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BRODIAN’S BANTER
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BLUES ROCKIN SAMANTHA FISH BY ALEXXIS STEELE
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LOCAL ARTIST ALBERTO CHOR
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JENNIFER NETTLES PICTORIAL BY BOB KLEIN
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SPRING PHOTOS BY GARY PREIS
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TATTOO ARTIST ERIK ‘EAZY’ LOCKABY
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LEHIGH VALLEY MUSIC AWARDS 17 BY SHERI BAYNE
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LOCAL SPOTLIGHT ON THE GRAYSTONE ALL STARS
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TREASURES FROM THE PAST BY JOHANNA’S BOUTIQUE SHOWTIME
INTERNATIONAL CORNER P65
THE ROCK N’ ROLL FASHION CORNER-PLAINFIELD SLIM
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TIME FLIES....SPOILER OF THE MOVIE ‘CREED’ BY LUCA CERARDI
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EVERYBODY LOVES MUSIC BY ALESSIA BASTIANELLI
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HELEN O’NEILL’S YOUNIQUE
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POETRY BY YVONNE SOTOMAYOR
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SAINTS AND ROBBERS IN BOMBAY BY REX MAURICE OPPENHEIMER
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JOHNNY’S JUNCTION- INTERVIEW WITH BILLY LORD
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VERO CONCEPTS PHOTO MANIPULATION DISPLAY
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SAVE THE HIPPIES EXLUSIVE STEEL NOTES CARTOON
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MARLOWE B. WEST TAKEZ MANHATTAN & THE BROOKLYN HORNS
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EDGAR WINTER 2016 CENTENARY BLUES BASH BY JENNY CAT
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THE DICTATORS NYC & THE BATTERY ELECTRIC, ASBURY PARK NJ BY JENNY CAT
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ANYTIME JAMES ‘ANYTIME JAMES’ BY DANA SARAVIA
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‘RACE’ IS HAMPERED BY NAZI PROPAGANDA BY JERRY SARAVIA
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10 CLOVERFIELD LANE: AN EXERCISE IN TERROR BY JERRY SARAVIA
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‘THE LAST MAN ON EARTH’ BY DANA SARAVIA
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BLIND LEMON PLEDGE ‘PLEDGE DRIVE’ BY DANA SARAVIA
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BLACK JOE LEWIS & THE HONEYBEARS BY DANA SARAVIA
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THUNDERBITCH ‘THUNDERBITCH’ BY DANA SARAVIA
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GARAGE ROCK 45S, HIDDEN VOLUME RECORDS RELEASES BY DANA SARAVIA
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BONGO BOY TV ROCK N’ ROLL TV SHOW EPISODE 1075 BY DANA SARAVIA
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BONGO BOY TV ROCK N’ ROLL TV SHOW EPISODE 1076 BY DANA SARAVIA
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BONGO BOY TV ROCK N’ ROLL TV SHOW EPISODE 1077 BY DANA SARAVIA
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THE METAL ZONE: INTERVIEW WITH MICHAEL DENNER BY SCOTT SAXON
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THE METAL ZONE: MERCYFUL FATE ‘DON’T BREAK THE OATH’ BY SCOTT SAXON
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THE METAL ZONE: MERCYFUL FATE ‘MELISSA’ BY SCOTT SAXON
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APRIL MODEL OF THE MONTH JILLIAN KAYE BY MR. BRIAN LIMAGE
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BRODIAN’S BANTER What Is A Celebrity Impersonator? Stewart Brodian
BY STEWART BRODIAN
In the world of entertainment, you have all types of actors; Comedic, dramatic, Shakespearean - but, there’s more! Some other types, which are not taken seriously, include; mimes, clowns, impressionists (or, impersonators). For the types listed as ‘other’, it’s more than just acting in a way that most people would call ‘silly’. Every aspect of these types involve training and self discipline. To hold an audience’s attention takes determination and concentration. Where I will go in this article is the subject of celebrity impersonators.
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I personally work as a celebrity impersonator. I impersonate Howard Stern. Many people view impersonators as ‘dreamers’, not in touch with reality and, in some cases, people who try to take advantage of others through fraudulent means. I won’t pull any puncheS in this article. Yes! There are dishonest people in this world who will try to take advantage of others by pretending to be something or, someone they’re not. That, of course, is not regulated to the world of acting. How many times have we heard reports of people being pulled over by individuals pretending to be police officers?
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But, to switch to the legitimate side of this subject:
of his life in Tennessee.
