in 1965 by blues enthusiasts Alan “Blind Owl” Wilson and Bob “The Bear” Hite, the band quickly rose to international prominence with hit singles like “On The Road Again,” “Going Up The Country,” and “Let’s Work Together.” They shared the stage with some of the biggest names in music at the legendary Woodstock festival in 1969 and collaborated with genre greats like John Lee Hooker, Clarence “Gatemouth” Brown, and Memphis Slim.

Now, Canned Heat is back with “Finyl Vinyl,” a brand new studio album that was released in April 2024 by Ruf Records. Recorded in Burbank, California, the album features the band’s current lineup: longserving drummer Adolfo “Fito” de la Parra, who joined in 1967; guitarist, keyboardist, and singer Jimmy Vivino; harper and singer Dale Spalding; and bassist Richard “Rick” Reed, who stepped in after the passing of long-time member Larry “The Mole” Taylor in 2019.

“Finyl Vinyl” boasts an eclectic mix of styles, from classic boogie grooves to slow blues, psychedelic jams, and even an Eastmeets-West musical fusion on “East West Boogie.” The album also features some highprofile guest appearances. Blues rocker Joe Bonamassa lends his lead guitar skills to “So Sad (The World’s In A Tangle),” a song the band first recorded in 1970, while singersongwriter Dave Alvin contributes guitar and vocals to “Blind Owl,” a moving tribute to founding member Alan Wilson.

But amid the excitement of new music, there’s a bittersweet undercurrent. With an album title that seems to hint at finality, songs like “One Last Boogie,” and lyrics that touch on themes of aging and mortality, some fans are wondering: Is “Finyl Vinyl” Canned Heat’s swan song? Are they preparing to say goodbye to the music world after an incredible career spanning nearly 60 years?

To get some answers, we sat down with Fito De La Parra, the band’s drummer and backbone since 1967. In this in-depth interview, Fito shares his thoughts on the new album, reflects on Canned Heat’s enduring legacy, and gives us a glimpse into what the future might hold for these blues rock legends as they approach their 60th anniversary.

Join us as we dive deep into the story of Canned Heat, the making of “Finyl Vinyl,” and the road ahead for one of the most influential and enduring bands in blues rock history.

Fito de la Parra:: Hello.

Rock And Blues International: Hello Fito.

Fito de la Parra: Yes. Is this Kevin?

Rock And Blues International: This is Kevin.

Fito de la Parra: Okay, we finally got together now.

Lengendary Blues Band Canned Heat

Rock And Blues International: Yeah, they told me it was going to be two o’clock Central. What time did they tell you?

Fito de la Parra: Two o’clock Pacific.

Rock And Blues International: Oh, okay. Well, they gave me the wrong time. I apologize. I thought I was to talk to you earlier.

Fito de la Parra: Yeah, all right. Yeah,

that’s why I was surprised when he sent me an email saying that you were waiting for the call but it wasn’t time yet. As far as the the emails Doug sent me they all say two o’clock Pacific time. But anyway, we are okay now.

Rock And Blues International: We are doing great now.

Fito de la Parra: Okay.

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Rock And Blues International: This is really a pleasure being able to talk to you. Let me tell you, my first Canned Heat experience was when I was a kid. And what it was back when I was a kid was they didn’t play a lot of this stuff on the radio here in Texas and you bought music by their album covers, when you bought an album because of the album cover. And I went down there to the record store one day and there was this wild looking cover. Wild looking cover. It was “Boogie With Canned Heat”.

Fito de la Parra: Yeah, that’s a great cover too.

Rock And Blues International: Isn’t that and I gotta have that, I gotta have that album. So I bought it. And “On The Road Again”, that just knocked me out. It was one of the first times I ever heard an extended boogie like “Fried Hockey Boogie”.

Fito de la Parra: Yeah, that was the first time I heard it too. Well, the Hooker version. Yes, you’re know that cover was made by Dean, Dean Torrance from Jan and Dean.

Rock And Blues International: Really?

Fito de la Parra: Yeah, the surfer guys you remember. So Dean Torrance is the one that made that cover?

Rock And Blues International: Well, Dean did a lot of covers back then.

Fito de la Parra: Yes, yes. He’s a good artist. That cover was nominated for a Grammy and everything. We didn’t get it but at least it was nominated.

Rock And Blues International: There was just a lot of great moments on here. “An Owl Song”, that was good, “On The Road Again”, of course became a big hit for y’all. “My Crime”, “Turpentine Moan”.

Fito De La Parra: Yeah. And then if that wasn’t good the next year, or you know, a few months later, almost a year later, “Living The Blues” came out with “Going Up The Country”.

Fito De La Parra: “Going Up The Country”. Yeah, that’s right.

Rock And Blues International: Yeah. And then you had that “Parthenogenesis”.

Fito De La Parra: Yeah.

Rock And Blues International: And then “Refried Boogie, Part One and Two”, I mean, unbelievable. Back then double albums were very rare at that point.

Fito De La Parra: Yeah, and you only paid for one album!

Rock And Blues International: Yeah.

Fito De La Parra: Yeah, we were selling double albums, but we charged only for one.

Rock And Blues International: I know. That was the cool thing. I go down there and I there was a couple of albums back in that time, like Chicago Transit Authority. You know, it’s like, wow, I can get two albums for the price of one. Well, I liked the last one. And then this one was just, ah, really great. Really great. You know, I couldn’t believe y’all did

that Jimmie Rogers song on there, “Walking By Myself”.

Fito De La Parra: Yeah, that’s a great song.

Rock And Blues International: Yeah. And then Charlie Patton’s “Pony Blues”. And I guess Alan Wilson probably suggested that one.

Fito De La Parra: Well, Alan was pretty much in charge of all the country blues, because he was an expert on that.

Rock And Blues International: Well, Alan did some extraordinary things. I mean, who was the artist he got back recording again that hadn’t done it in years.

Fito De La Parra: Skip James.

Rock And Blues International: Yeah. I mean, your band was so amazing. I can’t believe you’ve stayed there for so long.

Fito De La Parra: It’s good friends and Son House. Son House is the one that Alan went to see at the hospital and Son House was already, you know, he was old and sick. And he was suffering from alcoholism for many years. Alan went to see him at the hospital and he taught him how to play Son House again.

Rock And Blues International: Yeah, he taught Son House how to be Son House again.

Fito De La Parra: So he could go and perform at the Newport Jazz Festival. I guess it was 1964, might be ’63 around then. Thanks to Alan, he went there and spent time with him and showed him how to play his own music again. Then Son House was able to appear in that Festival, which was legendary, because Skip James also showed up there. Those are the two main influences of Alan Wilson.

Rock And Blues International: Yeah. But let me tell you, Canned Heat, just oh, probably one of the greatest... I hate to use the term but everybody likes using white blues, white electric Blues bands. But I think Canned Heat was probably one of the most influential white blues bands that ever came out.

Fito De La Parra: Well, that was our mission. You’ll see as we started the band, we never expected to become a famous popular band with hit records. Our thing was to make blues music acceptable and palatable for white audiences. Because in those times, the blues was not known. I mean, only a few people knew about it and John Lee Hooker, Jimmy Reed, all those guys, they were playing gigs for $50 in small coffee houses. And the blues was not as what it is now. I mean, we had to work real hard to make people understand that this kind of music is to be respected as a true American part of the American culture, just like jazz music is.

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Rock And Blues International: Right. You did a phenomenal job.

Fito De La Parra: Yes, I think we did a good job, but also, of course, John Mayall, Alexis Korner, and Paul Butterfield, were the other pioneers together with us. They actually started a little bit before Canned Heat, a few months before, but those were the three bands that started pushing and promoting blues music for the rest of the world. Another thing that happened with us is that we had hit records that were blues oriented hit records. And that’s something that neither Paul Butterfield, or John Mayall had. They were great. They had great bands, and they were very popular, but they did not have worldwide hit records. And that’s one thing about Canned Heat, we did. We were able to put blues music on the top 10 pretty much in most countries in the world. And that’s what made the band internationally famous.

Rock And Blues International: I honestly think that if they had put, you know... I know they eventually put it into the Director’s Cut of Woodstock, but they left out “Going Up The Country”. Wasn’t it “Going Up The Country” they left out of the original film.

Fito De La Parra: Yeah, yeah, they took out our performance, but they did use the song. They used the song. They used the studio version of the song in the beginning of the of the movie, because the song is actually the theme for the festival.

Rock And Blues International: Right.

Fito De La Parra: You know, if you think of Woodstock, you always think of “Going Up The Country”. You know, that’s the song that people identify with when you’re thinking of the Woodstock Festival. So what happens is that Warner Brothers wanted to show the movie four times a day instead of three times a day. So pretty much the way corporations think, they didn’t care about some of the acts that were not their acts, including Janis Joplin, Paul Butterfield, ourselves, and some other acts. So they cut us out, they cut us out of the original film and so they could show the film more than three times a day. And that was a pretty silly and bad thing to do. And of course, that infuriated the director of the movie and eventually, later on, he released what is called a director’s cut, of Woodstock, that has all those acts that were cut off by Warner Brothers executives earlier. So the best version of the Woodstock Festival to buy will be of course, the directors copy that cast older bands, including ourselves.

Canned Heat in 1970. From L-R; Larry Taylor, Henry Vestine, Bob Hite, Alan Wilson, Adolfo de la Parra

Rock And Blues International: Yeah, I imagine it really pissed you all off when your part was cut.

Fito De La Parra: Well, yeah, not only that, they took our part away, you know, they cut it, but they used the song that we recorded in the studio. So you know, I mean, they did whatever they do, you know, as I said, we were not a Warner Brothers act, and that’s what they cared about. They cared about promoting the acts that they had, you know, that were signed with them. And we were you know, We were at Liberty records and became United Artists later. So that was part of the politics of music business.

Rock And Blues International: I wish you had had that part left in the show. It made stars out of some of the other people that made it into the movie like 10 Years After and Carlos Santana. I mean, that are that was before he even did the first album.

Fito De La Parra: That’s right. He was just being introduced at Woodstock. I mean, Carlos was not famous at all, and was stuck. He was just being introduced, or he was introducing his first album. I don’t know how they got him booked there, because as I said, he was pretty much unknown at the time. But what stuck there was there was a good show, he played a good show, and it helped him made him famous.

Rock And Blues International: I know how he got booked there.

Fito De La Parra: We have to also remind you know that, remmber, that Carlos had help from Bill Graham and from Clive Davis.

Rock And Blues International: Well,

Michael Lang called up Bill Graham to help him and Bill says, I’m not going to help you unless you take my guys Santana.

Fito De La Parra: Yes, that’s right.

Rock And Blues International: And they say, well, who’s Santana, and he says, you’ll know after the show.

Fito De La Parra: Yeah, that’s one of the reasons about Carlos being a success. Of course, he’s got talent. But the fact that he had these two very powerful people behind him and helping him is what made his career in many ways. I wish I would have had that kind of help myself because Canned Heat was a very tragic band, and we have had always dark clouds above us.

Rock And Blues International: Well, you had Skip Taylor.

Fito De La Parra: Well, Skip Taylor is a good manager, but he just didn’t have the power that Bill Graham and Clive Davis had.

Rock And Blues International: Right, Right.

Fito De La Parra: You know, he’s a manager, he’s a great manager. But as I said, Clive Davis, you know, he’d run a whole company, CBS, and Bill Graham ran all the Fillmore’s, all that other stuff. I mean, they were more powerful and more influential.

Rock And Blues International: Well, one thing can be said is that you all made it on your own, you made it on your own talent. You didn’t have to rely on someone like that. It may have taken just a.... it may have taken a

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week or two longer for you, but you all did it on your own.

Fito De La Parra: Well, yeah, that is right. That is right. And I’m grateful for everything that has happened, even if we, you know, we had to suffer a lot of adversity and many difficult circumstances with the deaths of the guys and many other things that have happened. Some people just have a thing against us so for whatever reasons they find, and, but we have continued to keep the faith. Now, lately, especially this year, we just released this new record. And we’re getting a lot of acceptance, and a lot of offers. And I’m very happy about that.

Rock And Blues International: Well, what’s this? I read in the press kit for it? Where is it? “So is this the grand finale of a long lasting recording career of which Canned Heat say their goodbye to showbiz?” Let me tell you after listening to this album, you aren’t gonna go anywhere, you’re not going to quit.

Fito De La Parra: Oh, you know, we’re almost 80 years old. Well, Dale is already 82 years old, I am 78. So there’s going to have to be an ending sometime.

Rock And Blues International: Well, I’m six years younger than you.

Fito De La Parra: Well, you know that you’re a young guy still.

Rock And Blues International: But there may have to be an end someday, but it’s not evident in this recording.

Fito De La Parra: Well, you know, we call it the “Final Vinyl”, and that’s what we call it, but it’s not necessarily the final vinyl. We’ll see what happens. I mean, of course, right now, we don’t have any plans to make

another record. But since this record has gotten a lot of attention and acceptance, maybe, maybe possibly, we may try to do another one. Maybe next year. I don’t know. I cannot say.

Rock And Blues International: Well, even if you knew you wouldn’t tell me.

Fito De La Parra: No, if I knew I will tell you, I will tell. But I said it’s possible that we might consider doing something else. It’s just like, for example, my manager calls me a couple of days ago and says, you know, the people in Australia really want to see you guys again for next year. And I said, Okay, well next year, we don’t even know if we’re gonna be alive next year. That’s the way it is. I mean, it’s, it’s a tough situation. I mean, we are enjoying good health so far. But when you get to this age You’ll never know.

Rock And Blues International: Oh, don’t say that. I mean, I’m already in my 70s. And I’m planning on living another 120 years.

Fito De La Parra: Well, I say that because I’ve been losing so many friends, especially the past five years. It’s almost almost every week I get a notice, a friend of mine that has gone away, you know, has passed away. I come originally from Mexico City and I started my career there. I been playing for about seven years before I joined Canned Heat and I have friends on both sides of the border in both countries and in Europe, too. I mean, they keep dying. And it’s just terrible. All of a sudden I was thinking I have only one or two friends that actually knew Henry and Bob and Alan. Most of them are all dead and it’s very sad, but it’s just part of life, I guess.

Rock And Blues International: I know the same feeling. All my friends seem to be leaving for some reason.

Fito De La Parra: Yeah, yeah. Well, when you get to 70 is when a lot of the friends, the ones that were a little more frail, or they partied harder than you did. You know, they are the ones that go. It’s a tough thing. It’s a tough situation, but there is nothing we can do about it, accept it, that’s it.

Rock And Blues International: I’ll tell you the way I’m trying to combat this is everybody I’ve known that his retired, died. And so I’m not gonna retire.

Fito De La Parra: Right on. I’ll give you another one of my famous quotes. This is a Fito quote. I say musicians don’t retire. Musicians just die. And that is the truth. If you see all the musicians, everybody I have admired in my life like Gene Krupa, Buddy Rich, John Lee Hooker. You know, all these people, they play to their 70s or 80s, around that to the 70s. And then all of a sudden, they are gone. They die. So yeah, musicians don’t retire. And as you say, you don’t want to retire yourself. Why retire if you enjoy what you do? Music is very important in my life, and I love playing music. And, you know, that’s not what affects me, the music business is different, but the music itself, we love playing the music we still do even at this age.

Rock And Blues International: Well, it’s in your blood. I mean, without the music, you have no blood flowing through your veins.

Fito De La Parra: That’s right and music is so important in general. Music is very powerful, you know, all kinds of music. I mean, imagine a world without music.

Rock And Blues International: I just couldn’t even visualize that.

Fito De La Parra: Yeah, it will be horrible. Yeah. So, so that’s what I said about musicians because most of my friends that have died, including John Lee Hooker, for example, I played with him on his last night in Santa Rosa, California, one week before he died. The last two years of his life, I was playing with his band. Besides playing with Canned Heat, I played with Johnny Lee Hooker’s bands. And, you know, it was a privilege for me. And I knew he was very old and he was already on his way out. But man, he still loved to party, love to play, love to play the boogie. And there we were, we were together playing in Santa Rosa, just one week before he he died. He was 84 years old by the time.

Rock And Blues International: That’s a good run.

Fito De La Parra: He gave it a good run. And he was a wonderful person, a great musician. Very, very abstract. And very special. Very different than everybody else.

Rock And Blues International: Well, let me tell you with the new album now, it

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sounds just as fresh as “Living The Blues. This is a very fresh sounding album.

Fito De La Parra: That’s great. Thank you very much. I’m glad that you liked it. This particular lineup now is already about five years old. Bringing Jimmy Vivino into the band and the guys that are in it, I think it was a good idea. And the band is sounding really good. We’ve done with it three European tours last year. And we are booked to do another two European tours this year and some gigs in the US too, all over the US. Actually, I hope we play in Texas sometime soon because we haven’t played there in a long time. And I know Texas has some of the greatest blues players ever. And we also like to go and show the Texans that we can play Blues in California too.

Rock And Blues International: Well, I’m in Texas, and I would really like to see the band.

Fito De La Parra: I know, you’re in Houston too. You’re in Houston.

Rock And Blues International: Yeah, I’m in Houston too. So if you can’t get booked, you can come over to my house and play.

Fito De La Parra: I like Houston and that’s where we found... We found Albert Collins in Houston, in a place called the Ponderosa Club, a real little place with about 10 tables and there is the great Albert Collin’s playing there. And we said, Man, this guy’s here wasting himself playing this gate for no money and he’s so great. So we talked to him and we said, we want to bring you to California and sign you and get you a deal with United Artists.... ah, Liberty Records, was called, and we did. We brought him over and introduced him with Al Bennett and Al Bennett was the president of Liberty. And, you know, he got a couple of great record deals and that pushed his career up and made him more famous as he deserved. But I do remember that night in Houston. It was great. The Ponderosa Club in Houston, Texas.

Rock And Blues International: Yeah, the Ponderosa is long gone. And we still have a couple of really good blues clubs left.

Fito De La Parra: Oh yeah, Texas is the place where some of the great blues players come from and that label, the Duke label has some fantastic stuff from people from Texas.

Rock And Blues International: Right. Well, we had the Vaughan brothers.

Fito De La Parra: Of course. Well, Jimmy Vaughan is still around.

Rock And Blues International: Right. Jimmy Vaughan is still playing.

Rock And Blues International: Jimmy Vaughn is still around.

Fito De La Parra: And the last time we played in Texas, he came and sat in with us. It was great. It was great to play the boogie with him.

Rock And Blues International: Yeah, he’s been out playing with with Eric Clapton the last couple of years, opening up for Eric Clapton.

Fito De La Parra: Well, I like Jimmy more!

Rock And Blues International: I do too. I liked Eric in his earlier days when it was a little more rock, but he’s just really getting laid back now.

Fito De La Parra: I haven’t seen or heard from him. So his opinions I don’t agree with and I kind of, you know, I’ve never really been a fan of Eric Clapton, really. I, I always had the thing about Henry Vestine and Harvey Mandel, the two guitar players that we had in Canned Heat. I always thought they were equal or better than Eric Clapton.

Rock And Blues International: Harvey was phenomenal.

Fito De La Parra: Harvey is still phenomenal. Unfortunately, he’s been suffering from all this cancer. He’s been fighting cancer for the past 10 years or so and he has undergone several surgeries and a lot of pain and a lot of suffering, the poor guy, but he’s still a great guitar player. And not only that, we wanted to feature Harvey in our new album. But he was in the middle of some operations and he was not healthy enough to perform on the album. And that’s one of the reasons why we got Joe Bonamassa to come and sit in on that song. “So Sad”, which I think it was a good idea and I’m grateful to

Joe for coming over and putting down really good guitar parts in the song because that originally was going to be Harvey Mandel.

Rock And Blues International: Right, well, that song is great also.

Fito De La Parra: Yes, “So Sad”. You know, we recorded “So Sad” in 1970 on the “Future Blues” album.

Rock And Blues International: Right.

Fito De La Parra: And we have a new version of it. That’s why in the “Future Blue” album, it was featuring Harvey Mandel, but in this new version. As I said originally, we were going to bring Harvey but when I contacted him, he let us know that he was not able. He was in really bad shape. He was suffering and going through these operations and he told me he couldn’t even play his guitar, but later on he got better and I think he just released a new album. So I wish him a lot of luck.

