Rock And Blues International
October 2024
Hello Rock And Blues International readers. I hope everybody had a great June.
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 October issue of Rock And Blues International. On the cover of this issue we have Ronnie Baker Brooks. Ronnie has a new album out on Alligator Records and it’s called “Blues In My DNA”. We have a great interview in here with Ronnie where he tells us everything we wanted to know about his new album. You need to check it out, It’s fantastic. We also have a great interview with an up and coming Metal band from Houston, TX USA called Texas TNT. They also have a new album out called “Crossroads Are Burning” and it is one of the heaviest album’s we’ve heard all year. The interview is epic, so make sure you get yourself a sandwich before you start reading it. You’re going to want to check this one out. We’ve also got a great story by Edoardo Fassio about Blues guitarist, Mark Pini. He really gives us the lowdown on this great guitarist Be sure to check that one out too, it’s very interesting. There are also stories on Nicotine Dolls, Ollee Owens, Steve Wynn, 50 Watt Sun, Joe Samba, Dream Theater, Crobot, Benee, Klaus Schulze, Motley Crue, Pete Townshend, Hugo Largo, Boston Manor, 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
A Free
Page 6
Ronnie Baker Brooks Releases His Debut Solo Album On Alligator Records Blues In My DNA
Ronnie Baker Brooks Page 40 40 Watt Sun Page 22 Mick Pini
Edoardo Fassio reflects on the life history of British Blues Guitarist Mick Pini. This is a very interesting story and you should be sure to check it out.
Page 24 Texas TNT
Texas TNT: Igniting the Hard Rock Scene with their debut album release “Crossroads Are Burning”
40 Watt Sun Embraces Raw Simplicity with New Album “Little Weight”
Page 96 - The Biker
Ronnie Baker
Brooks
By Kevin Wildman
In the gritty, soulful world of Chicago blues, Ronnie Baker Brooks stands out as a force to be reckoned with. Born into blues royalty as the son of legendary guitarist Lonnie Brooks, Ronnie has forged his own path, becoming one of the most electrifying and undeniably talented bluesmen not just in the Windy City, but across the globe.
Ronnie’s journey is a testament to the power of legacy and personal determination. From his early days as a roadie for his father’s band to becoming a formidable guitarist in his own right, he has absorbed the essence of the blues from some of its greatest icons. Albert Collins, B.B. King, Willie Dixon, and Koko Taylor all played a part in shaping the musician Ronnie would become. But it was his father, Lonnie, who laid the foundation, teaching him not just the notes, but the soul of the blues.
With the release of his new Alligator Records debut, “Blues In My DNA,” Ronnie Baker Brooks showcases the culmination of his lifelong musical journey. This album, his fifth, is a masterful blend of traditional blues with rock, funk, and soul influences, all filtered through Ronnie’s unique perspective. Produced by the renowned Jim Gaines, known for his work with artists like Santana and Stevie Ray Vaughan, “Blues In My DNA” is more than just an album – it’s a career-defining statement.
The title track serves as the centerpiece of the album, a powerful autobiographical piece that Ronnie describes as “a bridge between me and my audience.” It’s a song that speaks to triumphing over adversity, declaring proudly, “I got love in my blood, the blues in my DNA.” This sentiment encapsulates Ronnie’s approach to his craft –deeply rooted in tradition, yet always pushing forward.
Ronnie’s journey has taken him from the clubs of Chicago to stages around the world. He’s performed at both of President Obama’s inaugurations, headlined major festivals across the globe, and shared stages with blues legends and rock stars alike. His guitar work is nothing short of explosive, his vocals soulful and compelling, and his stage presence electric.
Today, Rock and Blues International had the privilege of sitting down with Ronnie Baker Brooks to discuss his new album, his musical journey, and the state of the blues today. From his early days learning at the feet of legends to his current status as a torchbearer for the Chicago blues tradition, Ronnie opens up about the experiences that have shaped him as an artist and a person.
Join us as we delve into the world of Ronnie Baker Brooks, a man who carries the blues in his DNA and is dedicated to carrying the genre forward into the future.
Ronnie Baker Brooks Releases His Debut Solo
Album On Alligator Records Blues In My DNA
As we began our conversation with Ronnie, we encountered a brief hiccup with our phone connection. However, true to the resilient spirit of the blues, we quickly overcame this technical challenge. With the lines clear and the connection strong, we were ready to dive deep into Ronnie’s world of music and memories.
Rock And Blues International: Doing great. I’m sorry about that. My phone just kind of acted up there for a moment and I don’t know what was happening there.
Ronnie Baker Brooks: Technology, man, that’s how it goes.
Rock And Blues International: Oh yeah, yeah, well, I got it working.
Lonnie Baker Brooks: Good.
Rock And Blues International: Anyway, I love the new album.
Ronnie Baker Brooks: Yeah.
Rock And Blues International: Sounds great. It’s what it’s been like seven... seven years or eight years since the last album.
Ronnie Baker Brooks: Yeah, yeah, almost, almost eight years, yeah,
Rock And Blues International: Yeah. Why the long wait?
Ronnie Baker Brooks: Well, we had a pandemic.
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Rock And Blues International: Well, yeah, we had that. That’s for sure.
Ronnie Baker Brooks: We had a pandemic, and I did actually record two albums, well, an album and a half during that this gap, and we decided to hold back on the one album. It’s because it’s an acoustic album I did with Todd Park Mohr from Big Head Todd and The Monsters.
Rock And Blues International: Right.
Ronnie Baker Brooks: And he coproduced it with me, along with Jeremy, his keyboard player, and we were going to put that out during the pandemic and we started talking with Bruce from Alligator Records. And once those talks got going, we decided to hold out and hold the record, you know. But during these seven years, I’ve been writing, doing a lot of songwriting, and then working a little bit, and trying to stay productive. And when it was time to do this
record, I presented Bruce with 30 something songs, 30 something original songs. And so we had a nice crop of songs to pick from for this record.
Rock And Blues International: So he put a lot of input into selecting the songs with you.
Ronnie Baker Brooks: Yeah. Well, yeah, yeah. Well, I presented the songs. And, you know, he has a brand. He has a brand that he’s known for. Of course, I know that because I grew up over there with my dad.
Rock And Blues International: Yeah.
Ronnie Baker Brooks: But I also just presented what I wrote, and we just picked from that list and picked the songs that you hear on the record now.
Rock And Blues International: Well, this is your first album for Alligator Records,
but it’s not the first album you were on for Alligator Records. You were on your dad’s album a number of years ago.
Ronnie Baker Brooks: Yeah man, my dad’s been so good. He set me up for today because he knew that I didn’t know. He knew that one day, you know, I had to be out here on my own and doing my own thing. So he exposed me to the recordings, the writing process, and then he allowed me to perform on some of those records, even like the “Roadhouse Blues” record. I’m on one or two tracks. I’m playing all of the guitar. He’s just singing. So he was, he was preparing me and building up my confidence to be a solo artist, back even before I thought about doing a solo album.
Rock And Blues International: Well, you know, you would think that you would jump right into it, but you actually started at the bottom as a roadie.
Ronnie Baker Brooks: Yeah.
Rock And Blues International: And not many people can say that, so no doubt you learned a whole lot about the music business before you ever strapped on the guitar and got on stage.
Ronnie Baker Brooks: That’s true. It’s very true. You know, the reason my father did that, one of the reasons is I had quit music. I started at a very early age. He started teaching me at six. My first time on stage, I was nine, nine years old, and when I got to about 12, 13, none of my friends were playing music, and if they were playing music, it wasn’t the blues, and that’s what I wanted to play if I was going to play music, you know, and they were into sports, so I quit to play basketball, and broke my dad’s heart man.
Rock And Blues International: Oh no, he’s going, “where did I go wrong?”
Ronnie Baker Brooks: Yeah, well, you know, he would always say, do something that you love to do. Don’t do it because I do it. Do it because you love it, because it’s going to be hard times. And if you’re doing it for someone else’s reason, it’s going to be hard for you to really be good or, you know, stick with it because you’re doing it for someone else’s reason. You got to do it for you, whatever it is. And the cool thing about my father, he would support us, whatever we decided to do and whatever our passion was to do, and when I decided to quit, my father would do his... he had a day job back then, and he would come home Friday, take a nap, do his music gig that night. Get up Saturday morning, take me to my basketball game, sit there and watch me play, take me to lunch, go home, take a nap and do his gig for Saturday night, his music gig for Saturday night. And if I had a game on Sunday, he would do the
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same thing all the time, not telling me that I broke his heart to play basketball instead of music. So when I got back into it, he wanted to make sure that this is what I wanted, for sure, you know, and the one moment man that made me know that this is what I wanted to do for the rest of my life, he allowed me to come out and on the road with him, and I was his roadie, carrying his gear and being his valet. I did everything I could to make it easier for my dad to do what he did. Because at the time, before I was out there with him, he was doing all this stuff himself, along with being on stage, you know, and when I came out there with him, I wanted to take some of that weight off him, and he would let me play one song at the end of the night on bass and that was “Sweet Home Chicago”. So one particular night here in Chicago, at Kingston Mines, Albert Collins came by to see dad, and he came to sit in with dad, and I’m going to tell you Kevin, man, those two on the stage that night. Man, it was like the movie Blues Brothers when they went into the church.
Rock And Blues International: Right.
Ronnie Baker Brooks: And it was like, I’ve seen the light. That’s exactly how it was for me. Man, I said, God, if you keep me healthy, that’s what I want to do for the rest of my life. And I’ve been serious about it ever since then man.
Rock And Blues International: Well, why did he start you out on the bass?
Ronnie Baker Brooks: Well, that’s what I used to play around the house with him when he, you know, a lot of that early Alligator stuff and some of his earlier records. I, I was playing bass on that stuff, man. I was helping him write some of that
stuff, and didn’t know it, you know? And like, the first track off of “Bayou Lightning”, his first record on Alligator, that riff, that came from me. I was a little kid, and I was playing the guitar, and he heard it. He’s like, wait a minute, I wasn’t playing it like he’s playing the opening riff, but I was playing that riff, and he just developed it. And he’s like, wait a minute, what you playing? I just started playing it, and he just made it a riff, man. And so we would do things like that around the house all the time, and he had this little... it’s like a sound thing where you can change the sound from a guitar to a bass tone. I forget what they call these things now. You can’t hardly find them. You can’t find them at all. The one we had.
Rock And Blues International: Right.
Ronnie Baker Brooks: And you can even program it to be a drum. It’s like a sound processor. You can make the guitar sound like a drum, a keyboard or whatever, and I would play the bass on a lot of his stuff. So I knew how to do that easily. That was actually probably a little easier for me than a guitar. So when I got back out on the road with him, he had some great musicians, man, and I, I could, I could play “Sweet Home Chicago” on bass, you know, so I just got up and started playing that with him. And then eventually he allowed me to play the guitar. And then one song led to two. Two songs led to a set. And back then, Dad was doing three sets or two sets, you know, he let me do the one set with him, the second set, and then eventually I started playing the whole show with him, man, and opening his shows for him, and became his rhythm guitar player.
Rock And Blues International: That’s wonderful. That’s great. Well, you’ve had a
lot of inspiration from people along the way. I mean, you’ve learned from Albert Collins, BB King, Willie Dixon, Koko Taylor, I mean, I’m sure that there’s even more people that I don’t even know about that you’ve learned something from.
Ronnie Baker Brooks: Yeah, yeah, and my dad’s bands. He had some great bands back then, man, and a lot of them were very open to showing me stuff. You know, he had great guitar players in his band, Bob Levis that played on all that early Alligator stuff, Dion Payton that played on some of the Alligator stuff, Osee Anderson and all of these guys. Man, I was in a hotel room with or in a rehearsal hall or in the basement with, learning parts, learning how to play. They’re teaching me stuff, and I was picking up stuff from them. So it was like, almost like a college. It was like Blues College, man, and then we’d do shows with BB or Albert would come through. We always did shows with Koko Taylor. She was very, very inspirational to me, like a mother. She gave me that backside of it, where it just it felt like I’m talking to my mom.
Rock And Blues International: Right.
Ronnie Baker Brooks: And it’s very inspiring to keep playing the blues. Keep playing the blues, we’re going to need you one day. One day you gonna have to keep this going, and here I am today.
Rock And Blues International: Someone’s gotta carry on the tradition, and you’re next in line.
Ronnie Baker Brooks: Well, you know, I just try to be the bridge like we gotta... the sad part, all of those people that inspire me are gone from those days that I was around, because it was very vibrant back then, Kevin. It was very, very and then they wasn’t signing the young guys like they’re doing, young guys and girls like they doing now. It was so many great legends still around, they wasn’t getting the recognition. But then now we have some young kids, younger people coming up and they get played. They’re really good. So what I just try to be is to bridge from that generation to this generation.
Rock And Blues International: How’s that working out for you? How many people are you helping along the way?
Ronnie Baker Brooks: Well, I’ve had talks with a lot of them, man, Kingfish, I’ve had talks with him.
Rock And Blues International: Now, he’s phenomenal, isn’t he? I mean, for a young guy, he’s really doing good for himself.
Ronnie Baker Brooks: Very good, very good, very good for the music. I’ve talked to
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several others, Matthias, down in Houston. I’ve talked with him. You know, we had the pleasure to do the blues cruise together with all of them. And you know, if they’re interested, I give them something. Or, if they want to hear something, I tell them. You know, my thing Kevin is to know when to shut up. Because I try to give it all to them. I try to give it all I can to everyone to share these experiences that I’ve had, but I gotta learn that they got their own thing to go through. And if they ask I’m here, you know, they’re willing to want to know I’m here.
Rock And Blues International: Well, looking back at some of these, the older musicians you learned from... let’s take a couple of them here, like Albert Collins. What did you learn from Albert Collins. Can you think of one thing that he instilled in you, that you, well, you learned from.
Ronnie Baker Brooks: Albert came to a show was this is when I was in dad’s band, and I had the pressure of being the son of and I’m trying to live up to this pressure at an early part of my, you know, musical journey. And it’s, it was, it’s hard, you know, I’m Lonnie Brooks’ son, so there’s an expectation. So I’m trying to make everything perfect, or trying to. I was too serious, you know, and I’m up there making mistakes, drowning. This was in LA, I never forget. This was after I saw him in dad’s jam here in Chicago at the Kingston Mines. And he pulled me to the side. He said, Son, I see you. He said, you can play, he said, But you up there frowning when you make mistakes. We all make mistakes, but you have to smile and act like you meant to do it, because now people know you made a mistake. They might have thought you meant to do that. He said, when you’re up there frowning, you’re killing your own vibe. Just take what we have to offer that you like and make it you because you’re not going to be Lonnie Brooks. You’re not going to be Albert Collins. And I’m going to tell you Kevin that like that was like taking those bricks off my shoulders.
Rock And Blues International: How about BB King? What? What was one thing that he instilled in you?
Ronnie Baker Brooks: I had the pleasure to do the BB King tour back in 1993 and I was the rhythm guitar player for Dad, Koko Taylor and Junior Wells. We were the Alligator All Stars. And then Buddy Guy
came on after us, and then Eric Johnson came on after Buddy, and then BB closed. We did probably close to 50 something shows that year together. And I was watching every show, everyone’s show, every night that I could. And one particular night in Miami, BB was walking off the stage, and he saw me, and he pointed to me, said, come here. And he put his arms around me, his arm around me as we were walking off the stage, people screaming his name, man, it’s like a movie scene, really. And he was telling me, he said, Son, I’m watching you. Watch me every night. Learn all you can from us. What I want to know is that your dad is just as good as me or better. We just got different styles. And that was like, I guess he could see how much I was admiring him, but he did not want me to forget how important my dad was. And that was just the beauty of BB King right there for me.
Rock And Blues International: Well, just to have him mention your dad and compare the two of them together must have made you extremely proud on that conversation.
Ronnie Baker Brooks: Very proud. He humbled himself to let me know that my father was just as good. Do not put no one you know over no one you know. I mean, this is the king of the blues man, this is the man. My father looked up to BB. He was inspired by BB. But that humility that BB had. I watched that tour man, how BB made everyone feel good, from the promoters, the fans, the musicians, dignitaries that showed up, other stars that showed up. He was just the king man, the king of charm. And he carried that well, he carried that well man, and that was just a good platform for me to get to know him more. On that tour, he got to know my name. He knew about me. He used to send me notes home when I was too young to go see him. And my father told me I was playing, you know, I have a son that plays
well. Lonnie, take this note home to him, and he would send me a note home saying, “Hey, keep practicing, keep your grades up, and listen to your parents.” You know, I wish I would’ve saved that stuff man. I lost it when we moved away from different homes. But that’s BB man. BB was the king man. He was.
Rock And Blues International: He was, I’ve met him several times over the years, very, very nice gentleman, very nice.
Ronnie Baker Brooks: Yeah, and just amazing on the guitar, amazing as an artist, and all that came out of him through the music. You know, you could feel all of that. And that’s what made him like when you hear him singing the blues, you believe him, because he was being honest. He was being true to it.
Rock And Blues International: Oh, yeah, well, he was the blues.
Ronnie Baker Brooks: Yeah.
Rock And Blues International: How about one more person here?
Ronnie Baker Brooks: Okay.
Rock And Blues International: The granddaddy of everybody, Willie Dixon.
Ronnie Baker Brooks: Willie, yeah, I got to know his kids, Shirley Dixon, a lot of them. I got to know them and we kind of grew up together a little bit. But one thing that stood out with Willie, of several things that I’ve been blessed to have, this is early on in my career. I was playing with dad. Dad wanted me to sing. He’s like, I don’t want you just to be my rhythm guitar player, I want you to learn how to sing, because one day
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you’re gonna have to front your own band. He was setting me up from day one man, my father and we got to LA and Willie Dixon was at the show, and we end up sitting in the dressing room. He said, Willie, my son want to he’s a musician. You want to sing? Man, can you give him some pointers? And Willie, “yeah, well, when you singing blues, you got to make the people believe you. You can’t sing something you ain’t feeling. You got to be able to deliver the song. You don’t have to be a great singer, just be able to be a great deliverer of the song”. And he picked up this piece of paper, man, he started tapping on the paper like a drum, and start singing the song. And I’ll never forget it was, I think it was a Howlin’ Wolf song that he had wrote for Wolf. And he’s like, “Wolf wasn’t what you call a great song singer, but he had his own style, and that stood out, just as good as the great singers”. And that stuck with me, that stuck with me, that moment, deliver the song.
Rock And Blues International: Well, you certainly deliver the songs in this new album, this thing’s fantastic. The vocals are great. The lyrics are wonderful. The licks you’re doing here are just incredible.
Ronnie Baker Brooks: Thank you. Thank you.
Rock And Blues International: Um, well, what would you like to start talking about on the new album?
Ronnie Baker Brooks: Hey, wherever you want to go. First of all, it took a minute
to get to here. I’ve done a lot of things. I guess I had to go through it to get to it. I started my own label, played with my dad, I produced other artists. I’ve done a lot of things, and a lot of it was just almost like a labor of love because I love this music, and when my manager facilitated this with Bruce with Alligator, the one thing I said to Bruce, I said, Man, I know you love this music, and I love this music. Let’s do it for the love of the music, and it’s been great to do this. I’ve known Bruce since I was 10 years old, and I’ve seen some great things. I’ve seen some stuff that I’m not so happy about. But the one thing I know for sure, and I feel it in my soul that he loves this music. His staff does a great job at promoting and working with this music, and they have a passion for it as well. And that’s the dot that I’m trying to connect to with them, is the passion and and we both, you know, the label’s here in Chicago, I’m in Chicago, and it’s a lot of great musicians that came from Chicago to help put Chicago blues on the map, and I’m just trying to keep that going, if I can.
Rock And Blues International: Well, I’ll tell you, the new album just blew me away. It’s fantastic. I sense an overlying theme to the whole album, women.
Ronnie Baker Brooks: (Ronnie laughs profusely)
Rock And Blues International: Is there a song on here that’s not about women? Maybe blues in my DNA, maybe, maybe that one’s not about women, but I think just about
everything else is about a woman at one point or another.
Ronnie Baker Brooks: Now that you say that I gotta think about it. Yeah, I guess you’re right, man. Well, I mean, that’s the beginning of the blues man, ain’t it?
Rock And Blues International: It is. I mean, if you’re not singing about women, there’s something wrong with you.
Ronnie Baker Brooks: You know, I got an album I did with Big Head Todd that’s not been released yet, and it’s more political, because we were going through the pandemic and it’s an acoustic album. It’s just me and a guitar and and maybe a harp. I got Billy Branch playing on that, and it was real political like, and I, probably unconsciously, wanted to get back to love, because we got a lot of stuff that’s going on, and I always try to lead with love, man. And you know now you have heartbreaks, you have stuff that happens in life, but love always wins. Love always wins, I believe, if you can get through it. And the great Junior Wells told me this. He said, “Man, if you can get over your first heartache, your first, you know, heartbreak, you got your diploma in the blues”.
Rock And Blues International: All right. Well, like I said this whole album seems to be all about women. Starting with the first song, “I’m Feeling You”. It’s a funky rocker. “No more wasting time. She’s got the love that you need.” You love the way she walks. You love the way she talks, and you’ll be hers to the end of time. Tell me about that.
Ronnie Baker Brooks: Yeah, I wrote that song prior to the pandemic, and the groove came to me first. And the riff, if you listen to the rhythm guitar, to me, it sounds like it’s, it was the guitar was saying, “I’m feeling you, I’m feeling you”. And I just built it from there, telling the story about meeting a woman, and sometimes you probably ashamed or shy to go up and speak to her, but you feeling something, you know, that come, get me look in your eye. I can feel it, you know. And I just built the song from there, from that guitar riff.
Rock And Blues International: Yeah, are these about any women in particular, or just in general?
Ronnie Baker Brooks: In general, in general. There’s a place here in Chicago, I go hang out called Odyssey East on the south side of Chicago, and a lot of songs that I’ve written prior to this record. It’s come from just hanging out in the clubs and watching how people interact, or personal that happened to me and I just try to put it in a song. Some of these songs came from just those experiences, hanging out in the club, watching people interact.
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Rock And Blues International: Right. The second and the third song, the way they segue into each other, “Lonnie Brooks, Blessing”, you’ve got your dad on here, seguing into “Blues In My DNA”, which appears to be your history. You describe it as a bridge between you and your audience, the story of your life, your life force. It seems to be what drives you and you’ve managed to squeeze ‘crooked politicians’ and ‘crooked cops’ into there.
Ronnie Baker Brooks: Yeah. Well, that’s not all of them. It’s like one bad apple don’t make all the apples bad, but you have to acknowledge that bad apple and separate it from the good ones, you know, and it’s the truth. And in my case, for what I’ve seen, I’m here in Chicago, and we had what, like three, two to three governors that went to jail.
Rock And Blues International: Really?
Ronnie Baker Brooks: Yeah, yeah. So, you know, I don’t try to get into politics because I know that’s a touchy situation.... that and religion. I’m not trying to divide us, I’m trying to be a bridge to bring everybody together.
Rock And Blues International: Right.
Ronnie Baker Brooks: And because I know the music is a healer, the blues is a healer. I know it is. It’s been a healer for me and that’s what I try to, but the blues is also the truth. And I’m not trying to divide, just acknowledge that, hey, okay, we got a bad apple over there, but let’s fix that. That don’t mean that all of them like that.
Rock And Blues International: Yeah, you’ve got to be careful when you start talking about politics. I mean, your best friend will end up hating you because he finds out you don’t like the same person he likes.
Ronnie Baker Brooks: I know man, and I have family members that are police officers. I have my brother-in-law, who’s a former Chicago PD, he’s retired, and so they like, I’m just saying it, you know, and I ran it by them so they can hear it. And, hey, they understand that. They know where my heart is first of all, but they understand that is that there’s some truth. There’s truth to what I’m saying when it comes to that crooked cops and politicians, you know.
Rock And Blues International: Yeah.
Ronnie Baker Brooks: And that doesn’t paint a bad picture on all of this, just my personal experience, from what I’ve seen and just telling my story from the beginning. I was born in a ghetto flat, but we always had love in our house. We didn’t have no money. I didn’t know we didn’t have no money, until I started getting old enough to go visit my friend’s house and see they had more stuff, or, you know, more flexibility with, with with money, more resources than we had but we had love. My mother and father put a lot of time into us. Man, we would have board games like Monopoly or Uno or card games and and my dad would play music around the house, have all of us playing music. My father, my brother Wayne would be on pots and pans, playing drums. I’m playing the bass on the guitar. My mother is singing, my sister’s playing a piano, and you we had love in the house and did not know we didn’t have the money. My father was a great cook. Matter of fact, he even taught my mom how to cook some stuff. He would cook some beans and rice that would last us the whole week and that’s the truth.
Rock And Blues International: Oh, I’ve been there, I understand. When I was a kid, I never realized why my friends had better toys than I had.
Ronnie Baker Brooks: Oh, man.
Rock And Blues International: They had the little army men, and I had marbles that I would pretend were army men.
Ronnie Baker Brooks: Yeah. Man, we used to make our own toys. Man, we used to make, you know, do you remember when the big wheel came out?
Ronnie Baker Brooks: We made our own big wheel. man. We would take wheels from a cart, like a grocery cart, that was of no good. We would take the wheels off, put them on a board, and have a two by four as the guide with a string on it, a string on the right side, a rope on the right side, connected to the left side, and you got it like you holding a horse. What they call it for the horse?
Rock And Blues International: The reins.
Ronnie Baker Brooks: Yeah, yeah. And that was our guide. We would guide it and put our feet on it, and we would guide it that way. And we would take the old like people would throw away their old, big wheels, or whatever. We would take those wheels and put them on the back and made our own, put a little seat and somebody push us.
Rock And Blues International: Yeah, we would nail a pair of broken skates to a to a one by four to make our own little board.
Ronnie Baker Brooks: Yeah, yeah, man.
Rock And Blues International: Back then, you loved those things. You didn’t know you were missing out. You just thought you had something cool.
Ronnie Baker Brooks: Yeah, man, I remember going to see Bruce Lee at the at the movies, you know, we get lucky enough to go see the movies or and he came out with, I forget which movie it was, “Chinese connection”, or “Enter The Dragon” when he
Rock And Blues International: Right.
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came out with the chucks, the chucks. Yeah, we will make those, man. We take a broom, break in half, get a nail, couple of nails, and take some chain and nail the chain to the other one, the half of the piece of broom and made our own chucks, man.
Rock And Blues International: And try not to hit yourself in the head with it.
Ronnie Baker Brooks: I’ve done that many times. (laughing profusely), I’m stuck on stupid.
Rock And Blues International: Well, the next song on here, “My Love Will Make You Do Right”... she’s done you wrong from the very start, you pray every night that your love will make her right. You keep holding on. You’ll give her the world but she can’t be true. She teases you when she leaves you.
Ronnie Baker Brooks: Yeah, yeah, that’s, that’s love man. You’re just hoping and praying that that love will make her do right, or make him do right. You know, because it’s another side of that too, where women are in that same position as well, and, yeah, it’s the truth.
Rock And Blues International: Well, is this from experience along the way?
Ronnie Baker Brooks: I have been in that position. Yes, yes.
Rock And Blues International: Okay.
Ronnie Baker Brooks: My very first girlfriend, loved her, and when I decided to play music for a career, she didn’t like that. She wanted a man that worked a nine to five and come home, and I made the mistake of
taking her out to a show, and she saw how it was. She’s like, Oh no, no, no, no, no, no, no. And ever since then, she had to show me everything possible that she was not going to do, right if I was going to, you know, get a day job and quit music. And fast forward, man, when I had some records out, she came to a show and she was like, you know what, I’m so glad I did not stop you from... because I was going to quit, because I loved her and I like no, you know what I was you know what I like to do? I shouldn’t change. You know, if you love me, you’re going to support me. Whatever I did, it’s like I supported you, and she came to a show and told me, I’m thankful that you didn’t stop because of me, because I would have stopped all this great music you made.
Rock And Blues International: Well, that’s wonderful.
Ronnie Baker Brooks: That’s a true story.
Rock And Blues International: So, it took a while, but it did have a happy ending.
Ronnie Baker Brooks: Yeah, and, you know, at the end of the day, she’s happy, I’m happy. I’m married. I have a lovely wife. I’m good, you know. But like I said earlier, Junior said, if you can get over that first heartache, you got your diploma in the Blues. So I know I ain’t the only one that’s been through that. So if I can put that in the song, and it can help someone get through that, that’s what the Blues is all about.