First, let me start by talking about people.
There are people out there who pay attention to these small details and, if you don’t get it right, you won’t be successful.
Someone like Val Kilmer makes a movie portraying Jim Morrison and he’s regarded as a great actor. But, if someone were to dress up like Jim Morrison and perform a stage show doing a tribute to The Doors, this person is less likely to get respect.
Those more familiar with southern accents will know the different between a South Carolinian accent, Georgian, Texan and Louisianan accent.
As a celebrity impersonator, I view this as unfair.
Me personally, I was born in New Jersey. I’ve been told I have a little bit of a New Jersey accent.
Doing what we do takes as much hard work, self discipline and determination as any other aspect in the entertainment field.
The real Howard Stern was born in Queens New York. He has a new Yorkers accent.
What is “Hard Work”? Hard work starts where you start to learn about your craft. When I went to appear on America’s Got Talent, there was a coach who came up to talk to the participants. We were sat down in the theater, before the filming started, and he spoke to us about how to first walk out onstage during the show. You don’t walk out onstage moping along, looking down, etc.,... You walk out, head held high, smiling, looking out at the audience - things like that are part of the first things in training that anyone in the entertainment business learns.
What is the difference? Let’s start with the word ‘Chocolate’. (Stern discussed this one day on his show:) He tends to use the New England pronunciation; CHAH-KLIHT Me, being from New Jersey, will pronounce it as CHAWK-LEHT People will pick up on this and, if you’re entertaining at a function and, if you don’t get it right people will walk away from you. You will be a failure. Grant you, there are people in this business whom are failures.
Even the party clown that you’ll hire for your kid’s birthday party starts out learning this basic.
But, there are people in ANY business whom are also failures and we all wonder why they still do what they do - where do I start?
When it comes to being a celebrity impersonator, there is a study involved.
Electricians? Plumbers? Doctors? Lawyers? Politicians?
Aside from researching the celebrity’s clothing, you’ll study the person’s mannerisms - even their method of speech.
Such is the case in any aspect of life!
Most people would think, for example, to imitate Elvis Presley, you simply have to comb your hair in a pompadour and just say ‘thank you, thank you very much’. What type of accent did he have? He was born in Mississippi but lived the remainder
Just remember, the next time you see someone onstage doing their rendition of somebody famous give them the benefit of the doubt. Don’t be so eager to pass judgement. They might be someone worthwhile!
BRODIAN’S BANTER BY STEWART BRODIAN Stewart Brodian Some movie reviewers have a problem with the new film, “Zootopia”, because of the prejudice / racial overtones in some scenes. It’s odd though, whenever there’s sexual connotation in children’s films, people just pass it off as “Oh well, it’s out there and there’s nothing you can do about it. Well, guess what: there’s plenty of racism and prejudice out there too! The one advantage I see to this film is is that it implants an awareness in a young developing mind - thereby making them less likely to follow the flow. And, isn’t that what these awareness programs are all about? - Making people aware so that they can stop it? In other news: New Jersey is voting on letting four new casinos be constructed in the northern portion of the state. Why are so many states building so many casinos? Most would answer this question by saying that it would bring jobs and revenue to the state. That seems to generic of an answer. Others will say, “This is the dumb-ing down of America”. Too many people have been saying that expression and I’m getting uncomfortable and tired of it. This reminds me of something Jello Biafra said around 30 years ago on one of his spoken word records: People seem to be looking forward to it!”. I’m NOT!
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BLUES ROCKIN SAMANTHA FISH by Alexxis Steele Samantha Fish Spins You Around With An Emotional Wild Heart “She snarls it, she spits it out and she could give a damn.” Goldmine
Produced by Luther Dickinson
Out on July 7th on Ruf Records
3rd Studio Release is filled up to the rim with staggering vocals,
Aching guitar riffs and thunderous drums, leaving you lifeless
Atlanta, GA – On July 7th, Ruf Records recording artist singer-guitarist Samantha Fish, will raise eyebrows with her third studio release, Wild Heart, produced by Luther Dickinson (The North Mississippi Allstars/Black Crowes). Having Samantha on guitars and Luther on various stringed instruments, they rounded out the lineup with Grammy Award-winning Brady Blade (Emmylou Harris/Bob Dylan) on drums. Special guests include Lightnin Malcolm (guitar), Sharde Thomas (drums) and Memphis session singers Shontelle Norman-Beatty and Risse Norman. The result is a stunning representation of Americana roots music.