Rock And Blues International: Well on “So Sad”, did Skip write the vocals because I know you wrote part of the song. Yeah, you wrote part of the song, Alan wrote part of the song, and Robert Hite wrote part of it.

Fito De La Parra: It was, it was you know, like we all put a little bit of it but I believe Skip, the lyrics are mainly his, uh, you know, if he claims that, I have to agree with him because I was there, but I don’t remember exactly who was writing the lyrics. You know, we were, we were all cooperating for the arrangement of the song. The song was very important because that was going to be our new boogie. We were already kind of getting tired of playing the same “Fried Hockey Boogie” every night for the last year or three years or so. And we wanted to find another song that was just as strong and with the same shuffle beat. And that was “So Sad”. That was a new boogie. According to Skip, Alan and Bob asked him to help with the lyrics. And that’s what he says. He says he wrote most of the lyrics of the song and I believe him. There is no reason why not. But as I said he was a

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joint effort.

Rock And Blues International: Right, right. Well, the lyrics are pretty simple, but there’s a whole lot of meaning to them.

Fito De La Parra: Of course, they say the state of the world, the world is in a tangle. That’s the way we used to call it. That was the subtitle of the song “So Sad - The World Is In A Tangle.” And you know, the way we look at the situation the world is in now, we figure that song applies now in times just as much as it did you know, 50 years ago.

Rock And Blues International: It’s just as good today as it was then that was “too much smoke, too much gas, too little green. And it’s all going bad”.

Fito De La Parra: That’s right. That’s right. You got it. You remember it!

Rock And Blues International: Oh, yeah.

Fito De La Parra: Great lyrics. Yeah. Yeah.

Rock And Blues International: The lyrics of that song are fantastic. Really.

Fito De La Parra: It’s a great, he had a lick, you know, it’s a boogie song and that’s why it was so important for us to work on it and make it great.

Rock And Blues International: Well, let’s get back to the new album. Tell me about the new album, what do you want the world to know about the new album here. From from

the opening bars of “One Last Boogie”, which is a really really rockin’ song to the to the closing notes on “There Goes That Train”, it’s just one great song after another. The “East West Boogie” that you do, the instrumental... fantastic!

Fito De La Parra: That was inspired by the TV show on Apple Music or Apple TV, I’m sorry, called “Tehran” and we were gonna call it the “Tehran Boogie”, but you know, with all this tension that has been going on in the Middle East. We were in Europe when we were about to release the record last year. And we started thinking, you know, some of my promoters in Europe and friends were telling us, there’s a lot of problems right now in the Middle East and there’s a lot of tension, and they’ve recommended us not to call the song “Tehran” again, “Tehran Boogie”. So we decided to call it the “East West Boogie”, that’s more appropriate because it has a boogie part. It has the Middle Eastern style thing that we mixed it with a funk beat. And then we added a boogie to it with Middle Eastern lyrics. I mean, lyric licks on the guitar. So it’s a very different thing. It’s not really our bag. And it was introduced to us by Dale, Dale Spalding, our harmonica player who is one of the greatest I think, very underrated, great harmonica player.

Rock And Blues International: The harp on this album is phenomenal.

Fito De La Parra: Yeah.

Rock And Blues International: I mean all the harmonica. He’s doing a hell of great job on it.

Fito De La Parra: Yeah, he learned that song from note by note from from the original, the original is played with a strange, Middle Eastern instrument it looks like like a small cello. They use those things with a ball in the back, is that’s the way it’s played originally. And so I guess Dale really liked it and he grabbed the harmonica and learned how to play it note by note. Then he brought it over and we rehearsed it. We rehearsed it a couple of times with Jimmy playing, also the same lick with a guitar. We even added a mandolin in the beginning and then we took it out and we added a acoustic guitar and we took it out too. And we decided just to leave it as it was. And that’s the one version that you hear. Of course, we also added Wally, on the percussion. We have a percussionist that also plays with me on it. It’s a very nice song. I liked it. I enjoyed playing it very much on the people are really loving it and people are accepting it and loving it. Because all of a sudden, you know, we’re playing a blues show, we play our hit records, and then we will give it this one right out of the blue. You know, they are not ready for it in the beginning, but then they start really liking it. And that’s good. It’s a great song. It’s a great instrumental.

Rock And Blues International: Well it clocks in at four minutes and nine seconds but I imagine it probably turns into 14 minutes and nine seconds when you start performing it live.

Fito De La Parra: When we play live, we stretch it a little bit. Like the last time we did a party to introduce our record, we did a record release party. We invited Wally and we invited Dave Alvin too and then we play like a lone drone part from the solo part before the second part of the “East West Boogie” happened and the people were going crazy about it, they really enjoyed it. So, yeah, no, it was great. And also, Dave Alvin with that song about “Blind Owl”, which I think is wonderful too.

Rock And Blues International: “Blind Owl” was good, a nice little tribute to the band, tribute to Alan.

Fito De La Parra: Yeah, I think he goes, I want to play the boogie for the Big Bear, and play the blues for the Blind Owl. Those are wonderful lyrics. It touched me very emotional. When he came in and sat in and start playing the song and singing those lyrics, it brought tears to my eyes. When he talks about the sequoia trees and what the odds are against it and then he talks about us and talks about the band, we’re coming to play the gig. And we know that the odds are against us, are stacked against us, but we’re coming to play anyway. That kind of approach and that kind of historical feeling. Dave Alvin really understood about Canned Heat. That affected me emotionally very much when we were doing it. Because it’s a second take we did, we rehearsed it right there on the studio, we run it one time. And then the second time, we just recorded it. And that’s how we like it, we like

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it to feel fresh. Most of our songs on that record first or second takes.

Rock And Blues International: You saved a lot of money in the studio.

Fito De La Parra: Well, I mean, it is also big for experience. We try many other approaches. Like if you go into the studio, and you play a song 30 times, and then all of a sudden, you’re looking for this perfection, right. And all of a sudden you go back and you listen to the first or second take, and you find out that it was better than all the other takes that you wasted your time doing. Because that’s what music is about. It has to have some kind of freshness and feeling. If you keep repeating the same song in the studio, hour after hour, and you’re playing it 10 times, 11 times, it becomes more mechanical.

Rock And Blues International: You overplay the song.

Fito De La Parra: You know, and that happens with any other song. I mean, you have to... John Lee Hooker used to call playing more than two things, he used to call it stupid shit. That’s what he used to say, That’s a stupid shit, you don’t need to play more than two takes on a song. Because the understanding is that if you know how to play your instrument, and you are aware of the arrangement, or you know the song, there is no reason to look for ruining the good by looking for the perfection. You see. And we discovered that by experience, by doing it ourselves. We we tried recording a song over and over again. And then as I said, we go back to the first or second takes, and we find out that it was a lot fresher and it feels a lot better than the other takes that become more and more mechanical and stiff as you play them more and more.

Rock And Blues International: Well, usually your first or second take is more exciting. After a while the song gets boring when you get to the 10th take but the first and second, it’s exciting.

Fito De La Parra: That’s right, the excitement, the freshness of it, the sound. You know, of course, if there is a technological problem of microphone that didn’t work or a broken string or something like that, sometimes things like that happened.If something like that happens, then of course we have to do the song once more. But we just do it and we feel good about it, even if it’s not perfect, we accept it and we tape it.

Rock And Blues International: Well, you’re not the only musician that likes to do

that. Frank Sinatra. He would come into the studio, the music would all be done. he’d sing a song one time, and then move to the next song.

Fito De La Parra: Well, there you go. He knew that stuff. We found out after trying many times ourselves. And I know there are many other bands that have gone through the same motions. You know, they’re trying to find the perfection of the best take on a song. And then all of a sudden you’ll discover that you’ve been wasting your time. If you had the first one, that was the best. Sometimes even the audition tapes that we did like for example, when we were working for Atlantic, we did some audition tapes for Tom Dowd. They came out actually better than the actual project. It’s amazing, sometimes as I say the freshness of the music and playing it when it’s fresh when it’s still, the feeling is still there, you see. And it’s not just not a thing about looking for perfection and looking for a mechanical way to approach it. That’s not it.

Rock And Blues International: Well, as I said, the beginning of this, the album sounds very fresh. I mean, it sounds very fresh.

Fito De La Parra: It is.

Rock And Blues International: Yeah, Jimmy Vivino brought in some great stuff on here. “On Last Boogie,” “Going To Heaven In A Pontiac.” I love that.

Fito De La Parra: I love that, I pushed that. You know, we almost didn’t use that song. And I kept pushing on it too. And I said, Man, that is a great song. We we tried it with the two singers with Dale and Jimmy singing it together. And then you know, then we decided to just write Jimmy do it and just rock with it. And I love the song. I love the lyrics. It’s a wonderful song. Jimmy Vivino has been a great addition to the band. I’m very happy with him.

Rock And Blues International: Jimmy must be the youngest guy in the band.

Fito De La Parra: Well maybe.

Rock And Blues International: I mean, he wrote the song “When You’re 69".

Fito De La Parra: Yeah. Well, he just turned 70, I believe is he’s up there. He’s up there with us. And his lyrics still are great on the “69 “song.

Rock And Blues International: Yes, they are. They’re fantastic. And then Dale Spalding brought in some really good things. “Tease Me”, “Independence Day”. “Independence Day” is a rocker.

Fito De La Parra: “You Tease Me” is actually my song. I did that. We did that a long, long time ago, in one of the last rehearsals we had with Alan and Bob. But we Alan, Dale, there was some resistance from the band to do the song. So I decided to share the song with Dale. But Dale was complaining about the lyrics. he couldn’t understand what Bob was saying and I didn’t remember really the lyrics of the song. So he got to fix it, and adapt new lyrics to it. And that’s why, you know, that’s what I decided to share that song with him. So, yeah, “You Tease Me” is a good song and it was a real Canned Heat song that we were going to do when Alan and Bob were alive. That was one of the last rehearsals with Alan, that I happen to record on my little reel to reel recording. That’s what the idea of “You Tease Me” came out.

Rock And Blues International: Well, no wonder it sounds so great. I mean, this album sounds like... you know, it sounds like it could be a fourth or fifth album of Canned Heat. I mean, it sounds. It sounds that good. There’s just a lot to it.

Fito De La Parra: That’s great. Thank you for thinking that way.

Rock And Blues International: When

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you look at this album, are there any, any moments in the recording of the album that you just kind of looked at the other members and just had flashbacks of the earlier, the earlier band?

Fito De La Parra: Well, as I said, the thing that affected me the most was playing the the “Blind Owl” song with Dave Alvin. We were all blown away where he starts playing this kind of mid tempo shuffle, which is one of our bags, one of our things. And then he starts singing about the Blind Owl, and then about the sequoias in California and all that stuff and the odds are stacked against us. That was a real heavy moment on that session when we did that “Blind Owl” song. So maybe the Blind Owl spirit was there with us. Rock And Blues International: Well, and you all weren’t even expecting him to come in with this song, were you?

Fito De La Parra: No, it was Dale’s idea. Yeah, we thought he was coming just to play some guitar. Because you know, he’s a great guitar player. I mean, just listen to the solo he plays on that song. That sounds like Henry Vestine. I mean, he sounds truly like a Canned Heat guy, you know. And like that was the idea, we were expecting to hear Dave Alvin to play some guitar in a song and we’ll figure it out when we get to the studio and we didn’t rehearse. We didn’t rehearse with him and he just came directly to the studio. When he comes in and he says, ‘Well, I have a little song for you guys.’ He says I wrote it for the Canned Heat. And I said, ‘Okay, well let’s hear it’, and that’s when he started singing, singing about the Blind Owl and the sequoias and all that. And I mean, like, I just “Wow”, I just fell back. And, and as I said, I’m not exaggerating, I have tears in my eyes when I heard that song for the first time.

Rock And Blues International: I’m not surprised, Alan was such a conservationist.

Fito De La Parra: Yeah, and Dave Alvin is too and that’s why he talks about the Sequoia, sequoia trees and how, even if the odds are stacked against it, the tree is still growing, and the Blind Owl still flies.

Rock And Blues International: Well you’re a band that has beat the odds. If things were stacked against you, you certainly didn’t let that get in your way.

Fito De La Parra: Well, I mean, it’s been, it’s been a tough, uphill battle most of the time. There’s been great times and a lot of fun and a lot of adventure. But there has been a lot of pain to evolve in the halls of the Canned Heat experience of the past 65 years.

Rock And Blues International: Well, when I was reading over one of the bios, one of the bios that was on the internet, I mean I’d known a lot about the band before, but when I was reading about the bios, the thing that

struck me is, this isn’t a history of the band. This is the adventures of the band.

Fito De La Parra: Have you read my book?

Rock And Blues International: Not yet?

Fito De La Parra: Well, I have a book out and it’s, I have a lot of stories there that you could probably enjoy.

Rock And Blues International: I’ll check that out, I saw it. I can order it from the website.

Fito De La Parra: On the website, or from Amazon, or Barnes and Noble or any of them. You know, I’m not bragging, but my book is really good, it’s really good.

Rock And Blues International: Well, if you don’t believe in your book, who else is going to?

Fito De La Parra: Well, you know, the book basically, I say is really good, but the main people responsible for it, were my cowriters. I am not a professional writer, I’m a professional drummer. But I am a good writer too. They like the way I say stories. And they used to.... this was friends of mine from way back. The two of them were professional journalists. Terry McGarry was the chief editor of the LA Times in the San Fernando Valley edition, and his wife Maureen worked for AP, for Associated Press, so they were both very experienced journalists. And they knew how to put a book together. And that’s how they... they interviewed me for six months, I went and they were recorded interviews for six months from the very beginning to the end. It was like, like going to psychotherapy in a way, you know, reliving all my life and all my experiences with Canned Heat, etc. Again, for them to be able to write about it. So I said the book came out really good and not only that, I’ve had a couple of offers to make a movie out of it. And one of them was from Mike Judge. I don’t know, you know who he is. He’s a famous director.

Rock And Blues International: Right, Mike Judge. Yes, I’m familiar with his work.

Fito De La Parra: “Beavis and Butthead.”

Rock And Blues International: Right.

Fito De La Parra: And “Idiocracy”. The other one Is “Office Space.” Man, he’s done some great movies. And he’s very famous to get very sensitive about it, because he’s a musician, too. Unfortunately, I signed a deal with Mike Judge to give him an option for five years. But then the pandemic came in, and that ruined the whole thing. The movie industry, the music industry, their whole thing

just went to a stop, full stop. So the project of making the movie about the book about Canned Heat didn’t happen. But there are other people that are interested right now, so it may still happen. It may still happen that the book will turn into a movie or a series.

Rock And Blues International: Never say never.

Fito De La Parra: Yeah, no, I never say never. I hope it happens. You know, before we go.

Rock And Blues International: Yeah. Now, when you writing the book, what did you discover about yourself?

Fito De La Parra: Well, one thing I had to do, I had to learn how to use computers. Because I didn’t know how to use a computer. And just keep in mind the book was written in the 90s. We finished the book in ’97. That’s when, that’s when Henry Vestine died. Now I could actually write another book with all the stories from ’97 to now, so much other stuff has happened. But that’s you know, that’s another story. Yeah, we did also... we added a few more things before Terry passed away. Terry, my co writer passed away a couple of years ago, but we added a few things and we did a new edition of what is known as The third edition of the book, and that’s the most complete one. You will enjoy it. You know a lot about the band but there are a lot of stories there that you will like, will make you laugh, and it will make you cry.

Rock And Blues International: Oh, yeah, I’m sure. I couldn’t believe some of the people that you’ve had in and out of the band over the years. Mark Andes in the band for what, two weeks, two months?

Fito De La Parra: Yeah. Mark Andes was a bass player from Canned Heat from some of the original lineups. Mark Andes and Stuart Brotman who was another bass player. That’s before Larry Taylor came in, before Larry Taylor and me. Larry Taylor and me, we came in like in 1967. Mark must have payed in ’66.

Rock And Blues International: Yeah, right. But before he went to back to the band he was in and then they changed their name to Spirit.

Fito De La Parra: Yeah, he played in Spirit and then he played with the girls. I don’t remember the....

Rock And Blues International: Heart.

Fito De La Parra: Yeah, he played with Heart.

Rock And Blues International: Yeah, that was during their glam period when they all had big hair and looked like models.

Fito De La Parra: Yeah, Mark must have been doing really good in those times. Is

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he still around? I don’t know where he is.

Rock And Blues International: He lives here in Texas.

Fito De La Parra: Oh, man. So if you ever talk to him and see him, just tell him I wish him well and I remember him. He was a very nice person. He was always a very polite and very nice person.

Rock And Blues International: Oh, yeah, he is. He’s very nice person. Last time I saw him he was a few years ago. He was trying to do a for a re-formation of a band called Fever Tree. Do you remember Fever Tree?

Fito De La Parra: Oh, yeah, of course. I remember Fever Tree. We played with them at the Kaleidoscope. Skip Taylor opened the kaleidoscope. You know, he used to own it.

Rock And Blues International: Well, they tried to put that back together again and it was the same original singer. Mark was playing bass, but it didn’t go all the way. But Mark from what I understand, Mark still in Texas, and I think he’s living somewhere near Austin.

Fito De La Parra: Oh, that’s great. That’s great. I’m glad that he’s alive. And he’s still working. See, as I said there’s another musician our age that is still working.

Rock And Blues International: And he still looks like a kid. I don’t know how he does it.

Fito De La Parra: I haven’t seen him but he always looked like a kid. Right. Yeah. Good looking guy. Yeah.

Rock And Blues International: Well, tell me about some other songs on here. Tell me about the recording as some of these, anything interesting happened that that my readers and my listeners should know about?

Fito De La Parra: Well, you know, we use a studio that if you went to see it, this is like a little garage with all this old stuff there. But the guy that runs the studio called Paul Degre, he’s a great engineer. He used to work for Ampex. And he knew he knows how to take apart all those machines. And now he’s using digital stuff, of course, but for many years, he had all the old equipment, you know, the 16 tracks and the two inch tape machines and all that. He’s very, very talented. And we have done already three records with him. We did the “Friends In The Can”, which was about 15 years ago, 16 years ago. That’s the last CD we did before the one now. And that was done with him too, with Paul. And so that’s one interesting story that the studio is not your typical fancy Hollywood studio, that you will imagine that you come into a big room with all these big boards and some of

those studios here have a jacuzzi and they have a special room and all that. This place of Paul’s is right in his house, you know, he’s got a room in his house. And somehow he rigged it and it’s just come out comes out really good. It is his talent, it’s mainly the person there, the human, not the equipment. And I the way he does it. I mean, I know that. I used to watch him taking the tape players apart and the boards and everything. He’s got incredible knowledge on recording. He’s a good engineer, and we have a good relationship. We’re friends, you know, after doing three projects with us, we already know each other pretty good. You know, he knows that I don’t like to play before 12 o’clock and things like that. Okay, I know Fito doesn’t want to get off too early because you see I live about two hours from his house. So you know, for me to be there at 10, I will have to get up at eight. That was too early, but he knew it. He knew where he will adapt. So that’s one of the nice things about that session, you know. It’s also reflecting on the record, you can hear it, you know, the freshness. We are all happy and the the engineer is really good, you know.

Rock And Blues International: Well you probably felt more comfortable there than in a lot of the studios you’d ever recorded in.

Fito De La Parra: Yes, I do. I feel in his house you know, as I said, it’s just a little room. But it just feels like being at home, you know, like like, the way we rehearse in my house. I have a music room in my house and we just feel very comfortable doing that. And that’s... it gets reflected later on the project, on the record.

Rock And Blues International: Well, tell me about some other songs on here. I’m really interested in every song on here but we probably don’t have enough time to talk about it. Are there any songs on here that really grab your heartstrings.