Rock And Blues International: The first slow ballad on here, kind of a what is it, a Memphis style, ballad, “Accept My Love”. You want her to open her heart and accept
your love. Give you a chance. Please accept your love one more time. Just give you one more try and in the press kit here, it mentions it brings back memories of your mother
Ronnie Baker Brooks: It does, yeah, when I wrote the song, I was not thinking about my mom. I recently lost my mom. It would be a year on September 23 this year. She died last year, and when I wrote the song, I was not thinking about mom at all. When we cut the song, we didn’t have an organ part on it yet. So Jim Gaines, the producer, like man, let’s take this down in Muscle Shoals and have Clayton Ivey play some organ on it. I’m like, Great, yeah, of course, you know, I’m honored to have Clayton. And we get to the studio, and the first thing Clay said, what we got? I said, Well, we got a ballad. He said, That’s what I like. I like those. So he goes out there on the organ, and we play the track, and immediately, soon as he put his hands on the organ, you can feel something in the room, and everybody, and I’m looking around, I’m thinking, it’s just me, but I’m looking at everybody, they feeling something like, whoa. They got this look on their face. And that moment, I felt my mama, man. It’s like she she came down to me, and it was just so pure and that’s how that happened. I wasn’t thinking about mom, and my mom, she loved those kind of songs. She loved those kind of songs. I have another one called “See You Hurt No More”. She always loved when I play that song. So that’s kind of like my mom’s song.
Rock And Blues International: And now you can’t get that idea out of your mind whenever you hear it or play it.
Ronnie Baker Brooks: Yeah, yeah, yeah. She’s still with me. It’s tough, you know. My mom, A lot of people know my dad, of course, because of what he did and what he... he’s a Blues musician, Blues star, but my mom was the glue. She was the... I said, Dad made the money. Mama gave us the honey. She gave us the love. Dad did too, but that home, nothing like that love and that hug from Mama, man. When I lost my dad, it hurt. It still hurts today, but it was a little bit different when I lost my mom. I can’t explain it. Can’t put my finger on it. My dad... me and my dad were like best friends, man. And when my mom passed, it’s just it’s hard to explain because I guess maybe because I came from her body.
Rock And Blues International: Well, it looks like this album was a bit of a tribute to both your parents. I believe that’s your dad’s guitar you’re playing on the cover.
Ronnie Baker Brooks: Yes and no.
Rock And Blues International: Yes and no. Okay,
Ronnie Baker Brooks: Which one you
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want first, the yes or the no.
Rock And Blues International: Well, is it one like his, or what?
Ronnie Baker Brooks: No, it is. It’s the same guitar.
Rock And Blues International: Okay.
Ronnie Baker Brooks: But it’s my guitar, because that’s the first guitar my dad bought me when I was seven or eight years old, and that’s the guitar I used when I got on stage with him at nine.
Rock And Blues International: Oh, well, he did you right then. You can’t lose with an SG.
Ronnie Baker Brooks: No, man. And he brought that sucker home. Man, I could never forget, man. And he had a guitar player named Hector in his band at the time. And Hector had this blues bassman, this bassman, Fender bassman. I wanted that amp, and he got that guitar with that amp. Man, I had a combination. Man, I was so happy. Boy, I used to sleep with that guitar, Kevin. I mean literally at nine years old in the bed with a guitar, man, like, like, I was, like, it was my woman and when I decided to play basketball, my dad said, Well, you’re not using this guitar. I’m going to use it. And he ended up doing all this early Alligator stuff with that record, with that guitar. And on the cover of his first record “Bayou Lightning” on Alligator, he’s with that guitar with lightning coming out of the guitar.
Rock And Blues International: Yeah.
Ronnie Baker Brooks: I don’t know if you ever seen that.
Rock And Blues International: I’ve seen it.
Ronnie Baker Brooks: Oh, yeah, and he’s on the lakefront here in Chicago. So when we was thinking about an album cover, I said, Man, it would be cool if I can pose on the lakefront with the city behind me, city of Chicago with the same guitar daddy posed on his first Alligator record. And that’s how it went down. When I decided to come back into music seriously. Dad said, Well, since you back in the plan, I’m giving you your guitar back. And he gave me that guitar, and that guitar became like a signature thing for my dad. He was on “Hee Haw” with Roy Clark with it, and Roy Clark sent dad a guitar for his birthday. It’s similar to the one that he’s playing on the episode they’re together on and we got both of them here now.
Rock And Blues International: Well,
I’ll tell you, you can’t beat the tone coming from a pair of humbuckers through a bassman. It is just the warmest sound you’ll ever hear.
Ronnie Baker Brooks: It’s hard, you know, especially playing the blues, it’s hard to put them down, and I was a Strat guy when I first started with dad. I had played nothing but strats, and I picked up the Gibson, and it’s hard to put back down man.
Rock And Blues International: Oh, I understand. I’ve got a couple of Gibsons myself, and I just love the tone over a strat.
Ronnie Baker Brooks: Yeah, well, you know, I use strats on this record for different reasons, a tone like “I’m Feeling You”. I’m using the strat on the rhythm to give it that bite, that bite back, you know, that percussion, that strat sound give you, you get a percussion sound. And I use that for that. But far as the soloing and everything, that’s all Gibson and the magic of Jim Gaines, the producer. Jim always gets great guitar tones. And, we got a good thing there going with those Gibsons. And man, I brought several of my amps down there to Tennessee, and we ended up using... I got a Fender, a Super Reverb. We used those on some of the rhythm, a Deluxe on some of the rhythm and lead for the Deluxe. And then... can’t think of the name, what they call that thing, man. I just got back from Hawaii this morning. My brain’s fried. Now I’ve have done like four interviews today, but we used a Fender Twin, we had a twin there too, but we didn’t use that as much. But most of that stuff was just a Deluxe and what is the name of that amp man? Same one that Gary Clark Jr uses, I can’t think of it’s a blonde, it’s a blonde amp, not a Tonemaster. Anyway, we use that and most of the solos was with my Gibson 339 or I got a 335 and most of the solos was with that, but I use strats for some of the rhythm.
Rock And Blues International: Yeah, I got a Lucille too.
Ronnie Baker Brooks: Yeah, yeah.
Rock And Blues International: Love that sucker. I actually got BB to autograph it for me.
Ronnie Baker Brooks: Oh, that’s awesome.
Rock And Blues International: Oh yeah, it’s a keeper. Let’s move on to the next song, “All True Man” that you wrote with Todd Park Mohr, you know, Big Head Todd. Tell me about that song. “You’re the man she needs right now”. They say that you’re wrong for her. Well, who is they?
Ronnie Baker Brooks: Well, did I say that in that song?
Rock And Blues International: Something like they say you’re Mr. Wrong.
Ronnie Baker Brooks: I said, I’m not saying.
Rock And Blues International: Oh, you’re not saying you’re Mr. Wrong. Okay.
Ronnie Baker Brooks: I’m Mr. Wrong. I’m not saying I’m Mr. Right, but I am the man. I’m the truth. I’m the all true man you need.
Rock And Blues International: That’s right.
Ronnie Baker Brooks: Yeah, yeah.
Rock And Blues International: Well, you don’t make promises. You make guarantees.
Ronnie Baker Brooks: That’s right, that’s right, I wrote that with Todd. Todd’s like my musical brother, man. He inspired me early on. They had success early on in the 90s, and we did some shows with them back then and we were around the same age. I think he’s maybe a year older than me or so, not too much. And I was thinking about doing a record, I had songs and everything, and I couldn’t find a record deal. He was like, man, start your own label and put it out yourself. You don’t need a record deal these days. Just get a mailing list. And so that started back in the 90s, and we reconnected in the 2000s and he was living here in Chicago, and a mutual friend of ours put us together on a show, Chris Stewart, he put us together on a show. And I hadn’t seen Todd in a long time. He’s like, Man, I’m living here now, man, I say, what he’s like, yeah. Man, I said, Man, can we hook up and write some songs like, yeah, come through. And I went to his house, and we ended up writing this song and a couple other songs together. And that song just stuck with us, stuck with me. I recorded it with him, an acoustic version that’s out already, video. We did a little video for it, and when it was time to do this record with Alligator, they liked the song, and we decided to do it again. So this is the first electric version of it.
Rock And Blues International: Well, when you wrote the song, were you? Were you primarily lyrics? Were you primarily the music? Or how did, how did you bounce back and forth between the two of you on this?
Ronnie Baker Brooks: I brought in the groove, the chord progressions and the continued on page 16
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groove and the lyrics, initially called “True Man”, and we just built the house from there. And Todd, you know, Todd’s a great songwriter, great. He knew how to put songs together, man and make it, you stand out, like the break. I don’t know if you know the breakdown. It sounds weird. That’s Todd. He’s like, man, we need a breakdown. We need to do something like something to break up the groove a little bit and then get back into it, you know? And it’s genius, because when you do it live, people like, wait, what they doing. But then they catch it when they know it’s coming. It’s really cool. It catches, it gets your attention back. What was that? And then it just brings you back into the groove. That’s Todd. He knew how to connect those dots, man. And he’s really good at that, man, great songwriter.
Rock And Blues International: Yeah. Well, the next song “Robbing Peter To Pay Paul”. Now that’s your traditional blues song without a doubt. That’s it, that you’re working real hard, having trouble making due financially. You’re trying to figure out what pay bills to pay last. I believe it really sounds like the typical life of a musician. Your daughter needs shoes, she wants a cell phone, and you’re wondering what the hell you’re going to do about your taxes?
Ronnie Baker Brooks: Yeah man, I’m walking around talking to myself. That came from talking to my manager, Man. At the time I wasn’t working that much. It’s right after my father passed, and it enabled me to stay home and take care of him, and I wasn’t working that much. And so I owed, I owed my manager money from manager fees, you know, commissions, you know. And I was telling him about, man, we need some more gigs. Man, because I’m being robbing Peter to pay Paul. And my manager said, Yeah, and you owe John too. His name is John, and we both start laughing, like, Yeah, but he was cool about it. He wasn’t like, ‘Hey, you owe me my money. I want it now’. He’s like, real flexible with me and we laughed about. I said, Man, that’s a song. He said, Man, you need to write it, and I wrote that song, and it came out like it is.
Rock And Blues International: There’s sometimes a misconception about musicians. They think, Oh, if you’re a musician, you got a couple of albums out, you must be rich. And do you run into that quite often.
Ronnie Baker Brooks: Not as much anymore. At first, yeah, you know, like some of my friends that see you on TV or whatever, or see you got a record out, they think you rich and famous. But I think at the time, people realize, oh, they struggling too.
Rock And Blues International: Oh
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yeah.
Ronnie Baker Brooks: Yeah, you know. Man, I had to come downstairs and look at this amp. It’s called a Vibro-King. Man,
Rock And Blues International: Oh, okay, a Vibro-King.
Ronnie Baker Brooks: Yeah, that’s blowing my mind. Why I forgot about this amp? Man, but I don’t use it that much. I only use it in the studio. I don’t take it on the road because it’s very tender. I mean, you know, special amp,
Rock And Blues International: It’s pretty heavy too.
Ronnie Baker Brooks: Yes, it is, it is. I had to come downstairs in my basement and look at the sucker man. That was worrying me.
Rock And Blues International: Well, I had to get rid of all my heavy amps, my Marshall stacks went first. I mean, I couldn’t even pick the heads up now at my age.
Ronnie Baker Brooks: Yeah.
Rock And Blues International: I go for the little boutique amps.
Ronnie Baker Brooks: Yeah, that’s, that’s the new thing now, man, I was just in Hawaii doing this fundraiser for the Maui fires. Yeah, we were playing Jimi Hendrix songs. Everybody was playing, and I got to play with Ernie Isley and Billy Cox and and this guy from here, Chicago, Isaiah Sharkey, great guitar player. I don’t know if you’re familiar with him.
Rock And Blues International: No, not really.
Ronnie Baker Brooks: He plays with John Mayer. He was in John Mayer’s Band, and he got his own thing. He played with many people, but he’s a young guitarist from here, and he’s got these, these little Pedals, where he don’t even carry an amp anymore. He’s getting an incredible tone. No you don’t need an amp. I mean, it really starts with the fingers anyway.
Rock And Blues International: Well, yeah, you just plug right into the PA.
Ronnie Baker Brooks: Yeah, It depends on your playing and how you can deliver the song or whatever musically on the guitar, but you don’t need an amp, but the amp does help you get there quicker.
Rock And Blues International: Right?
Ronnie Baker Brooks: They’re making some good technology, making so much stuff now you don’t have to carry those big old amps anymore.
Rock And Blues International: Oh, it’s hard to keep up with it. By the time you think you know what’s going on, someone shows up with something new.
Ronnie Baker Brooks: That’s true.
Rock And Blues International: Well, the next song is “Instant Gratification”. Do you need instant gratification?
Ronnie Baker Brooks: No, no, but at one time I thought I did. At one time I thought I did. You know, the older I’ve gotten, especially after losing my parents, you realize the big things become little and the little things become big. But when I was younger, I wanted everything yesterday. Speaking of technology, with these phones and everything, it’s got everybody wanting something now, you know, you want it now, instant gratification, give it to me now, and that just stuck with me. I had the idea, I wrote that down, like instant gratification, and I just put some music to it, and wrote the song, you know, try to still tell the story, and wrote the song with that groove. But no, I’m good, man, my gratification is playing the music.
Rock And Blues International: Right? You’re happy where you’re at.
Ronnie Baker Brooks: Oh, yeah.
Rock And Blues International: All right. Well, the next one, “I Gotta Make You Mine”. You’re going from Tennessee to Chicago, or this person is going from Tennessee to Chicago looking for his woman. He’s gotta make her his. He’s entering her town, and she’s driving him wild.
Ronnie Baker Brooks: Yeah, yeah, yeah. I gotta make it, make her mine, man. We, you know, we were down in Tennessee, and that groove is kind of like a Memphis vibe, you know. And we got musicians playing on it. So exactly the hand and glove, it kind of went together. But I had to let him know I’m from Chicago. I’m looking for my woman, but I’m down here with this groove, with this energy, with this kind of, you know, this kind of groove down here, but I’m trying to make her mine,
Rock And Blues International: Well, when you would do it, recording the album in Tennessee, were you playing with your
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regular band, or did you have a few session players in there?
Ronnie Baker Brooks: Session players, Jim Gaines got his core musicians he uses and Steve Potts on drums. He’s a legendary drummer down there. Uh, he played with some of everybody on many, many records. Dave Smith, both of those two played on my first three records on Watchdog, so I’ve known them for years, close to 30 years now. And then he brought in Will McFarland, guitar player, man that played on many, many great records, like Johnny Taylor records, a lot of Malaco records, lot of Malaco records, and this is my first time working with him. And then Rick on keyboards. This is my first time working with those two. And man, it was so great. Because at first it was a little bit of, you know, feeling out process.
Rock And Blues International: Right? Well, you’re used to playing with certain musicians, then you go to someplace like Tennessee, and all of a sudden, it’s all new faces.
Ronnie Baker Brooks: But the thing was, with all of those guys, they wanted to bring something to the music to help elevate it and not get in your way, or, like, stomp over you or play over you. They want to elevate the music, elevate the song with their parts. They stuck with the discipline and, man, it was so cool. It was really cool to work with Will. Especially another guitar player, because you can clash, you can get in each other’s way and then you gotta, like, wait a minute, man, it’s my record, like you’re playing so much, that kind of thing. But Will is not like that. He’s definitely a team player. And that just shows their musicianship, their level of musicianship, man, to help me be the best I could be for this project.
Rock And Blues International: All right, the next one, slow ballad “Stuck On Stupid”. You give her all your money to go shopping and she comes back the next day. What’s with that?
Ronnie Baker Brooks: I wrote that song over 30 years ago. That song is on my first record, “Golddigger”.
Rock And Blues International: Oh, well, then it fits. It fits, definitely with that, something like that.
Ronnie Baker Brooks: Yeah, my current wife... I was dating her back then. We had an on and off thing where we got together, and then we broke up and got back together, and now we’re married. But when I was dating her, back in the day, she lived across the street from me, and her mother and her father was there sitting in the living room,
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and it just so happened that we could hear the argument of her mother and her father, her stepfather, and she was so embarrassed. She’s like, why don’t you just... I’ll just come over your house later. I said, don’t worry about it. I understand. I heard her mother say, What do you think, I’m stuck on stupid, a new kind of fool. And I was like, Whoa, I’ll be across the street. I’ll be right back. And I went, I went home and wrote that song, man. And that song became one of my signature songs in my career all these years. And when it came time to do this record, Bruce Iglauer was like, man, we need a power blues, you know, slow blues. Do you have anything? I said, Well, yeah, I do, but what do you think about doing “Stuck On Stupid” over. He’s like, yeah, yeah, let’s do that. And we ended up doing that in one take. That’s all live, what you’re hearing. It was one take. And matter of fact, it was so long we didn’t realize it was damn near nine, eight minutes long. Man, we were so into it, we forgot how long it was, and we was going to edit it where it could be a little more shorter to play on radio or whatever. And Bruce decided, nope, leave it like it is.
Rock And Blues International: I don’t know how you could edit it. To me, every note on there needs to be there.
Ronnie Baker Brooks: Yeah, it really, I’m serious. When we were cutting it, it did not seem like it was that long at all. Matter of fact, it felt like it was on, like, four minutes or something like that.
Rock And Blues International: Well, that’s because you were enjoying the hell out of it.
Ronnie Baker Brooks: Yeah, yeah. And the band was too. It was like they were really into it, man. And that’s what created, it was them.... just a good energy that was happening in the room. It was late at night. It was at the end of the day. We had a long day. We started early now, late morning, early afternoon, and it was the last song we cut that day. And everybody was just feeling it. We were already there. It’s just a perfect way to end the night.
Rock And Blues International: Alright. Well, this next song sounds like it was written about someone you met at that club you hang out at, “I Found A Dollar Looking For A Dime”.
Ronnie Baker Brooks: You’re right.
Rock And Blues International: Was it really?
Ronnie Baker Brooks: Yeah, I wrote that from watching and hanging out there, man. I watched the guys trying to pick up
these girls, man, and it was a couple of friends of mine that actually met someone they ended up marrying. They ended up being together with them. Matter of fact, they proposed to them down there at the club, so that kind of came from there. I try to go to that club just to keep my ear to the ground man and see what’s moving and what people are liking, what people are digging, and then you get a lot of situations where you see things happen, real life situations. And I write songs about them.
Rock And Blues International: Alright, well, the last song on here, “My Boo”. That’s about your wife, isn’t it?
Ronnie Baker Brooks: Gotta make her my boo. Yep, yeah, that song I wrote around 19, 2019 somewhere around there, maybe 18. My wife had just started working nights. She’s a nurse, registered nurse, and I normally get inspired to write songs in the evening, like late nights, and I’ve tried my best to be quiet, because I know my wife got to work, but this particular time, she’s working nights, so I’m like, wow, I got all this time that I could play however I want to play, you know, loud as I want, you know, and that’s how that song came. And I had that groove, and it was coming from that Hollywood groove, you know, Hollywood Vibe. It comes on like my little mini tribute to Hubert Sumlin, you know, and I got to know Hubert, got to play with Hubert, and he was one of the first stars. I remember coming to our house when I was a kid. And so that was kind of like putting all, connecting all those together.
Rock And Blues International: Well, great song.
Ronnie Baker Brooks: Yeah, thank you.
Rock And Blues International: Never met anyone like her before. She’s always on your mind, and you’ll do anything to make her yours. What is it? Fight 10 men to be with her.
Ronnie Baker Brooks: I’ll fight 10 men. Yes.
Rock And Blues International: Well, I hope you didn’t have to.
Ronnie Baker Brooks: Well, I mean, you know, hey, that’s just showing my passion and love for her. I’ll fight 10 men just to have one of you.
Rock And Blues International: Yeah.
Ronnie Baker Brooks: I’ll give up nine
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lives just to have one with you. You know, I work and bring all the money home to you and I know women love to hear that. Like my dad said, they love to hear you say that, even though they know you lying.
Rock And Blues International: Oh, that’s fantastic. That is I like that. Well, What haven’t we discussed on here that we should have. What have I missed?
Ronnie Baker Brooks: I think we covered it. Man, the songs, we covered, the producer, we covered the studio, the musicians, Alligator. We talked about my dad, my heroes. My whole thing was to bring something to the blues, keep the blues alive, help elevate it if I can, and help elevate my family legacy. My father set me and my brother up from day one, when we decided to make this a career, and my job now is to add to that legacy and do my best to, when I have a microphone, to remember, to let them know about my dad, man, and to bring my story to the table too.
Rock And Blues International: Right?
Ronnie Baker Brooks: And that’s the part of the whole thing with, with this move we’re going with Alligator. It’s a lot of history of my father. There lot of my beginning, early beginnings came from that union. And I’m just honored to be able to do this.
Rock And Blues International: Well, you mastered this with Bruce, with Bruce Iglauer. what was his reception when he sat there and heard the final mixes when you were mastering it?
Ronnie Baker Brooks: He was very happy. He was very happy with the performances. You know, normally, I gotta be honest with you Kevin, the Bruce Iglauer, I remember from back in the day with my dad. He had to be in the sessions. He had to be a part of all of that, you know. And this, now that we’re both older, and he knows I know what I’m doing. He kind of like, took his hands off the steering wheel, but then my part was to allow him to, say what he feels, too, because it ain’t just.... you know, we’re working together. And like I said, we decided to do this for the love of the music. And I know he’s got a passion for it, a tremendous passion for it and it was just a... so far, it’s been just a great, a great union man, and I’m looking forward to see when it happens. You know, I’m leading with love.
Rock And Blues International: All right, wonderful, wonderful. Well, again, anything I missed? Anything you want people to know about the album that we haven’t touched on, that you.... I don’t want you going away thinking, Why the hell didn’t he
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ask me this?
Ronnie Baker Brooks: Ah, I can’t think anything, man, I really can’t. I’m an open book anyway, so I just I talk too much sometimes.
Rock And Blues International: That’s alright with me. I’ll put every word in there. I want people to hear what you have to say. I want them to understand every bit of what you’re saying. I want them to to feel the music the way you the way you tell people about it.
Ronnie Baker Brooks: I appreciate that. I really do. You know, I always say the blues is a healer, man, and I’m hoping that this music can bring somebody some joy and help them get through whatever they’re going through, and know they’re not alone, and bring them some joy. If I can make... I love seeing people happy. First of all, I love that, and if I can make them happy through this music, that’s double the pleasure for me. It really is, and I just want to be the link from the generations that I grew up from, learning from, and that’s no longer here, and the young ones that’s coming along that hadn’t had that opportunity because they were too young, and just be the bridge for them, and then hopefully that, be a bridge for someone that’s not even born yet, to keep this music and alive and take it further.
Rock And Blues International: All right. Well, I think if anyone’s listening, anyone listening to this is having women problems, this is going to be to give them all the answers.
Ronnie Baker Brooks: Or men problems.
Rock And Blues International: Okay, well, then I’ll let you go. And it was wonderful talking to you, and hopefully you’ll make it down to Houston. I’m based out of Houston.
Ronnie Baker Brooks: Yeah, I got family down here. Man, cool, yeah, hopefully we can get down there. Thank you so much.
Rock And Blues International: Okay, thank you. We’ll talk to you again sometime.
Ronnie Baker Brooks: Alright Kevin, thank you. Bye, bye.
Rock And Blues International: Bye.
As our conversation with Ronnie Baker Brooks draws to a close, it’s clear that the blues is more than just a genre for him –it’s a way of life, a calling, and a family legacy. Throughout our interview, Ronnie’s
passion for his craft and his deep respect for the blues tradition shone through in every word.
Ronnie’s insights into the making of “Blues In My DNA” revealed not just the technical aspects of creating an album, but the emotional journey behind each song. From the autobiographical title track to the soulful ballads and rocking blues numbers, each piece on the album tells a story – of love, struggle, triumph, and the enduring power of the blues.
What stood out most was Ronnie’s commitment to honoring the past while pushing the genre forward. His experiences working with legends like his father Lonnie Brooks, Albert Collins, and B.B. King have clearly shaped his approach to music. Yet, Ronnie is not content to simply replicate what came before. He’s determined to add his own chapter to the blues story, incorporating elements of rock, funk, and soul to create a sound that’s both familiar and fresh.
Ronnie’s stories about growing up in a musical household, learning from the greats, and eventually stepping out on his own were both entertaining and inspiring. His journey from roadie to internationally recognized bluesman is a testament to the power of perseverance and passion.
We were particularly moved by Ronnie’s dedication to keeping the blues alive for future generations. His desire to be a bridge between the old guard and the young up-and-comers shows a deep understanding of his role in the blues community.
As we wrapped up our time with Ronnie, his words about the healing power of the blues resonated deeply. “I always say the blues is a healer,” he told us, and it’s clear that for Ronnie, creating and performing this music is as much about touching people’s hearts as it is about entertaining them.
We at Rock and Blues International want to express our heartfelt thanks to Ronnie Baker Brooks for his time and openness. It was a privilege to delve into the mind of an artist who truly has the blues in his DNA. As Ronnie continues to tour and share his music with the world, we have no doubt that he’ll keep the spirit of Chicago blues alive and thriving for years to come.
For fans of Ronnie Baker Brooks, blues enthusiasts, or anyone who appreciates authentic, soul-stirring music, “Blues In My DNA” is an album not to be missed. It’s a powerful statement from an artist at the height of his powers, carrying forward a rich musical legacy while carving out his own unique place in blues history.
Mick Pini: Evolutions of a British Blues Boomer
By Edoardo Fassio
With twenty-five albums under his belt, including Wildman, released by Mike Vernon on the seminal Blue Horizon label, sharing the stage with highly esteemed names such as Doctor Ross, Professor Longhair, Mojo Buford, Louisiana Red, Chris Farlowe and two of Frank Zappa’s alumni, Roy Estrada and Jimmy Carl Black, Englishman Mick Pini continues to add new episodes to an illustrious career spanning nearly six decades.
Pini, an inventive guitarist and singer-songwriter from the British blues rock generation, originally hails from Leicester and now lives in Germany. Under Vernon’s helm, he took part in a subsequent wave of revival in the late 1980s, which saw the emergence of acts like The Blues Band, The Hoax, Blues n’ Trouble, Big Town Playboys, Big Joe Louis, Nine Below Zero and Otis Grand.
“Duck Soup,” an inviting jam-with-himself with traces of Mothers of Invention, while the pedal chatters like Donald Duck, is the opening to Papa Voodoo, his latest work. It is a joint affair, involving lyricist, promoter and dee-jay Pete Feenstra and Craig Marshall, aka Audio 54, a musician and producer from Stockton-on-Tees, in the north of England.
A spiritist take on the title track, so dear to Pini that he has already recorded it three times, suggests sensations of a latterday globalized New Orleans. “Mornington Crescent ’69”, a fertile experiment in blues fusion, evokes the years of Pini’s professional debut, and the ethereal, cinematic “Theme from Icarus” (also a solid remake) still needs a film to appear in. It’s been waiting for thirty years, inexplicably.
None other than Eric Clapton had spoken of Mick Pini in 1996 as “the legitimate successor to Peter Green”; “Blues for Peter Green” is rightly dedicated to that “Greeny” who thirty years earlier had taken over the role of Slowhand in John Mayall’s Bluesbreakers. It is a long, tortured, liquid solo that could fit as the theme song for a docu-fiction about Fleetwood Mac.
The otherworldly groove of “Make It Last,” “Memphis Jazztronica,” a remix of the jazz-ready “A Cold Day in Memphis,” and the surprising quasi-reggae “You No Betta” showcase Audio 54’s digital technology at its coolest. Marshall adds a moderate and coherent modernism, completing with loops and samples Pini’s six-string declamations and a wa-wa that “Never Goes Away.” The collaboration between the two, which has already given birth to two albums and as many EPs, is the fluid and natural evolution of an early member of the British blues boom, who continues to feed that current that changed forever the course of pop music on both sides of the Atlantic.
Mick Pini: Evolutions of a British Blues Boomer
By Edoardo Fassio
Forte di venticinque dischi in proprio, compreso Wildman, pubblicato da Mike Vernon per la seminale Blue Horizon, e di affiancamenti ad artisti prestigiosi quali Doctor Ross, Professor Longhair, Mojo Buford, Louisiana Red, Chris Farlowe e due ex alunni di Frank Zappa, Roy Estrada e Jimmy Carl Black, l’inglese Mick Pini continua ad aggiungere nuovi episodi a una illustre carriera lunga quasi sessant’anni.
Pini, un inventivo chitarrista e cantautore della leva originale del proverbiale rock blues britannico, è originario di Leicester, e ora abita in Germania. Sotto l’egida di Vernon partecipò, alla fine degli anni Ottanta, a una successiva ondata di revival, quella in cui emersero nomi come The Blues Band, The Hoax, Blues N’ Trouble, Big Town Playboys, Big Joe Louis, Nine Below Zero e Otis Grand.