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Wild Heart was recorded in three different studios, as they trekked the backroads from Louisiana to Mississippi in the fall of 2014. Starting at Brady Blade’s Shreveport, Louisiana studio, they laid the basic rhythm tracks and vocals. Luther and Samantha then hightailed it to his Zebra Ranch Studios in Hernando, Mississippi where they had a traditional Hill Country Blues session. Then, finally, all roads lead to Memphis where the duo put the final touches at both Willie Mitchell’s Royal Studios and the legendary Ardent studios.
“I fell in love with it,” she told Premier Guitar of her growing passion for the form, “and started doing my homework by listening to the old guys like Son House and Skip James.”
Only into her mid-20s she already released two CDs, played all over the world and shared the stage with well-established to the legendary artists from Tab Benoit and Johnny Lang to Buddy Guy. Label mate and sometimes touring buddy, Mike Zito has long championed Samantha, produced her critically acclaimed albums, Runaway and Black Wind Howlin’ (2013). Samantha’s had a master’s class in a wide variety of the blues. Her work ethic is unquestioned and her love for performance is obvious.
Boys will be boys it’s a powerful thing
Better learn how to swim or learn how to drink – Bitch On The Run
All that ambition and passion paid off in 2012 when Samantha won a Blues Music Award for Best New Artist Debut for her 2011 release Runaway (Ruf Records). The wonderful critical praise, winning fans at shows and all the long hours driving came to a shining moment that put more fuel into her fire. This desire is now revealed with Wild Heart as the pivotal moment in her budding career.
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“… Fish’s commanding voice holds its own against the crunching guitar riffs and driving beat.” –Elmore Magazine
Samantha and Jim wrote five of the 12 songs on the album, including the title song, “Wild Heart”, that echoes Led Zeppelin with a whiplash of a steady guitar riff. “Show Me” – a song that could easily be heard at some of New York City’s finest rock clubs – wreaks stale beer. Samantha holds her own on guitar duties on this tune as Brady Blade grinds the drums with a slow steady roll.
As the album opens she’s bashes away with “Road Runner“, a warning to others of this mean man that broke her heart. The driving guitar sounds and thunderous beat supports her voice that is smooth as honey with a sad dash of salt.
Left me waiting by a red-light, I think about him every night
Road runner, road runner – Road Runner
Always yearning to learn, Samantha soaked in this experience like a sponge from the songwriting sessions to the final background harmonies. As her songs came together, it was suggested for her to collaborate with another songwriter she jumped the opportunity. Last summer she traveled to Nashville and wrote with accomplished songwriter Jim McCormick, whose songs have been cut by Trisha Yearwood and Keith Urban. A native of New Orleans, Jim has a flare for blues-boogie and full throttle vocalization to haunting melodies that gave Samantha a chance to growl.
After wrapping basic tracks, it was off to Dickinson’s Zebra Ranch Studios via the back roads of Mississippi. Seeing the culture and environment upfront got her excited for the unknown. The result of that magical setting was a cover of Charley Patton’s, “Jim Lee Blues Pt. 1”, which fits Fish’s voice. It was an organic setting with fellow Hill Country Blues artists Sharde Thomas and longtime friend, Lightnin Malcolm. Sharde is a native Mississippian fife/drum player in the same American tradition of her grandfather Othar Turner. “This session had a whole other vibe to it. The studio is out in the country, no cell service, no distractions.
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You’re just surrounded by nature and guitars,” beams Samantha.
Samantha’s love for the Hill Country Blues genre started early on as her musical foundation began to build. This fiery singer-songwriter and guitarist met some of these players when she attended the King Biscuit Blues Festival at age 17. There she met Lightnin Malcolm, a guitarist who befriended the young gun and then a few years later, at Zebra Ranch, she got to record with him. “Working with Malcolm was a longtime coming as I’d known him since I was a teenager. Hearing hill country blues made me fall in love with blues music and he was one of the first artists who let me jam with him.”
“One of my favorite songs on Wild Heart is ‘Go Home’. It became so powerful and we wanted girl power, no-frills and those ladies delivered,” Samantha proudly states. It’s a quiet moment of reflection of an inner self struggle that can either be
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destructive or productive. The background singers, Shontelle Norman-Beatty and Risse Norman provide a soothing answer to Samantha’s tearful call.