Fito De La Parra: Well, you know what, for example, that song “You’re The One”, the one that Dale wrote. He originally came to that song and he started singing it for me. And he was singing that morning like, country western song. And you know, I like country western, okay, but it is not our style. So I told him ‘Listen, we’re gonna have to do something to make this song a little harder.’ I said,’ Why don’t we do it more like an Elmore James song and approach it like that.’ So then we did it. Dale and I alone here we were just messing with it. So then we had a rehearsal with everybody, with Jimmy and with Rick and Jimmy grabbed that bottleneck and started playing that James, you know, Elmore James thing and it’s it felt really good, it felt that it worked out okay. Much better than the country western version he had originally, so that’s how we came up with this “You’re The One”. It’s getting air play already on this, getting acceptance. And they he also did another one called “Independence Day”,

which is more mellow. I’m playing brushes on it and we’re playing with more jazzy. you have to remember blues and jazz are together. Jazz and Blues are the two forms that pretty much complement each other. So we didn’t want in a jazzy place. The guitar solo in the beginning of the guitar solo he plays on some jazzy stuff like, you know, classical and so you know that was the two songs that Dale wrote and then of course towards the end of the record you will find “There Goes That Train” which is a rhythm and blues song, which you know we really love that. We love the original, it was Rollee McGill. It is our New Orleans song. We decided to do it just because we liked the song. We didn’t think it would be very popular, or very well accepted. But it came out good and to say goodbye and to finish the record with something mellow and a great, you know, well It talks about the girl leaving, going on that train, that was “There Goes That Train”, a song that we liked on the original Aladdin was almost like a tribute to the original. I don’t know what other song we can talk about. I guess that’s about it. We talked about Pontiac already, about Jimmy song and the two of Dale’s. That’s about it unless I forgot something.

Rock And Blues International: You’ve got “A Hot Ole Time” here.

Fito De La Parra: Oh, “A Hot Ole Time”. I forgot to talk to about that. That one really rocks. It’s a real good song. And it was written by Hollander. It was Sam Hollander who has had I think 10 Hit records or something. He’s a very, very popular songwriter. He actually writes mainly pop music, but a friend of ours, a friend of mine, a director named Lance, he’s a good friend of mine. He knows Sam good. He mentioned to him that Canned Heat was making a new record. And he said Well, I’m a fan of Canned Heat, so I’m gonna make a song for them. And that’s how he did “A Hot Ole Time”. “A Hot Ole Time” really rocks it’s a wonderful song and I’m grateful to Lance and to Sam Hollander for helping us out with that and bringing that song to the band.

Rock And Blues International: Great, great, you know, I think in bands, the drummer is somewhat you know, when they talk about who did what in the band, the drummer is kind of understated in most cases. So when someone brings in these songs to you, and you sit down at your drums and start playing, how much does the song change?

Fito De La Parra: Well, I do what I can, I usually, I usually take, you know, we take the song, and we play with it around, we play around and we try different approaches. I try to find a way that I can get to play the drums, but also play the song, not just play a beat, you have to play the song, you have to play adapted. This guy, David Evans, I don’t know if you know who he is. He’s a blues expert, musicologist friend of Alan Wilson. He also says that he says drummers that just play a beat is boring. He says drummers should play the song. And that’s what I tried to do. For

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example, when we started playing that “East West Boogie”, the original doesn’t have drums, it has just Eastern drums. It doesn’t have a drum kit with a bass drum and all that. So when we started playing it, I had to find a beat, that will marry with a song and will help the song. And that’s how we found that funk beat. I call it a 16th note because I’m playing 16th notes on the hi hat, and then the bass drum, so that’s basically how I approach it. We have to find a way to make the drum part also part of the song and not just a beat behind. We’re not dealing with computers or with techno, you know, when they do music, and in that kind of music. They just put a beat there. And they don’t care. It’s computers playing. That’s a totally different thing. That while we’re all here, we’re very human.

Rock And Blues International: Well, you have a great rhythm section here. I mean, what can I say. Richard Reed and you sound like you’ve been playing together for forever.

Fito De La Parra: Yeah, Richard is a good bass player. He goes way back from blues guys. He used to play with Paul Butterfield. He played with William Clark. And he has played with just about anybody that is anybody in the blues world. And before Larry Taylor died, we used to have a trio or a quartet, actually, with Rick playing the bass, Larry playing guitar. We had a keyboard player and myself. And we used to get together just to have fun. It was not a real band, to be professional, just we used to get together just to play music and have fun. And, and then, of course, Larry died. And I remember before he died, he would recommend that we keep Rick with us because he has a very good approach to blues music. You have to understand that when you’re playing blues music, you have to understand that is it’s simplicity. It is primitive. But it has a certain feeling, a certain primal feeling that not just anybody can play it. You can be a great virtuoso on the bass, but if you don’t know the idiom, and the approach for blues music, it’s not going to sound right. So Rick is not a virtuoso, but he understands the kind of music, that idiom. He knows when to play, what to play and that’s very important. And so that’s how we kept him after Larry passed away about five years ago, six years ago now. And that was really the beginning of the current lineup because Rick brought Jimmy Vivino into the band.

Rock And Blues International: Well, I’ll tell you without a good rhythm section, you have no band.

Fito De La Parra: I agree.

Rock And Blues International: I mean, I’ve seen some drummers that are just all over the place. I’ve seen bass players that can’t keep up with the drummer and vice versa and, but you two of you, you sound like you’re Siamese twins.

Fito De La Parra: Yeah, Larry recognized that we play good together. You know, we’ve been playing with other bands, too besides Canned Heat. We played with a swing band here in Ventura County. And we play with our Jamie Chu, who is a great harmonica player, local guys, local guys that live in my area. And Rick and I always play with them too. They usually hire us as a rhythm section.

Rock And Blues International: Right? Well, What haven’t we talked about that we should have talked about? What have I totally missed?

Fito De La Parra: I don’t know. I mean, you will have to read my book and then ask me more details about certain stories. One thing I do appreciate from you is that you didn’t ask me about Woodstock. About everybody I interview with always want to know my Woodstock story.

Rock And Blues International: Half the people I talked to that were at Woodstock don’t even remember being there. So they were on something. Everything was spiked everywhere around there.

Fito De La Parra: I know. I know. I remember. That’s why I always say I remember Woodstock because I didn’t take the brown acid.

Rock And Blues International: Yeah. Carlos said the neck of his guitar was moving like a snake.

Fito De La Parra: They were talking about the brown acid, you know, they got on the microphone. There is some bad acid out there. Don’t take it. It was a little too late. You know, most people already were wasted.

Rock And Blues International: I’ve heard mixed stories on it. The Who hated it. They just said the conditions were abominable.

Fito De La Parra: Well, I mean, conditions, there was no conditions, it was total chaos. But you have to see what it was. You know, we had a great time there. But we were not there that long. We were there. We showed up. We played our show and then we left a couple of hours later. That was it. But ya know, I mean, some people used to say, well, the musicians got water and got food and got all kinds of things. That’s not true. The situation backstage in Woodstock was just as chaotic as the situation up front. I mean, it was something they didn’t expect. They didn’t expect to have that many people. But it happened and it was like, there’s the greatest party we ever attended.

Rock And Blues International: Well, I’ve heard that from other people. And they

said just be you had to be careful of drinking anything or eating anything that someone handed to you because God knows what was in it.

Fito De La Parra: That’s true. Well, well the guys took acid before we arrived at Woodstock. They took us up on the helicopter. But not me, not me and Larry, Larry’s and me didn’t take acid. Alan did, Bob did, and Skip Taylor did. And then a funny thing when we were playing, I turn to my right. And I see Skip loaded on acid. signing the contract for the movie. Right there. As we play loaded on acid he signed a contract for one of the most important movies in our history. It was really funny to say like, I wonder what kind of a deal he’s making. I wonder if he can even read right now.

Rock And Blues International: Yeah. Oh, no. Well, it couldn’t have been that good. I mean, you got the song, but you didn’t perform it.

Fito De La Parra: Yeah, they took us out of the performance. And then of course, thanks to the director. The director said, You know what, I have to do a version. So now there is a director’s copy. And that is the good way. Yeah.

Rock And Blues International: Yeah. But what else haven’t I touched on that I should have hear about the album, the big things the album. I am just so excited that you’ve got a new album out. And you said, What is it seven years since the last one?

Fito De La Parra: Oh, no, no. 16 years.

Rock And Blues International: 16 years since the last one.

Fito De La Parra: Yeah. I mean, we didn’t think we were gonna make another album. This was kind of an accident. It just came as an idea all of a sudden and it popped out and then we decided, okay, let’s do it. You see the situation of recording and putting all this effort into recording and the investment of time and money and all that. Sometimes we fear, it’s not even worth it because once the social media gets a hold of the songs, they start selling them for free. And then you end up not making any money and actually losing. The situation with the music business and the music now has changed a lot and also as performers as musicians, were getting wasted. We’re getting ripped off all over the place and that’s the way it is I mean, I don’t know how it’s going to change because the technology is there. Now that there is the AI, the artificial intelligence. I really want to think about it. I don’t even want to think about computers making music and creating music that.

Rock And Blues International: It’s already been done and it’s bizarre. They can sample your voice and the computer can write a song and make it sounds just like you doing it.

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Fito De La Parra: I know that it’s terrible. I hope they don’t do it to us but they’ve been doing it to other people and I think... I mean there’s great things about technology, but there’s also terrible things about this new technological revolution.

Rock And Blues International: Well wait till it spreads higher into the films. Your hit star out there won’t even be alive. He’ll be a generated star.

Fito De La Parra: Yeah, no, that’s, that’s, that’s terrible. That’s terrible. That’s why I always tell my friends I feel so grateful and so lucky that I grew up in the era I grew up in. I mean, I love living in the 60s, coming to this great country in the mid 60s. It was one of the most wonderful experiences that I could go through. And going through the Love In’s and the renaissance in music that happened, all this musical revolution of the late 60s and early 70s and being part of that. That was like a dream. You know, it was a wonderful thing and many other things happening later. But as I said, I always feel grateful that I grew up in that area. And I don’t know what’s going to happen later.

Rock And Blues International: That was the years for me, the late 60s, early 70s. I tell you what, when it came to music back then, I think 1969 was a very pivotal year for music.

Fito De La Parra: Yeah, that’s the Woodstock year. And remember, not only Woodstock. Woodstock was the biggest festival that year, but we have to remember there was the Texas Pop Festival too, who was huge, and the Atlantic City Pop Festival, and the Atlanta Pop Festival, and then the Isle of Wight and the Bath Festival in England. I mean, there was another one, Standing Grounds in Holland. All over the world, they were having great music festivals. Of course, Woodstock was the one that was the most famous and the biggest. But the whole last two years. It’s 1969, 1970 were fantastic years for people getting together outdoors and enjoying music and and doing whatever we did.

Rock And Blues International: Clothing optional.

Fito De La Parra: Yes.

Rock And Blues International: Oh Wow. Well, this has been great talking with you about the new album. What is your big thing about the album? What do you really want people to know about the album out there? If you had to sum it up in one statement? What would that be?

Fito De La Parra: Well, I would like people to accept the Canned Heat as is. And to accept the Canned Heat as an American institution. That’s what we are, you know,

there are people out there, very few of them are there. So they still keep saying that there is no Canned Heat without Alan Wilson or without Bob Hite. If there is anyone in this world that loved and respected Alan and Bob is me, I knew them, I lived with them. I roomed with Alan. I was in the band with them you know, so I really, it really bothers me. I mean, it insults me when people try to take away validity of Canned Heat because the guys are not alive.

Rock And Blues International: If they heard down heard this album, they would be very proud of you.

Fito De La Parra: If Alan and Bob listened to this album, they will be proud of me and proud of the scape and everybody in the band. And as I said, that’s the only thing you asked me about what people should know about Canned Heat and I want that. I would love to be accepted and to see that I have continually kept the band going for 55 years after all this terrible circumstances and a lot of adversity and some of these people that you know that still criticize us and keep take validity away from the band, they say that there is no Canned Heat without Bob or Alan. They are wrong. They are wrong, they’re stupid. And as I said, if there is anything that I will appreciate is for people to accept us as we are now. And to understand that it has been a hard road it’s a hard uphill growth that we have suffered and gone through in order for us to accomplish what we have and I just hope they like the album and they buy it and they come to our shows, the last few shows that will be played.

Rock And Blues International: Well I think that’s great. Yeah, I think you’ve summed it up pretty well right there. And I certainly hope you make it here to Texas so I can see you because I very rarely get to leave the state if ever.

Fito De La Parra: Yeah, thank you very much. You know, I love Texas. I have a lot of friends there. I’m sure that once this album is out we’ll be getting some offers. We already booked those two European tours that we’re doing in June and July and we are possibly doing a caravan with other Ruf artists. They are most mostly blues people like Samantha Fish and some others. We may be playing in Texas. I don’t know. I don’t know what the routing is for this November thing, they are telling us that we are we possibly going to be traveling in November in the US.

Rock And Blues International: All right. Well, I hope to see you on the road. And like I said, you’re open to come by my house and play. I got a drum booth.

Fito De La Parra: That’s great.

Rock And Blues International: I’ve got my own little home studio here. I’ve got a

drum booth. I’m all set up for you.

Fito De La Parra: Okay, that’s great. Well, maybe we’ll get to see each other and meet in person.

Rock And Blues International: I hope so. Anyway, thank you so much for the time you spent with me, and I will do my best to let everybody know about this wonderful, wonderful new album that you have out.

Fito De La Parra: Well, thanks. Thanks. Thanks. Thank you for your interest and I wish you the best too.

Rock And Blues International: Okay, well, we’ll talk again.

Fito De La Parra: Take care, Kevin. Bye bye.

Rock And Blues International: Bye bye.

Well, there you have it, folks – our incredible interview with Fito De La Parra of Canned Heat. It was an absolute pleasure to sit down with Fito and dive deep into the making of their new album, “Finyl Vinyl,” set to be released in April 2024 by Ruf Records.

Throughout our conversation, Fito shared fascinating insights into the band’s creative process, the inspiration behind the eclectic mix of styles on the album, and the experience of collaborating with guest artists like Joe Bonamassa and Dave Alvin.

But our discussion wasn’t just about the present – we also took a wonderful journey through Canned Heat’s rich history. Fito regaled us with stories from the band’s early days in Los Angeles, their meteoric rise to fame in the late ’60s, and their unforgettable performance at Woodstock. We touched on the enduring legacy of founding members Alan “Blind Owl” Wilson and Bob “The Bear” Hite, and the impact they had on the band’s sound and style.

It was truly a joy to reminisce with Fito about Canned Heat’s incredible career, spanning nearly six decades and filled with countless triumphs, challenges, and transformations. Through it all, the band has remained a vital force in the world of blues rock, continually evolving while staying true to their roots.

As we wrapped up our conversation, one thing became clear: “Finyl Vinyl” may mark a new chapter for Canned Heat, but it’s certainly not the end of their story. With a packed tour schedule and an unquenchable passion for making music, Fito and his bandmates show no signs of slowing down as they approach their 60th anniversary.

On behalf of everyone here at Rock And Blues International, I’d like to extend our deepest gratitude to Fito De La Parra for being our guest today. It was an honor to share this time with him and to bring you this exclusive look into the world of Canned Heat.

To all the fans out there, be sure to pick up your copy of “Finyl Vinyl”, and keep an eye out for Canned Heat on tour. If this interview is any indication, the band has plenty more heat in store for us all.

The Fabulous Thunderbirds Mark 50th Anniversary with Star-Studded New Album

Listen to the first single “Payback Time” (featuring Billy Gibbons) at https://youtu.be/jRBCTe4kfW4

Pre-Order/Pre-Save the Album at https://stonyplainrecords.com/fabulousthunderbirds/

By Nathan Pugh

Legendary American band The Fabulous Thunderbirds are gearing up to celebrate an incredible milestone – their 50th anniversary. To commemorate this momentous occasion, the band is set to release their first studio album in eight years, “Struck Down,” on June 28th through Stony Plain Records. The album’s lead single, “Payback Time,” featuring the incomparable Billy Gibbons of ZZ Top, has already been released, giving fans a tantalizing taste of what’s to come.

Frontman Kim Wilson, the heart and soul of The Fabulous Thunderbirds, couldn’t be more thrilled with the new album. “I think Struck Down is my best album with The Fabulous Thunderbirds… by far,” he declared. The album features an impressive array of

special guests, each bringing their unique talents to the table. Bonnie Raitt, Taj Mahal, Keb’ Mo’, and Mick Fleetwood lend their skills to the album’s only cover song, a mesmerizing interpretation of Memphis Minnie’s “Nothing in Rambling.” Additional contributions come from the likes of Elvin Bishop, Terrance Simien, and Canadian blues guitar prodigy Steve Strongman, who co-wrote an impressive nine out of the album’s ten tracks with Kim Wilson.

The journey to create “Struck Down” began when Steve Strongman and Kim Wilson decided to collaborate on a trial basis to write songs together. Initially hesitant, Wilson was encouraged by Thunderbirds manager Glen Parrish to give the partnership a chance. The results were nothing short of extraordinary. During their first three-day session, Wilson and Strongman wrote five songs,

and in a second three-day session, they crafted an astonishing 12 more. The chemistry between the two was undeniable, and they ultimately wrote a total of 17 songs, carefully selecting nine originals and one cover for the final album.

Steve Strongman shared his thoughts on the experience, saying, “Working with Kim Wilson and the Thunderbirds was a very organic process. I snuck into a club to see Kim play with Mel Brown in Canada when I was 16 years old, so I have always held him in the highest regard. I could tell we had a mutual respect for each other after the initial writing sessions in California. The songs just seemed to flow naturally, we both had very open minds during the process, and there was great energy in the room while we wrote these songs. He is a true living legend, and it has been an incredible experience to co-write this record with Kim, and to produce this album with Kim and Glen Parrish.”

The recording sessions for “Struck Down” were nothing short of starstudded, with Wilson calling upon close friends and highly respected musicians to contribute their talents. The lead single, “Payback Time,” showcases the incredible musical rapport between Billy Gibbons’ guitar and Wilson’s harmonica. Wilson spoke highly of Gibbons, saying, “Billy is someone I talk to on a pretty regular basis. He is a dear friend, a great musician, and he knows how to make a record. It was really all him. Being the great musician that he is, he created that conversation.”

The cover of Memphis Minnie’s “Nothing in Rambling” is a testament to the deep admiration and respect Wilson has for his collaborators. “All of these people I have the utmost respect for,” said Wilson. “Taj Mahal was one of my very first influences. He is one of the reasons I started playing the harmonica. Bonnie Raitt and I have always been very close. I love what she does. I love her voice. I love Keb’s voice. And Mick was kind enough to put his performance on that track as well.”

Wilson also had high praise for the full-time members of The Fabulous Thunderbirds, acknowledging their role in pushing him to new creative heights. “The strength of this band has inspired

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L to R: Steve Kirsty, Johnny Moeller, Kim Wilson, Bob Welsh, Rudy Albin

The Fabulous Thunderbirds

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me to be more creative. This band really allows me to do anything I want to do: modern, traditional, anything in between. They are masters of it all.”

“Struck Down” was produced by the talented trio of Kim Wilson, Steve Strongman, and Glen Parrish. The album was recorded in New Jersey and Hamilton, Ontario, and mixed by renowned recording engineer Shelly Yakus, known for his work with music icons like John Lennon, U2, and Tom Petty. The final product was mastered by the highly skilled Greg Calbi and Steve Fallone, ensuring that every note and nuance is captured in the highest quality.

In addition to the explosive lead single “Payback Time,” the album is filled with standout tracks that showcase the band’s versatility and musical prowess. The opening track, “Struck Down By The Blues,” features the incredible guitar work of Steve Strongman, setting the tone for the rest of the album. “Don’t Make No Sense” brings a Cajun flavor to the mix, with Terrance Simien’s accordion adding a unique and captivating element to the song. Guitar legend Elvin Bishop lends his skills to “Whatcha Do To Me,” while the introspective and emotional “Sideline” serves as the perfect closing track, leaving listeners yearning for more.

The Fabulous Thunderbirds have been a driving force in the contemporary blues and blues rock scene since their formation in 1974. With classic albums like “T-Bird Rhythm” and the platinumselling “Tuff Enuff,” which spawned hits like the title track and “Wrap It Up,” the band has solidified their place in music history. Throughout their impressive career, The Fabulous Thunderbirds have received six Grammy Award nominations and more than 20 Blues Music Award nominations, cementing their status as true legends in the genre.