“Duck Soup”, una invitante jam con sé stesso in odore di Mothers of Invention, mentre il pedale ciarla alla Paperino, apre Papa Voodoo, il suo nuovo lavoro. È realizzato in condominio con il paroliere, promoter e dee-jay Pete Feenstra e Craig Marshall, alias Audio 54, musicista e produttore di Stockton-on-Tees, nel nord dell’Inghilterra.
Una versione spiritista della title track, talmente cara a Pini da averla già incisa tre volte, suggerisce sensazioni di una New Orleans ormai globalizzata. “Mornington Crescent ‘69”, un fertile esperimento in blues fusion, evoca gli anni dell’esordio professionale di Pini, e l’etereo, cinematografico “Theme from Icarus” (anche questo un solido remake) è ancora in attesa di un film da commentare. Da trent’anni, inspiegabilmente.
Nientemeno che Eric Clapton aveva parlato di Mick Pini nel 1996 come “il legittimo successore di Peter Green”; proprio a quel “Greeny” che trent’anni prima aveva rilevato la titolarità di Slowhand nei Bluesbreakers di John Mayall è dedicato “Blues for Peter Green”, un lungo, lento, liquido assolo che potrebbe servire come sigla a una docu-fiction sui Fleetwood Mac.
Il groove ultraterreno di “Make It Last”, “Memphis Jazztronica”, remix della già jazzata “A Cold Day in Memphis”, e il sorprendente quasi-reggae “You No Betta” valorizzano la tecnologia digitale di Audio 54. Marshall aggiunge un moderato e coerente modernismo, completando con loop e campionamenti le declamazioni alle sei corde di Pini e un wa-wa che “Never Goes Away”. La collaborazione tra i due, che ha già partorito due album e altrettanti EP, è la fluida e naturale evoluzione di un figlio del British blues boom, che continua a tener caro quel fenomeno che cambiò per sempre il corso della musica pop sulle due sponde dell’Atlantico.
By Kevin Wildman
In the heart of Houston, Texas, a musical inferno has been brewing for over a decade, and it’s finally ready to set the world ablaze. Texas TNT, the powerhouse rock trio consisting of Ronnie Pace (guitars and vocals), Ramona Gerene (bass guitar and vocals), and Ian Carroll (drums and vocals), has just unleashed their debut album, “Crossroads Are Burning,” a tour de force that’s poised to leave an indelible mark on the hard rock landscape.
This isn’t just another rock album; it’s a culmination of lifetimes spent in pursuit of musical excellence. Each member of Texas TNT brings a rich background of experience to the table. Ronnie Pace, with his innovative guitar work and production skills, has been a fixture in the Houston music scene since the late ’70s, cutting his teeth with bands like Xcitor and Ark Royal. Ramona Gerene, the powerhouse vocalist and bassist, has traversed genres from country rock with Cowboy’s Nightmare to the heavy metal thunder of Texas TNT. Ian Carroll, the rhythmic backbone of the band, honed his skills in various outfits before finding his home behind the kit with Texas TNT.
“Crossroads Are Burning” is a testament to the band’s musical journey and their unwavering commitment to their craft. Recorded at the legendary Arlyn Studios in Austin on a coveted Neve console, the album captures the raw energy of Texas TNT’s live performances while adding new dimensions to their sonic palette. The decision to record on analog equipment was a deliberate choice, as Ronnie explains, “We wanted the real equipment that the bands that we love recorded through. We made it as analog as we could.”
The album is a rollercoaster ride through 14 tracks that showcase the band’s versatility and songwriting prowess. From the blistering opening salvo of “I Swallowed A Fly,” a scathing commentary on being fed lies, to the haunting finale “Time Stands Still,” which delves into biblical themes of revelation, the album covers a wide spectrum of emotions and styles.
Standout tracks include the anthemic “I Wanna Be Ozzy,” inspired by Ramona’s lifelong admiration for the Prince of Darkness, and featuring Ronnie’s best Randy Rhoads-inspired guitar work. “King of the Jungle,” with its powerful biblical imagery and themes of self-belief, showcases the band’s ability to blend heavy riffs with thought-
Texas TNT: Igniting the Hard Rock Scene with “Crossroads Are Burning”
provoking lyrics. And for those seeking a good time, “Tacos ‘N’ Tequila” serves up a party-starting anthem that’s already becoming a fan favorite.
The album isn’t afraid to tackle heavier themes either. “The Darkness” delves into fears and societal unrest, while “Blinded By Money” takes aim at greed and taxation. Even when exploring these weightier topics, Texas TNT maintains their signature hard-driving sound, ensuring that the music remains as impactful as the message.
In a nod to their roots, the band includes a blistering cover of “Piece of My Heart,” channeling the spirit of Janis Joplin through Ramona’s powerful vocals and the band’s hard rock arrangement.
It’s a perfect example of how Texas TNT pays homage to their influences while firmly establishing their own identity.
As we sit down with Ronnie, Ramona, and Ian to discuss the making of “Crossroads Are Burning,” it’s clear that this album is more than just a collection of songs. It’s a statement of intent from a band that’s ready to take on the world. Join us as we delve into the stories behind the tracks, the challenges of recording, and the passion that drives Texas TNT to push the boundaries of hard rock.
Ronnie Pace: Hello,
Texas TNT
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Rock And Blues International: Hello, it’s Kevin.
Ronnie Pace: Kevin, are you there?
Rock And Blues International: Yeah, I’m here. How about you?
Ronnie Pace: I’m here. Ramona is here. I did want to call Ian in here. If you give me just a second, I’ll put him on here.
Rock And Blues International: Okay.
Ronnie Pace: I think we’re all here.
Ian Carroll: I’m here.
Ronnie Pace: Okay.
Rock And Blues International: Okay, we need to do roll call.
Ronnie Pace: All right. We got Ian, we got Ramona, we got me. All here.
Rock And Blues International: All
right.
Ronnie Pace: There’s only three of us.
Rock And Blues International: I know. I know.
Ronnie Pace: It makes it so much easier, man, I gotta say, I played in fivepiece bands before too much drama.
Rock And Blues International: Well, normally when I do interviews with people, I usually end up with one person. It makes it easier that way. But, you know, we’ll try it with three and see if I can distinguish between all the voices.
Ronnie Pace: Well, we’ll try to get Ramona to talk the most, since she does a lot of singing. People identify with her. When they see her, they think of her, because not a lot of bands have, like, girl, bass player and singers in them, even though there’s getting to be more and more. I think she’s been inspirational in the music world.
Rock And Blues International: Well, it sounds like she does most of the lead singing on here. Anyway.
Ronnie Pace: Yes, she does.
Ian Carroll: So if you want to do any of the CD questions about the songs, we can do those too.
Rock And Blues International: Oh, we’ll talk about everything here. So this, this is the band’s first original album, right?
Ramona Gerene: Right. Oh, how did you like the CD?
Rock And Blues International: I liked it. I thought it was good. I’ll tell you. There’s a lot of variety on here. Sometimes I didn’t know if I was listening to Judas Priest or Ozzy Osbourne.
Ronnie Pace: Well, that’s what we had in mind.
Rock And Blues International: Yeah, it’s a heavy album, that’s for sure.
Ian Carroll: That’s cool.
Rock And Blues International: The drums are really up there out front and everything. Everything’s out front, everything. I mean, you’re getting some really good sounds on the drums here.
Ronnie Pace: Yeah, that was important to me.
Rock And Blues International: I’ll bet it was.
Ronnie Pace: That’s right, I’m trying to get everything just right.
Ramona Gerene: Ronnie did the production.
Rock And Blues International: When you’re writing the songs on here, is there a certain procedure that you all go through?
Ian Carroll: It’s kind of... it changes every time.
Ramona Gerene: Whatever happens, happens.
Ronnie Pace: Yeah. It’s like, you know, we just create the moment, and then we go from there.
Rock And Blues International:
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Texas TNT
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Well, let’s talk about some of the songs on here. You got devils, demons and tacos.
Ronnie Pace: Yep, yep, yep, that sounds like Texas, all right.
Rock And Blues International: And some of these are really interesting songs, like “I Swallowed A Fly”.
Ronnie Pace: Well that’s Ramona’s song.
Rock And Blues International: The starting song on here.
Ramona Gerene: Well, that starts it all off, because there’s a lot of people that I know that are really pissed off about being lied to. They’re really sick and tired of it. They’re fed up with it, in fact, and it’s like that you get lied to so much that you feel like, ‘am I really going to have to swallow this’? You know, it’s like I swallowed a fly. That’s how I feel about it. So that’s what inspired the song.
Ian Carroll: Yeah, she wrote those lyrics.
Rock And Blues International: Is there a chief lyric writer with all these or does everybody just throw in their piece?
Ronnie Pace: Well, it depends on the song. See on ‘Vampire’s Kiss” and “Have Another Drink”, that’s mostly me.
Ramona Gerene: That is Ronnie.
Ronnie Pace: Yeah, and “Blinded By Money”, That’s me. “The Darkness”, “Hot Little Mama” is Ramona. “Time Stand Still” and “I Want To Be Ozzy”, and “King Of The Jungle” is me and Ramona, and “I Swallowed A Fly” is all three of us. And you know, Ian arranged the drum parts for “King Of The Jungle” and helped with “Crossroads Are Burning”.
Ian Carroll: We, all three of us, have all put in all kinds of stuff really to make the songs what they are.
Ramona Gerene: We all contributed to “Tacos And Tequila”, but all three of us and parts of the song, we all put in lyrics.
Ronnie Pace: Yeah, and Ian came up with both the ideas of the lyrics, for “I
Don’t Have To”, and Ramona said, Well, if I’m going to sing it, then I’m going to arrange this a little bit different. So that’s how that went.
Ramona Gerene: It means something to me, so I could feel it.
Ronnie Pace: I didn’t write any lyrics. I did the music on there.
Rock And Blues International: So Ramona wrote the lyrics for “I Swallowed A Fly”.
Ronnie Pace: Yep, and all the lyrics for “King of the Jungle” too, just about the whole song, really.
Ramona Gerene: Yeah.
Rock And Blues International: I want to talk about the songs and the meanings of the songs, and if you have any anecdotes, that you want to tell me about the recording of these, of any of the individual songs, I want to hear about that too. But let’s go on to “King Of The Jungle”. Okay, Ramona wrote the lyrics to that one.
Ian Carroll: Yeah.
Rock And Blues International: Well, tell me about it. What does the “King Of The Jungle” mean to you?
Ramona Gerene: Well, it’s a Bible verse, and it’s in the book of Revelation, and it talks about the king, and there’s a whole sect of religion that comes from Africa, and they believe in Jah, the Lion of Judah. Jah is short for Jehovah, and
it’s their king. They’re waiting for their return of their king, and it’s what sparked the whole Rastafarian movement. And that’s, that’s the... that’s where it came from. That’s my personal feelings about it.
Ian Carroll: If I could just say real quickly when we developed this song and we played it, of course, I corroborated with arranging it and playing it and and getting to know the arrangement, etcetera, but later on, when I read the lyrics, I was really impressed. I was, I was touched by that. It’s, it’s a deep song. It’s amazing.
Rock And Blues International: What specifically about the lyrics touched you?
Ian Carroll: There’s several, there’s several. It rings in it, I mean, because, I think it’s because it really crosses into the times that we’re in now, you know, it’s like you have to believe in something, kind of the... if you don’t believe in something, you’re going to fall for anything. But this is the high word. This is the word coming down from on high. I think a lot of it is that you should believe in yourself, and you should believe that you can be the best, the best that you can picture, and the best that you can imagine. You can be that.
Ramona Gerene: Right!
Ian Carroll: Yes, right. And anyway, I was inspired about the lyrics that way.
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Texas TNT
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Rock And Blues International: Okay.
Ramona Gerene: And that’s why it comes second. That’s important too, why it follows “I Swallowed A Fly”, because “I Swallowed A Fly” is like the reason you’re pissed. Okay, you’re angry. It’s a very angry song about being lied to, because we’ve all been lied to.
Ronnie Pace: Repeatedly, ad nauseam.
Ramona Gerene: And the “King Of The Jungle” is about truth, and it’s what you need. So it’s like they’re opposites of each other.
Rock And Blues International: Okay? So it was very important on the order of those two songs?
Ramona Gerene: Right, exactly!
Ronnie Pace: When I originally told Ramona my idea for “King Of The Jungle”, it was kind of a response to “Welcome To The Jungle.” I said, Well, there’s something bigger than the jungle,
than Guns N’ Roses. And she took it and ran with it.
Rock And Blues International: All right, I want to be Ozzy. I like that song. I want to be Ozzy.
Ronnie Pace: It’s been unbelievably popular, I guess, crazy.
Rock And Blues International: “I can do anything.” Y’all want to be Ozzy ever since you were 17.
Ramona Gerene: Well, it’s true. It is true.
Ronnie Pace: And we make fun of her at the shows. And I always say, ‘thank you for being...’ what do I say? ‘Thank you for Sharon’, man.
Rock And Blues International: Well, tell me a little bit more about it. I mean, what? What made you decide to write a song saying you wanted to be Ozzy?
Ian Carroll: This is the Ramona song, of course,
Ramona Gerene: Because I do want to be Ozzy. I really do.
Rock And Blues International: You really do?
Ramona Gerene: A sincere feeling that I’ve had since I was young. And you know, I would go see bands play, and I was like, I don’t want to be this person out here. I want to be that on stage. And where was Ozzy? Ozzy was the headliner. He wasn’t just on stage. He was the headliner. So I want to be Ozzy.
Ronnie Pace: And when she told me about the idea, as she is a cool bass player, I said, Okay, I’m going to be Randy Rhoads for tonight, so I started writing all this stuff like Randy would write.
Ramona Gerene: Yeah, he got the guitar part in there just right, because I had that bassline going through there and he put that guitar in there.
Rock And Blues International: Well, Ronnie, you think you accomplished the Randy Rhoads sound on there.
Ronnie Pace: I don’t know if it’s exactly the sound. It’s the closest I could get for right now,
Ramona Gerene: I was impressed.
Ronnie Pace: Ramona said, Well, if you’re going to do that, you got to have this amp. And we went and....
Ramona Gerene: Oh yeah.
Ronnie Pace: she bought me the amp for that.
Ramona Gerene: Yeah, I picked out the amp.
Rock And Blues International: What was the amp that you went to get?
Ronnie Pace: It’s a Diamond. It’s a custom-made Diamond that Jeff made for me because Jeff’s a friend of mine who owned, he used to own the company. He did sell it. But it’s a hybrid between his ‘Spitfire’ and his.... What’s that called, It’s on the tip of my tongue, not the palladium, something, something. It’s a famous Hall in England that they have... Ian Carroll: Hammersmith!
Ronnie Pace: It’s a combination of the Hammersmith and the Spitfire amps.
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Texas TNT
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Rock And Blues International: Okay, is that the one I see you playing all the time? Yes, there’s only one like it. Okay, well, you had that modded out, didn’t you?
Ronnie Pace: Well, that Jeff made it for me, just, you know, special. I said there’s only one.
Rock And Blues International: Okay, well, I’ve always liked the sound on that amp. I think I told you that a couple of times when I’ve seen you play.
Ronnie Pace: Yes sir. And our engineer loved it. He said, Man, that makes the best sound I’ve ever heard.
Ian Carroll: That’s what I was gonna say too, when we were recording in Austin.
Ronnie Pace: But I have a... the SG that I play is... it looks like it Gibson SG, but it’s not
Ian Carroll: That one’s modded out.
Ronnie Pace: Yeah. I took the guitar, I took all the hardware off. I took all the electronics out. I pulled the frets out. I put in stainless steel frets. I put in locking tuning keys. I put in a special nut. I put in special pickups I got from England that are called “Bare Knuckle”, and I put in custom electronics so it looks like a Gibson, but It’s not.
Rock And Blues International: Okay, but you’re getting the sound you want out of it, and that’s all that matters.
Ronnie Pace: Yeah.
Rock And Blues International: What do they call those things? Partscasters or something?
Ronnie Pace: Well, that would be if it was based off of a Fender guitar, right? Most people don’t do that to Gibson guitars.
Rock And Blues International: Well, the big thing is changing out the pickups now in the Gibson. People are always going for different pickups.
Ronnie Pace: That is true. That is one of the things.
Ramona Gerene: Anything else you want to talk about, like how I picked out the drum kit?
Rock And Blues International: What?
Ramona Gerene: How I picked out the drum kit. (laughing)
Ian Carroll: Oh, you mean the....
Ramona Gerene: DW kit.
Ian Carroll: We knew we wanted DW, but then we saw that kit at the Guitar Center that they custom made for the Rush drummer, and it was blue.
Ramona Gerene: And I said, Ian, this is your kit.
Rock And Blues International: So you’re telling everybody what to get.
Ronnie Pace: She’s more of influence than you would think.
Rock And Blues International: Not only is she the bassist, but she’s the set designer.
Ramona Gerene: I’m an influencer.
Ian Carroll: She’s the hand that moves and quickly moves away.
Rock And Blues International: Okay.
Ian Carroll: I like that influencer, though, that’s funny.
Rock And Blues International: That’s good.
Ronnie Pace: She’s got a great personality, but kind of shy, so she doesn’t talk that much at the shows, unless we get her to start drinking, which is, you know, it’s rare.
Rock And Blues International: So after the drinks start pouring, you kind of wish you hadn’t, right?
Ronnie Pace: No, no, she’s more relaxed. She’s better. She has more fun. We just, you know, kind of, as long as we don’t go too far. She’s great.
Ramona Gerene: Am I funny though?
Ronnie Pace: Funnier.
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Texas TNT
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Rock And Blues International: Well, I’ve always noticed over the years that she was kind of quiet, and I’ve seen her in different bands, different lineups, different genres of music, and she just seems like a nice, sweet little girl.
Ronnie Pace: I know.
Ramona Gerene: I am.
Ronnie Pace: She is, and we’re trying to get her to be a little more out front, but she’s, you know, reserved.
Rock And Blues International: If you listen to the to the singing on this album, it shows a totally different side to her.
Ronnie Pace: Oh, I know.
Rock And Blues International: Anybody picking up this album for the first time and listening to it may not really realize who she is.
Ronnie Pace: She’s multifaceted.
Rock And Blues International:
Well, let’s talk about the next song, “Crossroads Are Burning”. Which Crossroads are these?
Ronnie Pace: That was a song that I wrote the lyrics to and came up with some riffs for and Ramona helped me with some of the parts in there and some lyrics.
Ramona Gerene: Instrumental lyrics and notes.
Ronnie Pace: Yeah, we had a bit of a convention about some of the notes, but we got it worked out great and it’s just the music business and how much of your time and soul that it takes from you to to get even where we are, much less more famous, I can’t imagine what it takes to get to that point, but...
Ramona Gerene: Yeah, we don’t have our foot in the door at this point, but we kind of stuck our toe out
Rock And Blues International: You just stuck your toe out there.
Ronnie Pace: Everything else
we’ve ever done led up to this moment.
Rock And Blues International: Okay.
Ramona Gerene: The old Crossroads story, you know, crossroads. Well, Robert, Johnson, that is the old story, but it’s our story.
Ronnie Pace: I had a couple of clever lines in there.
Ramona Gerene: Yeah.
Rock And Blues International: Well, at the other Crossroads songs, they sell their soul. This one, you’ve got the damn Crossroads burning.
Ronnie Pace: Well, it kind of pissed us off that we had to sell our souls and we didn’t get as such a good deal as we wanted.
Rock And Blues International: You need to learn to negotiate these things.
Ian Carroll: There you go.
Rock And Blues International: Well, tell me a little bit more about the lyrics on “Crossroads”. What does it actually mean to you?
Ronnie Pace: Just about, like, basically, like I said, How much it takes to be successful in this business, and how you don’t have time really, for anything else. How much would you do and what would you be willing to give up to get it, because you’d have to give up pretty much everything else.
Rock And Blues International: But what did you give up to get it?
Ronnie Pace: I pretty much gave up my family. I see them occasionally, but hardly never. I’d almost never talk to my daughter or my grandchildren.
Ramona Gerene: That’s not all your fault.
Ronnie Pace: Well, they’re, yeah, they’re, they’re kind of brainwashed, I agree, but just I don’t have time for all that. I do things, three things, four things that you count, eating, sleeping.
Ramona Gerene: Well, when you’re doing... fixing everybody’s guitars, it takes up a lot of time.
Ronnie Pace: Yeah, fix guitars. I
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play, but that’s all I do with guitars. So we don’t go on vacations. We don’t do anything. Hey, every once while, it’s like for a couple of days, got married, we could only take off three days. That was it.
Ramona Gerene: You want to ask me what I gave up? I’m going to have to tell you I gave up absolutely nothing, I am...
Ronnie Pace: This is who she is.
Ramona Gerene: What I want to do, exactly who I am.
Ian Carroll: She wants to be Ozzy.
Ramona Gerene: So there you are.
Rock And Blues International: So for you, Ramona, it was just another day.
Ramona Gerene: Yeah.
Rock And Blues International: Okay. “Vampires Kiss.”
Ronnie Pace: Okay.
Rock And Blues International: Now we’re getting into the supernatural realm here.
Ronnie Pace: That would be me. I have this fantasy of actually being a vampire. Kevin, I got the teeth.
Ian Carroll: Kevin, did you ever know that Ronnie was married in a vampire wedding at one point in his life?
Ronnie Pace: I was
Rock And Blues International: No, no, it’s nothing. I don’t remember him ever mentioning that to me.
Ronnie Pace: Yeah, they they carried us in in coffins, and we rose up out of the coffins and got married.
Ian Carroll: I love this.
Rock And Blues International: Oh, you’re shitting me.
Ronnie Pace: I am not kidding you. I rented the coffins and everything.
Rock And Blues International: Was this your wedding to Ramona, or a different one.
Ronnie Pace: This was Susan. This is the girl that I found that reminded me of Ramona, but she wasn’t Ramona.
Rock And Blues International: Okay. Well, that sounds peculiar, right there. That sounds like a whole story in itself.
Ronnie Pace: Ahh, not really.
Ian Carroll: You should explain that you’re with Ramona in a band years and
years before y’all got married.
Ronnie Pace: He knows that.
Ramona Gerene: I’d been in Ark Royal a long time ago,
Ronnie Pace: Which is, you know, actually, where a couple of these songs came from, was from back then. “Blinded By Money”, “Time Stands
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Still” and “King Of The Jungle” were originally back from Ark Royal.
Rock And Blues International: Oh, okay, well, I remember that band.
Ronnie Pace: Yep, and Ramona and I were married to different people, so we got to be really good friends. And, you know, I didn’t want to, but I fell in love with her anyway, and I just didn’t do anything about it, because I didn’t want to mess up her marriage or my marriage, and but we just stayed friends for a really long time.
Rock And Blues International: Okay, but you got married. You got carried in in coffins.
Ronnie Pace: Yeah, yep.
Ramona Gerene: When he married Susan.
Ronnie Pace: When I married Susan, we got carried in the coffins. We had vampire teeth and the whole deal.
Rock And Blues International: Okay, well, that’s interesting. It’s not something you go to every day. I’m sorry I missed that one. I couldn’t go to your wedding in Vegas that was just too far for me to drive.
Ronnie Pace: Yeah, our minister for that wedding was dressed like Beetlejuice.
Rock And Blues International: Really?
Ronnie Pace: I swear to God.
Rock And Blues International: Y’all were really into some heavy drugs back then, weren’t you?
Ronnie Pace: It wasn’t the drugs. I just wanted to be a vampire. I have my reasons wanting to be a vampire. One of them is being young forever, and one of them’s being alive forever. And number three is I have the power of life and death.
Rock And Blues International: Okay? And you get to keep the same hours,
Ronnie Pace: Yeah, pretty much.
Rock And Blues International: Okay, tell me “I don’t have to”. What is it you don’t have to do in that song.
Ian Carroll: That one kind of came in from my direction.
Rock And Blues International: Okay.
Ramona Gerene: Ian came in with the lyric sheet.
Ian Carroll: I had the idea for that one to begin with, and it was just basically a revolt against the world. It’s like, to hell with y’all? I don’t have to.
Rock And Blues International: I don’t have to stay up.
Ian Carroll: I don’t have to stay up, I don’t have to go down, I don’t have to be alone. I could be with anybody I want to be, you know. So it was my it was my little, whatever you want to call it.
Rock And Blues International: Go ahead, you can describe it.
Ian Carroll: It was my little summation of life. I wanted to be, I wanted to feel, feel as free as I could and there are always factors that dictate that you’re not as free as you would like to be.
Ronnie Pace: It’s basically celebrating the power of the word no.
Rock And Blues International: Okay.
Ramona Gerene: Empowering yourself.
Ian Carroll: That’s okay. It comes across when Ramona sings it.
Rock And Blues International: What?
Ian Carroll: Empowering yourself.
Rock And Blues International: Okay.
Ian Carroll: So that’s good.
Ronnie Pace: She kind of made it like a cattitude, because that’s the attitude cats have. Like, yeah, no, I don’t fetch. No, I’m not coming when you call me.
Rock And Blues International: Yeah. You ever toss anything for a cat and ask it to bring it back and the cat just looks at you like, you’re crazy.
Ian Carroll: Only once, a long time ago, right?
Ronnie Pace: Well, one really cool thing about that song, I gotta put this in here, is that we had everything done, and Ramona is in there doing the lyrics, singing for the song, and all of a sudden, out of nowhere, we got a new section where she says, “Make me wanna”.
Ramona Gerene: That’s right.
Ronnie Pace: If you want me to do something. And I said, No, make me wanna.
Ramona Gerene: You got to make me wanna.
Ronnie Pace: So it was really cool when she came up with that out of nowhere,
Rock And Blues International:
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Right there at the end... “Make me wanna make make me wanna”, okay. “Piece Of My Heart”. Tell me about that. Why did you add a cover song in here?
Ramona Gerene: Well, that’s my favorite Janis Joplin song, and I always wanted to do it with the band, and the band had been doing it since we got together, and everybody always asked for it like it’s one of our most.....
Ronnie Pace: Number one requested song
Ramona Gerene: ....that we actually play. I mean, there’s songs that are requested that we don’t play, but that’s one.
Ronnie Pace: That’s one she was actually playing with Cowboy’s Nightmare too.
Ramona Gerene: Yeah.
Ronnie Pace: But they were doing the Sammy Hagar version. And I said, Oh no, we’re doing the Janis version here.
Ramona Gerene: Yeah, there’s a lot of versions of this song, but we wanted to do a real rock version of it.
Rock And Blues International: Well, it sounds epic,
Ronnie Pace: We took the original and made it heavier, added more drums. I loved it. I loved the ending. It’s so really cool.
Rock And Blues International: I listened to all these songs and like I told you, I didn’t know if I was listening to Judas Priest or Ozzy Osbourne, and then I get to “Tacos ‘N’ Tequila”. Out of all the subjects now, we’re singing about tacos and tequila. It’s almost like the only song that doesn’t fit on the album, but it does fit.
Ramona Gerene: It’s a party song. It’s just about fun.
Ian Carroll: There’s no question there’s a wide variety of types of music on the album. That’s true, and I am. I’m especially happy about that.
Rock And Blues International: Well, I saw the video that you did on it and it looked like everybody was having
a lot of fun. What.... you had about 30 people there for the video.
Ian Carroll: Yeah.
Ronnie Pace: Oh yeah.
Ramona Gerene: That’s the point we’re trying to get across.
Rock And Blues International: Yeah, who had to pay the bill for the meal?
Ronnie Pace: Everybody paid. Everybody paid their own bill. We just went in and got them all there and just videoed it and had a good time. And everybody was so helpful and cooperative. They all wanted to contribute. It pretty much did itself.
Ramona Gerene: Everybody kind of did their own little thing.
Ronnie Pace: And Heidii, oh, yeah, Heidii, which is Ian’s wife kind of... she played the part. She was amazing.
Ian Carroll: That’s my wife Heidii that plays the waitress.
Rock And Blues International: That’s your wife?
Ian Carroll: Yes, that’s my wife
Rock And Blues International: Well, I enjoyed the song. “She gives me tacos ‘n’ tequila, tacos ‘n’ tequila.”
Ronnie Pace: Look, you know how that happened actually? I’m sitting in the studio playing this riff and, well we’re all talking about it, and then Ian goes in, put the E and put the D in. I know we’ve
been done before, but I think it’ll fit here, so I put them in there, and then we’re all like, well, what should we have this about? I’m like, Well, we’re called Texas TNT. How about “Tacos ‘N’ Tequila” for TNT?
Ramona Gerene: You can even spell it with the little hyphen.
Ronnie Pace: And then Ramona starts writing stuff about when we were in Las Vegas and went to the tacos and tequila place.
Ramona Gerene: Yes, it was a place in Las Vegas.
Rock And Blues International: All right. Well, let’s talk about the shortest song on the album, 48 seconds. “420”.