“Maybe in a moment of clarity, I’ll do what’s right, Maybe I’ll finally swallow a bit of my own advice” – Go Home
oth Samantha and Luther wanted to make a live and honest record, capturing Fish’s emotional intensity and power trio integrity. “She is so smart and talented. It was a joy to take her under my wing and share what I’ve learned with her. Samantha brought her emotional energy from her performances which transcended into the record. The songs are very personal and she delivered. I am proud to be a part of the record”, states Dickinson. Samantha was equally satisfied with the results, “I was blown away by his ability to color a song. I stepped out of my comfort zone and I couldn’t be more proud of what we made.”
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Fish is an inveterate storyteller as well. Her songs are vivid and compelling with thick guitar lines and catchy riffs. – The Morning Call
As the album comes to a close, Samantha has run the gamut of emotions. Her fingers are tired and her voice is shaking but she is able to pull out one more gem of a performance. A whispering rendition of RL Burnside’s “I’m In Love With You”. This is Samantha at her best-caressing the melody while the guitars and a slight drum beat flickers underneath her reassuring voice.
Samantha has dug her high heels in some rich musical soil with Wild Heart and is poised to reach a new level in her career. She is armed with her guitar and these songs are in her back pocket; for there is no doubt Miss Fish will aim and fire, with confidence.
To hear the four song sampler: Samantha Fish – Wild Heart Sampler
SAMANTHA FISH BIO----
Samantha Fish Is Playin’ Up a Storm on New Ruf Records CD, Black Wind Howlin’, Due September 10 Follow-Up Album to Her Blues Music AwardWinning Debut Was Produced by Mike Zito and Features Guest Appearances by Zito, Yonrico Scott, Charlie Wooton and Paul Thorn
KANSAS CITY, MO – Ruf Records announces a September 10 U.S. release date for Black Wind Howlin’, the new CD from blues-rock guitarist/ singer Samantha Fish and follow-up to her 2012 Blues Music Award-winning label debut, Runaway. Produced by Mike Zito, who did the same honors on her last album, Black Wind Howlin’ was recorded at
Dockside Studios in Maurice, Louisiana, and features Samantha’s blazing guitar and vocals backed by Mike Zito on guitar and vocals, plus his fellow Royal Southern Brotherhood members Yonrico Scott on drums/percussion and Charlie Wooton on bass. Special guests include Paul Thorn on vocals, Johnny Sansone on harmonica and Bo Thomas on fiddle.
Kansas City-based Samantha Fish has been on a major roll ever since she teamed up with Cassie Taylor and Dani Wilde on Ruf’s 2011 release, Girls with Guitars, and fueled by the trio’s Blues Caravan tour of Europe and the U.S., created an international buzz in the blues world. Later that same year she recorded Runaway, her solo debut on Ruf, which mixed gutsy riff-blues rockers like “Down In The Swamp” with the mellow small-hours jazz of “Feelin’ Alright,” while marinating her songwriting in the groove of the Rolling Stones and even tipping a hat to Heart. “It’s all the sounds I grew up with,” she explained at the time, “with my own spin.” Earlier this year Samantha joined labelmate Devon Allman for a sultry duet of the Tom Petty classic, “Stop Draggin’ My Heart Around,” that appeared on Devon’s Turquoise CD and accompanying video.
Hitting a receptive international blues and rock press, Runaway was hailed as a thrilling opening statement, earning a string of rave reviews and radio airplay, climaxed by her winning the Blues Music Award (BMA) for “Best New Artist Debut” in 2012. “I’m truly humbled by the recognition,” Samantha said afterward. “I can barely wait to make record number two…”
Now, the wait is over, as Samantha Fish unleashes a major storm of her trademark guitar work and soulful vocals on Black Wind Howlin’. “It has a rebellious streak,” says the bandleader of her game-changing new album, “and a prevalent theme is, ‘I’m not gonna take your sh*t anymore…’” No “sophomore slump” here, as Black Wind Howlin’ leaps from the speakers with 12 smoking tracks that chart Samantha’s evolution as songwriter, gunslinger and lyricist. “Since completing Runaway back in
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2011, I’ve been on tour pretty much non-stop,” she proclaims. “I’ve spent a lot of time writing, playing and listening to music. I feel like the themes and the sound of my music have matured. To me, it’s about the human experience from my perspective, as well as people I’ve come into contact with over the last few years.”