The current lineup of The Fabulous Thunderbirds is a powerhouse of talent, featuring Kim Wilson on vocals and harmonica, Johnny Moeller on guitar, Bob Welsh on keyboards and guitar, Rudy Albin on drums, and Steve Kirsty

on bass. The band continues to tour internationally, consistently selling out venues and headlining festivals. Their electrifying live performances and timeless music have earned them a devoted fan base that spans generations.

As Kim Wilson reflects on the band’s incredible 50-year journey and the release of “Struck Down,” his passion and drive remain as strong as ever. “I love the material, the performances, and the sound of the album,” he said. “And as for what’s next… I’m far from finished.”

“Struck Down” is more than just a new album; it’s a celebration of The Fabulous Thunderbirds’ enduring legacy and their unwavering commitment to pushing the boundaries of contemporary blues and blues rock. The star-studded collaborations, exceptional songwriting, and top-notch production make this album a must-listen for fans and music enthusiasts alike. As the band embarks on their 50th anniversary tour, there’s no doubt that The Fabulous Thunderbirds will continue to be a leading force in the world of blues, captivating audiences with their unparalleled musicianship and electrifying performances.

With five decades of incredible music under their belts and no signs of

slowing down, The Fabulous Thunderbirds are a testament to the power of passion, perseverance, and an unwavering dedication to one’s craft. “Struck Down” is a fitting tribute to the band’s remarkable journey and a promising glimpse into their future. As Kim Wilson and the rest of the band continue to create, inspire, and push the limits of what’s possible in the world of blues, fans can rest assured that The Fabulous Thunderbirds will remain a shining beacon in the music world for years to come.

Struck Down Track Listing

1. Struck Down By The Blues (featuring Steve Strongman), 3:41

2. Don’t Make No Sense (featuring Terrance Simien), 2:47

3. Payback Time (featuring Billy Gibbons), 3:35

4. Nothing in Rambling (featuring Bonnie Raitt, Keb’ Mo’, Taj Mahal & Mick Fleetwood), 3:55

5. Won’t Give Up, 3:35

6. The Hard Way, 4:06

7. Whatcha Do To Me (featuring Elvin Bishop), 3:09

8. I’ve Got Eyes, 4:07

9. That’s Cold, 2:18

10. Sideline, 4:03

Dimitris Loizos

By Troy Wilson

London-based Greek Blues-Rock guitarist, composer, and songwriter Dimitris Loizos has just released his latest single, “Make Up Your Mind,” on April 26th. The track offers a sneak peek into Dimitris’ highly anticipated EP, “Back to the Blues,” which is set to be released this summer.

“Make Up Your Mind” is a slow blues song that showcases Dimitris’ masterful guitar licks and heartfelt vocals. The lyrics delve into the complexities of navigating emotions within a relationship, telling a story of vulnerability, resilience, and the struggle to make a commitment while yearning for a deeper connection. The song emphasizes how Dimitris consistently turns to the blues to express his feelings, making it a powerful and relatable piece for listeners.

As the sole songwriter and producer of “Make Up Your Mind,” Dimitris Loizos demonstrates his multifaceted talents and dedication to his craft. He is joined by a talented group of musicians, including Petros Kaloritis on keys, Christos Pirris on bass, and Marco Rovinelli on drums, who contribute their skills to create a rich and dynamic sound. Antonis Konstantinidis expertly mixes the track, while Siopis Masters provides the mastering, ensuring a polished final product. Visual artist Jade Wheldon creates striking visuals to accompany the single, adding another layer of depth to the release.

Dimitris’ upcoming EP, “Back to the Blues,” promises to pay homage to his blues roots while incorporating modern twists that reflect his diverse musical influences and personal growth. The artist’s musical influences range from the soulful depths of BB King to the psychedelic echoes of Pink Floyd, and the smooth rock vibes of Dire Straits and Peter Green. These diverse inspirations have formed the foundation of Dimitris’ unique musical identity, which is a fusion of tradition, innovation, and artistic exploration.

Born and raised in Athens, Greece, Dimitris moved to London, England, in 2019, where he has been honing his skills as both a musician and a music producer. His discography includes an emotionally charged EP titled “Soul Searching” and three singles: “Her Song,” “I’ll Give You All I’ve Got,” and “Purple Candles.” These releases have collectively amassed over 500,000 streams on Spotify, a testament to Dimitris’ growing influence and popularity in the modern blues scene.

Beyond his musical endeavors, Dimitris Loizos has cultivated a strong online presence, engaging with a vibrant community of fans across various social media platforms. With an impressive 135,000 followers on Instagram, 110,000 on TikTok, and 10,000 on YouTube, Dimitris has created a space where he can share his music, connect with fans,

Visit his website to learn more: https://www.loizosdimitris.com/

Follow Dimitris Loizos on social media:

Instagram: https://www.instagram.com/dimitris_loiz

TikTok: https://www.tiktok.com/@dimitris_loiz

YouTube: https://www.youtube.com/c/DimitrisLoizos

Spotify:

https://open.spotify.com/artist/2X5DLfWm532qxKFh7fGpXP

and offer a behind-the-scenes look at his life as an artist. Through performance clips, personal updates, and engaging content, he has made his journey as a musician both relatable and accessible to fans around the world.

As the countdown to the release of “Back to the Blues” begins, Dimitris remains steadfast in his mission to inspire, uplift, and

entertain his audience. With “Make Up Your Mind” leading the charge, he invites listeners to embark on an unforgettable musical journey that celebrates the enduring power of the blues while pushing the boundaries of the genre. Fans can expect an EP that showcases Dimitris’ growth as an artist, his unwavering passion for his craft, and his ability to create music that resonates with listeners on a deep, emotional level.

Carmine Appice and Cactus Rock On with

“Temple of Blues,”

Featuring All-Star Guest Lineup

By Greg Fontaine

Cactus, the legendary American rock band known for their raw, heavy sound and uncompromising musical assault, is set to release their highly anticipated new album, “Temple of Blues – Influences & Friends,” on June 7 through Cleopatra Records. The album promises to be a monumental release, featuring a star-studded lineup of guest artists who have cited Cactus as a major influence on their own musical journeys.

Founded in 1970 by legendary drummer Carmine Appice and bassist Tim Bogert, Cactus has been a driving force in the world of hard rock for over five decades. Appice, who is also a founding member of Vanilla Fudge and has performed with countless rock icons including Rod Stewart, Jeff Beck, Ozzy Osbourne, and Pink Floyd, continues to lead the band with the same unrelenting energy and passion that earned them the title of “the American Led Zeppelin.”

The band’s formation came about when Appice and Bogert’s plans to form a group with Jeff Beck were derailed due to Beck’s serious automobile accident. Rising from the ashes of Vanilla Fudge, Cactus’s original lineup featured Appice, Bogert, former Mitch Ryder guitarist Jim McCarty, and singer Rusty Day from Ted Nugent’s Amboy Dukes. This powerhouse quartet released three classic albums – “Cactus” (1970), “One Way... or Another” (1971), and “Restrictions” (1971) – all of which charted in the Billboard Top 200 and continue to stand the test of time. The band’s fourth album, “‘Ot ‘N’ Sweaty,” released in 1972 without McCarty and Day, also made its mark on the charts.

Now, with “Temple of Blues –Influences & Friends,” Cactus is poised to once again shake the foundations of the rock world. The album showcases the current Cactus lineup – Appice, guitarist Artie Dillon, lead vocalist & harp player Jim Stapley, and bassist Jimmy Caputo – alongside an impressive array of guest musicians who represent the cream of the crop in the worlds of blues and rock.

The guest roster reads like a who’s who of rock royalty, featuring guitarists Joe Bonamassa, Ted Nugent, Pat Travers, Warren Hayes, Vernon Reid, Steve Stevens, Johnny A (The Yardbirds), and Ty Tabor (King’s X), as well as bassists Billy Sheehan (Mr. Big), Dug Pinnick (King’s X), Tony Franklin (The Firm, Blue Murder), Phil Soussan (Ozzy Osbourne, Billy Idol), Rudy Sarzo (Quiet Riot, Ozzy Osbourne), and Kenny Aaronson (ex-Joan Jett and The Yardbirds). Members of Government Mule, Vixen, Rainbow, Zebra, and Whitesnake also lend their talents to this momentous release.

One of the standout tracks on “Temple of Blues” is a blistering remake of the Howlin’ Wolf classic “Evil,” featuring guest vocals by none other than Twisted Sister’s Dee Snider. Another highlight is a powerful

rendition of Little Richard’s “Long Tall Sally,” with lead vocals by Appice’s Vanilla Fudge bandmate, Mark Stein. As a special bonus, the album includes a second version of “Guiltless Glider” featuring former Judas Priest vocalist, Ripper Owens, adding yet another layer of rock pedigree to this already impressive collection.

In addition to the all-star guest lineup, original Cactus guitarist Jim McCarty also makes a triumphant return on the album, further cementing the band’s connection to their roots and reinforcing the enduring legacy of their early years. “Temple of Blues” offers a fresh, modern take on some of Cactus’s most legendary songs, with the current band and guest artists bringing new life to these timeless heavy blues-rock classics.

Drummer Carmine Appice, whose influential playing style has inspired generations of drummers including Joey Kramer (Aerosmith), Neal Peart (Rush), Phil Collins (Genesis), Brian Taylor (Queen), and John Bonham (Led Zeppelin), expressed his enthusiasm for the new album: “The music of Cactus has always been steeped in the blues tradition. We kept hearing from so many of our music celebrity friends how much Cactus influenced them and how they would love to be a guest on a Cactus album. We wanted to revisit our best songs within a modern rock approach to traditional blues.”

Appice’s influential status in the drumming world is further underscored by his best-selling drum instruction book, “The Realistic Rock Drum Method,” first published in 1972 and later revised and republished as “The Ultimate Realistic Rock Drum Method.” His induction into the Classic Drummer Hall of Fame in 2013 and the Modern Drummer Hall of Fame in 2014 serves as a testament to his enduring impact on the art of rock drumming.

“Temple of Blues – Influences & Friends” will be available on digital platforms, CD, and as a double vinyl album, giving fans multiple ways to experience this monumental release. As Cactus continues to tour and record, their reputation as supreme masters of relentless hard rock remains as strong as ever. This new album is set to further cement their place in rock history, introducing their music to a new generation of fans while reminding longtime followers of the band’s unwavering commitment to their craft.

With an unparalleled combination of raw talent, musical prowess, and the support of an all-star cast of guest artists, Cactus is poised to once again take the rock world by storm with “Temple of Blues – Influences & Friends.” As the June 7 release date approaches, fans and critics alike eagerly await the opportunity to experience this landmark album, a testament to the enduring power and influence of one of America’s greatest rock bands.

Bees Deluxe Releases Captivating New Album “Hallucinate,” Showcasing Their Unique “Acid Blues” Sound

By Albert Schwartz

Boston-based band Bees Deluxe has just released their highly anticipated new album, “Hallucinate,” featuring ten all-original songs that showcase the band’s unique “acid blues” sound. The album, dedicated to a close friend of the band, includes an instrumental track by Carol Band called “How to Play 96 Tears,” serving as a touching homage.

Joseph Timmons of Indie Pulse Music praised the album, stating, “Listening to the album Hallucinate, I found similar tones and harmonies to artists like Roger Waters, Don Henley and groups like King Crimson and Steely Dan. Mesmerizing guitar work, precise percussions and vocals that are emotion-

ally touching.” He further added, “Hallucinate is one of those albums that come along very infrequently, a complete outline of musical genius, songs that have substance not only individually, but as an entire album, like one lone and complete song, no matter where you are in the album, it evolves and transforms into something grand and magical.”

What sets Bees Deluxe apart from other well-known Boston bands like Aerosmith, the Cars, and the Dropkick Murphys is their freedom to explore and push musical boundaries without being constrained by expectations, conventions, or fame. This creative liberty allows the band to create a truly unique and captivating sound that has garnered attention from music enthusiasts and

critics alike.

Fronting the band is Jamaica Plain resident Conrad Warre, whose musical style has been compared to the likes of Robert Cray, Frank Zappa, Willy Wonka, Walter Becker, and David Gilmour. This British-born musician has been writing, performing, recording, and releasing original “acid blues” music from his ground floor apartment near the Jamaicaway. Blues Blast Magazine praised Warre’s guitar playing, saying, “...what might happen if Freddie King took a lot of acid then wrote a song with Pat Metheny and asked a strung-out Stevie Ray Vaughan to take a solo.”

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Warre’s musical journey has been a fascinating one, having toured with the Joe Jackson Band, The Selector, The Specials, and The (English) Beat in his early days. After a disappointing experience with his own band’s management, Warre made the bold decision to walk to Heathrow Airport and take a plane to the United States, determined to forge his own path in the music industry.

Landing in New York, Warre formed a power-trio and auditioned for Hilly Krystal at the legendary CBGB’s, eventually working his way up to playing two sets a night on Saturday nights alongside musicians like H.R. of the Bad Brains and Living Color. Warre fondly remembers the venue, saying, “the onstage sound at CBGBs was better than most venues front-of-house sound!” This experience solidified Warre’s dedication to his craft and his desire to create music that pushes boundaries and captivates audiences.

After moving to Boston, Warre worked as a producer at Rykodisc, where he designed the distinctive green-tinted CD case and collaborated with iconic artists such as Frank Zappa, David Bowie, Yoko Ono, Elvis Costello, and Mickey Hart. These experiences further shaped Warre’s musical vision and provided him with invaluable insights into the industry. Determined to return to performing, Warre searched for compatible musicians in the Boston area, discovering Carol Band playing the grand piano at Ryles Jazz Club in Cambridge and recruiting Berklee drummer Paul Giovine from Framingham through a Craigslist ad requesting the next “Bernard Purdie.” With the addition of Joe Egan, a Hyde Park resident composer, keyboard player, engineer, and record producer, Bees Deluxe was born and ready to hit the road.

The band’s unique sound and dynamic live performances have earned them a dedicated following and critical acclaim. Their ability to seamlessly blend various genres and influences, from blues and rock to jazz and

psychedelia, creates a sonic experience that is both familiar and refreshingly innovative. The chemistry between the band members is undeniable, with each musician bringing their own unique talents and perspectives to the table.

The release of “Hallucinate” marks a significant milestone for Bees Deluxe, showcasing their growth as artists and their unwavering commitment to creating music that is both emotionally resonant and technically impressive. The album’s ten tracks take listeners on a journey through various moods and soundscapes, from the haunting and introspective to the energetic and uplifting.

The band recently performed at one of their favorite music venues, the Haymarket Lounge in Boston City Winery, on Saturday, May 25th, where they treated the audience to a mesmerizing set featuring songs from “Hallucinate” as well as fan favorites from their previous releases. The energy and passion that Bees Deluxe brings to their live performances is a testament to their dedication to their craft and their love for

connecting with their audience.

Upcoming shows include performances at Rock Harbor Brewery in Rockland, ME, Porch Southern Fare & Juke Joint in Medford, MA, Stanhope House in Stanhope, NJ (with Peter Veteska & Blues Train), and The Lizzie Rose Music Room in Tuckerton, NJ. These dates provide fans with the opportunity to experience the magic of Bees Deluxe live and to witness firsthand the incredible musicianship and creativity that has made them one of the most exciting and innovative bands in the Boston music scene.

With the release of “Hallucinate,” Bees Deluxe continues to push the boundaries of what is possible in the world of blues and rock music. Their unique blend of influences, exceptional musicianship, and thought-provoking songwriting has earned them a place among the most respected and admired bands in the genre. As they continue to tour and create new music, there is no doubt that Bees Deluxe will continue to captivate and inspire audiences for years to come.

By Nathan Pugh

Critically-acclaimed indie icon beabadoobee has thrilled fans with the announcement of her highly anticipated third studio album, “This Is How Tomorrow Moves,” set for release on August 16 via Dirty Hit. Alongside the album announcement, the talented artist has dropped her captivating new single and video, “Take A Bite,” offering a tantalizing glimpse into the forthcoming record.

“This Is How Tomorrow Moves” finds beabadoobee pushing herself to new creative heights, exploring uncharted territories of vulnerability in her storytelling and delving deeper into her relationship with herself. The album, a deeply self-assured collection of glorious pop and rock, marks a significant milestone in beabadoobee’s career, showcasing her artistic evolution and resilience.

Produced by the legendary Rick Rubin, “This Is How Tomorrow Moves” sees beabadoobee leaving the comfort of her bedroom studio for the iconic Shangri-La studio in Malibu. This shift in environment has undoubtedly influenced the album’s sound and aesthetic, elevating beabadoobee’s songwriting to new levels of sophistication and introspection.

The lead single, “Take A Bite,” is a perfect representation of the album’s themes and sonic palette. With its cascade of taut guitars and soft vocals, the track explores the desire for chaos despite the self-awareness of bringing past negative cycles into something new. The accompanying music video, directed by Jake Erland, is a cinematic masterpiece that blends the calm and the chaotic in a recurring dream sequence, featuring beabadoobee in stunning archival Stella McCartney.

Speaking about the new single, beabadoobee shares, “It’s me feeling introspective about my thoughts and unhealthy way of living. It’s finding comfort in a familiar place – finding comfort in chaos, because that’s what I know. So, I bring it into every aspect of my life, especially with relationships. And it’s just tapping into this part of my

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brain where I just jump straight to the most negative, most chaotic thought ever known to man and make that into my reality.”

“This Is How Tomorrow Moves” captures beabadoobee’s journey through confidence and introspection, with themes of self-acceptance and personal growth woven throughout. The album serves as a love letter to her younger self, acknowledging all that she’s been through while also taking the reins on the next stage of her life. “I love this album,” beabadoobee shares. “I feel like it’s helped me so much more than anything else has in navigating this new era, this new understanding of where I’m at. I guess it’s about becoming a woman.”

The artist’s growth is evident not only in her music but also in her introspection. “I think I’m more aware of my actions in these songs,” beabadoobee adds. “In my previous records, I would consistently sing about my reaction towards other people’s doings, like a blame game. But in this record, it’s accepting that there’s an inevitability of my fault in there too. Whether it’s childhood trauma or relationship issues, it takes two to tango in everything.”

Beabadoobee’s skyrocketing trajectory to indie pop stardom has been nothing short of remarkable. With widespread acclaim for her artistry, she has received BRIT Award and BBC Sound Of nominations, won NME’s 2020 Radar award, and amassed over 5 billion streams worldwide. This summer, she is set to debut new music on the UK’s biggest stages, headlining the New Music stage at BBC Radio 1’s Big Weekend, headlining the Radio 1 stage at Reading and Leeds, and serving as main support for Mitski at London’s All Points East festival. These high-profile performances follow her recent success as main support on the opening North American leg of Taylor Swift’s recordbreaking Eras Tour and the release of her well-received singles, including “the way things go,” “A Night To Remember” with Laufey, and the Top 40 hit “Glue Song.”

Facebook @ https://www.facebook.com/radvxz/ Twitter @ https://twitter.com/beabad00bee

Spotify @

https://open.spotify.com/artist/35l9BRT7MXmM8bv2WDQiyB

Apple Music @ https://music.apple.com/us/artist/beabadoobee/1307650474

Born in the Philippines and raised in London, Beatrice Laus, known as beabadoobee, has established herself as a British alt-pop icon. With two acclaimed albums and five diverse EPs under her belt, she has built a massive, dedicated Gen-Z fan base. Her highly anticipated debut album, “Fake It Flowers,” released in 2020, garnered widespread critical acclaim and debuted in the top 10 of the UK charts. The 2022 follow-up, “Beatopia,” is a fantastical yet deeply personal world that was formed in the imagination of a 7-year-old beabadoobee and has been carried with her ever since.

“Beatopia” debuted in the top 5 of the UK charts and was accompanied by beabadoobee’s biggest sold-out UK tour to date, a huge sold-out North America tour, as well as shows in Australia and Asia. The album’s success also led to

memorable performances on The Tonight Show Starring Jimmy Fallon and NPR’s Tiny Desk Concert. Receiving global praise for “Beatopia,” beabadoobee graced the covers of The Face, GQ Hype, UPROXX, and NME, solidifying her status as a rising star in the indie music scene.