Ronnie Pace: You’re not going to believe this, but that was inspired by Chicago, and Ian and I both agreed on that. We love what they did on I’m a man, and I know it just seems like out of left field, but we wanted to do a little percussion thing.
Ian Carroll: That’s right? And we we stood in a group in the middle of the room with a couple of microphones, and we played all kinds of different percussion. We did a couple overdubs to bring in as much as possible, yelled and screamed.
Ronnie Pace: And then Ramona said, ‘I want to play”.
Ramona Gerene: It reminded like when we used to sit around and after school, we’d get together and play some percussions, I’d play some flute and
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somebody would play some different instruments, whatever, and we’d all just have a good time.
Rock And Blues International: Okay, okay. And then here’s one by Ronnie, “Have Another Drink”.
Ramona Gerene: The 420 is really important, because it, it is a time. The actual meter point where that begins is 420 Yeah.
Ronnie Pace: If you look at “Tacos ‘N’ Tequila”, you’ll see it lasts for four minutes and 20 seconds.
Ramona Gerene: So that’s when 420 begins on the meter, 420.
Rock And Blues International: Okay.
Ian Carroll: That kind of wrote itself.
Rock And Blues International: Okay, “Have Another Drink”, now that it’s got some provocative thoughts in it.
Ronnie Pace: That was my drinking song that I came up with. So I did a lot of research. I drank a lot of those drinks because, I’ve been drinking. I only drink when I’m playing. I don’t drink like when I’m working, but when I’m playing in the band, I’m drinking. So it’s kind of, it kind of reads like a bartender’s recipe book because everything in there is a drink name. And I thought it would be cool to make a song out of all these drink names.
Rock And Blues International: Slow Comfortable Screw Against The Wall. Sex On The Beach. Will I want it all? Yeah, sometimes I don’t know. I’m not sure exactly what you’re singing about here.
Ronnie Pace: Well, they’re all drink names.
Rock And Blues International: Kamikaze, Red Devil. I like Pink Champagne. I like Purple Rain. I like Scream, Screaming Orgasm. Okay, I don’t know that drink.
Ronnie Pace: It’s called a Screaming Orgasm.
Ian Carroll: They’re all drinks, that’s right.
Rock And Blues International: Okay. Well, why not? We got “Tacos ‘N’ Tequila”. Now we got drinks. And then after that, after that you’re “Blinded By Money”.
Ronnie Pace: Right, that’s about taxation, taxation, the theft of taxation.
Ramona Gerene: Yeah, do you like do you like paying taxes?
Rock And Blues International: Do I like paying taxes?
Ramona Gerene: Anybody? Does anybody like paying taxes?
Rock And Blues International: I don’t get too excited about it.
Ramona Gerene: We have songs about fun, and this is a song about something that’s not fun.
Ian Carroll: Death and taxes are guaranteed.
Ramona Gerene: Yeah, death and taxes.
Rock And Blues International: “Blinded By Money”.
Ian Carroll: Yep, that was Ronnie’s song.
Ramona Gerene: It’s a song about greed actually.
Ronnie Pace: Yes, about the greed of the government.
Ramona Gerene: It is a song about greed. You know it kind of reads like the seven deadly sins. You’ve got your lust, envy, your greed and your avarice. It’s all in there.
Rock And Blues International: All right, and you wrote the next one, “The Darkness”. What inspired that?
Rock And Blues International: All right, and you wrote the next one, “The Darkness”. What inspired that?
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like a metaphor. It, but...
Ronnie Pace: ...it’s ominous.
Ramona Gerene: Yeah
Rock And Blues International: Panic on the street begins as our prospects rise and fall, breeding deeper the unrest outside the city hall.
Ronnie Pace: Yeah, well, our future is tied to our government, fortunately.
Ramona Gerene: Waves of condescension. Shift towards those who make the loss, inside hands are swift to lock down, lock down all walls, take away all your sleep, all that horrible stuff, put you into the dark.
Ronnie Pace: When they when they refuse to let you speak the truth, then you live in a time of darkness.
Ramona Gerene: And in 2020, and 2021, we were locked down and couldn’t go out. We couldn’t work, we couldn’t party, we couldn’t go eat, we couldn’t go see our friends and Joe Buck said, what about that cold, dark winter? And then we got February of 2021, we all like to froze to death here in Texas. Yeah, of course, our dog loved it, but we didn’t love it. We didn’t have any electricity.
Ian Carroll: Well, they’re from Minnesota.
Ronnie Pace: I’m not from Minnesota.
Rock And Blues International: Oh, my God.
Ramona Gerene: It has an even deeper meaning than that, but all that figures in to it.
Rock And Blues International: Okay, okay, well, the next song on here, “Hot Little Mama”. Is that about you Ramona.
Ramona Gerene: No, no, no, it’s about a girl I saw at the Backstage Club over on Bisonnett, Remember the Backstage Club.
Rock And Blues International: Oh, yeah.
Ramona Gerene: Yeah. She was on stage dancing. It was one of those bands.
I think this was one of those bands that John was in.
Ronnie Pace: It was probably a girl I was dating.
Ramona Gerene: Love And War or something. She’s really, really young, probably too young to even be in the club. I think you had to show your ID get in.
Ronnie Pace: And she probably showed her tits.
Ramona Gerene: Yeah, probably.
Rock And Blues International: Well, the Backstage is one of those clubs that you’d see someone there for four or five years, and then they would wind up having their 21st birthday party there, and you’d already seen him in the club for four years.
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fallen in lust with. But you know, if you see a woman that makes you feel that way it could be like any woman. But this was a woman I saw, and she was on stage dancing. All the guys were losing their minds. She was so beautiful. And yeah, all the girls in the club were so jealous. They were all talking so snotty about her. It was awful.
Rock And Blues International: Jealousy was running rampant.
Ramona Gerene: Yeah, this is a song about envy. It was.
Ronnie Pace: And this is actually a song Ramona did with Cowboy’s Nightmare. And if you listen to the Cowboy’s Nightmare version, it’s different. Yes, it’s different. And we rearranged it in our style.
Rock And Blues International: Okay.
Ronnie Pace: The Cowboy’s Nightmare version was more country rock. We wanted to put it more straight ahead rock.
Rock And Blues International: Okay, the last song on here... you’ve got a lot of guest artists participating on the last song, “Time Stand Still”.
Ronnie Pace: So that’s because that’s a song that we recorded in Arc Royal that we didn’t get to finish because the band imploded because our drummer went stupid. But he’s the drummer that plays on that song. We could have rerecorded it with Ian but Ian said, No, go ahead. We don’t have time. It’ll cost more money and all that. He was really a gentleman about it, but Ramona wanted to put it on there because she sang it and her niece, just like, absolutely loved that song, and was like begging us to put it on the CD. So I had to remix it the same style as the rest of the CD to get it to match. It doesn’t sound like it stands out, does it?
Rock And Blues International: No, it blends in really good with everything else, you did a good job. You’ve got Donny Bragg playing drums on it, Daryl McCall Alexander doing vocals and doing the second guitar on there, and Rebecca Oswald doing vocals and keyboards. Who’s Rebecca Oswald?
Ronnie Pace: Well, she was the keyboard player for Arc Royal, and Daryl
was the second guitar player for Arc Royal, and Donny was the drummer for Arc Royal. So that’s where that song came from.
Rock And Blues International: Okay, so this is an old tape that you had. You just remixed it and added some stuff. Yes, okay, Arc Royal, I remember you guys. You wore the puffy pirate shirts.
Ronnie Pace: That was us, and I had a cape and a whip.
Rock And Blues International: Yeah, that’s right, but I don’t remember the whip.
Ronnie Pace: Oh, yeah, I was holding the whip a certain way in the pictures.
Rock And Blues International: Yeah, that was quite a while ago. I think I’ve either got an Arc Royal picture, or an Arc Royal something. I can almost visualize the picture, everybody there looking like they’re pirates, or they’ve just come off of a ship. You know, in the 1600s.
Ronnie Pace: We had promo pictures done on the Golden Hind, which is was a rare opportunity and the pictures came out fantastic.
Ramona Gerene: It was docked there in Galveston, so we just went down there and took photos on it.
Ian Carroll: Those are cool pictures.
Rock And Blues International: Well, you went to Austin to record the album.
Ronnie Pace: Yes.
Rock And Blues International: Why Austin? What about Arylyn studios enticed you to go there instead of doing it locally in Houston.
Ramona Gerene: Neve Board.
Ronnie Pace: They have a Neve board, and Stevie Ray Vaughan recorded there and customers that I do work for had Steve Chadie doing recording for him and Steve and I got to be good friends and he’s like, Oh, I don’t record on anything but a Neve board. I said that’s what I want to record on. So he said, Well, you come to Austin, we can
record on a Neve board. Go to this studio, this studio. We picked Arlyn and that’s where we went. We tried to record here at my studio and I came to the conclusion that studio plugins that are digitally, digital recreations of actual outboard gear are a lie. They’ll tell you, they can give you this sound, but they don’t. They give you a cheap facsimile of it, and I didn’t have, you know, several million dollars to spend on that hardware gear, which they did. They had all that stuff, millions of dollars worth of great equipment. But we wanted the real equipment that the bands that we love recorded through, we made it as analog as we could,
Rock And Blues International: Okay. Well, I can understand that. I have Pro Tools, but I tell you, I like my my compressors and my gates and stuff that are, you know, the hardware type. I like that a lot better.
Ronnie Pace: Exactly, that’s what we’re talking about.
Ian Carroll: We were fortunate to meet Steve Chadie and have him work on our record. I think that was a big deal. We came back to Houston with the stems, and we remixed extensively, but Steve recorded us, and he recorded this on the Neve console, and we got a big fat fucking drum sound. Baby. I love it, so I’ll always have Steve in a soft spot in my heart, even though we did do a lot of remixing.
Rock And Blues International: Well, the drum sound on here is just huge. I mean, it’s, almost like that John Bonham sound.
Ronnie Pace: Yes, sir.
Ramona Gerene: Yes. Now, Steve’s a really cool guy and really fun to work with.
Ronnie Pace: Yes, and he’s a hard working man.
Rock And Blues International: Well, about how long did it... how many days did it take you to record this? Did you go in and knock it out in a couple of days or did you have to make repeated trips?
Ramona Gerene: We had to wait for the opportunity to be able to get in there because it’s so...
Ronnie Pace: It’s a popular studio.
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Ramona Gerene: It’s so booked up. I mean, we go in there and do maybe one or two days, and then we have to wait, like, six or eight weeks before we can get back.
Ronnie Pace: We go back for another schedule too. Yeah, Steve. Steve’s a busy guy, so we worked around his schedule and the studio schedule. If we had just gone in there and done it straight, we could have done it in a week.
Ramona Gerene: Two weeks.
Ronnie Pace: Ramona says two weeks.
Ramona Gerene: It was longer days.
Ronnie Pace: But, but if you’re counting the days that we went to mix with him, yes, I would say so.
Ramona Gerene: It’d be like two whole weeks.
Ronnie Pace: Right, but the recording was about a week.
Rock And Blues International: Right. Well, how long did it take you to mix this? You mixed it right?
Ronnie Pace: Well, Steve did. He ran it in to expensive hardware boxes and got me the sounds, but he did it like he did like drums, he did bass, he did guitars, he did lead vocals. He did back row vocals, so I had a smaller selection of tracks to work with, and then I remixed up.
Rock And Blues International: Okay, so you got to take your time at least and make sure it all was perfect.
Ronnie Pace: I didn’t want to take my time. What I wanted was to sound perfect, and that just took more time than I wanted it to because I had to be innovative about a couple of things, because I never worked with stems before, but I know the tricks now and the next time will be much faster, I promise you,
Rock And Blues International: Yeah. what were you mixing on?
Ronnie Pace: Pro Tools.
Rock And Blues International: Okay, well, you can’t beat that.
Ronnie Pace: I know it’s the top of the food chain.
Rock And Blues International: Yeah, yeah. I’ve got two versions of Pro Tools. I’ve got, what is it? Pro Tools eight. Now I’m using Pro Tools 10, and I think they’ve got Pro Tools 12 out now.
Ronnie Pace: yeah, I’m lining up with a new version. I’m using it. I’m working through Carbon. It’s the best interface I think they’ve ever come out with.
Rock And Blues International: Okay, well, what else do I need to know about this? I mean, we’ve gone over the songs, the recording of it. What else do I need to know? What else does do you want everybody else to know about this?
Ronnie Pace: Well, we got an artist from Italy to do the cover. Ramona found him on Facebook and he’s a really nice guy. We gave him credit, the model credit. We sent stuff out to them.
Ramona Gerene: Told him what we want.
Ronnie Pace: Yeah, told him what we wanted. He came up with... it kind of looks like an angel fell down into Texas...
Ramona Gerene: With a cross burning.
Ian Carroll: It could be Texas. It’s hot. It looks like it’s burning there.
Rock And Blues International: That’s an impressive cover.
Ian Carroll: Yeah. People like it.
Ronnie Pace: And then my my brother, John, who’s a photographer, went over there, took a bunch of pictures, and then I arranged all the inside for a nice layout. I put all the lyrics in there. We tried to give everybody credit. Oh. The other thing is that the we do have a CD, and we do have an album, but albums are limited on how much you could put on them. So we had to leave “420” off. We had to leave “Time Stands Still” off. We left that off because it, you know, with it wasn’t....
Ramona Gerene: It’s a bonus track. Ronnie Pace: It was like a bonus track.
Ramona Gerene: We also had to
leave off “The Darkness” and we had to leave off “Piece Of My Heart”.
Rock And Blues International: Yeah, when you’re dealing with vinyl, you got about a 22 minute window per side. Maybe give or take a minute or two.
Ronnie Pace: You cannot go over 22 per side period, not even one second. That is max. Yeah, they made that real clear to me, and it’s on red vinyl, and it’s really, I mean, it’s just beautiful. I got to design a label. We got our own label, Crystal Skull records. We got our own publishing company, Enchanted Moon. So we own everything. We’re our own record company at this point.
Rock And Blues International: Well, that’s the way you do it now, getting signed by a big label just means you owe them a fortune.
Ronnie Pace: That’s exactly why we didn’t do that, plus you have to give away your rights. And you know, I don’t know if we’re ever going to make any money for this. I’ll be excited if I make 20 bucks, but it’s just those days are not... it’s not the same. And if one of the songs went big and we’d be like, Oh, we should have kept our rights. So I don’t know if that’s going to happen or not happen, but we wanted to do what we wanted to do, so that’s why we did what we did.
Rock And Blues International: Do you notice much difference in the the sound quality, the recordings between the CD and the vinyl.
Ronnie Pace: Well, vinyl sounds like vinyl, but other than, it sounds the same to me.
Rock And Blues International: Okay.
Ronnie Pace: You have to mix them different, because the vinyl won’t take the volume that a CD will take.
Rock And Blues International: No, you have to knock out a lot of the low end, or the needle bounces all over it.
Ronnie Pace: I mean, so it’s not exactly the same. That’s what I mean by it sounds like vinyl.
Rock And Blues International: Well, I thought it was a very powerful sounding album. I was really impressed. I mean, I see you all play live. I’m familiar with your music, but this shows a whole new dimension to the band.
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Ian Carroll: That was what we wanted.
Rock And Blues International: Alright. Well, what else do we need to talk about?
Ronnie Pace: And the back cover is, you know, you’ve probably seen that Armadillo before.
Ramona Gerene: That’s Armadillo Palace.
Ronnie Pace: Yeah, on Kirby.
Rock And Blues International: Okay,
Ramona Gerene: Anyway, we went out there and took pictures.
Ronnie Pace: So we thought that was like, definitely Texas. So we wanted to put that on there.
Rock And Blues International: Y’all look pretty wild on that back cover there, especially Ronnie. Look at that look on his face,
Ronnie Pace: Well, I want to be who I feel like I really am on this CD, because when you run a business, you have to be more restrained.
Rock And Blues International: Yeah, to some extent, yes.
Ramona Gerene: And the front cover, of course, is by Gaetano Di Falco. The model’s name is Michelle Terry,
Rock And Blues International: Okay.
Ramona Gerene: And we also had a guest artist that came in and played keys on a couple of songs.
Ronnie Pace: It was a musician from Boston. He was cool.
Rock And Blues International: Who is that?
Ramona Gerene: Stefano...
Rock And Blues International: Intellisano.
Ronnie Pace: Yeah, it’s because we wanted to get a Led Zeppelin feel on “The Darkness” so he played that organ
part.
Ramona Gerene: I wanted a Hammond organ, Hammond B3.
Rock And Blues International: Okay,
Rock And Blues International: Okay, and piano on “Hot Little Mama”.
Ronnie Pace: Right.
Rock And Blues International: Well, nothing else we need to talk about on this album? there’s bound to be something you want me to know or my readers to know?
Ian Carroll: Well, we want them to enjoy the songs.
Ronnie Pace: We want them to enjoy the songs as much as we enjoyed making them, because we’ve worked for so many years to make this happen. Yeah, a lot of a lot of effort, a lot of times.
Ramona Gerene: We wanted to put together... like an entire experience. It’s almost our story. It pretty much does, it says where we came from, where we go, and what we’ve done.
Ian Carroll: That’s kind of a sense that I was going to follow.
Ramona Gerene: I was saying earlier that “The Darkness” has a deeper meaning, and it’s very scary. It’s a biblical reference to the.... the what’s the word... tribulation? Yes, that’s the word.... to the tribulation.
Rock And Blues International: Okay,
Ronnie Pace: The tough times before Christ comes back it, you know, saves our ass.
Rock And Blues International: Right? Okay. Now an important question here, where can people get it?
Ronnie Pace: They can get it everywhere, really. I mean, if you want to buy it through our website, then go to texastnt.com, and go to the store and put an order in and we will ship it to you.
Rock And Blues International: Okay, are you going to have any in stores anywhere, or is it pretty much just going to be sold over the internet?
Ian Carroll: They are going to be in stores soon. I’m putting them out there myself. They are already at Cactus music in Houston, but I have several other independents that I’m going to hit very soon, and I’ve been working around to them, but they are in Cactus. Okay. This is really the outcome of a whole life worth of work. This is it. This is what we’ve been working towards this whole time, that we have all done in the past and with different outfits and different bands of the recordings. But this is the best that all of us have done so far, and we’re really proud of it. We want people to know that original music and hard rock music is alive in Texas and are making it today. They’re doing it, and we’re part of it, and we’re we’re really happy about that, but there are others out there that are doing it. They’re friends of ours. We want to lift them up as well, because there’s a lot of original Texas Music and Houston area music that’s out there, really good stuff.
Ronnie Pace: And you can get all the album or the CD or the USB drive at any of our shows.
Rock And Blues International: Okay, so you’re selling USB drives, that’s great.
Ronnie Pace: Some people don’t have CD players, and they don’t have record players.
Rock And Blues International: Well, that’s all because of the car manufacturers. When they when they had eight tracks in cars, eight tracks were selling, then they pulled those out and put cassettes in the cars, and cassettes were the king of the road for a while. Then they took cassettes out, put CDs in, and cassettes went by the wayside, and now all they stick is a USB plug in the radio, which made the CDs die off really fast.
Ronnie Pace: Well, that’s where we have USB drives as well.
Rock And Blues International: Well, that’s fantastic.
Ronnie Pace: You could get songs on iTunes and you can listen to them on Spotify. I mean, we’ve gotten them played in the other countries too, so we’re worldwide.
Rock And Blues International: That’s great.
Ramona Gerene: We’re played on a
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radio show in Scotland.
Rock And Blues International: Scotland?
Ronnie Pace: Yep.
Rock And Blues International: That’s cool. That’s cool.
Ian Carroll: “Hot Little Mama”. It was hot little mama in Scotland.
Ronnie Pace: And “Hot Little Mama” was a hit for Cowboy’s Nightmare. It was a hit in Scotland, so that’s why they did it. Yeah, we’re trying to work the worldwide market.
Rock And Blues International: Well, you have to
Ronnie Pace: Yep, and who knows what’s going to happen? Cowboy’s Nightmare ended up getting offers to play in the UK and in Switzerland. They actually went to Switzerland and played at some shows there.
Rock And Blues International: I don’t know how many times I saw cowboys nightmare. I really enjoyed the band. Okay, well, I think I got all I need. So is that it.
Ian Carroll: Thank you, Kevin.
Ronnie Pace: The only other thing I can think of is that “Time Stands Still” is also about Revelations, not so much the Tribulation, but the revelations of when we get to the day, and the the moon turns red, and all of that good stuff in the Bible. So we we might look like demons, yeah.
Ian Carroll: Yeah, we’re not satanic. Make sure that’s clear.
Ramona Gerene: We’ve got an angel on the cover. And I was, I was corrected by my Baptist Church lady friend that said angels are male. Biblical angels are male. I said, our angels are female.
Ronnie Pace: It sounds sexist.
Rock And Blues International: Oh no, so you don’t have a politically correct Angel.
Ronnie Pace: Apparently.
Ramona Gerene: That’s an opinion. I say it this way, because in those days, what would they do to a female angel
that came down? I mean, we’re talking about a brutal time. It probably wouldn’t have gone well.
Rock And Blues International: Probably wouldn’t have. The first thing they would have done is kill her.
Ramona Gerene: Yeah, they would have killed her. So they they needed the biggest, baddest badass angel to come down in order for anybody to take it right, right? Yeah, that’s why I would think so it was a very sexist time, and not that, you know, it’s gotten better, but everybody’s still sexist.
Ronnie Pace: I’m not. I love women.
Rock And Blues International: Okay, so this isn’t a satanic album.
Ronnie Pace: No, no, it’s not. We do not worship it.
Ramona Gerene: People do think of it as satanic. They look at it and I think that’s Oh, that they’re satanic.
Ronnie Pace: There’s vampires on there. You know, you kind of get that feeling.
Ramona Gerene: But that’s that is a fantasy love song, a vampire fantasy Love Song.
Rock And Blues International: Okay. Well, I’ll let you all go. It was fun talking to everybody, and I’ll see what I put together on this for you. Talk to you all later.
Ronnie Pace: Thanks, Kevin. Thank you. Good night.
Rock And Blues International: Good night. Bye.
As our engaging conversation with Texas TNT draws to a close, it’s abundantly clear that “Crossroads Are Burning” is far more than just another hard rock album. It’s a labor of love, a testament to perseverance, and a bold statement from a band that’s ready to set the music world on fire.
Throughout our discussion, the passion and dedication of Ronnie, Ramona, and Ian shone through in every anecdote and explanation. From Ronnie’s vampire-inspired track “Vampire’s Kiss,” which delves into themes of immortality
and power, to Ramona’s journey from country rock songstress to metal banshee, each member brings a unique perspective to the band’s sound. This diversity is reflected in their collaborative songwriting process, which allows each member to contribute their strengths and experiences to create a sound that’s greater than the sum of its parts.
The band’s commitment to creating a diverse album is evident in every track. They take listeners on an emotional and musical journey, from the righteous anger of “I Swallowed A Fly” to the introspective depths of “The Darkness,” and the pure, unadulterated fun of “Tacos ‘N’ Tequila.” This variety ensures that the album never becomes monotonous, keeping listeners engaged from start to finish.
Texas TNT’s decision to record at Arlyn Studios in Austin, using top-of-theline analog equipment, has paid off in spades. The rich, full-bodied sound captures the essence of their live performances, giving listeners a taste of the band’s electrifying stage presence. As Ian Carroll emphasized, “This is the outcome of a whole life worth of work. This is what we’ve been working towards this whole time.” That level of commitment and passion is palpable in every note and beat of “Crossroads Are Burning.”
The album is available now on CD, vinyl, and digital platforms, offering something for every type of music consumer. For collectors and audiophiles, the limited edition red vinyl is a musthave, featuring stunning artwork by Italian artist Gaetano Di Falco that perfectly encapsulates the album’s fiery spirit.
As our interview concludes, it’s clear that Texas TNT is a force to be reckoned with in the modern hard rock scene. Their blend of classic influences and contemporary edge, coupled with their unwavering dedication to their craft, makes “Crossroads Are Burning” an essential listen for any rock enthusiast. Whether you’re a long-time fan or new to the Texas TNT experience, this album offers a thrilling ride through the landscape of hard rock.
Don’t miss the chance to be part of Texas TNT’s musical journey. Grab your copy of “Crossroads Are Burning” today and experience the raw power, intricate musicianship, and emotional depth that this Houston trio brings to the table. As the crossroads burn and a new path in rock is forged, Texas TNT is leading the charge, and you won’t want to be left behind.
Nicotine Dolls Release Powerful New Single “Let Me Know” Ahead of Debut Album in 2025
Audiotree Sessions Now Streaming, Watch Here at https://lnk.to/AT-NicotineDolls
Indie pop rock quartet Nicotine Dolls is making waves in the music scene with the release of their new single “Let Me Know,” a preview of their upcoming debut full-length album set to be released in early 2025. The band’s raw emotional honesty and musical innovation have garnered attention, and their latest track delivers on their reputation for heartfelt, deeply personal songs. Alongside the single, their recent Audiotree Live session, recorded in Chicago, is now streaming, offering fans a glimpse of the bandís dynamic live performances.
Composed of lead singer Sam Cieri, guitarist John Hays, bassist John Merritt, and drummer Abel Tabares, Nicotine Dolls continues to stand out in the indie world.
Audiotree host Psalm One described the band as “the most emotive, the most intelligent, big, squishy, popperfection,” while SPIN highlighted the bandís growing appeal, noting, “vulnerability and determination are at the heart of the band’s charm,” praising Cieri’s voice as “a charismatic, gravelly-throated powerhouse with the rasp of Bruce Springsteen and the emotion of Lewis Capaldi.”
With “Let Me Know,” Nicotine Dolls offers an introspective take on heartbreak and emotional conflict. Recalling the songís inspiration, Sam Cieri reflects on a personal breakup that left him grappling with an unrealistic yet compelling fantasy: “There was a breakup. An awful breakup. We cried and knew that it was something that had to happen. I had this terrible thought when I left her apartment walking towards the subway. “If she would just come chasing after me, tell me to stop, maybe it could work.” The song
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captures this tension between romantic idealism and the stark reality of a relationshipís end. As Cieri notes, “Of course, that’s not true. It’s a selfish, overly romantic but overtly unrealistic thought. It wouldn’t have saved us. When writing this song, I tried to balance the sparse reality with the driving big romanticism. The verses are simple and empty and only carry the words of what hurt. Then the chorus is sweeping and overpowering, like a selfish thought.”
Nicotine Dolls has never shied away from vulnerability in their music, and Let Me Know is no exception. This approach has been a hallmark of the band since their formation in 2017. Their name itself stems from a label used in high school for kids who, while attending house parties, stayed outside smoking due to social anxiety, but felt fear of missing out. This identity has shaped the bandís ethos as musicians who embrace emotional complexity and honesty.
Since signing with Nettwerk Music Group, Nicotine Dolls have been steadily gaining traction, first with their debut EP How Do You Love Me, and now with the anticipation of their first full-length album. “Let Me Know” marks the first taste of what fans can expect from their forthcoming self-titled album. The songís intimate lyrical content, paired with the bandís signature sweeping instrumentals, sets the stage for an album that promises to be deeply personal and reflective of the band’s experiences, struggles, and triumphs.
Cieri has been open about the challenges the band has faced as independent musicians, and how those struggles fuel their creative drive. “When youíre white-knuckling it like we are writing, playing, and producing our music in my living
room, shooting our music videos and editing them at the kitchen table, it’s more than personal to us, it’s our lives, our losses, our loves, our everything. When you hear it, we hope you feel how much we feel and believe every word and note,” he shares.
The passion and dedication that Nicotine Dolls bring to their music is undeniable. With their songs rooted in personal experiences and emotional honesty, they have forged a connection with fans that goes beyond the typical artist-listener relationship. The bandís willingness to be open, vulnerable, and unfiltered has allowed them to cultivate a growing fanbase who resonate deeply with their music.
Fans can experience the band’s raw live energy through their recent Audiotree Live session, now available to stream, where Nicotine Dolls delivers powerful performances of new and old tracks alike. The Audiotree session captures the band’s ability to blend tenderness with bold,
electrifying energy, a blend that is sure to define their upcoming album.
“Let Me Know” is now available on all streaming platforms, and Nicotine Dolls’ debut album is slated for release in early 2025. For vinyl collectors, the release is sure to be a special one, with the band planning unique physical editions of the album for dedicated fans. With Nicotine Dolls continuing to carve their own path in the indie music scene, their journey is one that fans wonít want to miss.
Be sure to check out the Audiotree session and stream “Let Me Know” now.