Rather than trying to duplicate what she accomplished on her first success, Samantha re-defines her sound throughout the tracks on Black Wind Howlin’. She can be brutally rocking on cuts like the tour bus snapshot of “Miles To Go” (“Twelve hours to Reno/ten hours til the next show”), the swaggering “Sucker Born” (“Vegas left me weary, LA bled me dry/skating on fumes as I crossed the Nevada line…”) and the venomous “Go To Hell” (“Oh, this ain’t my first rodeo/You hit yourself a dead end/Your voodoo eyes, ain’t gonna cast a spell/So you can go to hell!”). “I’ve become tougher,” she notes of these head-banging moments, “and I think that was reflected in the sound we went for.”
And yet, elsewhere, backed by the versatile production of longtime collaborator Mike Zito, you’ll find Samantha shifting gears to the aching slide-guitar balladry of “Over You” (“Echoing words, said I’d never make it on my own…”) and the redemptive country song, “Last September” (“Don’t remember the curves of my face/Can’t feel the warmth in my embrace/Well I’m here to remind you…”).
She might stop off for a gritty cover of Howlin’ Wolf’s “Who’s Been Talking,” and co-wrote “Go to Hell” with Zito, but all other tracks are Samantha’s self-penned originals, and it’s a mix that will keep listeners on their toes. “I wanted this record to have a modern rocking sound,” she explains of the album’s vibe. “I also wanted it to have elements of Americana, country and roots.”
For Samantha, the recording sessions proved just as rewarding as the writing “I had a dream team of musicians and special guests,” she recalls. “And Dockside Studios quickly became one of my favorite
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places on earth.”
It hasn’t been that long since a teenaged Samantha Fish first started showing up at her local Kansas City blues club, Knuckleheads Saloon, and began soaking up the sounds of visiting modern blues guitar masters like Mike Zito and Tab Benoit, then going back to ’80s heroes like Stevie Ray Vaughan and following the lineage to the pre-war Delta masters. “I fell in love with it,” she told Premier Guitar of her growing passion for the form, “and started doing my homework by listening to the old guys like Son House and Skip James.”
With those influences as her template, Samantha incorporated the sounds of the classic rock of The Rolling Stones and Tom Petty, alongside contemporary artists like Sheryl Crow and The Black Crowes, in putting together a sound that would become her own.
By the age of 18, Samantha had settled on a searing lead guitar style that expressed her own voice rather than mimicking clichéd blues licks note-fornote. She quickly broke into a dues-paying period on the Kansas City jam circuit: an apprenticeship at the sharp end that tightened her musical chops, polished her stagecraft and gave her the grit to overcome occasional skepticism about her age, hair tone and gender. “I always hated the idea of the gimmick,” she told Premier Guitar. “People come out just because you are a girl, but then you have so much more to prove once you get them in the door.” And Samantha has delivered on that promise, as evidenced by one listen to the new recording. “I really got to do exactly what I wanted to do on Black Wind Howlin’,” she says, “and I’m incredibly proud of it.”
Samantha Fish will support the release of her new album with constant touring. For more information on the artist, visit www.samanthafish.com and www. rufrecords.de. © 2016 Samantha Fish / Double
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LOCAL ARTIST ALBERTO CHOR His work can be purchased at http://www.saatchigallery.com/ and https://www.facebook.com/alberto.chor
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JENNIFER NETTLES PICTORIAL BY BOB KLEIN
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SPRING PHOTOS BY GARY PREIS
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SPOTLIGHT ON: TATTOO ARTIST-Erik “Eazy” Lockaby BioTattooing for Erik started in Arizona in 2005, when he was 14, and in 8th Grade. He recalls sitting in his literature class with a sewing needle and poking a smiley face into his ankle. This was around the time that tattooing began to really appear on tv, with shows like Miami Ink and INKED, which really played a major role in sparking interest in tattoos, and tattooing. Erik has always been an artist whether it be on paper or on guitar. One of his most memorable moments was getting his first “tattoo machine.” He had a friend in middle school whose older brother just got out of prison, where he learned how to make “tattoo machines out of a CD player motor, a pen tube, and a sharpened guitar string. After begging him to convince his older brother to make him one, he finally got my hands on it! Erik managed to hook the motor up to a 9V battery so he could use the machine during lunch break to tattoo his friends out behind a tree by the school soccer field.