With the upcoming release of “This Is How Tomorrow Moves” and the captivating lead single “Take A Bite,” beabadoobee continues to push the boundaries of her artistry, inviting fans to join her on a deeply personal and introspective journey. As she gears up for a summer filled with high-profile performances and the album’s highly anticipated release, beabadoobee proves once again why she is one of the most exciting and innovative voices in indie pop today.

Blues From The Top Music Festival Celebrates 22 Years of Elevating the Blues

By Albert Schwartz

Winter Park, Colorado - Music enthusiasts, mark your calendars for the highly anticipated 22nd Annual Blues from the Top Music Festival, set to take place from June 28 to June 30, 2024. Presented by the Grand County Blues Society, this grassroots festival has earned a reputation for showcasing some of the best national talent in the blues music industry.

This year’s lineup is nothing short of spectacular, featuring an eclectic mix of blues legends and rising stars. Headliners include Big Head Todd & The Monsters, Ben Harper & The Innocent Criminals, Eric Gales, Charlie Musselwhite, and Canned Heat. Other notable acts include the Ally Venable Band, GA-20, Tommy

Castro & Deanna Bogart, Taj Farrant, and Toronzo Cannon.

The festival takes place at the stunning Rendezvous Event Center, located at 78821 US Highway 40 in the heart of Winter Park, Colorado. The venue boasts breathtaking views of the Continental Divide, creating a truly unique and unforgettable experience for music lovers.

Since its inception in 2003, Blues From The Top has evolved into a true music event, attracting fans from all walks of life. The festival’s producers, along with a dedicated team of volunteers and the welcoming ski-town community, work tirelessly to create a utopian atmosphere where great music and positive vibes reign supreme.

For those looking to make the most of their festival experience, organizers encourage attendees to arrive early and stay late. On Thursday, June 27, the Rendezvous Event Center will host a special FREE concert featuring Dragondeer, starting at 6pm. The music continues nightly throughout the weekend, with various performances taking place in venues across Winter Park.

Tickets for the 22nd Annual Blues from the Top Music Festival are available now at BluesfromtheTop.org. Festivalgoers can choose between General Admission and V.I.P tickets, with prices increasing closer to the event date. Early bird tickets offer the best value, so don’t wait to secure your spot at this incredible celebration of blues music.

The Grand County Blues Society, a non-profit organization (501c3), has been a driving force behind the festival since its creation in 2002. In addition to producing twenty-one Blues Festivals and over two hundred and eighty-five individual blues concerts, the GCBS has been a pioneer in blues music education. School-age children across Grand County have benefited from the organization’s programs, which have provided them with opportunities to perform on festival stages and immerse themselves in the world of blues music.

One of the GCBS’s most notable initiatives is the Blue Star Connection (BSC) program. Now in its nineteenth year, BSC has supplied over ninety-two Children’s Hospitals with valuable collections of musical instruments for their music therapy departments. The program has also gifted over eight hundred individual children with personal instruments,

making a significant impact on the lives of those facing health challenges.

As you plan your visit to the 22nd Annual Blues from the Top Music Festival, be sure to explore all that Winter Park, Colorado, has to offer. This charming Rocky Mountain town, located just sixtyseven miles west of Denver, is trademarked as “Winter Park, Colorado Unfiltered” and offers a wide range of outdoor activities and scenic beauty.

Don’t miss this opportunity to #ElevateYourBlues at the 22nd Annual Blues from the Top Music Festival. For more information, visit BluesfromtheTop.org, GrandBlues.org, and BlueStarConnection.org. Follow @bluesfromthetop and @playwinterpark on social media for updates and behindthe-scenes glimpses of this incredible event.

Gulf Coast Records Signs

Singer Lara Price, Announces Release of “Half & Half” Album

By Greg Fontaine

Gulf Coast Records, under the leadership of president Mike Zito, has announced the signing of acclaimed blues and soul singer Lara Price and the upcoming release of her label debut album, “Half & Half,” on June 21st. The highly anticipated album will be available in both CD and vinyl formats, marking a significant milestone in Price’s already impressive career.

Lara Price, now based in Austin, Texas, has been captivating audiences with her soulful voice and electrifying performances for years. Her journey to the San Francisco Bay Area in 1997 marked the beginning of a remarkable musical odyssey that has seen her tour across the United States and China, fronting multiple bands and releasing seven critically acclaimed albums. Price’s sixth album, “I Mean Business,” earned her a Best Soul/Blues Female Artist nomination from the Blues Foundation in 2017, cementing her status as a force to be reckoned with in the soul blues arena.

The upcoming album, “Half & Half,” is a testament to Price’s versatility and her deep connection to the music scenes in both Texas and California. The title reflects the recording process, with sessions split between the two states and featuring an impressive lineup of 22 musicians across three studios. “Half & Half was a way for me to honor the San Francisco Bay Area music family, because without them I wouldn’t be able to keep up in this Austin music scene,” Price explained. “The other ‘half’ is a representation of what I have learned so far, as I have soaked up eight yearsworth of Austin music. I feel like I am JUST scratching the service as to what the Austin music scene is about and I look forward to putting that experience on my next album.”

In anticipation of the album’s release, Gulf Coast Records will be dropping two singles: “We’re Still Friends” (featuring Mike Zito) on May 17th and “Rain” on June 7th. These tracks promise to showcase Price’s powerful vocals and the depth of her

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songwriting, giving fans a tantalizing glimpse of what’s to come on “Half & Half.”

Mike Zito, president of Gulf Coast Records, expressed his enthusiasm for the label’s latest signing, stating, “Lara Price has been a fantastic artist for years. She’s so deserving of a national audience. Her voice is soulful and righteous and I expect our fans to fall in love with her.” Price reciprocated the sentiment, saying, “I don’t think words can express how excited I am to be joining the GCR family. The caliber of musicianship on this label is humbling, and I look forward to rising to the level. Thank you, GRC for the much needed wind in my sails. See you at the gig!”

Lara Price’s personal story is as compelling as her music. Abandoned at birth, she became a part of the controversial Operation Baby Lift, the mass evacuation of orphans from South Vietnam to the United States. Her survival and subsequent journey to becoming a celebrated musician is a testament to her resilience and determination. Critics have praised Price’s vocal prowess, with the San Francisco Chronicle noting, “The proof is in the performance. Price’s vocal instrument is as strong as it is sensual, confident in covering the breadth of material in her songbook.” The Boston Globe compared her to soul icons, stating, “Lara Price…combines Gladys Knight’s sophistication with Mavis Staple Grit.”

As fans eagerly await the release of “Half & Half,” there is no doubt that Lara Price is poised to make an even greater impact on the blues and soul music scene. With the support of Gulf Coast Records and the undeniable talent showcased on her upcoming album, Price is set to captivate audiences nationwide and solidify her position as

CD pre-orders now available at https://larapriceband.wixsite.com/music/category/all-products

Website: https://www.laraprice.com

Facebook: https://www.facebook.com/larapricemusic Instagram: https://www.instagram.com/larapriceband/

one of the most compelling voices in contemporary blues and soul.

The signing of Lara Price to Gulf Coast Records marks an exciting new chapter in the label’s history, as it continues to champion exceptional artists and bring their music to a wider audience. With “Half & Half,” Price not only pays homage to the musical communities that have shaped her career but also demonstrates her ability to push the boundaries of the genre and create a sound that is uniquely her own. As the album’s release date approaches, music lovers can look forward to a powerful and soul-stirring collection of songs that showcase the immense talent and heartfelt passion of this remarkable artist.

Song Titles

1We’re Still Friends - Mike Schermer, Felice Garcia

2Evidence - George Jackson, Raymond Moore

3Fools Like Me - Jack Clement, Peewee Maddux

4Things Ain’t Everything - Mike Schermer, Marcia Ball

5Rain - Lara Price, David Jimenez

6Days Ago - Lara Price, David Jimenez

7Solitude - Duke Ellington, Eddie DeLange, Irving Mills

8The Way Love Goes - Lara Price, Eric Harrison, Mike Ingber

9Trouble, Heartache, SadnessAnn Peebles, Don Bryant

10Heart On A String - George Jackson, Mickey Buckins

Love

Listen to the new single”Misanthropic Holiday or Vacation” here at https://dthw.sh/everyonewantssomethingbeautiful Pre-order the album here at https://dthw.sh/everyonewantssomethingbeautiful

LOVE LETTER ONLINE: Facebook at https://www.facebook.com/loveletterband Instagram at https://www.instagram.com/loveletterhq/

By Nathan Pugh

New England-based hardcore band Love Letter, formerly known as Death of a Nation, has announced the release of their highly anticipated debut album, “Everyone Wants Something Beautiful.”

The album is set to arrive on June 28 via Iodine Recordings and is available for pre-order now.

Love Letter features an all-star lineup of musicians from the New England hardcore scene, including Andrew Reitz (drums) and Jay Maas (guitars, backing vocals) of Defeater, Matthew Spence (guitar), Dave Alcan (bass), and Quinn Murphy (vocals) of Verse. The band’s collective experience and passion for creating honest and

powerful music are evident in every note and lyric of their upcoming release.

To give fans a taste of what’s to come, Love Letter has shared the first single from the album, “Misanthropic Holiday or Vacation.” The track is a powerful exploration of the struggles and

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Photo credit: Rob Bondurant

PHOTO CREDIT: Jessie Maas

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challenges of navigating mental health issues in modern society, blurring the lines between perseverance and begrudged surrender. The song’s cathartic release leaves listeners feeling both possessed and furious, making it impossible to remain seated by the time the final notes fade out.

Vocalist Quinn Murphy shares the deeply personal and relatable subject matter behind “Misanthropic Holiday or Vacation,” stating, “It’s about the confusing and (at times) humiliating experiences I’ve had navigating my mental health. Specifically, the quest for the right diagnosis(es) and proper medication/therapist with limited resources/understanding of the mental health care system when you have little to no income. Realizing the collateral damage and emotional pain I’ve caused others from ignoring my own trauma for years weighed heavily and still does.”

Murphy continues, “I have countless regrets and wake up everyday with a wave of shame washing over me, something that I still feel like I deserve regardless of how much work I’ve put in or how many times I’m told the goal is to let it go and love myself. I feel for anyone who grew up in an abusive, poverty-stricken environment that has had to face themselves, their trauma, and the trauma that typically gets regifted and passed onto others. At times it seems impossible to escape and statistically it is for a lot of folks.”

“Everyone Wants Something Beautiful” is an open window into insecurity and self-awareness, delving deep into generational trauma and its various forms. The album reflects the band members’ friendships, views, and shared musical journey over two decades, with every note and word carrying meaning and purpose. The musical vision for the record was to create a compelling backdrop for captivating and emotional storytelling, resulting in an honest, mature, and deeply personal work.

The ten-track album features songs that tackle various aspects of the human

experience, such as “New Anthemic,” “Wellness Checks and Dead Friends,” “Popular Memes,” “Unhousing Projects,” “Settlements,” “Meds & Taxes,” “Debilitating Self Doubt and The Will to Use It,” “Late Stage Harm Reduction,” and “Panic Disordinary.” Each track is a testament to the band’s commitment to crafting music that is honest, powerful, and reflective of their unique perspectives and experiences.

Guitarist Jay Maas, who has produced countless records for other bands at Getaway Recordings in Massachusetts, including Bane, Counterparts, and Title Fight, is back at the helm with Love Letter. “Having produced records for two decades now, I’ve had the chance to work with thousands of artists,” Maas says. “I’m grateful that this was my opportunity to pull together some of my favorite people who also happen to be extremely talented musicians.”

The band’s songwriting showcases a notable freedom, pushing the limits of where heartfelt, emotive, and heavy music can go. Matched by a charged live show, Love Letter is poised to turn heads

and capture the attention of fans of hardcore, post-hardcore, screamo, and beyond.

New England has always served as a breeding ground for some of the most passionate and heartfelt voices in hardcore, and Love Letter is the latest powerhouse to join this esteemed lineage. With their all-star lineup, powerful songwriting, and unwavering commitment to creating honest and meaningful music, Love Letter is set to make a lasting impact on the hardcore scene and beyond.

As the release date for “Everyone Wants Something Beautiful” approaches, anticipation continues to build for Love Letter’s debut album. Fans can pre-order the album now and prepare to be moved by the band’s raw, unapologetic, and deeply personal exploration of the human experience. Love Letter is ready to leave an indelible mark on the world of hardcore and beyond, and “Everyone Wants Something Beautiful” is just the beginning of their journey.

By Nathan Pugh

In a monumental collaboration that has set the music industry abuzz, Post Malone and Morgan Wallen have finally released their eagerly awaited single, “I Had Some Help.” The track, which is set to be featured on Post’s upcoming debut full-length country album later this year, has already made waves across multiple genres, impacting country, pop, and hot AC radio simultaneously. The single, released via Mercury Records/REPUBLIC in partnership with Big Loud Records, comes hot on the heels of the artists’ unforgettable performances at the Stagecoach Festival 2024 in Indio, California.

“I Had Some Help” is a testament to the incredible songwriting prowess of Post Malone, Morgan Wallen, and a team of talented collaborators, including Louis Bell, Ryan Vojtesak, Ashley Gorley, Ernest Keith Smith, Chandler Paul Walters, and Hoskins. The track was masterfully produced by the powerhouse trio of Louis Bell, Charlie Handsome, and Hoskins (Co-Producer), resulting in a sound that seamlessly blends the unique styles of both artists.

The release of “I Had Some Help” follows Post Malone and Morgan Wallen’s landmark sets at Stagecoach Festival 2024. On Saturday, Post delivered a groundbreaking performance, his first-ever at the festival, which featured a lineup of captivating country covers and surprise appearances by superstar guests Brad Paisley, Sara Evans, and Dwight Yoakam. The standout set left the audience in awe and solidified Post’s versatility as an artist.

Not to be outdone, Morgan Wallen took the stage on Sunday, and in a moment that will surely go down in Stagecoach history, he welcomed

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Post Malone to join him for the live debut of “I Had Some Help.” The sold-out crowd erupted with excitement as the two artists shared the stage, their undeniable chemistry and shared passion for music shining through in every note.

Post Malone, a 9x diamondcertified GRAMMY® Awardnominated phenomenon from Dallas, Texas, has consistently pushed the boundaries of genre and expectations throughout his career. With a string of chart-topping hits, multi-platinum certifications, and record-breaking achievements, Post has solidified his position as one of the most influential artists of his generation. His fourth full-length offering, “Twelve Carat Toothache,” released in 2022, marked his fourth consecutive Top 5 debut on the Billboard Top 200 and paved the way for his biggest headlining tour to date, The Twelve Carat Toothache Tour.

Morgan Wallen, an 11-time 2023 Billboard Music Awardswinner and Top Male Artist, has taken the music world by storm with his undeniable talent and charttopping releases. His third studio album, “One Thing At A Time,” released in 2023, showcased Wallen’s immense popularity and staying power, with The New York Times dubbing him “one of the biggest stars in pop, period.” The album’s lead single, “Last Night,” has amassed over 1.5 billion streams globally, becoming the most-streamed song of any genre in the U.S. across Apple Music and Spotify, and holding the record for the longest-running No. 1

solo song in Hot 100 history.

The collaboration between Post Malone and Morgan Wallen on “I Had Some Help” represents a significant moment in both artists’ careers, as they continue to break down barriers and explore new musical territories. The single’s immediate impact across multiple radio formats is a testament to the song’s universal appeal and the undeniable star power of its creators.

Fans can look forward to experiencing the magic of “I Had Some Help” live, as both Post Malone and Morgan Wallen continue their respective tours. Wallen’s One Night At A Time World Tour, which played to over 2.4 million fans across 5 countries and 3 continents in 2023, has already been named a Pollstar and Billboard Country Tour of the Year. The 2024 leg of the tour, which resumed in April, will see Wallen

perform an additional 29 shows, 24 of which are stadium plays. In a heartfelt gesture, Wallen donates $3 from every ticket sold to his Morgan Wallen Foundation, further cementing his commitment to making a positive impact through his music.

As “I Had Some Help” continues to dominate the airwaves and capture the hearts of listeners worldwide, it is clear that Post Malone and Morgan Wallen have created something truly special. The single not only showcases their individual talents but also highlights the power of collaboration and the magic that can happen when two artists at the top of their game come together. With Post’s highly anticipated country album on the horizon and Wallen’s continued dominance of the music scene, fans can expect even more groundbreaking releases and unforgettable performances from these two iconic artists in the future.

Robert Jon & The Wreck Unveil Heartfelt Anthem

Album

By Albert Schwartz

In a world that often seems filled with discord and strife, Robert Jon & The Wreck are here to remind us of the transformative power of love and compassion. The Southern rock trailblazers have just released “Give Love,” the latest single from their highly anticipated album, ‘Red Moon Rising,’ due out on June 28th via Joe Bonamassa’s Journeyman Records. This uplifting track showcases the band’s versatility and their unwavering commitment to spreading positivity through their music.

“Give Love” marks a departure from the band’s signature rock-driven sound, instead offering a refreshing blend of soaring piano melodies and powerful vocals that deliver a message of universal love and understanding. The song’s heartfelt lyrics and emotive musicality create an atmosphere of hope and unity, reminding listeners of the importance of empathy and kindness in an often divided world.

Frontman Robert Jon shares the inspiration behind the track, stating, “‘Give Love’ is a song with a simple message, yet it’s hard to truly understand and practice.” Co-written with renowned songwriter Tom Hambridge, the song has been a staple in the band’s creative sessions for years, and now it finally comes to life, ready to resonate with audiences around the globe. “This song makes you feel what it means to,” adds Robert Jon. “We could all use a little more love in the world.”

The release of “Give Love” follows on the heels of the band’s introspective ballad “Worried Mind,” which garnered widespread acclaim and further solidified Robert Jon & The Wreck’s position as one of the most exciting and dynamic acts in the Southern rock scene. With each new release, the band continues to push the boundaries of the genre, infusing their music with a level of emotional depth and authenticity that sets them apart from their contemporaries.

As Robert Jon & The Wreck gear up for the release of ‘Red Moon Rising’ and their extensive 2024 tour, fans can expect to be treated to a musical journey that showcases the band’s evolving sound and their unparalleled ability to connect with audiences on a profound level. From

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intimate venues to major international festivals, the band’s electrifying live performances have become the stuff of legend, leaving audiences spellbound and craving more.

The partnership between Robert Jon & The Wreck and Journeyman Records has been instrumental in facilitating the band’s creative growth and ensuring that their music reaches the widest possible audience. With each release, Journeyman Records reaffirms its commitment to showcasing exceptional talent and providing a platform for artists who are pushing the boundaries of their respective genres.

Since their formation in 2011, Robert Jon & The Wreck have been on a mission to redefine the Southern rock sound, infusing it with their own unique style and personality. The band’s lineup, consisting of Robert Jon Burrison on lead vocals and guitar, Andrew Espantman on drums and vocals, Henry James Schneekluth on lead guitar and vocals, Warren Murrel on bass, and the recent addition of Jake Abernathie on keyboards, has developed an undeniable synergy that shines through in every performance.

As ‘Red Moon Rising’ approaches its June 28th release date, Robert Jon & The Wreck invite both longtime fans and new listeners to join them on this thrilling musical journey. The album promises to be a celebration of the band’s ongoing evolution and their unwavering dedication to the spirit of rock ‘n’ roll.

“Give Love” serves as a powerful reminder of the importance of compassion and understanding in a world that often feels divided. With its uplifting melodies and heartfelt lyrics, the song is sure to become an anthem for those seeking to spread love and positivity in their communities and beyond.

As Robert Jon & The Wreck continue to make their mark on the music world, it’s clear that their message of unity

and hope is more important than ever. With ‘Red Moon Rising’ on the horizon and a tour that will see them bring their electrifying live show to audiences around the globe, the band is poised to make an even greater impact in the months and years to come.

So, let us all take a moment to embrace the message of “Give Love” and allow the transformative power of music to bring us closer together. With Robert Jon & The Wreck leading the charge, the future of Southern rock looks brighter than ever, and the world can look forward to a little more love and understanding, one song at a time.