Audiotree Live Setlist:
1)Till We Both Say
3)I Need Love
4)What Makes You Sad
5)30 Somehow
6)Next To Me
7)How Do You Love Me
8)Let Me Know
Canadian Soul Queen Ollee Owens Bares
By Albert Schwartz
In a thrilling announcement for blues and soul enthusiasts, Canadian powerhouse singer Ollee Owens is set to unveil her latest musical masterpiece, “Nowhere to Hide,” on October 25th. This highly anticipated album, to be released under her own Ollee Owens Music label imprint, promises to be a soulstirring journey through blues, rock, and soul, showcasing Owens’ formidable vocal prowess and songwriting skills.
The album’s first single, “Some Days,” hit the airwaves on August 30th, offering fans a tantalizing glimpse into the musical treasures that await. Distributed by DistroKid, both the single and the upcoming album are poised to make waves in the music industry.
“Nowhere to Hide” is not just another album; it’s a collaborative effort of musical titans. Produced by the acclaimed Bobby Blazier, the album features the legendary Muscle Shoals guitarist Will McFarlane on eight of its eleven tracks. This partnership has resulted in a sound that is both fresh and deeply rooted in the rich traditions of blues and soul.
Ollee Owens, speaking about the album’s lead single, “Some Days,” revealed the emotional depth behind its creation. “The writing of ‘Some Days’ came out of a desire to acknowledge the ups and downs of our day-to-day experiences and at the same time call out the resilience of the human spirit no matter what we come up against,” she explained. The song, recorded in Nashville with top-tier session musicians including Chris Rodriguez, Craig Young, Bobby Blazier, and DeMarco Johnson, captures the essence of Owens’ vision – a blues-infused anthem that leaves listeners feeling uplifted and hopeful.
“Nowhere to Hide” marks a significant milestone in Owens’ musical journey. After taking a hiatus to focus on her family, particularly to care for her daughter with exceptional needs, Owens returned to music a decade ago. Her 2022 album “Cannot Be Unheard” signaled her comeback, but “Nowhere to Hide” sees the Calgary-based artist pushing her boundaries even further.
The new album is a testament to Owens’ growth as an artist. It features eight tracks co-written by Owens herself, alongside a few carefully chosen covers, including a heartfelt rendition of Bob Dylan’s “Lord Protect My Child.” From the confident delivery in the driving title track to the infectious energy of “Some Days” and the sophisticated craftsmanship of “Shivers and Butterflies,” each of the eleven tracks showcases Owens’ dynamic range and the album’s flawless production.
Reflecting on the creative process, Owens shared, “I learned so much, especially
vocally, as there was real opportunity to dig deeper and embody the lyrics.” This depth is evident throughout the album, which was recorded at Nashville’s Sweetbriar Studio and Gnome Studios with a roster of acclaimed Nashville session musicians brought together by producer Bobby Blazier.
Owens’ musical roots trace back to her upbringing in the farming community of New Bothwell, Manitoba. As a teenager, she found inspiration in the works of Bob Dylan, Delta Blues artists, The Staple Singers, and Etta James. “When I came back to creating music, I really realized the depth and influence that particular style of music had on me,” Owens reminisced about her early musical influences.
The inclusion of Dylan’s “Lord Protect My Child” on the album holds special significance for Owens. As a mother of three, including a daughter with a cognitive disability, the song resonates deeply with her personal experiences. “That song has really become close to my heart,” she confessed. “My daughter is twenty-three now, but there’s still a lot of vulnerability there. The desire for protecting and taking care of her will never go away.”
Fans can look forward to experiencing Owens’ captivating performances live, with a Canadian concert planned for October to celebrate the release of “Nowhere to Hide.”
Further touring is in the works for spring, building on her successful appearances at events like the Roots Blues and BBQ Festival in Drumheller, Alberta, and Calgary’s National Music Centre.
As the October 25th release date approaches, anticipation builds for what promises to be a landmark album in Ollee Owens’ career. “Nowhere to Hide” is more than just a collection of songs; it’s a testament to resilience, musical craftsmanship, and the enduring power of soul and blues. Music lovers would be wise to mark their calendars and prepare to experience this remarkable album wherever they get their music. With “Nowhere to Hide,” Ollee Owens is set to captivate a wider audience and cement her place as a formidable force in the soul and blues scene.
Nowhere to Hide Track Listing and Credits
1.Nowhere To 2. Solid
3. Some Days
4..Roots
5. Love You Better
6. Still in Pieces
7. Shivers and Butterflies
8. My Man
9. Love Hung Around
10. The Neighborhood
11. Lord Protect My Child
Rock Pioneer Steve Wynn Embarks on Dual-Purpose Tour: Celebrating New Memoir and Solo Album in a Musical Journey Through Time”
By Greg Fontaine
In an exciting convergence of literary and musical endeavors, Steve Wynn, the renowned frontman of The Dream Syndicate and founding member of The Baseball Project, has announced an ambitious U.S. tour set for this October. The tour, aptly named “A Night of Songs and Stories,” will support two significant releases that mark milestones in Wynn’s storied career: his debut memoir, “I Wouldn’t Say It If It Wasn’t True” (published by Jawbone Press), and his first solo album in 12 years, “Make It Right” (released on Fire Records).
Wynn, a pivotal figure in the indie rock and post-punk scene since the early 1980s, is set to offer fans an intimate
and multifaceted experience that spans his four-decade career. The one-man show promises to be a unique blend of music and narrative, featuring songs inspired by his memoir alongside carefully chosen readings and personal anecdotes that provide insight into the life of one of alternative rock’s most enduring figures.
The setlist for these shows will take audiences on a journey through time, focusing primarily on the period covered in Wynn’s autobiography (1960-1988). This era encompasses Wynn’s formative years, the formation and rise of The Dream Syndicate, and the band’s significant impact on the burgeoning indie rock scene. Fans can look forward to a mix of familiar favorites and surprising deep cuts,
including some covers that have never been performed live before. The shows will also showcase a selection of Dream Syndicate classics and introspective tracks from Wynn’s new album, creating a rich tapestry of past and present that highlights the artist’s evolution over the years.
Adding an interactive element to the evening, each performance will include a segment called “The Hot Seat” - a brief Q&A session featuring a special guest. This promises to bring an element of unpredictability and added insight to each show, potentially featuring fellow musicians, music industry figures, or other personalities who have played a role in Wynn’s
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career.
Wynn’s memoir, “I Wouldn’t Say It If It Wasn’t True,” offers readers a candid and vivid look into the life of an indie rock pioneer. The book chronicles Wynn’s musical journey, from his early days of songwriting in Los Angeles to the heights of success with The Dream Syndicate and beyond. It doesn’t shy away from the darker aspects of the rock ‘n’ roll lifestyle, touching on experiences with alcohol and drugs, but ultimately presents a story of redemption and artistic growth. The memoir provides context for many of Wynn’s songs, offering fans a deeper understanding of the stories and emotions behind the music.
Complementing the memoir is Wynn’s latest musical offering, “Make It Right.” The album boasts an impressive lineup of guest contributors, showcasing Wynn’s collaborative spirit and the respect he commands within the music community. Featured artists include Mike Mills of R.E.M., Vicki Peterson of The Bangles, Chris Schlarb of Psychic Temple, Emil Nikolaisen of Serena Maneesh, and Linda Pitmon of The Baseball Project, among others. While not directly autobiographical, the album’s track listing seems to mirror Wynn’s life journey, opening with “Santa Monica” (where he was born) and concluding with “Roosevelt Avenue” (in his current home of Queens, New York City). This symbolic journey through Wynn’s life adds another layer of depth to the album and ties in beautifully with the themes of his memoir.
In a statement, Wynn expressed his enthusiasm for the upcoming tour: “It’s really exciting to be coming back to England for this new A Night of Songs and Stories tour in support of my new memoir ‘I Wouldn’t Say It If It Wasn’t True’ and my first solo album in 12 years, ‘Make It Right.’ I’m anticipating these intimate shows to be much more personal as I’ll be combining music with stories and a Q & A portion as well with special guests each night.” This format allows Wynn to connect with his audience on a deeper level, providing context and background to both his new work and his extensive back catalog.
Wynn’s musical legacy spans decades
and has had a profound impact on the alternative rock landscape. His work with The Dream Syndicate, particularly their debut album “The Days Of Wine And Roses,” is widely regarded as a cornerstone of 1980s indie rock. The band’s blend of garage rock, psychedelia, and punk influences helped pave the way for the alternative rock explosion of the 1990s and continues to inspire new generations of musicians.
Beyond The Dream Syndicate, Wynn’s prolific solo career and collaborations with various groups have showcased his versatility as a songwriter and performer. He has been a part of projects such as Danny & Dusty and Gutterball, each offering a different facet of his musical personality. His work with The Baseball Project, which also features R.E.M. founders Mike Mills and Peter Buck, has allowed him to indulge his passion for America’s pastime through music, creating a unique niche in the rock world.
Wynn’s artistic reach extends beyond the realm of rock music. He has successfully ventured into television scoring, having composed music for two hit Norwegian TV shows, “Dag” and “Exit.” This demonstrates his ability to adapt his musical talents to different mediums and reaches audiences beyond his traditional fan base.
The influence of Wynn’s songwriting is evident in the numerous covers of his work by other respected artists. Bands such as Luna, Yo La Tengo, and Concrete Blonde have all recorded their own versions of Wynn’s songs, testifying to the enduring quality and broad appeal of his compositions.
As Wynn prepares to hit the road, fans old and new alike have a rare opportunity to experience the multifaceted talents of this rock pioneer in an intimate setting. The tour promises to be a celebration of Wynn’s enduring impact on the music scene, as well as a glimpse into the personal stories behind the songs that have shaped his remarkable career. It’s a chance for audiences to connect with the artist on multiple levels - as a musician, a storyteller, and a significant figure in rock history.
Tickets for “A Night of Songs and Stories” are now available, with dates and venues to be announced soon. Music enthusiasts, literary fans, and anyone interested in the evolution of alternative rock won’t want to miss this unique fusion of rock history,
storytelling, and live performance from one of indie rock’s most influential figures.
The tour also serves as a testament to Wynn’s ability to reinvent himself and stay relevant in an ever-changing music landscape. By combining his literary debut with a new album and an innovative tour format, Wynn is once again demonstrating the creative spirit that has kept him at the forefront of independent music for over four decades.
As the tour approaches, anticipation builds for what promises to be a series of unforgettable evenings. Each show will be a unique experience, shaped by the interplay between Wynn’s prepared material and the spontaneity of audience interaction. For longtime fans, it’s an opportunity to delve deeper into the music they love. For newcomers, it’s a chance to discover the rich history and ongoing vitality of one of rock’s most enduring voices.
In a music industry often focused on the next big thing, Steve Wynn’s “A Night of Songs and Stories” tour stands as a celebration of longevity, creativity, and the enduring power of authentic, heartfelt rock and roll. It’s not just a concert tour, but a journey through the life and times of an artist who has consistently pushed the boundaries of what it means to be a rock musician in the modern era.
Steve Wynn US Tour Dates – A Night of Songs and Stories:
Oct. 08 @ City Winery, New York, N.Y.
Oct. 09 @ Milkboy, Philadelphia, PA.
Oct. 10 @ Randy’s Man Cave, Hightstown, N.J.
Oct. 11 @ Pie Shop, Washington, D.C.
Oct. 12 @ The Pinhook, Durham, N.C.
Oct. 13 @ Clinton House, Richmond, VA.
Oct. 14 @ Schoolkids Records, Raleigh, N.C.
Oct. 15 @ Snug Harbor, Charlotte, N.C.
Oct. 16 @ The EARL, Atlanta, GA.
Oct. 17 @ The Basement, Nashville, TN.
Oct. 18 @ Miner’s Theater, Collinsville, IL./St. Louis
Oct. 19 @ Bishop Hill Creative Commons, Bishop Hill, IL.
Oct. 20 @ Hideout, Chicago, IL.
Oct. 21 @ Bowlero Lanes and Lounge, Royal Oak, MI.
Oct. 22 @ Happy Dog, Cleveland, OH.
Oct. 23 @ House Concert, Buffalo, N.Y.
Oct. 24 @ Ready Mix Design, Troy, N.Y.
Oct. 25 @ House Concert, Boston, MA.
Oct. 26 @ Pop Vintage Boutique, Providence, R.I.
40 Watt Sun Embraces Raw Simplicity
@ https://open.spotify.com/album/3qsIy0fPmNB4U4V8kLvUMo
YouTube @ https://youtu.be/vwIdwgFcEo4
Purchase Now @ https://linktr.ee/40WattSun
Facebook @ https://www.facebook.com/40wattsun Instagram @ https://www.instagram.com/40wattsunmusic/ Website @ https://40wattsun.co.uk
By Robert Wilkins
40 Watt Sun, the UK-based band led by singer, guitarist, and songwriter Patrick Walker, has unveiled their much-anticipated new album Little Weight. This release is a follow-up to their critically acclaimed 2022 album Perfect Light, but it represents a striking departure in both its approach and recording process. Little Weight showcases
Walker’s determination to reconnect with the rawness and spontaneity that defined 40 Watt Sun’s earliest recordings. This more stripped-back, intimate approach allowed the band to deliver music that feels deeply personal and emotionally immediate.
For Little Weight, Patrick Walker set out to simplify the recordmaking process, aiming to strip away excess and return to a place of pure
creativity. The process began in a uniquely solitary setting. Walker retreated to a remote cottage on the coast of Cornwall, isolating himself from distractions. Here, surrounded by the rugged beauty of the coast, he allowed himself to be fully immersed in his surroundings. His days became structured: early morning walks along deserted beaches and winding coastal paths, followed by hours of
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intensive songwriting in the quietude of the cottage. Evenings found him unwinding with a book by the fire at a nearby pub, letting the day’s creative output settle. Over the course of three weeks, Walker composed the songs that would become the foundation for Little Weight
After this period of solitude and creative exploration, Walker flew to Gotland, Sweden, where he was joined by long-time collaborator and drummer Andrew Prestige. The two worked in a similarly isolated setting, focusing on arranging and refining the tracks. This stage in the creative process was deliberately kept raw and instinctual, as they sought to preserve the immediacy of Walker’s initial compositions. The duo recorded basic demos during their time in Sweden, which were then sent to bass player Roland Scriver. From there, the trio regrouped in the UK, retreating to the peaceful surroundings of the Peak District for rehearsals and final tweaks.
This final rehearsal period was a crucial step before entering Holy Mountain Studios in London in December 2023 to record the album. The sessions at Holy Mountain were engineered and mixed by Chris Fullard, who has worked with artists like Sunn O))), IDLES, and Ulver. He was assisted by Stanley Gravett, ensuring the recording process remained true to the spirit of the album’s creation—uncluttered, focused, and free from unnecessary distractions. The final mastering was completed by Adam Gonsalves in Portland, Oregon, adding the final polish to what would become Little Weight. The album’s cover art, created by Tekla Vály, complements the minimalist yet emotionally
charged tone of the music.
Reflecting on the recording process, Walker explained, “The conditions I created to make this record - without too much extraneous, unnecessary back and forthmeans that what we recorded here have an added nearness to the first emotions that I first wanted to express and which inspired me to sit down to write; things often lost over time and usually difficult to recapture.” This deliberate preservation of emotional rawness is felt in each of the album’s tracks, which unfold as poetic vignettes steeped in love, longing, and a nostalgic melancholy. Although Walker is famously reticent when it comes to discussing the specific meaning behind his lyrics, Little Weight is unmistakably infused with the vulnerability and deep emotional resonance that fans have come to expect from 40 Watt Sun.
In a music landscape that can often feel overproduced, Little Weight stands out for its raw, immediate beauty. The album is now available for order digitally, as well as on CD and vinyl. Fans will have a choice between three vinyl variants: gatefold black vinyl, limited red vinyl, and an ultra-limited clear vinyl edition, of which only 400 copies are available. Each vinyl ordered directly from the band’s official webstore will come with a bespoke leather, foilblocked 40 Watt Sun bookmark—a nod to the personal, handcrafted nature of this album.
With Little Weight, Patrick Walker and 40 Watt Sun have once again created something deeply personal, reflecting both the beauty and fragility of human emotions. For fans of Walker’s songwriting, Little Weight will be a treasured addition to the band’s already impressive discography.
Joe Samba’s ‘Lifeline’: A Genre-Defying Triumph Reshaping Reggae Rock
By Robert Wilkins
In a music industry often criticized for its predictability, Joe Samba’s third fulllength album, “Lifeline,” released on September 27th via LAW Records, has
emerged as a breath of fresh air. The multitalented singer, songwriter, producer, and guitarist has not just delivered an album; he’s crafted a sonic journey that’s redefining the boundaries of reggae rock and captivating listeners across the globe.
Since its release, “Lifeline” has been making waves, with critics and fans alike praising its eclectic blend of genres and emotional depth. The 10-track collection stands as a testament to Samba’s evolution as an artist, seamlessly fusing reggae, punk rock, hip-hop, and salsa into a cohesive and compelling narrative.
One of the album’s most striking features is its production. For the first time in his career, Samba collaborated with external producers, bringing new dimensions to his sound. Eric Krasno of Soulive, a long-time influence on Samba, coproduced four tracks, infusing them with his signature blend of funk and soul. Anthony Resta, known for his work with Duran Duran and Collective Soul, lent his expertise to three tracks, including the summer anthem “Little Love.” The remaining tracks, self-produced by Samba at Maine’s Halo Studio with engineer Kevin Billingslea, showcase the artist’s own production chops.
“Working with Eric and Anthony was a game-changer,” Samba revealed in a recent interview. “Their insights pushed me to explore new territories while staying true to my roots. It was like adding new colors to my musical palette.”
The album’s lead single, “Little Love,” released earlier this summer, set the tone for what was to come. Described by Daily Reggae as “a beautiful song and another reminder that Samba is one of the best visual songwriters in reggae today,” the track has been climbing charts and dominating playlists since the album’s release.
Following “Little Love,” Samba dropped “Meant To Be,” a collaboration with rapper Wax that further demonstrated his genre-blending prowess. The track, which combines a head-nodding bounce with salsa rhythms and loose guitar licks, has been particularly well-received by fans, with many praising its relatability and catchy hook.
“Home,” featuring Mihali from Twiddle, added yet another layer to the album’s diverse soundscape. The islandy track has become a fan favorite, with listeners praising its laid-back vibe and heartfelt lyrics.
But “Lifeline” is more than just a collection of singles. The album tells a cohesive story of personal growth and life changes. The title track, a poignant dedication to Samba’s wife and son, has
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resonated deeply with listeners. Fan reactions on social media have been overwhelmingly positive, with many sharing how the song has touched their own lives.
“Joe Samba’s ‘Lifeline’ hit me right in the feels,” tweeted one fan. “It’s like he’s singing my life story. This album is on repeat!”
Industry insiders have taken note of Samba’s rising star. Billboard’s reggae correspondent commented, “With ‘Lifeline,’ Joe Samba has not just secured his place in the reggae rock scene; he’s reshaping it. This album could very well be a turning point for the genre.”
Samba’s journey to this point has been one of perseverance and growth. Born in Massachusetts and now based in New Hampshire, he cut his teeth gigging relentlessly around the Northeast. His 2019 debut, “The Wrong Impression,” topped the Billboard Reggae Albums Chart, while his 2022 sophomore effort, “Far From Forever,” continued to build momentum.
Throughout his career, Samba has shared stages with reggae and rock royalty, including The Dirty Heads, Ziggy Marley, Pepper, Shwayze, and Sublime With Rome. His festival appearances at Summer Camp Music Festival, Cali Vibes, Reggae Rise Up, and Cali Roots Festival have further expanded his fan base.
The release of “Lifeline” coincides with a surge of interest in genre-blending artists within the reggae rock scene. Samba’s ability to navigate multiple genres while maintaining a cohesive sound has positioned him at the forefront of this movement.
“What Joe’s doing with ‘Lifeline’ is revolutionary,” noted a spokesperson from LAW Records. “He’s not just crossing genres; he’s creating a new lane entirely. This album is going to open doors for a lot of artists.”
As “Lifeline” continues to gain traction, Samba has announced an extensive tour to support the album. The tour, which kicks off next month, will see him perform in major cities across the U.S., with several festival appearances already confirmed for 2025.
“I can’t wait to bring these songs to
FOLLOW JOE SAMBA: Website @ https://joesamba.com/ Instagram @ https://www.instagram.com/joesambamusic/ Facebook @ https://www.facebook.com/joesambamusic TikTok @ https://www.tiktok.com/@joesambamusic YouTube @ https://www.youtube.com/channel/UC7YZitvv_J8-vgt1VPqQXpg Spotify @ https://open.spotify.com/artist/4edOA7e3jDgmddqyrb93DJ Apple Music @ https://music.apple.com/ng/artist/joe-samba/
life on stage,” Samba shared. “There’s something special about connecting with fans face-to-face, and I feel like these new tracks are going to create some magical moments.”
With streaming numbers climbing daily and physical album sales exceeding expectations, “Lifeline” is shaping up to be a defining moment in Joe Samba’s career. It’s an album that not only showcases his growth as an artist but also pushes the boundaries of what reggae rock can be.
As one music journalist aptly put it, “In a world of cookie-cutter sounds, Joe Samba’s ‘Lifeline’ is a reminder of music’s power to surprise, move, and transform. It’s not just an album; it’s a lifeline for anyone who’s ever felt stuck in a musical or personal rut.”
For fans of reggae, rock, or simply good music, “Lifeline” is available now on all major streaming platforms. And for those lucky enough to catch Joe Samba on tour, prepare for a live experience that promises to be as diverse, engaging, and soulful as the album itself.
Lifeline Track Listing
1Culture War
2Cold Feet
3Little Love
4Lost Boy
5Communicate
6Meant To Be featuring WAX
7Surfside featuring JARV
8Home featuring Mihali
9Break Free
10Lifeline
Future Palace Unleashes Raw Emotion and Overwhelming Power with New Album “Distortion”
By Nathan Pugh
Berlin-based post-hardcore trio Future Palace have returned with their third album, Distortion, a sonic explosion that encapsulates the chaotic, overwhelming emotions of modern life. Drawing from personal battles with mental health, the band has crafted a record that is both intensely personal and universally relatable, capturing the emotional weight that many feel in today’s overstimulated world. With Distortion, Future Palace has solidified their place as one of the most compelling and innovative acts in alternative guitar music.
Distortion is a musical journey through the highs and lows of mental illness, where the band combines raw, heavy metalcore breakdowns
with delicate, introspective moments. The album title itself is derived from the psychological term “cognitive distortion,” referencing the ways in which skewed perceptions of reality can lead individuals into cycles of self-doubt, despair, and confusion. This theme weaves through each track as Future Palace delves into complex psychological issues such as ADHD, depression, and narcissism. The resulting album is a visceral experience, offering listeners a glimpse into a fractured world of emotional turbulence.
The band—comprised of vocalist Maria Lessing, guitarist Manuel Kohlert, and drummer Johannes Frenzel—pulls no punches in their exploration of these themes. Future Palace’s previous record, Run, had already begun to experiment
with musical extremes, but Distortion pushes the boundaries even further. Powerful metalcore riffs collide with haunting darkwave beats, anthemic emocore choruses reminiscent of Bad Omens, and industrial influences akin to Sleep Token. Sacred choirs and orchestral interludes add an unexpected grandeur to the chaos, creating a soundscape that feels both epic and deeply intimate.
A standout track, “The Echoes of Disparity,” showcases Future Palace’s unique ability to convey psychological struggle through music. The track alternates between brutal screams and chant-like passages, embodying the tension of spiraling into a mental abyss. “Panic
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Paralysis,” another highlight, features an intricate arabesque vocal motif that elevates the song’s intensity. But it’s “They Take What They Want” that proves to be the album’s emotional core, blending raw metalcore fury with gentle, vocal-driven passages before erupting into massive choral arrangements. The song captures the band’s ability to translate the inner turmoil of the human experience into a breathtaking auditory spectacle.
Despite the heavy subject matter, Distortion does not shy away from moments of hope and resistance. “The Echoes of Disparity,” featuring Charlie Rolfe of As Everything Unfolds, is a powerful anthem addressing abuse of power and the oppression of women. For Lessing, the collaboration was essential in amplifying the song’s message. “It was very important to me with this song to get female support in order to convey the message loudly to the music world,” Lessing explained. The track’s militant tone serves as an exclamation point within the album, offering a call to action amidst the despair.
The album’s creation itself was a battle, as the band faced numerous challenges during the recording process. Lessing shared how she had to record the entire album while dealing with a painful root infection, following a wisdom tooth surgery that delayed their studio sessions. “The demos had to be completed at extremely short notice—it was pure stress for me,” she admitted. But these difficulties only added to the authenticity of the record. “I have the feeling that the songs have become even more real,” she said. The
album, produced by Julian Breucker and Christoph Wieczorek—who have worked with acts like Annisokay and Smash Into Pieces—was a labor of love, crafted under the weight of these personal challenges.
For Future Palace, Distortion is not just a record; it’s a reflection of the pressures they face as a touring band. Guitarist Manuel Kohlert noted that the album was created while grappling with the realities of constant touring, a lifestyle that comes with its own set of emotional burdens. “This album exposes the feelings of being on the road a lot, of understanding your own existence in this special form of living, and of looking into the past and future in this state,” Kohlert shared.
With Distortion, Future Palace has created a manifesto—a record that speaks not only to the band’s struggles but to the struggles of
many. In a world filled with overstimulation and emotional chaos, Distortion is a cathartic release, a cry of desperation, and a beacon of resilience all at once. At its heart, despite the overwhelming darkness, there is hope. Songs like “Decarabia” tackle complex stories of love and depression, while the album’s emotional weight is countered by moments of defiance and resolve.
Future Palace’s Distortion is available now on all major platforms, and the album’s unique fusion of genres and emotional depth is sure to resonate with fans of alternative and hardcore music alike. As the band continues to evolve, Distortion marks a pivotal moment in their journey—a testament to their ability to push boundaries, embrace vulnerability, and turn personal pain into powerful art.
Delain is back with new ep “Dance With The Devil” out November 8, 2024
Touring UK/Ireland this Fall + North America in 2025
DELAIN online:
Homepage @ https://www.delain.nl/
Facebook @ https://www.facebook.com/delainmusic
Instagram @ https://www.instagram.com/delainofficial/ Napalm Records @ https://label.napalmrecords.com/delain
By Greg Fontaine
Melodic synth-metal masters DELAIN are poised to redefine their sonic landscape with their upcoming EP, Dance with the Devil, set to be released on November 8, 2024, via Napalm Records. This eagerly anticipated EP promises to chart a new course for the band, building on the success of their latest full-length album, Dark Waters (2023). This album, which debuted at #9 on both the US Hard Music Albums chart and the Official German Album Charts, demonstrated DELAIN’s ability to innovate while staying true to their roots. Now, with Dance with the Devil, DELAIN is ready to explore even more synth-driven soundscapes and continue their evolution as one of the leading bands in the melodic metal genre.
The first taste of the new EP comes with the release of its title track, “Dance with the Devil,” accompanied by a visually captivating music video. Directed by Nikki Milan Houston, the video showcases the
band’s signature melodic prowess while introducing a new visual style. The narrative of the video dramatizes the internal and external struggles between good and evil, reflecting the personal and collective battles that everyone faces.
Martijn Westerholt, the founding member and band mastermind, shared his excitement about the new release, saying, “We’re really excited and eager to share this new DELAIN song with the world. It captures the recognisable and signature sound of DELAIN but with a fresh and modern touch.” He elaborated on the video’s creation, adding, “This video was shot the day after we performed at Summer Breeze in Germany. We still had the adrenaline of that show in our system and were stoked to be able to carry that energy into the video. We had a blast! The video contains a dramatized depiction of the struggle between good and evil – the war we all wage both without and, often times, within our own selves.”
Dance with the Devil is more than
just a collection of new music; it’s a reflection of DELAIN’s ongoing evolution. The EP includes two brand new tracks, “Dance with the Devil” and “The Reaping,” both of which serve as powerful statements of the band’s current creative direction. “Dance with the Devil” melds catchy electronic synths with the band’s trademark melodic elements, while “The Reaping” tackles collective themes of disillusionment with society’s trajectory. Martijn Westerholt describes the two tracks as a whirlwind of emotions, articulating feelings of anger and sorrow through their modern heaviness and catchy electronic melodies.
“The Reaping” delves into the consequences of society’s current path, capturing a sense of impending doom and inescapable consequences. This track, along with “Dance with the Devil,” represents a significant step forward for DELAIN, embracing new sonic elements while maintaining their core identity.
The EP also features a reimagined version of “Sleepwalkers Dream,” which highlights the breathtaking vocal capabilities of Diana Leah, the band’s newest member. This updated rendition underscores the growth and development of DELAIN’s sound, incorporating fresh influences while paying homage to their past work.
In addition to the new tracks, Dance with the Devil includes nine electrifying live performances captured from their recent European tour. Fans will find live renditions of both new and classic hits such as “Burning Bridges,” “The Quest and the Curse,” “Moth to a Flame,” and the massive hit “April Rain,” which has garnered over 10 million streams. The EP’s digipak edition will also feature instrumental versions of “Dance with the Devil” and “The Reaping,” as well as an alternate ending version of “Underland.”
Martijn Westerholt expressed his enthusiasm for the upcoming release, stating, “We’re thrilled to have brand new material ready to be released! In addition to the new songs, it was fantastic to have captured some magical live moments of our European tour earlier this year as live tracks for the EP. We’re definitely very excited for this release and are really looking forward to bringing the new music to the stage!”
DELAIN’s current lineup includes Martijn Westerholt on keyboards, Diana Leah on vocals, Ronald Landa on guitars and backing vocals, Ludovico Cioffi on bass and backing vocals, and Sander Zoer on drums. This revitalized lineup, which emerged after a significant change in 2021, has breathed new life into the band.
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Martijn Westerholt was rejoined by longtime members Ronald Landa and Sander Zoer, and was later joined by Diana Leah and Ludovico Cioffi in early 2022. Together, they recorded the band’s highly anticipated seventh studio album, Dark Waters, released on February 10, 2023.
DELAIN’s history is marked by collaborations with prominent figures in the scene, including Sharon Den Adel (Within Temptation), Marko Hietala (Nightwish), and Alissa White-Gluz (Arch Enemy). They have toured extensively with bands like Nightwish, Sabaton, and Within Temptation, and have performed at major festivals such as Wacken, Graspop, and Download. Their contribution to the genre has been significant, establishing them as one of the early generation bands in melodic metal.
Martijn Westerholt reflected on the band’s journey, noting, “This album captures all elements Delain is known for. Our distinctive heavy guitar riffs, massive orchestral parts, both heavy metal and pop vocals, and rock opera vibes along with 80s synth sounds. In short, this is definitely a recognizable Delain album that contains classic ‘Delain elements’ while also moving forward with fresh influences.”
Dark Waters is a sonic rollercoaster, blending catchy tunes with explosive elements that range from pop to film scoreinspired to blistering metal. With its ten brand-new tracks, including guest appearances by Marko Hietala (Nightwish) and Paolo Ribaldini (Skiltron and Seraphiel), and instrumental versions, the album has captivated long-time fans and new listeners alike.
As DELAIN gears up for their 2024 tour, they are set to visit the UK and Ireland this fall, with a North American tour slated for 2025. Fans can look forward to experiencing the band’s new material live, as well as their extensive back catalog, showcasing the band’s dynamic range and evolving sound.
With Dance with the Devil, DELAIN continues to push boundaries and explore new territories in melodic metal, ensuring that their legacy remains vibrant and everevolving. The upcoming EP promises to be a significant milestone in the band’s career, further solidifying their place in the metal scene and continuing their tradition of delivering powerful, genre-defying music.
For more updates on DELAIN’s tour dates and new music, stay tuned to their official channels.
Delain Live 2024/25
Dark Waters Over UK/IE 2024
15.11.24 UK – Glasgow / Garage 16.11.24 UK – Wolverhampton / KK’s Steel Mill
18.11.24 IE – Belfast / Limelight 2 19.11.24 IE – Dublin / Academy
21.11.24 UK – Manchester / New Century
22.11.24 UK – Bristol / SWX
23.11.24 UK – London / Electric Ballroom
24.01.25 NL – Zwolle / Hedon
25.01.25 NL – Nijmegen / Doornroosje
North America Tour
Special Guest: XANDRIA
Support: Edge Of Paradise
07.03.25 US – Phoenix, AZ / The Nile
08.03.25 US – Los Angeles, CA / Whisky a Go Go
09.03.25 US – Sacramento, CA / Goldfield Trading Post
10.09.25 US – Portland, OR / The Bossanova Ballroom
11.03.25 US – Seattle, WA / El Corazon
13.03.25 US – Salt Lake City, UT / Metro Music Hall
14.03.25 US – Denver, CO / The Oriental Theater
15.03.25 US – Lawrence, KS / Bottleneck
16.03.25 US – Joliet, IL / The Forge
17.03.25 US – Detroit, MI / The Token Lounge
19.03.25 US – Columbus, OH / The King of Clubs
20.03.25 CA – Toronto, ON / Axis
21.03.25 CA – Montreal, QC / Fairmount Theatre
22.03.25 US – Cambridge, MA / Middle East
23.03.25 US – New York, NY / The Gramercy Theatre
24.03.25 US – Baltimore, MD / Soundstage
26.03.25 US – Atlanta, GA / Masquerade (Hell)
28.03.25 US – Dallas, TX / Granada Theater
29.03.25 US – Austin, TX / Come and Take It Live
Boston Manor Welcomes a New Dawn with Sundiver – An Album of Rebirth, Growth, and Connection
By Albert Schwartz
Boston Manor’s latest album Sundiver, out September 6th via Sharptone Records, marks a new chapter for the Blackpool-based quintet. Following up on their 2022 release Datura, Sundiver acts as the light-filled counterpart to the darker tones of its predecessor. While Datura reflected on themes of isolation, mental health struggles, and the aftermath of the pandemic, Sundiver is an album about rebirth, new beginnings, and optimism.
Frontman Henry Cox reflects on this tonal shift, explaining how Sundiver
embodies the dawn after the darkness of Datura. “We wanted Sundiver to be the next morning of the following day,” he explains. Where Datura had the eerie opening lyrics, “Do me a favour, close that window, keep the heating in,” Sundiver begins with a sense of hope: “Could you please open that window, let the new world in.”
This album is a significant moment for Boston Manor. Not only is it their fifth studio release, but it represents a crossroads for the band as they look back on where they’ve come from and where they want to go next. Originally rooted in the emo and pop-punk scene, Boston
Manor has evolved over the years, exploring new genres and sonic textures while remaining true to their emotional core. Sundiver is steeped in positivity and personal growth, themes that became especially important as two of the band members, including Cox, embraced fatherhood during its creation.
“When I found out I was going to be a dad during the making of Sundiver, everything changed,” says Cox. “It was a time of immense personal growth for all of us. This album reflects that sense of hope, second chances, and looking
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forward to the future.” Guitarist Mike Cuniff also reflects on the sonic shift in the new album: “We wanted to bring a Y2K vibe to Sundiver—we started revisiting some of the bands that shaped us in the late 90s and early 2000s, like Deftones, Portishead, and Garbage.”
The result is a dynamic, ambitious album rich with texture and depth. Cox’s lyrics explore everything from parallel universes and personal growth to vivid dreamscapes and raw grief. The album’s first single, “Container,” is a shining example of the band’s ability to create infectious, powerful tracks while exploring deeply personal themes. Cox describes the song as capturing the “stagnancy of life creeping up on you & how that can bring about change.” The second single, “Sliding Doors,” which dropped in April, taps into the idea of the butterfly effect—the small choices and missed opportunities that change the course of life. With nods to bands like Smashing Pumpkins, the song pulses with late-90s Lollapalooza energy.
Throughout Sundiver, the band channels hope and gratitude. “Heat Me Up” is about appreciating what you have and not taking anything for granted. It’s a triumphant anthem for those moments of personal victory, perfectly suited for warm summer days.
However, the album is not without its emotional weight. “What Is Taken Will Never Be Lost” is a stripped-back, downtempo track reflecting Cox’s grief over his grandfather’s passing. “It was just fucking horrible,” he recalls, reflecting on his grandfather’s time in hospice care. The song touches on themes of loss, memory, and legacy, offering listeners an intimate look into Cox’s personal journey.
The album’s closing track, “Oil In My Blood,” is a sonic descent into the darker, heavier side of the band. Featuring guest vocals from Debbie Gough of
Heriot, the song blends shoegaze influences with intense, emotional catharsis. The lyrics—“It resets and starts again”—bring the album full circle, leaving listeners with a sense of contemplation.
Boston Manor recorded Sundiver in the green pastures of Welwyn Garden City, a far cry from their usual London studio. This shift in environment, guitarist Cuniff believes, contributed to the album’s brighter sound. “We were having daily barbecues during recording sessions,” he laughs. “It was just us five old friends spending quality time together and making music. That energy made its way into the album.”
The album artwork for Sundiver features a striking photograph of a 30ft tall abstract glass sculpture by Blackpool artist John Ditchfield, further tying the band to their hometown roots. “It has such gravity and power,” says Cox of the sculpture, likening it to a supernova. “It represents new life, power, and radiance.”
Boston Manor, known for making bold statements with their music, continues to do so with Sundiver. As the world wrestles with chaos, political unrest, and isolation, the band turns their focus towards music’s uplifting power. “It seems like absolute chaos out there,” says Cox. “But instead of writing another dark, miserable record, we wanted Sundiver to be something people could immerse themselves in—an escape from the pressures of modern life.”
The band’s 2024 tour will see them taking Sundiver to intimate venues across the UK before heading to the U.S., Europe, and Japan. “We’re buzzing to play these new songs,” says Cuniff. “This tour is about reconnecting with our fans and sharing in the optimism that this album represents.”
Boston Manor’s Sundiver is not just a collection of songs—it’s a radiant celebration of life’s new beginnings, second chances, and the enduring power of music to heal and inspire.
Beltfed Weapon Unleashes New Track
Check out “Tortured Within” at https://youtu.be/ORqg2ca2QJY video created by Andrzej Get Darkened Demise at beltfedweapon.net
BELTFED WEAPON online: WEBSITE: https://beltfedweapon.net/band/ FACEBOOK @ https://www.facebook.com/beltfedweapon/ YOUTUBE: beltfed weapon official - YouTube BAND CAMP @ https://beltfedweapon.bandcamp.com/
By Nathan Pugh
In a thunderous announcement that’s set to shake the foundations of the metal world, Seattle-based thrash/ speed/death metal supergroup Beltfed Weapon has unveiled their latest track, “Tortured Within.” This new release marks another milestone in the band’s journey, following their critically acclaimed 2023 EP, “Darkened Demise,” and showcases the group’s commitment to delivering hard-hitting, genre-blending metal that pushes the boundaries of conventional thrash.
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Founded in 1999 by guitarist and songwriter Frank Hetzel, Beltfed Weapon has been a formidable presence in the Seattle metal scene for over two decades. Hetzel, known for his blistering guitar work and innovative songwriting, has once again assembled an impressive roster of metal luminaries for this latest offering.
“Tortured Within” features the talents of Stu Block (ex-Iced Earth) on vocals, Mike Lepond (Symphony X) on bass, Kragen Lum (Heathen, Exodus) on guitar, and Bryan Newbury (Into Eternity) on drums. This collaboration of metal titans promises to deliver a sonic assault that fans of the genre won’t soon forget.
Frank Hetzel, the mastermind behind Beltfed Weapon, shared his thoughts on the new track: “‘Tortured Within’ is about a person battling a war within themselves, such as addiction, and the struggle to get out of the cycle and back on track to a positive direction. Working with Stu and Mike was an awesome experience. Both are consummate professionals, and of course, Kragen and Bryan deliver, as usual, on all levels as well. I could not be happier with how this song turned out.”
Stu Block
The track’s theme of internal struggle and redemption is a departure from typical thrash metal fare, showcasing Hetzel’s growth as a songwriter and his willingness to tackle complex, personal subjects within the framework of aggressive metal.
Mike LePond, known for his work with progressive metal giants Symphony X, praised Hetzel’s musicianship: “Frank has some seriously vicious riffs with an almost machine-like right hand. His music is very different from Symphony X, so it was a challenge from the start. The more I listened and practiced, the more I appreciated his metal artistry.”
Stu Block, former frontman of Iced Earth, also shared his enthusiasm for the project, stating, “It was fun working with Frank on this tune. Frank is a very talented musician and awesome guy!”
The release of “Tortured Within” continues Beltfed Weapon’s tradition of collaborating with some of the biggest names in metal. Over the years, the band has featured guest appearances from metal notables such as Steve DiGiorgio (Testament, Death, Sadus), Fredrik Vidigs (Marduk), Dean Sternberg (Where Evil Follows, Ashes Of Ares), and Jeff Loomis (Arch Enemy, Nevermore, Sanctuary), among others.
Beltfed Weapon’s journey began in 2001 with the release of their self-titled 4-song demo. This was followed by three EPs: “Peacekeeper” in 2009, “Raining Plague” in 2015, and most recently, “Darkened Demise” in 2023. Each release has seen the band refine their sound while maintaining the aggressive edge that has become their trademark.
The band’s latest EP, “Darkened Demise,” released on June 25, 2023, was a tour de force of metal prowess.
Mike Lepond
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Bryan Newbury
Mixed by Juan Urtega, the EP featured an all-star lineup including Steve Tucker (Morbid Angel), Jason Viebrooks (Exhorder/Grip Inc), JD DeServio (Black Label Society), Tim Aymar (Control Denied), Jeff Loomis (Arch Enemy), Kragen Lum (Heathen), Bryan Newbury (Into Eternity), and Dagna Silesia (Ghost Ship Octavius).
Critics have praised “Darkened Demise” for its musical complexity and intensity. Ghost Cult magazine wrote, “All in all, Darkened Demise is a cyclone of musicianship that goes by in a flash but leaves you pretty breathless and knowing you have been rocked by lifers.”
Throughout their career, Beltfed Weapon has shared stages with some of the biggest names in metal, including Testament, Over-Kill, Death Angel, Nevermore, Mushroomhead, Nile, God Forbid, Nuclear Assault, Cryptopsy, and Agnostic Front. These high-profile shows have cemented the band’s reputation as a force to be reckoned with in the live metal scene.
Frank Hetzel’s commitment to the metal community extends beyond his music. In a recent collaboration with ex-Metal Church vocalist Ronny Munroe, Hetzel released the single and video “P.O.W.,” with proceeds going towards covering medical expenses for Munroe’s wife and manager, who was battling cancer. This act of solidarity demonstrates the tight-knit nature of the metal community and Hetzel’s dedication to supporting his fellow musicians.
As Beltfed Weapon continues to evolve and collaborate with some of the most respected names in metal, “Tortured Within” stands as a testament to the band’s enduring relevance and their ability to bring together diverse talents under the banner of thrash metal. The track promises to be a powerful addition to the band’s
already impressive catalog, combining technical prowess with emotional depth.
With this latest release, Beltfed Weapon reaffirms their position at the forefront of the thrash metal scene, continually pushing the boundaries of the genre and delivering music that is both technically impressive and emotionally resonant. As fans eagerly await the opportunity to hear “Tortured Within,” one thing is clear: Beltfed Weapon is not just preserving the legacy of thrash metal, they’re actively shaping its future.
Frank Hetzel
By Greg Fontaine
and Canada. Fans can expect a setlist packed with classics and fan favorites from the band’s extensive catalog, promising an unforgettable night of virtuosic musicianship and progressive metal mastery. The absence of an opening act suggests extended perfor-
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mances, potentially stretching beyond three hours, allowing the band to explore the full breadth of their catalog.
Dream Theater’s excitement for this reunion tour is palpable. In a statement, the band expressed their enthusiasm: “The excitement we have felt from the fans since the first tour was announced has been overwhelming! Now we get to bring the show to our home country and play a bunch of cities that we haven’t been together in for more than a decade. We can’t wait to continue this historic celebration of 40 years together with everyone in North America next year.”
The band further added, “We still have plenty of more exciting Dream Theater news to share in the coming weeks,” hinting at potential surprises that could include special guests, unique setlist arrangements, or even previews of new material from their upcoming 16th studio album.
Ticket sales and VIP packages will be handled through the band’s official website, dreamtheater.net/tour/. While specific details are yet to be announced, past Dream Theater VIP experiences have included meet-and-greet sessions, exclusive merchandise, soundcheck access, and early entry to venues. Given the historic nature of this tour, expectations are high for unique fan experiences that celebrate the band’s 40year journey.
The North American announcement follows on the heels of a rapidly selling European leg, scheduled from October 20th to November 24th, 2024, covering 23 cities. The fervent response to the European dates, with several already sold out, indicates the immense anticipation for this reunion tour.
Adding to the excitement, Dream Theater has been working on their 16th studio album at their DTHQ studio. This will be the first album to feature Mike Portnoy since 2009’s “Black Clouds & Silver Linings,” adding an extra layer of anticipation for fans eager to hear new material from this
JOHN MYUNG
JAMES LABRIE
Dream Theater’s journey began in 1985 at Berklee College of Music in Boston, where John Petrucci, John Myung, and Mike Portnoy formed the band, originally named Majesty. The band’s early years were marked by lineup changes and the struggle to find their unique voice in the metal scene. Their debut album, “When Dream and Day Unite” (1989), while not a commercial success, laid the groundwork for their progressive metal sound.
The addition of James LaBrie as lead vocalist in 1991 proved to be a turning point for the band. Their sophomore album, “Images and Words” (1992), broke them into the mainstream with the hit single “Pull Me Under.” The album’s success catapulted Dream Theater to international recognition and remains a benchmark in progressive metal.
Throughout the 1990s, Dream Theater continued to push the boundaries of their sound. “Awake” (1994) saw the band embracing a heavier direction, while “Falling into Infinity” (1997) explored more accessible songwriting. The decade culminated with “Metropolis Pt. 2: Scenes from a Memory” (1999), a concept album that many consider the band’s magnum opus. This album also marked the introduction of Jordan Rudess on keyboards, completing the lineup that would define Dream Theater’s sound for the next decade.
The 2000s saw Dream Theater at the height of their powers, releasing ambitious works like the double album “Six Degrees of Inner Turbulence” (2002) and the metal-focused “Train of Thought” (2003). The band’s willingness to experiment led to diverse releases like “Octavarium” (2005), which featured an epic 24-minute title track, and “Systematic Chaos” (2007), which further refined their blend of progressive and metal elements.
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classic lineup.
JOHN PETRUCCI
Dream Theater
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Mike Portnoy’s departure in 2010 marked the end of an era, but the band continued to evolve with drummer Mike Mangini. Albums like “A Dramatic Turn of Events” (2011) and the self-titled “Dream Theater” (2013) showcased the band’s resilience and continued creativity. The ambitious rock opera “The Astonishing” (2016) demonstrated their willingness to take on grand conceptual projects.
Portnoy’s return in 2023 was met with jubilation from fans worldwide, setting the stage for this 40th Anniversary Tour. The reunion has reinvigorated the band, with guitarist John Petrucci stating in a recent interview, “Having Mike back in the fold feels like coming home. There’s a chemistry between us that’s undeniable, and I think fans are going to be blown away by what we’re creating together.”
Dream Theater’s influence on progressive metal cannot be overstated. They’ve earned multiple Grammy nominations, finally winning Best Metal Performance in 2022 for “The Alien.” Their technical proficiency, complex compositions, and willingness to blend various musical styles have inspired countless musicians and bands.
As the band prepares for this historic tour, they’re also looking to the future. In discussing the upcoming album, bassist John Myung revealed, “We’re exploring new territories while staying true to our roots. It’s exciting to revisit that collaborative spirit we had in our early days, but with four decades of experience behind us.”
The 40th Anniversary Tour is not just a celebration of the band’s past achievements but a bold step into their future. It’s a testament to their enduring creativity, technical mastery, and the deep musical bond that has kept them at the forefront of progressive metal for four decades.
For longtime fans, this tour represents a dream come true
– the chance to see the definitive Dream Theater lineup performing together once again. For newer fans, it’s an opportunity to witness living legends of progressive metal in their element. As vocalist James LaBrie put it, “This tour is for everyone who’s been part of the Dream Theater family over the years. We’re going to deliver performances that span our entire career, with a few surprises thrown in.”
As Dream Theater prepares to embark on this epic journey across North America, they stand poised to reinforce their status as legends of progressive metal. The 40th Anniversary Tour promises to be more than just a nostalgia trip; it’s a reaffirmation of Dream Theater’s ongoing relevance and creativity in the metal world. With a combination of classic tracks, deep cuts, and potentially new material, these shows are set to be a prog metal fan’s dream come true, celebrating four decades of musical innovation and setting the stage for Dream Theater’s next chapter.
The European leg of the 40th Anniversary Tour 2024 –2025 consists of stops in 23 cities and kicks off on October 20th and runs through November 24th. Some dates are already sold out with others about to get there as limited tickets remain across the continent.
An Evening With Dream Theater 40th Anniversary Tour 2024 –2025
October 20 – London, England – The O2 (Limited Tickets Remain)
October 22 – Berlin, Germany – Uber Eats Music Hall (Limited Tickets Remain)
October 23 – Koln, Germany – Palladium (Limited Tickets Remain)
October 25 – Milan, Italy – Forum (Limited Tickets Remain) October 26 – Rome, Italy – Palazzo dello Sport (Limited Tickets Remain)
October 28 – Munich, Germany – Zenith
October 29 – Zagreb, Croatia – Arena
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JORDAN RUDESS
Dream Theater
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Zagreb
November 1 – Budapest, Hungary –Budapest Arena
November 2 – Prague – Czech Republic –Fortuna Arena
November 3 – Lodz, Poland – Atlas Arena
November 6 – Helsinki, Finland – Metro Areena
November 8 – Stockholm. Sweden –Waterfront (Sold Out)
November 9 – Oslo, Norway – Spektrum (Limited Tickets Remain)
November 10 – Copenhagen, Denmark –Poolen (Limited Tickets Remain)
November 12 – Luxembourg – Rockhal
November 13 – Zurich, Switzerland – The Hall
November 14 – Lyon, France – Halle Tony Garnier
November 16 – Lisbon, Portugal – MEO Arena
November 17 – Madrid, Spain – La Cubierta de Leganés
November 20 – Stuttgart, Germany – Beethovensaal (Limited Tickets Remain)
November 21 – Frankfurt, Germany – Jahrhundderthalle
November 23 – Paris, France – Adidas Arena
November 24 – Amsterdam – AFAS Live (Limited Tickets Remain)
December 7 - Mexico City, Mexico – Explanada Estadio Azteca
December 10 - Belo Horizonte, Brazil – Befly Hall
December 13 - Rio de Janeiro, Brazil – Vivo Rio
December 15 - Sao Paulo, Brazil – Vibra (Limited Tickets Remain)
December 16 - Curitiba, Brazil – Live Curitiba
MIKE PORTNOY
December 17 - Porto Alegre, Brazil – Araújo Vianna
December 19 - Buenos Aires, Argentina – Movistar Arena
December 21 - Santiago, Chile – Movistar Arena (Sold Out)
December 22 - Santiago, Chile – Movistar Arena
An Evening With Dream Theater 40th Anniversary Tour 2024 – 2025 (North American Dates)
February 7 – Philadelphia, PA – The Met Philadelphia presented by Highmark
February 8 – Raleigh, NC – Martin Marietta Center
February 10 – Nashville, TN – Opry House
February 11 – Atlanta, GA – Coca-Cola Roxy
February 12 – Biloxi, MS – Hard Rock Café
February 14 – Houston, TX – 713 Music Hall
February 15 – Dallas, TX – Texas Trust CU
February 16 – San Antonio, TX – Majestic
February 18 – Phoenix, AZ – Arizona Financial Center
February 19 – Highland, CA – Yaamava Theater
February 21 – Las Vegas, NV – The Chelsea
February 22 – Los Angeles, CA – YouTube Theater
February 24 – San Jose, CA – San Jose Civic
February 25 – Sacramento, CA – Safe Credit Union Performing
February 27 – Seattle, WA – Moore Theater
February 28 – Portland, OR – Keller Auditorium
March 2 – Reno, NV – Grand Sierra
March 4 – Salt Lake City, UT – Maverik Center
March 6 – Denver, CO – Mission Ballroom
March 8 – Chicago, IL – Chicago Theatre
March 9 – Cleveland, OH – MGM Northfield Park
March 11 – Toronto, ON – Coca-Cola Coliseum
March 12 – Montreal, QC – Place des Arts
March 14 – Wallingford, CT – Oakdale Theater
March 15 – Boston. MA – Boch Center
March 17 – Rochester, NY – Kodak
March 18 – Wheeling, WV – Capitol Theater
March 19 – Cincinnati, OH – Brady Music Center
March 21 – Washington, DC – The Anthem
March 22 – New York, NY – Radio City Music Hall
Crobot’s ‘Obsidian’ Unleashed: A Dark Journey into the Human Psyche Rocks the Music World
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By Troy Wilson
In a striking blend of superstition and hard-hitting rock, Pennsylvania’s riff-titans Crobot released their most introspective and sonically adventurous album to date last month. “Obsidian,” a 12-track odyssey into the depths of the human condition, dropped on the extraordinarily lucky Friday, September 13, 2024, via Megaforce Records. This date, far from being ominous, marked a significant milestone in the band’s evolving musical journey.
The album, produced by Crobot themselves and recorded at The Machine Shop Studios in Austin, TX, has proven to be a departure from their previous
works. Engineered, mixed, and mastered by the talented Alberto De Icaza, “Obsidian” dives deep into the murky waters of personal demons and ancient myths, weaving a tapestry of sound that is both introspective and explosive.
In the weeks leading up to the release, fans were treated to their first taste of this new direction with “Come Down,” a track that showcases the band’s heavier, darker turn. Co-written and brought to the band by drummer Dan Ryan, the song was accompanied by a visually stunning visualizer that’s as enigmatic as it is captivating. Populated by a spaceborne killer, ancient Celtic druids, and tracks of a white rabbit leading to a portal into the underworld, the video drew inspiration from an
obsidian stone that vocalist Brandon Yeagley discovered in the woods, adding a personal and mystical touch to the song’s already intense atmosphere.
Guitarist Chris Bishop shed light on the band’s evolution, explaining, “As we started demoing songs, the music was being pushed more and more into a heavier, darker, more metal direction. ‘Come Down’ is one of the heaviest songs that we’ve done, it’s much more in the world of Alice in Chains. Dan, our drummer, comes from that world, and we didn’t try to stifle that, so the new music is a lot heavier than our previous albums.”
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Crobot
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The creation of “Obsidian” was not without its challenges, particularly when it came to the album’s title track. Bishop revealed the struggle and subsequent triumph: “Obsidian, the title track, went through many different structures, but it was never quite right. So, we put it on hold and hit up Howard Jones, who used to play in Killswitch Engage and is now in Light the Torch. We told him that we had the album’s title, Obsidian, but not the title track, sent him the tune, and he came back with some ideas that were perfect.” This collaboration brought a fresh perspective to the album, with Brandon Yeagley adding his own spin to Jones’ ideas, effectively bringing Howard into the circle of being in Crobot for that one song.
While Crobot’s primary songwriters - Bishop and Yeagley - have typically leaned towards ambiguity in their lyrics, “Obsidian” marks a significant shift towards more personal and reflective content. The new tunes touch upon very personal growth, conflicts, and reflections, offering listeners a glimpse into the band’s inner world. Bishop elaborated on this new approach, saying, “Each song descends into the darker reaches of the psyche, set to a relentless rhythm of heavy, pulsing beats and gut-wrenching guitar solos, and offers a stark reflection of internal struggles.”
Brandon Yeagley echoed this sentiment, adding his own perspective on the album’s significance: “Obsidian is almost a rebirth of our career. We were able to take a different approach to the writing and recording of this album, so the experience was very rewarding and different from past projects. Conflicts and reflections make you a better person, even in those darker moments, but I know I became a better person for it. I think that’s what symbolizes this entire album for us. It’s been a real breath of fresh air.”
The album’s journey from conception to completion has been a transformative experience for the band, pushing
them to explore new sonic territories and delve deeper into their personal experiences. The result is a collection of songs that promise to resonate with listeners on a profound level, offering not just an auditory experience but an emotional journey through the complexities of the human psyche.
With the album now out in the world, Crobot has announced extensive touring plans to support “Obsidian.” While specific dates are still being finalized, fans can expect a series of high-energy performances that will bring the album’s intense themes and heavy sound to life on stages across the country and potentially beyond.
The band, consisting of Pat Seals on bass, Dan Ryan on drums, Brandon Yeagley on harmonica and vocals, and Chris Bishop on guitar, has redefined their place in the modern metal scene with this release. Their unique blend of hard rock riffs, soulful melodies, and now, deeply introspective lyrics, sets them apart in a crowded musical landscape.
As “Obsidian” continues to gain traction among fans and critics alike, it’s clear that this album is more than just a collection of songs; it’s a testament to the band’s growth, both as musicians and as individuals. It offers listeners a chance to journey through the depths of human experience, all set to the backdrop of thunderous riffs and soul-stirring melodies.
In a music scene often criticized for its superficiality, Crobot’s “Obsidian” stands as a beacon of depth and authenticity. It’s a bold statement from a band unafraid to evolve, to challenge themselves, and to invite their audience into the darker, more complex corners of their creative minds. Now, as we move into October, one thing is clear: the world of rock has gotten a little bit heavier, a little bit darker, and a whole lot more introspective, courtesy of Crobot’s “Obsidian.”