Red Moon Rising by Robert Jon & The Wreck

1. Stone Cold Killer

2. Trouble

3. Ballad Of A Broken Hearted Man

4. Red Moon Rising

5. Dragging Me Down

6. Hold On

7. Down No More

8. Help Yourself

9. Worried Mind

10. Give Love

11. Rager (CD Bonus Track)

12. Hate To See You Go (CD Bonus Track)

VINYL TRACK LISTING:

Side A

1. Stone Cold Killer

2. Trouble

3. Ballad Of A Broken Hearted Man

4. Red Moon Rising

5. Dragging Me Down

Side B

1. Hold On

2. Down No More

3. Help Yourself

4. Worried Mind

5. Give Love

2024

US TOUR

Saturday, June 1sr - Rhythm Room - Phoenix, AZ

Friday, June 7th - The Coach House - San Juan Capistrano, CA

Friday, June 14th - WC Handy Blues & Barbecue Fest - Henderson, KY

Tuesday, July 30th - Jergel’s Rhythm Grille - Warrendale, PA

Tuesday, July 31st - Don’t Tell Shirlee Concert at The Pines - Sherman, NY

Saturday, August 3rd - The Iridium - New York, NY

Sunday, August 4th - Daryl’s House - Pawling, NY

Monday, August 5th - Jimmy’s Jazz & Blues Club - Portsmouth, NH

Wednesday, August 7th - Beachland Ballroom - Cleveland, OH

Thursday, August 8th - Magic Bag - Ferndale, MI

Friday, August 9th - Smoke & Irons Music Festival - Bartlett, IL

Saturday, August 10th - Old Rock House - St Louis, MO

Sunday, August 11th - Knuckleheads - Kansas City, MO

Tuesday, August 13th - Bourbon Theatre - Lincoln, NE

Wednesday, August 14th – xBk Live – Des Moines, IA

Thursday, August 15th - 7th St Entry - Minneapolis, MN

Friday, August 16th - Summer Sounds - Cedarburg, WI

Saturday, August 17th - Big Bull Falls Festival - Wausau, WI

Friday, September 8th - Big Bender Blues Festival - Las Vegas, NV

Friday, September 14th - Telluride, CO - Telluride Blues & Brews Festival

Saturday, September 15th - Telluride, CO - Telluride Blues & Brews Festival

Friday, September 20th - Bourbon & Beyond 2024 - Louisville, KY

photo credit: Rob Bondurant

Kevan Caldwell

By Troy Wilson

New Orleans-based musician Kevan Caldwell, formerly of Rise Above alumni The Planchettes, is set to make waves in the music industry with his transformative solo project, Caldwell. With music flowing through his veins and an insatiable desire to share his wildest and most imaginative ideas with the world, Caldwell is poised to release his debut album in 2024, marking a new chapter in his creative journey.

Born from the aftermath of a global pandemic, Caldwell’s self-titled debut is a labor of love that showcases the artist’s unique songwriting and devotion to the pop-psych ethos of the late ’60s. Drawing from his extensive involvement in various noisy and melodic endeavors, Kevan’s idiosyncratic aesthetic speaks to his lifelong love of wondrous sounds.

Raised in a musical environment, Kevan’s earliest memories are filled with the sounds of his father playing bass guitar along to The Meters’ “Sissy Strut.” This early exposure to music ignited a passion that led him to gravitate towards the guitar at a young age. From playing in punk bands to taking complete creative control over his first band, Ozzy & The Bobos, Kevan’s musical journey has been one of exploration and growth.

At the age of 18, Kevan embarked on a cross-country adventure, traveling from his hometown of Lakeland, Florida, to various cities across the United States. Armed with his Toyota Camry and a guitar, he played on street corners for gas money, food, and lodging, honing his skills and absorbing the diverse musical influences he encountered along the way. After spending a few years in New York City playing in several bands, Kevan eventually made his way to New Orleans, where he continued to thrive in the city’s vibrant music scene.

It was in New Orleans that Kevan joined forces with like-minded musicians to form The Planchettes. The band’s self-titled debut album, released in 2019 to widespread acclaim, offered a glimpse into the eclectic mix of influences that would shape Kevan’s future solo work, from rockabilly and swampdwelling blues rock to ’60s garage psych and primitive post-punk.

However, the onset of the COVID-19 pandemic brought about a period of introspection and transformation for Kevan. In search of a lighter, brighter sound in the wake of the global crisis, he found himself drawn to the idea of creating music that was both tongue-incheek and deeply personal. Thus, Caldwell was born, giving Kevan the push he needed to reconnect with his love for music and embark on a new creative path.

The result is an eight-song journey through the mind of a music obsessive with ideas to burn. Caldwell’s debut album is a paean to the past and a quietly subversive contribution to the future, offering a deftly evolved psychedelia that draws from decades of sonic mischief and is rendered in the bright, warm colors of garage rock and baroque pop.

Kevan Caldwell Unveils

Captivating Solo Project, Caldwell, with Debut Album Set for Release in 2024

From the lissom, wah-wah grooves of opener “No Flowers Today” to the breezy, acoustic-led pop idealism of “Love Confessions,” and from the lysergic nursery rhyme strut of “Picturesque Self Portrait” to the twinkly-eyed, Byrds-tinged stroll of “Garden Gnome,” Caldwell’s debut is an album full of love, life, and vibrancy. The simplest of musical ideas are fleshed out into something brave and beautiful, showcasing Kevan’s masterful ability to pair sentimental storytelling with surprisingly complex musical backdrops.

As the first release on Rise Above Records boss Lee Dorrian’s new Pop Claw imprint, Caldwell eschews the modern age’s sterile sonic values in favor of a rich blend of nostalgia and ingenuity. With all instruments played by Kevan himself, the album offers a tantalizing glimpse into an endearingly authentic musical world with no limits beyond the need for big, bright-eyed tunes that seem to have been plucked from the ageless ether.

Kevan’s passion for analog recording techniques is evident throughout the album, although he admits to embracing a mix of digital and analog elements out of necessity. The result is a sound that is both familiar and fresh, with Kevan’s ’80s Soundcraft 200b desk adding a distinct flavor to the mix.

The songs on Caldwell’s debut are full of odd characters and peculiar tales, born from a fascination with the human condition and the mysteries that make the world go round. From the self-explanatory “Lonely Lad” to the illuminated apocrypha of “Theodore Sullivan,” these songs offer a unique blend of autobiographical elements and fictional narratives, creating a storybook-like experience for the listener.

As Kevan prepares to share his solo project with the world, he is already looking towards the future. With plans to assemble a band and take Caldwell on the road, he is eager to see how the project will evolve naturally with the addition of more musicians. The prospect of traveling and gathering new material for future releases is an exciting one, and Kevan’s openness to the unexpected promises to keep fans on their toes.

With the release of Caldwell’s debut album on the horizon, music lovers can look forward to a fresh, fascinating, and fun addition to the musical landscape. In an era when conformity often reigns supreme, Kevan Caldwell offers a quirky and nourishing alternative, with songs that come vividly alive whenever they are played. As the past, present, and future collide in Caldwell’s music, the fallout is sure to be mesmerizing, and the journey is only just beginning.

German Metalcore Band

RISING INSANE Unveils

Watch the Music Video For Burn Here At https://youtu.be/cFkwytMuoUU

The new track follows previous singles “Reign” and “Malicious” and is accompanied by a new music video. New Album, Wildfires, out August 23, 2024 on Long Branch Records

Pre-Order Here At https://store.spv.de/collections/rising-insane-1

Watch The Video For “Reign” Here At https://youtu.be/A1XsEwUvpLQ

Watch The Video For “Malicious” Here At https://youtu.be/FWb2cyUisLw

RISING INSANE online: FACEBOOK @ https://www.facebook.com/ INSTAGRAM @ https://www.instagram.com/rising_insane/ WEBSITE @ https://risinginsane.de/ TIK TOK @ https://www.tiktok.com/@rising_insane

By Troy Wilson

German metalcore powerhouse RISING INSANE has just released their latest single, “Burn,” the third track from their highly anticipated fourth studio album, “Wildfires,” set to be released on August 23, 2024, via Long Branch Records. The new single, accompanied by a captivating music video, follows the previously released tracks “Reign” and “Malicious,” further showcasing the band’s evolution and growth.

“Wildfires” promises to be a thought-provoking and introspective album, delving into the consequences of our collective lack of empathy and urging listeners to ignite their inner flame for change. The album serves as an urgent call to break free from the darkness and embrace positivity. While staying true to their post-hardcore and metalcore roots, RISING INSANE has refined their sound, reflecting their personal and collective growth.

Singer Aaron Steineker shares the story behind the creation of “Burn,” revealing that it was the last song written for the album. “We were somehow still missing a song with that certain something that you could start a show with,” Steineker explains. “I can still remember the situation: I was getting dressed when the idea for ‘Burn’ popped into my head out of nowhere. I had to sprint upstairs to my cell phone before the idea got lost again and then made a three-minute video explaining the entire song to myself so that none of it would be forgotten. Within 2 hours, Sven and I finished the instrumental, and after another day I recorded the vocals. It was by far the most fluid songwriting process we’ve ever had and we can’t wait to open our shows with that song.”

Reflecting on the themes and inspiration behind “Wildfires,” Steineker shares his thoughts on the current state of

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Photo Credit: Eric Van Dyke

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the world. “Over the last two years, I have felt that there is a huge source of strife lurking around every corner. All we have to do is pick up our cell phone and we’re immediately thrown into a hatefilled sea of conflict, there’s so much hate everywhere. You get the feeling that the world around us is on fire when you add war, global warming, inflation, and depression to the mix. That’s how this album got the title ‘Wildfires.’ Each song on the album is about a specific trouble spot, themes, and stories that have weighed on me while writing. Our goal is to create awareness through our music of how much we burden ourselves and each other instead of focusing on things that connect us and create positivity.”

RISING INSANE has been making waves in the metalcore scene, amassing over 20 million streams worldwide and securing top placements on influential playlists such as Kickass Metal, New Core, and All New Metal. With a strong backing of numerous tour dates, 2024 is shaping up to be a pivotal year for the band.

The five-piece band consists of a talented lineup of musicians, each bringing their unique skills and passion to the forefront. Aaron Steineker, the band’s powerful vocalist, delivers raw and emotionally charged performances that resonate with fans. Sven Polizuk and Florian Köchy, the band’s skilled guitarists, create a dynamic and heavy soundscape that defines RISING INSANE’s signature sound. Ulf Hedenkamp, the band’s bassist, provides a solid foundation and adds depth to the band’s compositions. Rounding out the lineup is Robert Kühling, the band’s drummer, whose precise and energetic

playing drives the band’s intense rhythms.

Together, these five musicians have forged a strong bond and a shared vision for RISING INSANE’s music. Their dedication to their craft and their ability to connect with fans through their honest and thought-provoking lyrics have earned them a loyal following and critical acclaim.

As RISING INSANE gears up for the release of “Wildfires” and the subsequent tour dates, fans can expect an even more refined and powerful sound from the band. With “Burn” serving as a tantalizing preview of what’s to come, it’s clear that RISING INSANE is poised to make a significant impact on the metalcore scene in 2024 and beyond.

The release of “Wildfires” marks a new chapter in RISING INSANE’s already impressive career, showcasing their growth as musicians and their unwavering commitment to creating meaningful and impactful music. As they

continue to push boundaries and challenge listeners to confront the issues that plague our world, RISING INSANE solidifies their position as one of the most exciting and influential bands in the metalcore genre.

With their powerful sound, thought-provoking lyrics, and electrifying live performances, RISING INSANE is a band that demands attention and refuses to be ignored. As they prepare to unleash “Wildfires” upon the world, it’s clear that this is just the beginning of an even more exciting and transformative journey for the band and their fans.

Wildfires Track List:

1 Reign

2 Monster

3 Lighthouse

4 Malicious

5 Bet On Me

6 Warning

7 Counting Regrets (Interlude)

8 Carousel

9 Burn

10 The Door

11 Wildfires

Photo Credit: Michael Schmelling

By Albert Schwartz

The original Queens of Metal, Kittie, have finally broken their silence and announced their highly-anticipated new studio album, “Fire,” set for release on Friday, June 21st, 2024, via Sumerian Records. This marks the band’s first fulllength release in over 13 years, and fans are buzzing with excitement. To herald this momentous news, Kittie has dropped a brand new single, “Vultures,” accompanied by an official music video featuring electrifying live footage from their recent main stage performance at the Sick New World festival in Las Vegas on April 27th.

Speaking about the album announcement and their latest single, Kittie vocalist and guitarist Morgan Lander shares, “10 years ago, if someone would have told us that we would be releasing new Kittie music in 2024, we’d have dismissed them right away. It feels like something deeper than fate that’s brought us together again, allowing us to create something fearless and magical for you. We’ve worked incredibly hard over the past year, and surrounded ourselves with the ultimate dream team to make this album a reality. We cannot wait for you to lose yourselves in the passion and strength of ‘Fire’.”

Lander continues, “‘Vultures’ is a bold musical declaration, signalling our new beginnings as a band. Vultures is a warning to those with hidden agendas, who thrive on deception. It’s a proclamation of breaking free of the chains of exploitation and a reckoning for those who pick at the bones of those who suffer in silence.”

Earlier this year, Kittie sent shockwaves through the internet when they announced their return with brand new music, starting with the blistering single “Eyes Wide Open.” They followed up with a second new single, “We Are Shadows,” and the announcement of a very special run of exclusive headline shows across the US and Canada last month, culminating in an incendiary live performance at Sick New World festival in Las Vegas.

The long-awaited headline shows

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Kittie

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will give fans a rare and special opportunity to see Kittie perform a full headline set in 5 cities across the US and Canada this July and August. These shows will showcase the band’s new material alongside classic hits and deep cuts not played live since the band’s early days.

Kittie’s impact on the metal scene has evolved over the years, with their initial association with the nu-metal movement during the release of their 1999 debut album, “Spit.” As they progressed through later albums like “In The Black” (2009) and “I’ve Failed You” (2011), the band transformed into a more sinister and full-on metal outfit. Just as they seemed to be hitting their stride six albums into their career, Kittie slowly disappeared from the scene following the tour for “I’ve Failed You.” The silence was eventually dubbed an “indefinite hiatus” by the band, broken only by a one-off hometown show in London, Ontario, in 2017 and the release of the documentary “Kittie: Origins/Evolutions” in 2018.

Now, thirteen years later, that silence has been broken in earnest. Kittie maintains that they never truly broke up, as the band is an ingrained part of their identity. The documentary and the oneoff show in London were intended to cap off everything, leaving a question mark as to what might happen in the future. Offers from promoters to perform shows in 2022 and 2023, including the sell-out, inaugural Sick New World Festival in Las Vegas, were enough to convince Kittie to dust off their instruments, resulting in renewed interest in the band and a label deal with Sumerian Records.

When the band finally gathered as a unit, it was like putting on a pair of comfortable boots, with no need to break things in before getting down to business. The thirteen-year hiatus has seen the band develop growth in songwriting, arranging, lyrical content, and vocal melodies, creating something monstrous and volatile. Produced by Nick Raskulinecz (Foo Fighters, Rush, Alice In Chains, Korn), “Fire” promises to showcase Kittie’s renewed fury and

unfathomable sonic brutality, ushering in a new era for the band.

Kittie’s current lineup consists of four incredibly talented musicians: Morgan Lander, who delivers powerful vocals and shreds on guitar; Mercedes Lander, Morgan’s sister and the band’s thunderous drummer, also providing backing vocals; Tara McLeod, whose guitar work adds another layer of intensity to the band’s sound; and Ivy Vujic, holding down the low end with her dynamic bass playing. Together, these four women create a formidable force in the metal world, ready to reclaim their throne as the Queens of Metal.

As fans eagerly await the release of “Fire” and the opportunity to witness Kittie’s live performances once again, it’s clear that the band’s passion and dedication to their craft have only grown stronger during their time away. With a new label home at Sumerian Records and a renewed sense of purpose, Kittie is poised to make a massive impact on the metal scene once again, reminding everyone why they were such a

groundbreaking and influential force in the first place.

The announcement of “Fire” and the release of “Vultures” have ignited a spark in the hearts of Kittie fans worldwide, who have been patiently waiting for the band’s return. As the anticipation builds for the album’s release on June 21st, it’s evident that Kittie’s legacy and impact on the metal community remain as strong as ever. With their unwavering commitment to creating fearless and magical music, Kittie is ready to set the world ablaze with “Fire,” marking the beginning of an exciting new chapter in their already legendary career.

Fire Track Listing

1Fire

2I Still Wear This Crown

3Falter

4Vultures

5We Are Shadows

6Wound

7One Foot In The Grave

8Are You Entertained

9Grime

10Eyes Wide Open

By Nathan Pugh

Richie Kotzen, the acclaimed guitarist, vocalist, and songwriter, has just released his brand new single and lyric video”Cheap Shots”. The track, a hardhitting and guitar-driven slice of heavy rock, showcases Kotzen’s unparalleled musicianship and passionate vocals as he takes aim at those who take advantage of others and deliver unwarranted criticism.

Fresh off a successful 95-date world tour and album release with The Winery Dogs in 2023, Kotzen wastes no time in delivering a knockout punch with “Cheap Shots.” The single pulls no punches, featuring Kotzen’s signature guitar work and powerful hooks that are sure to resonate with fans and newcomers alike.

Speaking about the inspiration behind the song, Kotzen explains, “I really never know how, when or where inspiration will strike for a song idea. I never try to force anything because I know ultimately at some point in time life will hand you a situation and for a guy like myself that is the perfect spark. I’m not someone that likes to outwardly go at it with someone if I feel I was wronged but I certainly use my creative outlet as a song writer to exercise that stuff out of me so I never find myself carrying around resentment or bad vibes.”

He continues, “So if someone does you wrong, multiple times, then we’re done here. You’re your own worst enemy. I’ve tried to help and now I’m a target? Nope… No thanks… I’m off the bus. My attitude is ‘Get it out! Throw it in the trash where it belongs.’ Move on and forget ‘em! That is really where the song is coming from.”

“Cheap Shots” came together quickly in March 2024 after Kotzen’s trip back to his hometown of Reading, Pennsylvania. The single is set to be part of a full-length album, which will be released later this year, marking a significant moment for Kotzen as he returns to his solo work after a period of collaboration and touring with other projects.

“It has been quite a while since I have released new solo music and I feel very fulfilled to have come to a place where I’ve got new music I believe in,” Kotzen shares. “Although I find myself writing all the time not always do I feel compelled to share the work. When the story for ‘Cheap Shots’ came to me I knew I had the perfect lead track to follow up where I left off from my previous record.”

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Richie Kotzen

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In addition to the new single, Kotzen has announced an extensive European tour set to kick off on June 4th. The tour will see the guitar virtuoso traverse the continent, delivering electrifying performances and showcasing his new material alongside his vast catalogue of solo work and hits from his time with Poison, Mr. Big, and The Winery Dogs.

“Of course I’m thrilled to be able to say I’ve got a new song for you but I’m equally overjoyed to announce the upcoming live dates,” Kotzen enthuses. “In fact, the timing is perfect as we embark on an extensive European tour in June which will end in the UK on July 13th at London’s Islington Assembly Hall. And these dates will most likely spill into a North American Fall tour as well.”

Before embarking on his European tour, Kotzen played two warm-up shows in Southern California in mid-May, giving fans a taste of what’s to come on the road.

Richie Kotzen’s musical journey has been nothing short of remarkable. Since signing his first record deal with Shrapnel Records in 1988 as a guitar prodigy, he has gone on to perform on some of the biggest stages in the world, both as a solo artist and as a member of multi-platinum bands like Poison, Mr. Big, and The Winery Dogs. His ever-growing back catalogue, which includes more than 20 solo albums, has solidified his position as a prolific songwriter and one of the most respected guitarists in the industry.

In recent years, Kotzen has also garnered attention for his collaborative work, most notably as one half of the acclaimed duo Smith/Kotzen with Iron Maiden’s Adrian Smith. This partnership has further showcased Kotzen’s versatility and ability to seamlessly blend his unique style with other talented musicians.