Rock And Blues International
Photo Credit: Michael Schmelling
BENEE
By Sheena Johnson
BENEE, the multi-platinum altpop sensation from New Zealand, has returned to the music scene with a bold new single, “Sad Boiii.” Released via Republic Records, this track marks her first major offering since 2023 and signals the start of an exciting new phase in her musical journey. The accompanying music video, directed by Nikki Milan Houston, adds a playful yet thoughtprovoking visual layer to the release. Featuring Cotton the lamb, the video showcases BENEE’s flair for blending quirky aesthetics with deeper emotional undertones—a hallmark of her distinctive artistic approach.
“Sad Boiii” is more than just a fun, catchy tune. It’s a masterclass in juxtaposing light and dark, as BENEE takes listeners on a sonic journey that blends the breezy energy of a New Zealand summer with the weight of complex relationship dynamics. The track’s island-inspired beats and loosely strummed guitar chords create an inviting, sun-soaked atmosphere, reminiscent of BENEE’s childhood memories of outdoor festivals. Yet, beneath this idyllic exterior lies a more serious narrative about emotional vulnerability and the exhausting cycle of falling for emotionally unavailable partners. As BENEE herself explains, “Sad Boiii” delves into the frustrations of being with someone who hides behind a tough exterior but is inwardly damaged. “They don’t want to get therapy; they just want to stay with you,” she laments, offering a candid reflection on the emotional toll of these relationships. “Don’t be fooled by the bad boy image!”
This ability to marry introspective lyrics with bright, infectious melodies has become a defining feature of BENEE’s music. Since bursting onto the global music scene with her breakout hit “Supalonely” featuring Gus Dapperton, she has continuously pushed the boundaries of pop music. From her 2020 debut album, Hey u x, which featured collaborations with the likes of Grimes, Lily Allen, and Flo Milli, to her latest offerings, BENEE’s work is always evolving. Her genre-defying sound
BENEE’s Bold Return: New Single “Sad Boiii” Drops as She Prepares to Open for Olivia Rodrigo in Australia
BENEE Online:
INSTAGRAM @ https://www.instagram.com/beneemusic/ TIKTOK @ https://www.tiktok.com/@beneemusic X/TWITTER @ https://x.com/beneemusic
FACEBOOK @ https://www.facebook.com/BENEE/ WEBSITE @ https://www.beneemusic.com
blends alt-pop with elements of indie, electronic, and even reggae, as seen in the nostalgic reggae undertones of “Sad Boiii.” This genre-blurring approach has earned her critical acclaim, with Interview Magazine naming her “one of Gen Z’s leading rockstars,” and DAZED dubbing her “a voice of the pandemic generation.”
Currently, BENEE is making waves across North America as the opening act for Wallows on their Model Tour. This extensive tour, which has taken her to some of the continent’s most iconic venues, including a muchanticipated finale at The Kia Forum in
BENEE
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Los Angeles on September 12, showcases BENEE’s electrifying live performances. Her presence on stage is as magnetic as it is intimate, effortlessly drawing in both longtime fans and new listeners alike. Her ability to connect with audiences, whether in small, intimate settings or massive festival crowds, speaks to her versatility as an artist.
But BENEE’s journey doesn’t end there. As she wraps up her North American stint with Wallows, she’s set to take the stage with one of the biggest names in pop music today—Olivia Rodrigo. This October, BENEE will join Rodrigo on the Australian leg of her highly anticipated GUTS Tour, further cementing her status as a must-see live performer. With her unique blend of raw emotionality and infectious energy, BENEE is sure to captivate Australian audiences just as she has around the world.
In addition to her burgeoning music career, BENEE is now venturing into new creative realms, including acting. She recently made her on-screen debut in the New Zealand independent film Head South, showcasing yet another facet of her artistic talents. The film marks an exciting new chapter for BENEE as she expands her creative horizons beyond the music world. Though primarily known for her musical prowess, her foray into acting demonstrates her versatility and willingness to explore new forms of artistic expression. Fans are eager to see how this new dimension of her career unfolds in the coming years.
Even with her acting debut and major touring commitments, BENEE has found time to collaborate with some of the biggest names in the music industry. In 2023, she teamed up with Mallrat to co-write “Do It Again,” the official song for the FIFA Women’s World Cup 2023™, which became a global anthem for the tournament. Additionally, she worked with renowned artists such as Phoenix, Chad Hugo, and Pusha T on
their track “All Eyes On Me.” BENEE has also shown her commitment to mental health advocacy, partnering with Youthline, a New Zealand-based mental health charity, and neuroscientists to create the track “Bagels,” a song scientifically designed to alleviate anxiety. This balance between artistic innovation and social responsibility has made BENEE a standout figure in the music world, not just for her sound but for her impact on broader societal issues.
Looking back on her meteoric rise since 2017, it’s clear that BENEE’s journey has been nothing short of extraordinary. Her breakthrough single, “Supalonely,” catapulted her into the global spotlight, amassing billions of streams and earning her a loyal fanbase. Her debut album, Hey u x, was a defining moment in her career, with collaborations spanning genres and generations, from Grimes to Flo Milli. The album’s success led to sold-out headline shows across multiple continents and appearances on major latenight talk shows such as The Tonight Show Starring Jimmy Fallon and The Late Show with Stephen Colbert. BENEE also made waves with her performance at Coachella, where she performed to massive crowds during both weekends of the iconic festival.
Despite her global success, BENEE remains deeply connected to her roots, frequently drawing on her experiences growing up in New Zealand to inform her music. Tracks like “Sad Boiii” highlight her ability to weave personal narratives into universally relatable themes, creating music that resonates with listeners from all walks of life. Her talent for storytelling, combined with her genre-defying sound, has positioned her as a leading voice of her generation.
As BENEE gears up for the next phase of her career, with new music on the horizon and a packed touring schedule, the future looks brighter than ever. Her return with “Sad Boiii” is just the beginning of what promises to be an exciting new chapter, one filled with fresh sounds, bold visuals, and even more creative exploration. Whether through her music, her film debut, or her collaborations with fellow artists, BENEE continues to push boundaries and redefine what it means to be an artist in today’s fast-evolving creative landscape. With every new release, she invites listeners deeper into the world she’s created—a world filled with emotional depth, playful energy, and boundless creativity. And fans, both old and new, are more than ready to follow her on this journey.
As she prepares for a string of performances with Olivia Rodrigo and continues to release new music, BENEE remains one of the most exciting and unpredictable artists of her generation. Whether on stage, on screen, or in the studio, BENEE is carving out a space all her own, and it’s clear that she’s only just getting started. Stay tuned for more from this alt-pop visionary as she continues to make waves around the globe.
October 9 – Melbourne, AUS –Rod Laver Arena ^ October 10 – Melbourne, AUS – Rod Laver Arena ^
October 13 – Melbourne, AUS – Rod Laver Arena ^ October 14 – Melbourne, AUS – Rod Laver Arena ^
October 17 – Sydney, AUS – Qudos
Bank Arena ^
October 18 – Sydney, AUS – Qudos Bank Arena ^
October 21 – Sydney, AUS – Qudos
Bank Arena ^
October 22 – Sydney, AUS – Qudos Bank Arena ^
^Supporting Olivia Rodrigo
Rock And Blues International
Finnish Modern Metal Sensation ARCTIS Takes the World by Storm
ARCTIS online:
WEBSITE @ https://arctis.bandzoogle.com/
FACEBOOK @ https://www.facebook.com/arctisofficial
INSTAGRAM @ https://www.instagram.com/arctisofficial/ TIKTOK @ https://www.tiktok.com/
By Nathan Pugh
In a groundbreaking development that has sent shockwaves through the global metal community, Finnish modern metal powerhouse ARCTIS has officially signed a record deal with renowned label Napalm Records. This monumental partnership marks the beginning of what industry insiders are already hailing as a new era in the evolution of modern metal, promising to redefine the boundaries of heavy music and captivate audiences worldwide.
ARCTIS, a band that has been steadily building buzz in the underground metal scene, is poised to explode onto the international stage with a unique sound that fearlessly blends the raw power of metal with the catchy hooks of rock and pop. Drawing inspiration from the mythical winters and mystical summers of their Nordic homeland, ARCTIS has crafted a sonic identity that is as vast and aweinspiring as the Arctic landscapes that share their name.
At the helm of this formidable musical force is the enigmatic Alva
Sandström, whose mesmerizing vocals and striking stage presence have already earned her the moniker of “Ice Queen Rebel Leader” among the band’s growing fanbase. Clad in a shining white battle suit that seems to glow with an otherworldly light, Alva cuts a figure that is both fierce and ethereal, embodying the dual nature of ARCTIS’ music - at once brutal and beautiful. Her powerful voice, capable of both soaring melodies and guttural growls, serves as the perfect conduit for the band’s complex narratives and emotional depth.
Flanking Alva are the dark-clad, valiant men who form the backbone of ARCTIS’ sound. Björn Johansson, known as “the Captain,” leads the charge with his unwavering guitar work and leadership skills. His riffs are the foundation upon which ARCTIS builds its sonic castles, blending technical prowess with an innate understanding of what makes a song truly memorable. Michael Mikander, dubbed “the Magician,” weaves spells with his mystical guitar abilities, his solos dancing between dimensions and pushing the boundaries of what’s possible on six strings.
Mats Ödahl, “the Rambler,” infuses the band’s sound with a wild, untamed spirit on bass. His thunderous low-end provides the perfect counterpoint to the guitarists’ pyrotechnics, grounding the music while simultaneously propelling it forward. Rounding out the lineup is Mika Paananen, “the Sage,” whose profound drumming elevates ARCTIS’ message to new heights. More than just keeping time, Mika’s drumming is a crucial element of the band’s storytelling, his rhythms evoking the pulse of ancient forests and the crash of Arctic waves.
The signing with Napalm Records is just the beginning of what promises to be an exciting journey for ARCTIS. The label, known for its keen ear and ability to spot emerging talent, sees in ARCTIS a band with the potential to reshape the metal landscape. In a statement, Napalm Records expressed their excitement about the partnership, saying, “ARCTIS represents the future of metal. Their unique blend of heavy riffs, captivating melodies, and rich storytelling is exactly what the genre needs right now. We’re thrilled to be part of their journey and can’t wait for the world to hear what they have in store.”
Adding to the excitement, the band has announced that they will be embarking on a tour with Finnish symphonic metal masters Apocalyptica, a pairing that has metal fans around the world buzzing with anticipation. This tour is set to be a showcase of the best that modern Finnish metal has to offer, blending ARCTIS’ fresh, innovative sound with Apocalyptica’s established mastery of symphonic metal. The combination promises to be a feast for the ears, offering audiences a chance to experience the full spectrum of what modern metal can be.
But perhaps the most exciting news for fans is the announcement of ARCTIS’ self-titled debut album, set to be released this fall. Produced by Jimmy Westerlund, known for his work with Sturm und Drang, mixed by Stefan Glaumann of Rammstein fame, and mastered by the renowned Svante Forsbäck, also known for his work with Rammstein, the album promises to be a tour de force of modern metal production. This dream team of producers and engineers brings a wealth of experience and a proven track record of creating sonically stunning and commercially successful metal albums.
The band has teased that their first single will be released soon, giving fans their first taste of what ARCTIS has in store. If the buzz surrounding the band is any indication, this single is set to take the metal world by storm, potentially redefining what modern metal can be in the
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Finnish Modern Metal Sensation ARCTIS Takes the World by Storm - cont’d
process. Speculation is rife about what the single will sound like, with fans eagerly dissecting every hint and teaser the band has dropped on social media.
What sets ARCTIS apart from their contemporaries is not just their music, but the rich lore and backstory they’ve created to accompany their sonic assault. The band offers a multi-dimensional experience for fans, with a deep mythology that extends beyond the realm of music. This approach to world-building has already captured the imagination of fans, who are eagerly piecing together the narrative threads woven throughout ARCTIS’ work.
The band’s mythology draws heavily from Nordic folklore and futuristic sci-fi concepts, creating a unique universe where ancient magic and advanced technology coexist. Each band member has their own detailed backstory and role within this universe, adding depth to their stage personas and giving fans multiple entry points into the world of ARCTIS. This rich narrative tapestry not only enhances the listening experience but also opens up possibilities for expansion into other media, such as graphic novels, video games, and even film or television adaptations.
In a statement released by the band, ARCTIS declared, “Get ready to experience the next chapter of modern metal! We are ARCTIS, a new force rising from the heart of Finland, and we are beyond thrilled to announce that we will be joining the legendary Apocalyptica on their fall tour! Our debut album is dropping this fall, with singles set to blow your minds before then. Prepare for an onslaught of powerful riffs, epic melodies, and the raw energy you’ve been craving. Follow us on this journey as we bring the storm. Are you ready? Stay tuned for more updates and tour dates. This is just the beginning.”
The metal community has responded to this announcement with overwhelming enthusiasm. Fan forums and social media platforms are abuzz with speculation about what ARCTIS will bring to the table, with many predicting that the band could be the next big thing in metal. The hashtag #ARCTISiscoming has been trending on various platforms, with fans sharing their excitement and theories about the band’s music and lore.
Industry experts are also taking notice. Metal Hammer magazine has already featured ARCTIS in their “Bands to Watch” section, praising their innovative
approach to metal and predicting big things for their future. The magazine’s editor was quoted as saying, “ARCTIS represents a new wave in metal, one that respects the genre’s roots while fearlessly pushing its boundaries. Their ability to blend heavy riffs with intricate storytelling and pop sensibilities makes them a band to watch in the coming years.”
Meanwhile, Kerrang! has described ARCTIS’ sound as “a perfect storm of crushing riffs, soaring melodies, and Nordic mysticism.” The publication went on to say, “In a genre that often struggles to innovate, ARCTIS feels like a breath of fresh, Arctic air. They’re not just making music; they’re creating an entire world for fans to lose themselves in.”
As the release date for their debut album draws nearer, the anticipation continues to build. Fans are eagerly awaiting tour dates and ticket information, with many already planning road trips to catch ARCTIS live. The band’s management has hinted at a series of music video releases in the lead-up to the album drop, each one promising to further expand the rich world of ARCTIS and give fans more pieces of the puzzle to decipher.
The band’s commitment to their craft extends beyond just the music. ARCTIS has announced plans for an immersive live show that will incorporate elements of their mythology, promising concertgoers an experience that goes beyond the typical metal gig. Rumors of elaborate stage designs, cutting-edge visual effects, and even interactive elements have only added to the excitement surrounding their upcoming tour.
In a genre that often struggles to innovate, ARCTIS represents a breath of fresh, Arctic air. Their unique blend of metal, rock, and pop, combined with their rich storytelling and mythological elements, offers something truly new and exciting for metal fans. As they prepare to unleash their music upon the world, one thing is clear: ARCTIS is a force to be reckoned with, and they’re just getting started.
The impact of ARCTIS extends beyond just the music scene. Their emphasis on Nordic mythology and futuristic themes has caught the attention of scholars in fields ranging from folklore studies to futurism. Several universities have expressed interest in using ARCTIS’ work as a case study in modern mythmaking and the intersection of
traditional storytelling with contemporary media.
Environmental groups have also taken notice of the band’s name and thematic elements, seeing an opportunity to raise awareness about Arctic conservation. Discussions are underway for potential collaborations that would see ARCTIS using their platform to highlight important environmental issues, particularly those affecting the Arctic region.
As the release date for their debut album approaches, the music industry is watching closely. Many see ARCTIS as a potential game-changer, a band capable of bridging the gap between metal’s core audience and a broader listenership. If successful, they could open doors for a new wave of metal bands, encouraging experimentation and genre-blending in a way that could revitalize the entire metal scene.
The metal world watches with bated breath as ARCTIS prepares to make their grand entrance. Will they live up to the hype? Can they truly redefine modern metal? Only time will tell, but one thing is certain - the storm is coming, and ARCTIS is at its eye. Prepare yourselves, metal fans. The Arctic winds are about to blow, and they’re bringing with them a sound unlike anything you’ve heard before. The revolution starts now, and its name is ARCTIS.
Tour w/Apocalyptica
11.11.24 LX - Esch Alzette
12.11.24 BE - Brussels
13.11.24 FR - Paris
14.11.24 FR - Bordeaux
15.11.24 ES - Bilbao
17.11.24 PT - Lisbon
18.11.24 ES - Madrid
19.11.24 ES - Barcelona
20.11.24 FR - Marseille
21.11.24 IT - Milan
22.11.24 CH - Lausanne
23.11.24 CH - Zurich
25.11.24 HU - Budapest
26.11.24 RO - Cluj
27.11.24 RO - Bucharest
28.11.24 BU - Sofia
29.11.24 MK - Skopje
30.11.24 RS - Belgrade
By Nathan Puigh
In a nostalgic nod to the 1980s, ShipRocked, the premier rock music festival cruise, has announced its lineup for the 2025 voyage in a uniquely creative way that has set the rock community abuzz. Embracing a “Retro Paradise ’80s” theme, organizers ASK4 Entertainment have outdone themselves this year, revealing the all-star roster for the ship’s house band, The Stowaways, through an innovative old-school computer video game. This inventive approach has not only generated excitement among fans but also set the stage for what promises to be an unforgettable 15th-anniversary celebration at sea. Set to sail from January 19-25, 2025, ShipRocked will transform the Carnival Magic into a floating rock paradise, embarking from the vibrant city of Miami, Florida, with exotic stops at the sun-soaked beaches of St. Thomas in the U.S. Virgin Islands and the pristine shores of Half Moon Cay in The Bahamas. This sevenday nautical adventure offers an immersive experience that perfectly blends the heart-
pounding thrill of a rock festival with the laid-back relaxation of a tropical getaway, creating a unique vacation unlike any other in the music world.
In a brilliant marketing move that has captivated the ShipRocked community, fans were invited to participate in “The Stowaways Scavenger Hunt Game,” a retro-style computer game that slowly revealed the identities of the 2025 Stowaways lineup. This interactive experience not only built anticipation for the upcoming cruise but also engaged the ShipRocked community in a unique and nostalgic way, harkening back to the early days of computer gaming. The game, which remains available to play through September 20, 2024, features pixelated versions of the artists, complete with ’80sstyle synthesized voices that activate when each character is discovered. Adding an extra layer of excitement, eagle-eyed players can find hidden Easter eggs within the game, including a secret portal offering the tantalizing chance to win a free cabin for the cruise. This innovative approach to
lineup announcements has set ShipRocked apart from other music festivals and cruises, demonstrating a deep understanding of their audience’s love for both rock music and playful nostalgia.
The 2025 edition of ShipRocked boasts an impressive array of talent that spans the full spectrum of rock music, ensuring that there’s something for every fan aboard the Carnival Magic. Headlining the event are Australian metalcore titans Parkway Drive, known for their highenergy performances and evolving sound that has captivated audiences worldwide. They’re joined at the top of the bill by raprock collective Hollywood Undead, whose blend of hip-hop and rock has created a unique space in the modern music landscape. Progressive rockers Nothing More bring their thought-provoking lyrics and dynamic stage presence to the cruise, while British glam rock revivalists The Struts are set to inject a dose of classic rock swagger into the proceedings. This diverse range of
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headliners alone promises an eclectic and electrifying musical experience, but the lineup doesn’t stop there.
Supporting acts for ShipRocked 2025 include a veritable who’s who of established and up-and-coming artists in the rock world. Fans can look forward to performances by post-grunge outfit 10 Years, metalcore veterans Atreyu, hard rock stalwarts Buckcherry, and hardcore punk rockers The Ghost Inside. The international flavor of the lineup is enhanced by the inclusion of Ukrainian progressive metal band Jinjer and the reggae-infused nu-metal of P.O.D. The roster continues with an impressive array of talent including Austin Meade, Calva Louise, DED, Des Rocs, Devour The Day, Diamante, Flat Black, GHØSTKID, The Glorious Sons, Goodbye June, Jigsaw Youth, Kid Kapichi, Nevertel, Oxymorrons, Plush, Rivals, Silly Goose, and Spiritworld. This eclectic mix ensures that the stages of the Carnival Magic will be alive with the sound of rock in all its varied forms, from sunrise to well past sunset, throughout the duration of the cruise.
Perhaps the most anticipated aspect of ShipRocked is the performance by The Stowaways, the cruise’s exclusive all-star band that has become a hallmark of the ShipRocked experience. The 2025 lineup for this supergroup reads like a dream team of rock talent, featuring some of the most respected names in the industry. Eric Vanlerberghe of I Prevail brings his powerful vocals to the mix, while Jesse Leach of Killswitch Engage adds his distinctive voice and stage presence. Thrash metal legend Joey Belladonna of Anthrax lends his iconic vocals to the group, promising some classic metal moments. The dynamic duo of Heidi Shepherd and Henry Flury from Butcher Babies are set to bring their high-octane performance style to The Stowaways. Jerry Gaskill, the rhythmic foundation of King’s X, will be keeping time behind the kit, while John Deservio of Black Label Society will be laying down the bass lines. Rising guitar virtuoso Sophie Lloyd rounds out the announced lineup, adding her impressive six-string skills to the mix. But the surprises don’t end there – the organizers have hinted at “other surprise guests” joining The Stowaways, adding an element of mystery and excitement to their performances.
The full roster for The Stowaways is even more extensive, including Al McManus (No Fun Intended), Brandon
Yeagley (Crobot), Chad Nicefield (Wilson – RIP), Christina Criss (Kaleido), Dameon & Gabe Aranda (Aranda), Danny Case (From Ashes To New), Hayley Cramer (exPop Evil), Leo Moracchioli (Frog Leap), Sammy Boller (Pharoahs / Scott Stapp), Scott Stevens (The Exies), Shaun Smith (No Fun Intended), Skylar Acord (Issues), Stevic MacKay (Twelve Foot Ninja – RIP), and Taylor Carroll (Kemikalfire / Lit). This incredible assemblage of talent will be backed by the core Andy Wood Trio, ensuring a tight and professional sound to underpin the rotating cast of rock stars. The Stowaways’ performances are always a highlight of ShipRocked, offering unique collaborations and once-in-a-lifetime musical moments that can’t be experienced anywhere else.
While the focus of ShipRocked is undoubtedly on the music, the cruise offers a complete vacation experience that goes well beyond the concerts. The organizers have crafted a schedule full of activities that put a rock ‘n’ roll spin on traditional cruise fare. Attendees can try their luck at the ShipRocked blackjack tournament, unleash their competitive spirit in the dodgeball tournament, or showcase their vocal talents at live band karaoke sessions. For those looking to mingle, singles mixers provide the perfect opportunity to meet like-minded rock fans. Trivia contests will test passengers’ knowledge of rock history and trivia, while morning yoga sessions offer a chance to find balance and rejuvenation between high-energy concerts.
Adding to the entertainment lineup, comedian Big Jay Oakerson returns to ShipRocked to bring his brand of edgy, late-night laughs to the high seas. He’ll be joined by fellow comics Mike Finoia and Tim Butterly, ensuring that the laughter continues long after the last chord has been struck on stage. In keeping with the cruise’s “Retro Paradise ’80s” theme, Nashville’s tribute act Rubiks Groove will be on hand to transport passengers back in time with their pitch-perfect renditions of ’80s classics. This additional programming ensures that there’s never a dull moment on board, with entertainment options catering to a wide range of tastes and interests.
Over the years, ShipRocked has evolved into much more than just a music festival; it’s become a floating family reunion for many repeat attendees. The cruise has fostered a strong community of music lovers who return year after year, forming lifelong friendships bonded by their shared passion for rock music. This sense of community is one of the aspects that sets ShipRocked apart from other music festivals and cruises. It’s not uncommon to see fans who met on previous ShipRocked cruises planning their
next voyage together, sharing stories of past experiences, and welcoming newcomers into the fold with open arms. This community spirit extends beyond the confines of the ship and the duration of the cruise, with many ShipRockers staying in touch throughout the year and even organizing meet-ups on dry land.
The sense of community fostered by ShipRocked extends to charitable efforts as well. The ShipRocked Cancer Sucks! onboard charity auction has become a beloved tradition, raising over $1 million to date for innovative medical research aimed at finding a cure for cancer. This impressive fundraising total demonstrates the generous spirit of the ShipRocked family and adds a meaningful dimension to the cruise experience. Attendees have the opportunity to bid on unique rock memorabilia and experiences, knowing that their contributions are going to a worthy cause. This blend of entertainment and philanthropy adds depth to the ShipRocked experience, allowing fans to give back while enjoying the vacation of a lifetime.
While initial cabin sales for ShipRocked 2025 sold out rapidly, much to the disappointment of many fans, there’s still hope for those who missed out. A limited number of staterooms have been released for purchase through the ShipRocked website. Recognizing that such an epic vacation might be a significant investment for some fans, the organizers offer flexible monthly payment plans. This approach makes the ShipRocked experience more accessible to a wider range of rock enthusiasts, allowing them to spread the cost over time and make their rock and roll dreams a reality.
As ShipRocked prepares to celebrate its 15th year, the 2025 cruise promises to be a milestone event in the festival’s history. With its unique blend of top-tier rock performances, tropical destinations, and a strong sense of community, ShipRocked continues to solidify its position as the ultimate rock music vacation. The combination of nostalgiainducing marketing, an impressive and diverse lineup, and the promise of unforgettable experiences has set the stage for what could be the most memorable ShipRocked yet. From the moment fans step aboard the Carnival Magic to the final chord of the last performance, ShipRocked 2025 is poised to deliver a week of music, friendship, and memories that will last a lifetime. As the countdown begins, rock fans around the world are undoubtedly marking their calendars for January 19, 2025, when the Carnival Magic will set sail on another epic musical journey that promises to be the perfect blend of rock and roll rebellion and tropical relaxation.
Watch the Video Teaser for 101, MILKY WAY at https://youtu.be/jdNaBR8tslE
Pre-order now at https://klausschulze.lnk.to/101milkyway
KLAUS SCHULZE online: FACEBOOK @ https://www.facebook.com/OfficialKlausSchulze INSTAGRAM @ https://www.instagram.com/officialklausschulze/ WEBSITE @ https://www.klaus-schulze.com/
In a thrilling development for electronic music enthusiasts and fans of the legendary Klaus Schulze, SPV Recordings has announced the upcoming release of a previously unheard album from the late composer’s archives. Titled “101, Milky Way,” this hidden gem is set
to hit the market on November 15th, offering listeners a fresh glimpse into the creative mind of one of electronic music’s most influential figures. This posthumous release not only adds a new chapter to Schulze’s vast discography but also serves as a poignant reminder of his
enduring impact on the world of music.
Klaus Schulze, who passed away in 2022 at the age of 74, left behind a rich legacy spanning over half a century.
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Known for his expansive soundscapes and pioneering use of synthesizers, Schulze’s work has been a cornerstone in the development of electronic, ambient, and new age music genres. From his early days with Tangerine Dream and Ash Ra Tempel to his prolific solo career, Schulze consistently pushed the boundaries of what was possible with electronic instruments, inspiring countless musicians and producers along the way.
The story behind “101, Milky Way” is as intriguing as the music itself. In late 2008, Schulze was approached by a German film production company to score a documentary about computer hackers. What began as a potential soundtrack project evolved into a fullfledged album. While only snippets of this work were used as background music in the 2009 documentary “Hacker,” directed by Alex Biedermann, the complete composition has remained unreleased until now. This album, therefore, represents not just new music but a lost piece of Schulze’s artistic journey, finally seeing the light of day.
“101, Milky Way” stands as a testament to Schulze’s enduring creativity and his mastery of the Moog synthesizer. Recorded in 2009, it represents a later period in Schulze’s career, showcasing his ability to remain relevant and innovative even after decades in the industry. The release is being carefully overseen by SPV Recordings in collaboration with Schulze’s family, ensuring that the artist’s vision is respectfully preserved and presented to the world. This collaboration between the label and Schulze’s family underscores the importance of maintaining artistic integrity in posthumous releases, a topic of increasing relevance in the music industry.
For many, this posthumous release will be bittersweet. It offers a new chapter in Schulze’s musical story while reminding us of the void left by his
passing. However, it also serves as a celebration of his enduring influence on the world of music. As acclaimed film composer Hans Zimmer noted in December 2021, “Klaus Schulze’s music has never been as relevant as it is now. The world has finally caught up with a true pioneer.” Zimmer’s words highlight the timeless quality of Schulze’s work and its continued relevance in contemporary electronic music.
Schulze’s journey in music was nothing short of revolutionary. Born in Berlin in 1947, he began his career playing various instruments in local bands before finding his true calling in electronic music. His solo debut, “Irrlicht” in 1972, was a harbinger of the ambient and new age movements, created using only tape machines and an electronic organ. This early work demonstrated Schulze’s ability to create immersive soundscapes with limited technology, a skill that would define his career.
As synthesizer technology evolved, so did Schulze’s sound, leading
to classics like “Timewind” (1975) and “Moondawn” (1976). These albums, with their long, evolving compositions and innovative use of sequencers, helped establish Schulze as a leading figure in the Berlin School of electronic music. His influence extended beyond Germany, inspiring musicians worldwide and contributing to the development of various electronic music subgenres.
Throughout his career, Schulze demonstrated a remarkable ability to adapt to new technologies while maintaining his unique artistic voice. In the 1980s, he embraced digital equipment, as heard on albums like “Dig It” (1980). This period saw Schulze experimenting with more rhythmic and accessible sounds, sometimes under the alias Richard Wahnfried, showcasing his versatility as an artist.
The 1990s brought further evolution to Schulze’s music. He explored sampling techniques on albums like “Beyond Recall” (1990) and ventured
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into classical music and opera with releases such as “Goes Classic” (1994) and “Dosburg Online” (1997). These works demonstrated Schulze’s breadth as a composer, seamlessly blending electronic and classical elements. His collaboration with Dead Can Dance vocalist Lisa Gerrard in the 2000s further showcased his versatility and openness to new musical partnerships, resulting in acclaimed albums and performances that brought his music to new audiences.
“101, Milky Way” is described as more than just a collection of tracks; it’s a cosmic journey, a transmission from Schulze’s new celestial home somewhere in the vastness of the universe. This poetic description aligns perfectly with Schulze’s lifelong exploration of spaceinspired themes and his ability to create music that truly transports the listener. The album promises to continue Schulze’s tradition of creating immersive, otherworldly soundscapes
that challenge the boundaries between music and experience.
The album’s release is particularly significant given Schulze’s status as a founding father of contemporary electronic music. His epic, meditative soundscapes helped pave the way for ambient music, while his sequencerdriven rhythmic explorations anticipated the rise of techno and trance. This new release offers an opportunity for longtime fans to reconnect with Schulze’s unique sound and for a new generation of electronic music enthusiasts to discover his genius.
Schulze’s influence extends far beyond his own recordings. As a producer, he worked with prog rockers the Far East Family Band, whose keyboardist Kitaro went on to become a new age superstar. Kitaro frequently cited Schulze as the central influence behind his own plunge into the world of
synthesizers and electronics, illustrating Schulze’s role in shaping not just his own music but the careers of other significant artists.
Throughout his career, Schulze remained prolific and experimental. His work in the 21st century saw him exploring ambient techno on the “Dark Side of the Moog” series with Pete Namlook and Bill Laswell, and continuing to release solo works such as “Silhouettes” in 2018. Even in his later years, Schulze’s creativity showed no signs of waning, making the release of “101, Milky Way” all the more exciting for fans and scholars of electronic music.
As we approach the release date of November 15th, anticipation is building in the electronic music community. “101, Milky Way” promises to be not just a new album, but a piece of musical history. It represents the fulfillment of an obligation to share Schulze’s complete artistic vision with the world, ensuring
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(continued from previous page) that his creative legacy continues to inspire and influence. The album will likely be scrutinized not only for its musical content but also for what it reveals about Schulze’s creative process and artistic evolution in the later stages of his career.
For those new to Schulze’s work, this release could serve as an entry point to explore his vast discography. From his early experimental works to his later, more refined compositions, Schulze’s music offers a journey through the evolution of electronic music itself. It provides a unique opportunity to trace the development of synthesizer technology and electronic music production techniques through the lens of one of the genre’s most important figures.
The release of “101, Milky Way”
also raises interesting questions about the nature of artistic legacy in the digital age. As more and more music is created and stored electronically, the potential for posthumous releases and discoveries increases. Schulze’s case demonstrates the importance of preserving and properly managing an artist’s digital archives, ensuring that valuable works are not lost to time.
As we eagerly await the release of “101, Milky Way,” we’re reminded of Klaus Schulze’s immense contribution to music. In the words of Hans Zimmer, Schulze’s work represents “the perfect balance between the soul and technology. Electrons as messengers of romance.” This poetic description encapsulates Schulze’s unique ability to infuse electronic music with deep emotion and human expression, creating works that
resonate on both a technical and spiritual level.
On November 15th, we’ll have the chance to experience one last cosmic journey with this pioneering artist, a fitting tribute to a man who spent his life exploring the outer reaches of sound and imagination. “101, Milky Way” is not just a new album; it’s a celebration of a life dedicated to pushing the boundaries of music, a final transmission from an artist who forever changed the landscape of electronic sound. As fans around the world prepare to listen, there’s a sense that this release will not only honor Schulze’s memory but also inspire a new generation of electronic musicians to continue his legacy of innovation and artistic exploration.
101, MILKY WAY Track List
1. INFINITY 14:50
2. ALPHA 04:59
3. MULTI 32:34
4. META 08:38
5. UNI 18:35
and substance abuse issues. Newly sober and determined to prove themselves, the band members - Vince Neil (vocals, rhythm guitar, harmonica, shakers), Tommy Lee (drums, backing vocals), Nikki Sixx (bass, backing vocals, organ, piano), and Mick Mars (guitars, backing vocals) - poured their revitalized energy into creating what would become their magnum opus.
The decision to record in Vancouver with producer Bob Rock proved to be a game-changer. Rock’s meticulous approach to production, combined with the band’s renewed focus, resulted in an album that not only topped the Billboard 200 chart but also earned a staggering 6X Platinum certification in the United States. The album’s success transcended borders, hitting the Top 10 in multiple countries and earning multi-platinum status in several territories.
“Dr. Feelgood” wasn’t just a commercial success; it was a cultural phenomenon. The album’s five singles kept radio stations and MTV’s request lines buzzing for years. The title track “Dr. Feelgood,” with its instantly recognizable opening riff and gritty music video, set the tone by reaching the top 10 on the US Hot 100 singles chart. However, it was “Kickstart My Heart” that would go on to become the band’s most iconic track. Originally inspired by Nikki Sixx’s neardeath experience from a drug overdose, the song has since taken on a life of its own, amassing over 1.5 billion streams and becoming a ubiquitous presence in media and sports events worldwide.
The album’s other singles - “Without You” (which hit #8 on the Hot 100), “Don’t Go Away Mad (Just Go Away)” (reaching #19), and “Same Ol’ Situation (S.O.S.)” - all charted successfully, each accompanied by music videos that captured the essence of Mötley Crüe’s high-energy performances and larger-than-life personas.
The Dr. Feelgood World Tour was a marathon of rock ‘n’ roll excess, kicking off at the now-legendary Moscow Music Peace Festival in Russia. This concert, which also featured other major acts like Bon Jovi and Ozzy Osbourne, marked one of the first times American rock bands had performed in the then-Soviet Union, making it a historic event in its own right. By the time the tour wrapped up in late 1990, Mötley Crüe had played over 100 shows to more than 2 million fans, solidifying their status as global rock superstars and proving that their newfound sobriety hadn’t dampened their ability to deliver electrifying live performances.
By Albert Schwartz
As the rock world gears up for a monumental celebration, Mötley Crüe’s groundbreaking album “Dr. Feelgood” is set to mark its 35th anniversary with a series of special releases on November 22, 2024. This event not only commemorates a pivotal
Photo Credit: William Hames (1989 – Dr. Feelgood Era)
moment in the band’s career but also highlights the album’s lasting impact on the rock music landscape.
Released in 1989, “Dr. Feelgood” stands as a testament to Mötley Crüe’s resilience and creative prowess. The album marked a turning point for the band, coming after a period of intense personal struggles
To celebrate this milestone anniversary, Mötley Crüe is offering fans an array of collectible editions. The centerpiece is a Limited Edition Box Set, available in both LP and CD formats. This collector’s item will feature a remastered version of the original album, providing longtime fans with the opportunity to hear the music with enhanced clarity and depth. The inclusion of rare demos and live tracks offers a glimpse into the creative process behind the album and the raw energy of the band’s live performances during this era.
The box set goes beyond just music,
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offering a treasure trove of memorabilia that will transport fans back to 1989. A 24-page replica tour book filled with never-beforeseen and unpublished photos provides an intimate look at life on the road during the Dr. Feelgood tour. The attention to detail is impressive, with inclusions like a replica tour itinerary, poster, patch, backstage pass, live show handbill, press kit, medical envelope (a nod to the album’s title), and guitar pick. These items collectively create a comprehensive time capsule of the album’s original release and subsequent tour.
Vinyl enthusiasts are in for a treat with six different configurations available. These include exclusive color vinyl editions for independent retailers, Walmart (with a 3D lenticular cover art), Target (featuring a Zoetrope vinyl), Amazon (offering a picture disc vinyl), and Urban Outfitters. Each variant will feature reimagined cover art showing 35 years of decay, a clever visual representation of the album’s enduring legacy.
Digital music fans haven’t been forgotten, with a deluxe streaming version planned for release. This edition may include additional tracks or remastered content optimized for modern streaming platforms. For those who prefer CDs, both standard and Walmart-exclusive editions with 3D lenticular art will be available, ensuring that fans of all format preferences can participate in the celebration.
As part of the anniversary festivities, the Crüeseum - Mötley Crüe’s ultimate fan experience - will be offering an in-depth examination of the chart-topping, legacymaking album. This retrospective promises to provide fans with a deeper understanding of the album’s creation, impact, and lasting influence on rock music.
The 35th anniversary of “Dr. Feelgood” comes at an exciting time for Mötley Crüe. With over four decades in the music industry, the band has sold more than 100 million albums worldwide, earning 7 USA platinum and multi-platinum albums, 22 Top 40 mainstream rock hits, 6 Top 20 pop singles, and 3 GRAMMY® nominations. Their influence extends beyond music, with five New York Times bestselling books, including their infamous autobiography “The Dirt,” which was adapted into a hit Netflix movie in 2019.
In 2024, Mötley Crüe entered a new era, signing with Big Machine Records and releasing the single “Dogs of War.” This move, coupled with the 35th-anniversary celebration of “Dr. Feelgood,” demonstrates the band’s ongoing relevance and ability to captivate new generations of rock fans. The band continues to be a major draw, having recently concluded a world stadium tour in late 2023, proving that the appetite for their brand of high-octane rock ‘n’ roll remains strong.
As November 22, 2024, approaches, anticipation for the “Dr. Feelgood” 35th
Anniversary Edition is building among fans old and new. This reissue not only celebrates a landmark album in rock history but also reaffirms Mötley Crüe’s status as enduring icons of the genre. The album’s themes of redemption, survival, and rock ‘n’ roll excess continue to resonate with listeners, while its musical craftsmanship ensures its place in the pantheon of classic rock albums.
For longtime fans, this anniversary release offers a chance to revisit a formative album with fresh ears and gain new insights into its creation. For younger listeners, it’s an opportunity to discover or rediscover a pivotal work that helped shape the sound of rock music in the late 20th century and beyond. Whether you’re a dedicated Crüe fan or a casual listener, the 35th-anniversary release of “Dr. Feelgood” promises to be a significant event in the 2024 music calendar, celebrating an album that continues to kickstart hearts three and a half decades after its initial release.
35th Anniversary Limited Edition LP Box Set Includes: (also available as Limited Edition CD Box Set)
Original Album Remastered on Green/Black Vinyl
The Demos EP on Green/Black Vinyl
Live EP on Green/Black Vinyl
24 Page Book with Never Before Seen and Never Before Published live and behind the scenes photos
18”x24” Reimagined Album Art Poster Replica Backstage Pass Patch
Replica Live Show Handbill
16 Page Dr. Feelgood Tour Itinerary
Press Kit Folder
Original Press Release from 1989
Original 8” x 10” Press Photo
Medical Envelope
Guitar Pick
Album Tracklist:
1T.n.T. (Terror ‘n Tinseltown)
2Dr. Feelgood
3Slice Of Your Pie
4Rattlesnake Shake
5Kickstart My Heart
6Without You
7Same Ol’ Situation (S.O.S.)
8Sticky Sweet
9She Goes Down
10Don’t Go Away Mad (Just Go Away)
11Time For Change
Demos Tracklist:
1Dr. Feelgood (Demo)
2Get It For Free (Demo)
3Kickstart My Heart (Demo)
4Time For Change (Demo)
5Without You (Demo)
Live Tracklist:
1Dr. Feelgood (Live)
2Don’t Go Away Mad (Just Go Away) (Live)
3Without You (Live)
4Kickstart My Heart (Live)
5Same Ol’ Situation (S.O.S) (Live)
Vince Neil – Vocals, Rhythm Guitar, Harmonica, Shakers
Tommy Lee – Drums, Backing Vocals
Nikki Sixx – Bass, Backing Vocals, Organ, Piano
Mick Mars – Guitars, Backing Vocals
Producer: Bob Rock
Album Chart Peak Positions:
US #1 / UK #4 / Australia #5 / New Zealand #5 / Sweden #6 / Finland #6 / Canada #7 / Norway #7 / Switzerland #7 / Germany #21
Album Certifications:
US 6X PLATINUM / Canada 3X
PLATINUM / Australia PLATINUM / New
Zealand PLATINUM / UK GOLD / Japan
GOLD / Switzerland GOLD
Music Video Certification:
Dr. Feelgood: The Videos – US PLATINUM
Single Charts Peak Positions:
“Dr. Feelgood”
US Billboard Hot 100 #6 / US Rock #7 / Australia #26 / New Zealand #11 / UK #50
“Kickstart My Heart”
US Billboard Hot 100 #27 / US Rock #18 / Australia #32 / New Zealand #31
“Without You”
US Billboard Hot 100 #8 / US Rock #11 / Australia #46 / UK #39
“Don’t Go Away Mad (Just Go Away)”
US Billboard Hot 100 #19 / US Rock #13 / Australia #72 / New Zealand #49
“Same Ol’ Situation (S.O.S.)”
US Billboard Hot 100 #78 / US Rock #34
Pete Townshend
https://petetownshend.lnk.to/IronManAndPsycho Facebook: https://www.facebook.com/OfficialPeteTownshend Instagram: https://www.instagram.com/yaggerdang YouTube: https://www.youtube.com/user/TheWhoVEVO Website: https://www.thewho.com/
By Troy Wilson
In a triumphant conclusion to his critically acclaimed series of half-speed mastered albums, rock legend Pete Townshend is set to release two iconic works on vinyl this October. The Who’s guitarist, principal songwriter, and rock visionary will unveil remastered editions of ‘The Iron Man: The Musical by Pete Townshend’ and ‘Psychoderelict (Music Only)’ on October 18,
2024, marking the vinyl debut for the latter and offering fans a chance to experience these works in unprecedented audio quality. A Legacy Remastered
These limited-edition black vinyl releases represent the culmination of an ambitious remastering project that has breathed new life into Townshend’s solo catalog. The series has been a labor of love, meticulously crafted to showcase the nuances and depth of Townshend’s post-Who work.
Expertly mastered by Jon Astley, a long-time engineer for The Who whose relationship with the band spans decades, and cut for vinyl by Miles Showell at the legendary Abbey Road Studios, these albums promise an unparalleled listening experience for audiophiles and rock enthusiasts alike.
The half-speed mastering technique employed in this process is renowned for producing superior vinyl cuts. This method involves running the source master and the cutting lathe at half speed, allowing for more detailed and accurate groove cutting. The result is a significant improvement in highfrequency response and stereo imaging, ensuring that fans will hear these classic albums with a clarity and depth that surpasses even the original releases.
Each album comes complete with obi strips - a nod to highly collectible Japanese pressings - and certificates of authenticity, adding collector’s value to these already sought-after releases. These elements not only enhance the visual appeal of the packages but also serve as a testament to the care and attention given to each pressing.
‘The Iron Man’: A Musical Journey
‘The Iron Man: The Musical by Pete Townshend’, originally released in 1989, stands as a testament to Townshend’s versatility as a composer and producer. This ambitious project, an adaptation of Ted Hughes’ beloved 1968 short story, features an all-star cast of performers that bridges generations and genres of popular music.
Alongside Townshend himself, the album boasts contributions from his Who bandmate Roger Daltrey, whose distinctive voice brings power and emotion to the tracks he features on. The inclusion of blues legend John Lee Hooker adds a layer of gritty authenticity to the project, his unmistakable growl providing a perfect contrast to the more polished rock elements. Perhaps most surprising and delightful is the presence of the incomparable Nina Simone, whose jazzinflected vocals add a touch of sophistication and soul to the album.
The album also includes a rare treat for Who fans: two tracks performed by the three then-surviving original members of the bandDaltrey, John Entwistle, and Townshend. Their rendition of “Dig” and a cover of The Crazy World of Arthur Brown’s “Fire” showcase the enduring chemistry of one of rock’s most influential groups, providing a tantalizing glimpse of what could have been had the band been more active during this period.
‘The Iron Man’ project didn’t stop at the album. It spawned a stage adaptation at The Young Vic Theatre in 1993, a venue with special significance for Who aficionados as the site where the band had debuted songs for their seminal ‘Who’s Next’ album two decades earlier. This theatrical production helped to cement the work’s place in Townshend’s oeuvre as more than just a side project, but a fully realized multimedia concept.
The story’s journey continued with a 1999 animated film adaptation titled “The Iron Giant,” directed by Brad Bird. While the
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film took significant liberties with both Hughes’ original story and Townshend’s musical interpretation, it brought the tale to a wider audience and has since become a beloved cult classic. Townshend’s involvement as executive producer helped to ensure that some of the spirit of his musical version made it to the screen.
‘Psychoderelict’: Townshend’s Rock Opera Swan Song
The second album in this release, ‘Psychoderelict’, originally hit the shelves in 1993 and holds the distinction of being Townshend’s most recent solo studio album to date. Initially conceived as a radio play complete with dialogue, the album tells the story of Ray High, a reclusive rock star from the 1960s grappling with the changing landscape of the music industry and his own legacy.
This character and concept would later resurface in Townshend’s 1993 novella ‘The Boy Who Heard Music’ and inspire the mini rock opera ‘Wire & Glass’, which became the centerpiece of The Who’s 2006 album ‘Endless Wire’. This interconnectedness of Townshend’s work across different media and decades demonstrates the consistency of his artistic vision and his ongoing preoccupation with themes of fame, creativity, and the power of music.
The new vinyl edition of ‘Psychoderelict’ presents the album in a unique light, stripping away the original dialogue to focus solely on the music. This “Music Only” version, making its vinyl debut, offers listeners a fresh perspective on Townshend’s intricate compositions and storytelling prowess. Without the narrative interludes, the musical continuity of the album comes to the fore, allowing fans to appreciate the work as a cohesive song cycle.
A Fitting Finale
As the final installment in this series of remasters, these releases not only celebrate Townshend’s solo work but also provide a fitting bookend to a project that has reinvigorated his musical legacy. For fans of The Who, Pete Townshend, or simply those who appreciate meticulously crafted rock music, October 18th promises to be a red-letter day.
The timing of these releases is particularly poignant, coming at a time when Townshend has hinted at retirement from touring. While The Who continues to perform sporadically, these reissues serve as a reminder of Townshend’s creative output beyond the band that made him famous. They showcase an artist constantly pushing boundaries, unafraid to tackle complex themes and experimental formats.
Pre-orders for these limited edition vinyl releases are expected to open soon, giving collectors and music lovers alike the opportunity to secure their copies of these
historic albums. With the combination of Townshend’s legendary songwriting, all-star performances, and cutting-edge audio mastering, these releases are poised to become essential additions to any serious vinyl collection.
As the needle drops on these meticulously remastered albums, listeners will be transported through Townshend’s musical world, experiencing the full breadth of his solo artistry. From the fantastical storytelling of ‘The Iron Man’ to the introspective rock of ‘Psychoderelict’, these albums represent key chapters in the ongoing story of one of rock’s most enduring and influential figures. For longtime fans and newcomers alike, this release offers a chance to hear these works as they were meant to be heard, with all the warmth, depth, and clarity that only vinyl can provide.
PETE TOWNSHEND THE IRON MAN THE MUSICAL BY PETE TOWNSHEND HALF SPEED MASTERED VINYL TRACK LIST
SIDE 1
Pete Townshend With Deborah Conway - I Won’t Run Anymore
John Lee Hooker - Over the Top
Simon Townshend - Man Machines The Who - Dig
Pete Townshend - A Friend Is a Friend
John Lee Hooker - I Eat Heavy Metal
SIDE 2
Pete Townshend With Deborah Conway and Chyna - All Shall Be Well
Pete Townshend - Was There Life
Nina Simone - Fast Food
Pete Townshend - A Fool Says... The Who - Fire
Chyna With Pete Townshend and Nicola Emmanuel - New Life / Reprise
PETE TOWNSHEND PSYCHODERELICT (MUSIC ONLY)
HALF SPEED MASTERED VINYL TRACK LIST
SIDE 1
English Boy
Meher Baba M3
Let’s Get Pretentious Meher Baba M4
Early Morning Dreams
SIDE 2
I Want That Thing
Outlive The Dinosaur Now And Then
SIDE 3
I Am Afraid
Don’t Try To Make Me Real
Predictable Flame
SIDE 4
Vivaldi - Meher Baba M5
Fake It
English Boy (Reprise)
The Biker, The Blues & The Preacher
Life has its many twists and turns and sometimes life is stranger than fiction and just so you know the names and places in this article have been changed to protect all of us. Lord have mercy. (for additional ambiance begin listening to Sgt. Pepper’s Lonely Heart Club “When I Am Sixty Four”) There was a preacher at a small non-denominational church in northwestern Pennsylvania, Reverand Peters. A slightly balding gentleman whose sermons were down to earth, perfect for the farming communities close by. Back then I rode a chopped 1,000cc Harley Sportster. Rigid frame, three pronged chickie bar on the rear fender, standard Sportster gas tank, slight rake on the frame with ten over tubes, the chrome on the pipes was to die for. I had built an A-Frame cabin in the woods while living on money earned from guarding manholes in the neighboring bigger city. Not a great job but it paid the bills. I was happy and looking back it was a great time in my life. Well one day Reverand Peters drove his car up to my cabin and introduced himself. He asked me if I knew Jesus and I told well not personally but yes I know who He was or maybe you are supposed to say is? He didn’t push the topic and we turned to talking about the slant on the cabin roof and that I had used rough cut lumber so that a 2x4 was indeed a 2x4. He said just about everyone that comes to his church asks about the guy in the cabin that rides a bike. I asked him if that was good or bad? He said it’s all good, they are just curious. He went on to say why don’t stop by one day and say hi to some of them and join us for some after church pickings and sweets. I thought this guy is good, trying to subtly get me into his church. He was selling but I wasn’t buying. He departed on good terms. Nice guy, friendly not too pushy but definitely on a mission. Ok so that was that until winter came rolling in. You see I built the front door to open to the outside and it sleeted in the late afternoon the day before and that night while I was sleeping a huge winter snow storm hit. So in the morning when I rose to go outside and take a leak the door wouldn’t open. The sleet had frozen the lower perimeter of the door and then the snow added so much weight that no matter what I tried I could not get it open. Now you might think well ok so why didn’t you just open a window and the reason was that I did not have enough money at the time to install regular windows so I cut out a hole in the wall and nailed a storm window in place so unless I broke it I was stuck inside. I had heat and food so I was alright but I knew I was going to be there until somebody stopped by. Well you will never guess who came knocking on my front door, yep, Reverand Peters. He asked if I was in there and I said yes and he said there was a lot of snow on the door so he was going to shovel it away. Then he reached the frozen sleet and chipped it away. Finally the door opened and the good reverend came inside. I knew right then that he had me right where he wanted me. Well we talked and I agreed that I would stop in his church on one of the upcoming Sundays. They were indeed nice people and very curious to say the least. There I was in long hair and a beard and there they were in their Sunday best. Quite a scene at the time. He was right about the food too. His message that day was down to earth and no one was whooping and hollering in the aisles so all went well. Now you would think that the story ends there but nope, oh this gets much better. Well as time moved along I decided it was time for me to do the same and I left Northwestern Pa for a snow
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The Biker, The Blues & The Preacher
free warmer climate. I traveled to a number of western cities and of all places I chose Las Vegas. After all what’s not to like - they got it all. Not too long after I moved there my Mother told me that Reverend Peters had moved there too. I couldn’t believe it. This honorable nice man, this down to earth preaching gentleman was now living in Las Vegas. I was sure he must have taken a church of some kind and so I tracked him down. No he had not. He had left it all behind for a parishioner after being married for years to another woman. I mean how interesting is that and how bizarre that we would both end up in the city of sin? If I could have written a blues song this would have been the perfect story. It has everything. Here I was dating a stripper and there he was with his runaway mama. Oh reverend Peters, you dog you! It was just too cool of a situation. We talked and he told me the story only this time I was not buying most of it at all. True to his calling he did reach out to me once in a while and let me know that if I needed to talk he was there. I thought what the hell would we talk about, titty size? Life is so very, very strange. Jim Morrison had it right, “People Are Strange”. Las Vegas is like a giant carnival for adults, you can see it all there. All sorts of people, personalities, many with designs on how to get over either legally or more nefarious in nature. You can only imagine the education by fire that this nice, gentle country preacher was getting in this land of anything goes. I loved it, you just cannot make this kind of stuff up any better than it is which leads me to the Tommy Roberts. Tommy wasn’t a preacher but he was a friend that lived in Arizona who had just went through a divorce and he was hurting pretty bad. He called me and said he was thinking about coming to Las Vegas and naturally I said well if you do don’t get a hotel room I have two empty bedrooms. He asked me if I was serious and I said yes sure. Now here’s the back story. In Las Vegas your neighbor could be anybody, a bookie, a singer, a pit boss even a chorus girl. One day while going out to get the mail so did my neighbor. She was a tall really nice looking woman, well tanned with a million dollar smile wearing a bikini. We had not spoken to each other previous to this brief encounter but I commented on her really nice tan. She told me that she had to stay tanned because she was in the front line of Jubilee. You see Jubilee was the grand musical on the main stage at Bally’s at the time. It was a Donn Arden production which featured Bob Mackie costumes. Since she was in the front row that meant she was topless and needed to keep her tan even. I mean what’s not to like about Las Vegas? So anyway I told her that I had a pool and the key to the side gate for the pool cleaning guy was located in a small metal box beside the electric meter. Since I worked days and was hardly ever home if she ever wanted to use it feel free to do so. She said she doubted she ever would but thanked
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The Biker, The Blues & The Preacher
me just the same. Ok so now we go back to Tommy. I should stop for a second and let you know this about living in Las Vegas - just about everyone that you know that comes there thinks that if they are going to run all day and night for few days that you will too and that is not how it works. If you live there you have a job and most likely you don’t gamble or do very little of it. You can’t because if you do you won’t last there but again out of towners, visitors, don’t know this of course. So the day comes that Tommy arrives and I go to the airport to pick him up. He comes out with his luggage and I put it into the trunk. He tells me how good it is to see me and that he cannot wait to get out and about with a cold beer and see some good looking women. Then Neil Diamond’s “Love On The Rocks” comes on the radio and Tommy gets silent. I tried to get his mind back on the immediate, back on today but I wasn’t making much progress. So we get to my house and I pull into the garage. I opened the trunk and took his suitcase out. We walk to the door into the house and he steps inside. In Las Vegas in the day time people tend to keep their drapes shut to keep the heat and the sunlight out. I had done that before leaving for the airport. So I sat his suitcase down while Tommy was commenting on what a nice place I had and I walked over to the sliding glass door that led outside to the pool. As I opened the vertical blinds there they were, three topless women sitting by my pool waving to me. Tommy as you might have guessed went nuts. He was giving me so many kudos for coming through for him. I thought oh my God how do I get him to understand? In the mean time the girls stood up covered their breasts and left by the side gate. Well things got calmed down and Tommy then thought it was funny how it all happened but then wanted to know if we could go to see Jubilee that night and we did. In Las Vegas, if you lived there at the time, if you knew the Matri d’ normally you could get good seats. We scored great seats and the night was fun especially when one of the girls looked directly at Tommy and smiled. I didn’t have the heart to tell him that was their job as it was good to see his spirits lifted. That’s Las Vegas and it just goes to reinforce that people are indeed strange. I guess I fit right in. I loved living there, the people, the whole dichotomy, what’s not to like? When I lived there the population was maybe 250,000. Today it’s almost 3,000,000. Still today great musicians from all around the world move there and when it comes to blues Las Vegas has got it working big time. The Las Vegas Blues Society, a non-profit organization, sponsors shows almost nightly throughout the city. One of the best blues sax players in the world lives there, Jimmy Carpenter, and he’s the President of their organization. If you are going there check out their website and learn where the locals go and take in some good blues. Oh and by the way Reverend Peters passed away but not before he became the Associate Pastor at a small non-denominational church there. Me, well I am not with that stripper anymore but we do run into each other in our travels across the U.S. from time to time. Good memories and even greater evenings these days. I really am lucky except at black jack.