As fans eagerly await the release of Richie Kotzen’s upcoming full-length album and the opportunity to catch him live on his European tour, “Cheap Shots” serves as a powerful reminder of his unrivaled talent and unwavering dedication to his craft. With a career spanning more than three decades and a passion for creating music that resonates with audiences around the world, Richie Kotzen continues to cement his place as one of rock’s most enduring and influential figures.

EUROPE

Tue, JUN 4

Wed, JUN 5

Thu, JUN 6

Sat, JUN 8

Sun, JUN 9

Batschkapp, Frankfur t Am Main, Germany

Colos-Saal, Aschaffenburg, Germany

Rosenhof GmbH, Osnabrück, Germany

Sweden Rock Festival 2024, Sölvesborg, Sweden

Pumpehuset, København, Denmark

Tue, JUN 11 Victory Podium, Alkmaar, Netherlands

Wed, JUN 12

Thu, JUN 13

Fri, JUN 14

Sun, JUN 16

Turbinenhalle Oberhausen, Oberhausen, Germany

opool,MetrHengelo, Netherlands

Le Vaureal,Forum,France

Sala Riviera, Madrid, Spain (SOLD OUT)

Mon, JUN 17 La Salamandra,celona,Bar Spain

Thu, JUN 20

Sat, JUN 22

Mon, JUN 24

Tue, JUN 25

Wed, JUN 26

Fri, JUN 28

Sat, JUN 29

Sun, JUN 30

Mon, JUL 1

Thu, JUL 4

Fri, JUL 5

Sat JUL 6

Sun, JUL 7

Wed, JUL 10

Thu, JUL 11

Sat, JUL 13

Rock Imperium Festival 2024, Cartagena, Spain

Cr ossroad, Angoulins, France

Garage, Saarbrucken, Germany

Gr oße Freiheit, Hamburg, Germany

F-Haus, Jena, Germany

Backstage Halle, Munich, Germany

Amphiteatre, Sokolov, Czechia

Charita Olomouc, Olomouc 9, Czechia

Collosseum Club, Ko_ice I, Slovakia

Dür er Kert, Budapest, Hungary

Majestic Music Club, Bratislava I, Slovakia

Metal Park 2024, Romano D’ezzelino, Italy

Dynamo, Zürich, Switzerland

Limelight, Belfast, United Kingdom

Opium Live, Dublin 8, Ir eland

AssemblyIslingtonHall, London, United Kingdom

Shallow Side’s Meteoric Rise: From

Check out the video here at https://youtu.be/UFBYe8idoVg Stream/Download here at https://li.sten.to/Filters

Check out the video here at https://youtu.be/parqErDaGac for “You’re The Reason” and previous single’s video here at https://youtu.be/9M2zTqDSIzA for “The Worst Kind”. The three tracks will appear on REFLECTIONS.

By Troy Wilson

Since bursting onto the rock scene, Shallow Side has proven to be a force to be reckoned with, consistently delivering a diverse array of music that has captivated audiences worldwide. The band’s impressive catalog includes several EPs, a full-length album, and a collection of cover songs and singles that showcase their versatility and undeniable talent.

One of the defining moments in Shallow Side’s career came with the release of their EP, “ONE.” This powerful compilation featured three radio singles that quickly gained traction and put the band on the map. “Rebel,” “Renegade” (a stunning cover of the Styx classic), and “Can You Hear Me” resonated with listeners and caught the attention of industry tastemakers. The band’s unique sound, blending elements of classic and modern rock, set them apart from their contemporaries and earned them the prestigious title of Loudwire’s ‘Best New Artist of the Year.’

Building on the success of “ONE,” Shallow Side continued to push the boundaries of their creativity and deliver music that connected with fans on a deep, emotional level. In 2019, the band reached a new milestone with the release of their first fulllength album, “SAINTS & SINNERS.” This highly anticipated record further solidified Shallow Side’s position as a rising star in the rock world, with tracks like “Sound The Alarm” becoming an instant fan favorite and the band’s most streamed song to date.

The impact of Shallow Side’s music extends far beyond the boundaries of traditional rock radio. Their extensive music catalog has now surpassed an astonishing 50 million streams globally, a testament to the band’s ability to craft songs that resonate with listeners from all walks of life. From the heart-pounding energy of their rock anthems to the introspective beauty of their ballads, Shallow Side’s music has struck a chord with fans around the world, creating a loyal and ever-growing fanbase.

In addition to their impressive streaming numbers, Shallow Side has also made a significant impact on the visual front. The band’s music videos have become a sensation on their YouTube channel, amassing more than 17 million views and counting. These visually stunning and emotionally charged videos have played a crucial role in expanding Shallow Side’s reach and introducing their music to new audiences.

The success of Shallow Side can be attributed to a combination of factors, including their exceptional songwriting skills, dynamic live performances, and unwavering dedication to their craft. Each member of the band brings a unique set of talents and

Shallow Side online: https://shallowside.net/ https://www.instagram.com/shallowsideband/ https://www.facebook.com/ShallowSideBand/ https://twitter.com/shallowsideband https://www.youtube.com/user/shallowsidemusic https://www.tiktok.com/@shallowsideband

influences to the table, creating a sound that is both familiar and fresh, drawing inspiration from the greats of rock’s past while pushing the genre forward into exciting new territories.

As Shallow Side continues to evolve and grow, fans can expect even more groundbreaking music and unforgettable live experiences from this talented group of musicians. With their sights set on the future and a deep commitment to their art, Shallow Side is poised to become one of the most important and influential rock bands of their generation.

In a music landscape that often prioritizes trends and fleeting moments of popularity, Shallow Side stands out as a band with staying power. Their ability to connect with fans on a personal level, coupled with their uncompromising dedication to creating music that is both honest and impactful, has earned them a special place in the hearts of rock enthusiasts worldwide.

As Shallow Side looks ahead to the future, there is no doubt that they will continue to push the boundaries of what is possible in rock music. With each new release, they reinvent themselves while staying true to the core elements that have made them such a beloved and respected band. Whether they are tearing up the stage at sold-out shows or crafting the next generation of rock classics in the studio, Shallow Side is a band that demands attention and refuses to be ignored.

In a world that is constantly searching for the next big thing, Shallow Side has proven that they are here to stay. With their undeniable talent, unshakable determination, and an ever-growing legion of devoted fans, this band is destined for greatness. As they continue to write their own chapter in the annals of rock history, one thing is certain: Shallow Side is a name that will be remembered for generations to come.

KK’S PRIEST

KK’S PRIEST and ACCEPT Announce

Electrifying 2024 North American Tour

Order KK’S PRIEST’s New Album, The Sinner Rides Again, ere at https://www.napalmrecordsamerica.com/kkspriest

Order ACCEPT’s New Album, Humanoid, Here At https://www.napalmrecordsamerica.com/accept Watch the music video for KK’s PRIEST’s ”One More Shot At Glory” Here At https://youtu.be/Sypj3SPBKKU

Watch ACCEPT’s recent video for “The Reckoning” Here At https://youtu.be/yV8USmxRzw0

KK’S PRIEST online:

WEBSITE @ https://kkdowningofficial.com/ FACEBOOK @ https://www.facebook.com/KKsPriest INSTAGRAM @ https://www.instagram.com/KKsPriest/ NAPALM RECORDS @ https://label.napalmrecords.com/kks-priest ACCEPT online:

THE INTERACTIVE HUMANOID EXPERIENCE @ https://accept-humanoid.vercel.app/

HOMEPAGE @ https://www.acceptworldwide.com/ FACEBOOK @ https://www.facebook.com/accepttheband/ INSTAGRAM @ https://www.instagram.com/acceptworldwide/ X @ https://twitter.com/accepttheband

VK @ https://vk.com/acceptofficial TIKTOK @ https://www.tiktok.com/@acceptofficial

By Nathan Pugh

Prepare yourselves, heavy metal fans, for the most exhilarating tour of the year! Two of the genre’s most iconic bands, KK’S PRIEST and ACCEPT, have just announced that they will be joining forces for an unforgettable North American tour in the fall of 2024. This monumental collaboration brings together Judas Priest alum and GRAMMY Award-winning/nominated musicians K.K. Downing (guitar) and Tim “Ripper” Owens (vocals) of KK’S PRIEST with the Teutonic metal originators ACCEPT, promising an evening of pure heavy metal bliss.

The tour, which will see both bands supporting their latest albums released via Napalm Records, is set to kick off on August 31 in Los Angeles, CA. From there, the metal warriors will embark on a journey across major cities in the United States and Canada, including stops in Toronto, ON, Montreal, QC, New York, NY, and Nashville, TN, before culminating in an epic finale in San Francisco, CA on October 7. Tickets for this highly anticipated tour will go on sale this Thursday, May 9, at 10:00am EDT, and fans are urged to act quickly, as these shows are expected to sell out fast.

Expressing his excitement about the upcoming tour, KK’S PRIEST’s K.K. Downing declares, “It’s time!!! Let the full European metal assault commence, KK’s Priest / Accept. Not since 1983 have we shared the same battleground. From Germany, from the UK, let the Flying Vs clash, let the metal fly! All in the name of defending our beloved heavy metal music, let the people come from all walks of life to witness the battle royal. There is no doubt that we warriors of metal will give every ounce of our energy and our power in order to deliver up our very finest performance. This is a spectacle not to be missed, and this is possibly the one and only time in

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KK’s Priest and Accept

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history for you to witness this iconic duel. Who will be the victor? You will be the judge, let the music begin from early August to early October... The arena awaits!!”

ACCEPT’s Wolf Hoffmann shares his enthusiasm, stating, “This tour with KK’s Priest is a dream come true for Accept and for me personally. Accept supported Judas Priest back in the early 80s - it was our first ‘real’ international tour and Priest had been a huge influence on us. I’m really looking forward to reconnecting with KK on this very special tour. It’s going to be epic! Don’t miss it!”

KK’S PRIEST’s sophomore album, “The Sinner Rides Again,” released in September 2022, has been met with critical acclaim. Blabbermouth praised it as “an absolutely ripping metal record,” while Paste noted, “…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 album’s success is evident in its chart performance, debuting at #1 on the US Hard Music Albums chart, #3 on the Top New Artist Albums chart, and #6 on the Current Rock Albums chart. “The Sinner Rides Again” also secured the #6 spot on the end-of-year NACC Heavy radio chart and was one of the top-spun albums of the year at Metal Contraband.

Building upon the ripping melodic force of their debut, “Sermons Of The Sinner,” which Metal Hammer UK called “hugely enjoyable” and Metal Injection cited as boasting “catchy hooks and plenty of guitar wizardry,” “The Sinner Rides Again” showcases KK’S PRIEST’s unwavering commitment to

Accept

delivering pure hellfire through their music. The nine-track album, produced and written by Downing and mixed/ mastered by Jacob Hansen, is a call for the classics while speeding full force into the future, performed by some of heavy metal’s most essential musicians.

ACCEPT, on the other hand, just released their latest full-length, “Humanoid,” on April 26, 2024, proving that even after over 40 years in the game, they remain a leading force in the worldwide heavy metal scene. Metal Hammer hailed the album as “a new career peak,” while Angry Metal Guy called it “another successful chapter in the second stage of Accept’s eternal crusade.” “Humanoid” has already made a significant impact on the charts, debuting at #3 on the US Current Hard Music Albums chart, #2 on the Canadian Hard Music Albums chart, and #1 on the NACC Heavy radio chart.

Finalized once again by leading metal producer Andy Sneap (Judas Priest, Amon Amarth, Testament, Saxon, etc.) at his Backstage Recording Studios Ltd. in Derbyshire, UK, “Humanoid” is a towering musical achievement and another world-class entry in the ACCEPT catalog. The album stands alongside genre classics like the Goldcertified “Balls To The Wall,” “Metal Heart,” and newer masterpieces like “Blood of the Nations” and the #1 charting album “Blind Rage.” With global sales exceeding 17 million to date, ACCEPT’s albums consistently place in national Top 10 sales charts, solidifying their status as true heavy metal legends.

KK’S PRIEST features a lineup of

exceptional talent, with Tim “Ripper” Owens delivering powerful vocals, K.K. Downing and A.J. Mills shredding on guitar, Tony Newton holding down the bass, and Sean Elg pounding the drums. This formidable group of musicians combines their skills to create a sound that is both classic and fresh, paying homage to the roots of heavy metal while pushing the genre forward.

ACCEPT’s lineup is equally impressive, with Wolf Hoffmann and Uwe Lulis on guitar, Mark Tornillo on vocals, Martin Motnik on bass, and Christopher Williams on drums. Together, these seasoned musicians continue to prove that ACCEPT is a force to be reckoned with, consistently delivering top-notch heavy metal that resonates with fans around the world.

As the anticipation builds for this monumental tour, fans can expect an evening filled with classic hits, new favorites, and an unparalleled display of heavy metal prowess. The combination of KK’S PRIEST’s raw energy and ACCEPT’s timeless Teutonic metal is sure to create an unforgettable experience for metalheads across North America.

Don’t miss your chance to witness this historic collaboration between two of heavy metal’s most iconic acts. Prepare to be blown away by the sheer power and intensity of KK’S PRIEST and ACCEPT as they join forces to defend the honor of heavy metal music. Get your tickets starting Thursday, May 9, at 10:00am EDT, and get ready for a night of pure, unadulterated heavy metal bliss!

Keane’s “Hopes and Fears” Turns 20: A Celebration of a Groundbreaking Debut Album

“Somewhere Only We Know” (Tim Demo, September 2002) Previously Unreleased – Listen here at https://keane.lnk.to/K20listenPR

2024 World Tour Includes 8 SOLD OUT UK Arena Dates And Shows at Nashville’s The Ryman and NYC’s Radio City Tickets On Sale Here at https://www.keanemusic.com

By Albert Schwartz

As the music industry continues to evolve and new artists emerge, it’s important to take a moment to reflect on the albums that have left an indelible mark on the landscape of popular music. This year, Keane’s monumental debut album, “Hopes and Fears,” celebrates its 20th anniversary, reminding us of the band’s incredible impact and the enduring power of their music.

Released on May 10, 2004, “Hopes and Fears” catapulted Keane to international stardom, cementing their status as one of the most influential and beloved bands of the early 2000s. The album, which features massive hits such as “Somewhere Only We Know,” “Everybody’s Changing,” and “Bedshaped,” has been certified 9x platinum and remains one of the best-selling albums in UK chart history, a testament to its timeless appeal and emotional resonance.

To commemorate this significant milestone, Keane has announced the release of a remastered deluxe edition of “Hopes and Fears,” along with a highly anticipated world

tour. The remastered version of the album, cut by Frank Arkwright at the legendary Abbey Road Studios, promises to breathe new life into the songs that have become an integral part of the band’s legacy. Fans can also look forward to the unveiling of previously unreleased B-sides, demos, and rarities, offering a fascinating glimpse into the creative process behind this groundbreaking album.

The deluxe edition will be available in a variety of formats, catering to the diverse preferences of Keane’s dedicated fan base. From the collectible 1 LP Galaxy Vinyl and 2LP Coloured Vinyl to the comprehensive 3CD set and the immersive 5.1 Dolby Atmos mixes by David Kosten, there is something for every music lover. The Limited Edition Box Set Deluxe Edition, featuring a numbered commemorative ticket, a “Hopes and Fears” notebook, and an array of exclusive merchandise, is sure to be a sought-after item for die-hard fans.

As the band embarks on their world tour, with multiple dates already sold out,

they will celebrate not only the 20th anniversary of “Hopes and Fears” but also their entire acclaimed body of work. From the early days of playing intimate pub gigs to headlining massive arenas, Keane’s journey has been one of unwavering dedication to their craft and a deep connection with their audience. The tour, which recently saw the band perform in India and South Africa for the first time, is a testament to the global reach and enduring appeal of their music.

Looking back on the creation of “Hopes and Fears,” lead singer Tom Chaplin reflects on the magic that permeated the recording process. “I remember standing by that amazing old mixing desk at Heliocentric Studios where we made Hopes and Fears, listening to an early mix of ‘Somewhere Only We Know,’” he recalls. “I had this feeling that we’d come up with something that had an extra bit of magic. Making music is so often a process full of doubt…but on this occasion, there was something undeniable about what we’d created.”

Founding band member and songwriter Tim Rice-Oxley echoes this sentiment, reminiscing about the early days of the band and the excitement of watching their audience grow. “When I think about these songs, I still picture us playing them in little rooms in pubs around the UK,” he shares. “I remember how exciting it was watching the crowds start to grow. Those songs opened the door to another dimension for us; everything that has happened in our lives since then was born out of that moment.”

The impact of “Hopes and Fears” extends far beyond the album’s initial release. In 2004, Keane was the biggest-selling British artist in the UK, and the following year, they won two prestigious BRIT Awards: Best British Album for “Hopes and Fears” and the British Breakthrough Act award, as voted for by Radio 1 listeners. These accolades serve as a testament to the band’s undeniable talent and the profound effect their music had on the British music scene.

In recent years, “Somewhere Only We Know” has experienced a remarkable resurgence, thanks in part to its viral popularity on TikTok. The song, which has been streamed over a billion times, has become Island Records’ biggest-selling single in the past 12 months, clocking up over two million Spotify streams a day. This renewed interest in the track highlights the enduring quality of Keane’s music and its ability to resonate with new generations of listeners.

As fans around the world prepare to celebrate the 20th anniversary of “Hopes and Fears,” it’s clear that the album’s legacy extends far beyond its initial impact. The songs that defined an era continue to inspire and move audiences, transcending time and cultural boundaries. With the remastered

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Keane

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deluxe edition and the band’s electrifying live performances, Keane is poised to captivate a new generation of music lovers while reaffirming their place in the hearts of their dedicated fans.

In a world where trends come and go, and the music industry is in a constant state of flux, the enduring success of “Hopes and Fears” serves as a reminder of the power of authentic, emotionally resonant songwriting. As Keane embarks on this exciting new chapter in their career, there is no doubt that their music will continue to inspire, comfort, and unite people across the globe, just as it has for the past two decades.

So, let us raise a toast to Keane and the 20th anniversary of “Hopes and Fears,” a landmark album that has stood the test of time and continues to shape the musical landscape. As we delve into the gorgeousness of the remastered deluxe edition and immerse ourselves in the band’s electrifying live performances, we are reminded of the transformative power of music and the indelible mark that a truly great album can leave on our lives.

Hopes And Fears 20 - Original Album Remastered Track Listing

Somewhere Only We Know Bend And Break

We Might As Well Be Strangers Everybody’s Changing Your Eyes Open

She Has No Time Can’t Stop Now Sunshine

This Is The Last Time On A Day Like Today Untitled 1 Bedshaped

B-Sides & Rarities: Snowed Under Fly To Me

Something In Me Was Dying

She Opens Her Eyes

To The End Of the Earth (Previously Unreleased)

The Way You Want It (Previously Unreleased)

Allemande (Previously Unreleased) Walnut Tree

Love Actually

Wonderful River (Previously Unreleased) More Matey

Get Away From Yourself (Previously Unreleased)

Demos: (all previously unreleased)

Somewhere Only We Know (Tim Demo, September 2002)

Somewhere Only We Know (Demo, December 2002)

Bend And Break (Demo, April 2002)

We Might As Well Be Strangers (Tim Demo, September 2003)

Everybody’s Changing (Demo, July 2002) Your Eyes Open (Demo, April 2002)

She Has No Time (Demo, October 2002) Can’t Stop Now (Demo, January 2003)

Sunshine (Demo, February 2002)

This Is The Last Time (Demo, May 2002)

On A Day Like Today (Tim Demo, September 2003)

Untitled 1 (Tim Demo, May 2002)

Bedshaped (Demo, October 2002)

7” Vinyl Single: Side A:

Love Actually (Studio Version) Side B:

Love Actually (Demo)

September

Wed 4th BERKELEY, CA, The Greek Theatre at UC Berkeley

Thu 5th LOS ANGELES, CA, The Greek Theatre

Fri 6th SAN DIEGO, CA, Humphreys Concerts By The Bay SOLD OUT

Sun 8th SALT LAKE CITY, UT, Venue TBC

Mon 9th DENVER, CO, Temple Hoyne Buell Theatre

Wed 11th DALLAS, TX, The Majestic Theater SOLD OUT

Thu 12th AUSTIN, TX, ACL Live At The Moody Theatre

Sat 14th ATLANTA, GA, The Eastern

Sun 15th NASHVILLE, TN, Ryman Auditorium

Tue 17th MINNEAPOLIS, MN, Palace Theater

Wed 18th

CHICAGO, IL, The Chicago Theatre

Fri 20th TORONTO, ON, The Queen Elizabeth Theater SOLD OUT

Sat 21st PHILADELPHIA, PA, The Met

Mon 23rd BOSTON, MA, MGM Music Hall At Fenway

Tue 24th

Thu 26th

NEW YORK, NY, Radio City Music Hall

WASHINGTON, DC, The Anthem SOLD OUT

Duran Duran Announces Landmark Reissue

Five Studio Albums

sleeve designs, overseen by visionary designer Malcolm Garrett, who was responsible for the band’s first three records. This attention to detail ensures that fans will be able to experience these classic albums in their purest form, as they were originally intended.

Duran Duran’s first five albums have left an indelible mark on the global music scene, propelling the band to the forefront of the industry and establishing them as cultural icons. From the era-defining boldness of their self-titled debut to the experimental spirit of Big Thing, these records showcase the band’s incredible musical range and innovation.

The self-titled debut album, released in 1981, solidified Duran Duran’s signature sound while simultaneously soundtracking the turn of the decade angst and introducing a new British pop order. The album’s opener, ‘Girls on Film,’ presented the first use of “found sound” in music with its instantly recognizable camera motor drive clicks, while the apocalyptic shock of ‘Planet Earth’ signaled the direction British pop music would take next.

The release of Rio in 1982 marked a period of immense artistic growth for the band, elevating them to global stardom. The album produced a trio of Top Ten hits in ‘Save A Prayer,’ ‘Rio,’ and ‘Hungry Like the Wolf,’ with the latter two spawning groundbreaking music videos that helped launch MTV and solidify Duran Duran’s position as pioneers of the music video era.

Seven and the Ragged Tiger, released in 1983, became Duran Duran’s first UK #1 album, showcasing their global scope with recording sessions spanning France, Australia, and the Caribbean. The album paved the way for the band’s biggest live outing yet, the Sing Blue Silver Tour, and saw them achieve their debut #1 single in the US with ‘The Reflex.’

The band’s collaboration with legendary producer Nile Rodgers on Notorious in 1986 marked a new chapter in their career, as they navigated their first outing as a three-piece. The album captured the experimental spirit at the core of the band, while Big Thing, released in 1988, saw Duran Duran expand to a nine-piece, complete with a horn section and backing singers, for their most exploratory work to date.

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YOUTUBE @ https://www.youtube.com/duranduran

By Greg Fontaine

In an exciting announcement for fans and music enthusiasts alike, iconic British band Duran Duran has revealed plans to reissue their first five studio albums - Duran Duran, Rio, Seven and the Ragged Tiger, Notorious, and Big Thing - on both LP and CD formats. The reissue, set for release on July 19 via Warner Music, marks the first time this collection will be available in the original 1LP and 1CD format, with remastered audio, since their initial release.

The news comes as Duran Duran nears

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the end of their most recent run of North American dates, further cementing their status as one of the most influential and enduring bands of all time. The reissue is a testament to the timeless appeal of these groundbreaking albums, which have defined the sound and style of generations since their release in the 1980s.

Both the 1LP and 1CD formats will feature the latest album remasters, with vinyl editions cut at the prestigious Abbey Road Studios in London. The album artworks have been meticulously restored to the original

The reissue announcement follows a string of landmark achievements for Duran Duran, including sold-out arena tours across the UK and North America, capacity shows at New York’s Madison Square Garden and the Hollywood Bowl, headlining London’s Hyde Park, performing at the Queen’s Platinum Jubilee Concert at Buckingham Palace, and closing the opening ceremony of the Commonwealth Games in their hometown of Birmingham. The band’s induction into the Rock & Roll Hall of Fame in 2022 further cemented their status as one of the most successful and influential bands of all time, with multiple GRAMMY, BRIT, and Ivor Novello awards to their name.

As fans eagerly await the July 19 release of these remastered classics, the anticipation is palpable. The opportunity to experience these groundbreaking albums in their original format, with the benefit of

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modern remastering techniques, is a dream come true for Duran Duran devotees and music lovers alike.

The reissue of Duran Duran’s first five studio albums serves as a powerful reminder of the band’s enduring legacy and the indelible impact they have had on the music world. From their innovative use of music videos to their fearless experimentation and genre-defying sound, Duran Duran has consistently pushed the boundaries of what is possible in popular music.

As the band continues to captivate audiences around the world with their electrifying live performances and timeless hits, this reissue offers a chance to rediscover the magic that first propelled them to superstardom. With the remastered audio and meticulously restored artwork, fans can immerse themselves in the raw energy and unbridled creativity that defined Duran Duran’s early years.

The influence of these five albums can still be felt in the music of today, with countless artists citing Duran Duran as a major inspiration. The reissue not only celebrates the band’s incredible legacy but also introduces their groundbreaking work to a new generation of music lovers, ensuring that their impact will continue to be felt for years to come.

As the July 19 release date approaches, fans are urged to pre-order the reissued albums to secure their copies of these timeless classics. With the remastered audio and restored artwork, these reissues promise to be the definitive versions of Duran Duran’s first five studio albums, offering a listening experience that is as close to the original vision as possible.

In a world where music is increasingly consumed digitally, the reissue of these albums on LP and CD is a testament to the enduring power of physical media. The tactile experience of holding a vinyl record or CD, poring over the liner notes and artwork, and immersing oneself in the music is something that cannot be replicated by streaming alone.

For Duran Duran fans, this reissue is a celebration of the band’s incredible journey and a reminder of the power of their music to unite and inspire. As the world continues to navigate uncertain times, the timeless appeal of these albums offers a source of comfort and joy, reminding us of the transformative power of art and the enduring spirit of creativity.

In the end, the reissue of Duran Duran’s first five studio albums is more than just a nostalgic look back at the band’s early years. It is a celebration of their enduring legacy, a testament to the power of their music to transcend time and space, and a reminder of the importance of preserving and celebrating the art that shapes our lives. As fans around the world prepare to rediscover these classic albums in their original format, one thing is clear: the music of Duran Duran will continue to inspire and captivate audiences for generations to come.

Duran Duran

Side 1

1. Girls on Film

2. Planet Earth

3. Anyone Out There

4. To the Shore

5. Careless Memories

Side 2

1. Night Boat

2. Sound of Thunder

3. Friends of Mine

4. Tel Aviv

Rio

Side 1

1. Rio

2. My Own Way

3. Lonely in Your Nightmare

4. Hungry Like the Wolf

5. Hold Back the Rain

Side 2

1. New Religion

2. Last Chance on the Stairway

3. Save a Prayer

4. The Chauffeur

Seven and the Ragged Tiger

Side 1

1. The Reflex

2. New Moon on Monday

3. (I’m Looking For) Cracks in the Pavement

4. I Take the Dice

5. Of Crime and Passion

Side 2

1. Union of the Snake

2. Shadows on Your Side

3. Tiger Tiger

4. The Seventh Stranger

Notorious

Side 1

1. Notorious

2. American Science

3. Skin Trade

4. A Matter of Feeling

5. Hold Me

Side 2

1. Vertigo (Do the Demolition)

2. So Misled

3. Meet El Presidente

4. Winter Marches On 5. Proposition

Big Thing

Side 1

1. Big Thing

2. I Don’t Want Your Love

3. All She Wants Is 4. Too Late Marlene

5. Drug (It’s Just a State of Mind)

Side 2

1. Do You Believe in Shame?

2. Palomino

3. Interlude One

4. Land

5. Flute Interlude

6. The Edge of America

7. Lake Shore Driving

Billy Idol Celebrates 40th Anniversary of Iconic Album ‘Rebel Yell’ with Deluxe Expanded Edition and Electrifying Performances

By Troy Wilson

Rock icon Billy Idol has marked a significant milestone in his illustrious career with the 40th anniversary of his groundbreaking sophomore album, ‘Rebel Yell.’ In celebration of this momentous occasion, Idol, along with his longtime collaborator and guitarist Steve Stevens, delivered a captivating performance of the album’s title track on NBC’s “TODAY” show, thrilling fans and showcasing the enduring power of their music.

To coincide with the anniversary, Capitol/UMe has released a highly anticipated 40th Anniversary Deluxe Expanded Edition of ‘Rebel Yell,’ now

available for fans to order and stream. This special reissue features a treasure trove of previously unreleased songs and demos, offering a fascinating glimpse into the creative process behind this iconic album. Among the highlights is the never-before-heard Billy Idol/Steve Stevens track “Best Way Out of Here,” taken from the original ‘Rebel Yell’ recording sessions.

The reissue also includes a selection of rare gems, such as the Poolside remix of Idol’s smash hit “Eyes Without A Face,” and his never-beforereleased cover of the Rose Royce single “Love Don’t Live Here Anymore.” With an array of bonus material and alternate

versions, the 40th Anniversary Deluxe Expanded Edition of ‘Rebel Yell’ is a must-have for die-hard fans and music enthusiasts alike, available in 2xLP, 2xCD, and digital formats.

Originally released in November 1983, ‘Rebel Yell’ proved to be a gamechanger for Billy Idol, solidifying his status as a rock’n’roll icon. The twiceplatinum album features an impressive lineup of hit singles, including “Eyes Without a Face,” “Flesh for Fantasy,” “Rebel Yell,” and “Catch My Fall.”

These songs have become an integral part of Idol’s legacy, showcasing his unique blend of punk attitude and rock’n’roll swagger.

In a stunning display of recognition, the Empire State Building hosted a special lighting ceremony for Idol last month, honoring his contributions to music and the enduring impact of ‘Rebel Yell.’ The celebration continued with an intimate acoustic concert presented by SiriusXM at the Empire State Building, where Idol and Stevens performed for a select group of lucky fans, creating an unforgettable experience for all in attendance.

Looking ahead, Billy Idol is set to embark on his highly anticipated Rebel Yell Canada 2024 arena tour this summer. Kicking off on July 30 in Vancouver, the tour will take Idol and his longtime backing band, including Steve Stevens, across the country, culminating in a final show on August 25 in St. John’s, Newfoundland. Fans can expect a thrilling setlist that encompasses Idol’s biggest hits from throughout his career, with a special focus on the ‘Rebel Yell’ album. In addition to the Canadian dates, Idol will also be playing select U.S. shows this spring, including a highprofile appearance alongside the Foo Fighters at the Shaky Knees Festival in Atlanta on May 5.

In a further celebration of his incredible career, Idol recently released the concert film ‘Billy Idol: State Line,’ documenting his groundbreaking

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Billy Idol and collaborator Steve Stevens perform “Rebel Yell” on NBC’s “TODAY”. Watch/share the performance here at https://www.today.com/video/billy-idol-performs-classic-hit-rebel-yell-live-on-today-210044485764

Listen to the never-before-heard Billy Idol/Steve Stevens track “Best Way Out of Here” from the original Rebel Yell recording sessions here at https://billyidol.lnk.to/RebelYellExpanded

Photo credit: Amanda Stevens

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performance at the Hoover Dam in April 2023. This historic event marked the first-ever concert held at the iconic location, and the film captures the electrifying energy of Idol’s full band concert at sunset, as well as an intimate acoustic duo set with Steve Stevens on the roof of the powerhouse. The film, which also features special guests Alison Mosshart (The Kills, The Dead Weather), Steve Jones (Sex Pistols, Generation Sex), and Tony Kanal (No Doubt), has garnered critical acclaim, with American Songwriter hailing it as “outstanding” and “a must-see for even casual fans.”

For over four decades, Billy Idol has been a defining figure in the world of rock’n’roll. From his early days fronting Generation X to his explosive solo career, Idol has consistently pushed boundaries and captivated audiences with his rebellious spirit and undeniable charisma. With a relentless touring schedule and an unwavering commitment to his craft, Idol continues to prove that he is a force to be reckoned with, as evidenced by the success of his recent EPs, ‘The Roadside’ and ‘The Cage,’ released on Dark Horse Records.

As fans celebrate the 40th anniversary of ‘Rebel Yell’ and eagerly anticipate Billy Idol’s upcoming tour dates, it is clear that the legacy of this iconic album and the enduring power of Idol’s music will continue to resonate with audiences around the world for generations to come.

REBEL YELL (EXPANDED EDITION) TRACKLISTS

2xLP

DISC 1—SIDE A

Rebel Yell

Daytime Drama

Eyes Without A Face

Blue Highway

DISC 1—SIDE B

Flesh For Fantasy

Catch My Fall

Crank Call

(Do Not) Stand In The Shadows

The Dead Next Door

DISC 2—SIDE A

Best Way Out Of Here

Love Don’t Live Here Anymore

Daytime Drama (Demo)

Flesh For Fantasy (Demo)

DISC 2—SIDE B

Catch My Fall (Early Version)

Crank Call (Demo)

(Do Not) Stand In The Shadows (Demo)

Eyes Without A Face (Poolside remix)

2xCD/DIGITAL ALBUM

DISC 1

Rebel Yell

Daytime Drama

Eyes Without A Face

Blue Highway

Flesh For Fantasy

Catch My Fall

Crank Call

(Do Not) Stand In The Shadows

The Dead Next Door

DISC 2

Best Way Out Of Here

Love Don’t Live Here Anymore

Daytime Drama (Demo)

Flesh For Fantasy (Demo)

Catch My Fall (Early Version)

Crank Call (Demo)

(Do Not) Stand In The Shadows (Demo)

Rebel Yell (Session Take)

Blue Highway (Original Demo)

Flesh For Fantasy (Session Take)

Catch My Fall (Original Demo)

Motorbikin’ (Session Take)

Eyes Without A Face (Poolside remix)

BILLY IDOL LIVE 2024

May 3—West Palm Beach, FL—Sunfest

May 5—Atlanta, GA—Shaky Knees Festival

May 10—Flagstaff, AZ—Pepsi Amphitheater

May 11—Tucson, AZ—AVA Amphitheater

May 14—Catoosa, OK—Hard Rock

May 16—Lincoln, NE—Pinewood Bowl

May 19—Gary, IN—Hard Rock

July 27—Portland, OR—Project Pabst

July 30—Vancouver, BC—Rogers Arena*

August 1—Edmonton, AB—Rogers Place*

August 2—Calgary, AB—Scotiabank Saddledome*

August 5—Saskatoon, SK—SaskTel Centre*

August 6—Winnipeg, MB—Canada Life Centre*

August 9—Toronto, ON—Scotiabank Arena*

August 10—Ottawa, ON—Canadian Tire Centre*

August 14—London, ON—Budweiser Gardens*

August 16—Montreal, QC—Bell Centre*

August 19—Quebec City, QC—Videotron Centre*

August 21—Moncton, NB—Avenir Centre*

August 23—Halifax, NS—Scotiabank Centre*

August 25—St. John’s, NL—Mary Brown’s Centre*

* Rebel Yell Canada 2024 Tour

The Biker, The Blues & Them Blues Clubs

Man nothing is cooler than cutting a straight line up the long black snake and finding your way to Maine. I mean if you want some real maple syrup on your pancakes this is the place to go. Along the way, the trip itself is cool as well. I don’t know what got into me maybe it was the notion of summer in new England and smiling at some of those puritan girls up that way but I was going to go and I did. Along the way one of the coolest jazz and blues spots is Jimmy’s in Portsmouth New Hampshire. It’s upscale and the entertainment is always top shelf. They host an event named The Local Artist Series in which they feature regional talent. The night I was there it was the Yellow House Blues Band. A nine piece smokin’ group that delivers the blues and when they take on a familiar cover song you can be guaranteed that the song will include cool modifications. I can’t tell you about the food because I didn’t eat there but the beer was cold and the music was hot. Just above Portsmouth is York Beach. Now this may be hard to believe but I found a brewery in this small community named Some Brewing Company. Real friendly place, a micro-brewery that’s got this home town neighborhood feeling working. I stopped in because I read that they have an event named Blues & Brews which is an open jam. Open jams can be cool because you never know what you are about to experience and the price was right, free, but even if it’s bad well if you drink enough ale who the hell cares. I mean a man has to have his priorities right? But this day, notice the word day (3pm to 6pm). On this day the artists did not disappoint. A little farther up the road in Waterville Maine is a combination restaurant, brewery, entertainment place

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The Biker, The Blues & Them Blues Clubs - Page 2

that once again features blues jams, this one is on Tuesdays nights. Great parking, which may be a small thing to some folks but to a biker riding a custom scooter it’s big thing. What I also liked about Mainely Brews is that it is pet friendly and nothing soothes like a puppy hanging around. Check out the doggie’s neck tie, (right) all dressed up and ready to enjoy the day. That dog cost me an extra twenty bucks by the way. I had already consumed a few when he showed up and then we began to talk and the next think you know I am four more beers into it. Another cool thing about the state of Maine is its blues festivals and the North Atlantic Blues Fest is as kick ass as it gets. Their line ups are always over the top and they are held right by the water, gotta love that after all you are in Maine. Being in Maine reminded me of how popular the blues remains all over the country, thousands attend. Another super hot blues festival is the Maine Blues Festival, a three day event that starts on Friday and runs through Sunday. Plus another really good blues event is the York County Blues Fest. Maine has got it working. What’s also cool is that the country side is full of super tall trees which if you driving up that way makes the drive enjoyable as well. Obviously, the seafood is to die for of course and you just might see a moose or two along the way. Yep the land of Bullwinkle the Moose and people they are big, I mean freaking huge. Me, well I found a remote summer camp and rented a cabin by a lake. Got settled in with my travel size bottles of scotch, full leaf cigars, put my head phones on and settled in for some writing. It’s a Willie Dixon kind of music day. Tough life huh?

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The Biker, The Blues & Them Blues Clubs - Page 3

Well I mean here you are in God’s country and if you don’t slow down and take it all in you could be throwing the best part of life away, stress is a killer. So you owe it to everyone around you to get up and go on vacation for a year or two. Well ok maybe not a year or two but six months anyway. Now if you cannot get away then another stress reliever is sex. I keep testing that theory even while on the road and well it works for me, I think. I am not quite sure so I keep testing the theory, so far it seems to hold up but one cannot be too certain so I am willing to keep testing. The place where I am staying and writing this article has eight cabins and there is stream about maybe two hundred yards away (see photo on the right). It’s really something else to go there and the only noise you hear is the rushing water and once in a while the snapping of a branch or two. I wandered around a bit but when you are wearing your big black biker boots well they are not the best for traction on smooth rocks. Back at the campsite they have a liar’s fire every night. One of the guests was a game warden, his stories were cool and believable full of regional facts. Another guest was this lady that painted landscapes in both charcoal and oils. Her contribution that evening was about the various hues that nature provides. What I learned about her that was cool was that rather than take her easel on a hike she packs her cell phone and takes photos along the way. Then when she returns she reviews her photos, takes out her easel and brushes etc and captures the local ambiance. She travels all over the U.S. and does this on her annual vacations from being a cardiologist. Then it was my turn I suppose but hell what could I possibly talk about being just a scooter bum who cashed it all in and lives vicariously on the road? Hmmm. I thought about telling them about the time down in the keys that I stopped in for a beer next to a nude beach. That was interesting and sort of like watching wild life and getting your heart pumping strong both at the same time. Nah I didn’t know them so maybe that was too much for two straights to absorb. Then there was the time at another camp that I ran into this husband and wife team that drove long haul loads across the country. That story contained a part in it when two different types of people got together and drank the little grocery store dry. Nah maybe too street social for them I thought. Then there was my bike I could talk about my baby all night long. Then right about then the painter lady ask me how long I had been riding a shovelhead and I was blown away that she knew what she was looking at of course. But she did and I asked her how she knew about shovelheads and she said her husband owns a Harley dealership. So with that bit of encouragement I shared the arduous task of drinking beer, smoking cigars and planning the build from having the frame built to the smallest detail including the custom pipes. It was cool telling them well actually her about the build and how I came to love shovels so much. Life is good and on the road many things are unexpected like meeting a cardiologist whose husband owns a Harley dealership. Now about testing that theory well a gentleman never speaks of such things.