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In High School he got his first “semi real tattoo”, at around 15 or 16. Erik snuck out one night to go over to a friend’s house where he had a make shift studio set up in his living room. His first tattoo of choice? A big pentagram over his heart with a goat, latin, and all! The tattoo was a disaster, and neither of them knew what they were doing, and it looked horrible, but he loved it!! He started going out and tried stopping in tattoo shops to hang out in around the Glendale area, because he just wanted to be around tattoos! His dad and step mom eventually found out about his tattoo due to good ole’ technology…. a photo on a cell phone! One thing led to another and being the rebellious teen he was he eventually ended up leaving home to live with his mom in Wisconsin. She actually bought him his first tattoo kit off of Ebay and that’s what he used for the beginning of his “tattoo career”. He started tattooing out of his basement, something that we all frown upon, and then out of the back room of his buddy’s barbershop. His buddy was actually responsible for helping him get his tattoo apprenticeship. In 2011 he began apprenticing at Modern Image in Racine, WI, under Abel De Los Santos. A little under a year he was done with his apprenticeship and began operating as a full-time artist.
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For the next few years he worked at a few different shops in Kenosha, Racine, and Oshkosh, and finally settled in Kenosha where he took on his own apprentice and eventually began working at Parker & Barrow. After meeting his current girlfriend, the topic of moving to Los Angeles came up. He decided to make the move to LA so that they could both be in a position to better pursue musical opportunities, due to living in Los Angeles and having a strong clientele in Wisconsin. He currently flies back to visit Kenosha to do his tattoo appointments, and when he is back home in LA he is working on music projects and pursuing a musical career. It’s been about 10 years since he first put needle and ink to skin and it’s just as amazing as when it all began. Tattooing, supported him, and taken him across the country on numerous occasions. Last week he won his first awards at the 2016 Chicago tattoo convention. Looking back it’s incredible to see how far he has come and looking forward, he can see how the future looks bright. He only aspires to accomplish all of the things he dreams of both artistically and musically. Awards
2016 Chicago Tattoo and Arts Convention - 3rd Place Tattoo of The Day (black and gray) - 2nd Place Sacred Geometry Tattoo Social Media Tattoosbyeazy@gmail.com Instagram - https://www.instagram.com/eazytattoos/ Fb - https://www.facebook.com/EazyTattoos-1457961057828803/?fref=ts&ref= br_tf Youtube Channel - https://www.youtube.com/channel/ UCNrTzRuqSwK4_LIRDw1Uu2g Music social media Music Instagram - https://www.instagram.com/ eriktylerguitar/ Music Fb - https://www.facebook.com/ eriktylerguitar/?sk=photos Music Youtube Channel - https://www.youtube.com/ channel/UCqYbAxVN02Gh
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LEHIGH VALLEY MUSIC AWARDS 17 STORY AND PHOTOS BY SHERI BAYNE On March 6th, 2016the Lehigh Valley Music Awards held their 17th Annual event at Musikfest Café at ArtsQuest Center in Bethlehem. A standing-room-only audience of more than 650 people. The guest presenters were James Steager, Jim Carolan, Vini Lopez, AJ Fritz, Rick Michaels, Geno Barron, Bev Conklin,BrianBerlanda, Lisa Lake, Debra Reily and Los Da Prez. . Featured performances by Brosky & Meyers, Craig Thatcher Band, Erin Kelly, Fusion Jazz Trio, Student Showcase from The Lesson Center, School of Rock and the LV Charter High School for the Arts, John Carelli, Rick Boulay & Lane Conklin, Mindmaze, Tony Sunshine and Whiskeyhickon Boys
Top winners were Scott Marshall who won nine awards. All Around Performer (Fan ballot), All Around Performer, Americana Band/Soloist, Country Band/Soloist, Country Band/Soloist, Male Artist, Male Vocalist, Singer/Songwriter (fan ballot) Singer/Songwriter and Song “Shine”, Dave Fry won three awards Child Audience Music Performer, College/Community Radio Personality and Folk Band/Soloist. The Holmes Family also won three awards, Gospel Group/Soloist, Contemporary Christian Band/Soloist and Spiritual Urban Artist/Band.
Steel Notes Magazine Videographer Lisa Koza with her LVMA award
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Scott Marshall winner of 9 awards.
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The full list of winners is Acoustic Guitarist: Craig Thatcher Album: “Why Wait,” Erin Kelly All Around Performer (Fan ballot): Scott Marshall All Around Performer: Scott Marshall Americana Band/Soloist: Scott Marshall and Marshall’s Highway Band/Duo: The Large Flowerheads Bass Guitarist: Scott Siska Bluegrass Band/Soloist: Big Valley Blue Grass Blues Band/Soloist: James Supra Blues Band Child Audience Music Performer: Dave Fry Child Performer: Jacqui Armbruster Children’s Band: No Pressure Choral/Classical Group/Ensemble: Moravian Improvised Music Ensemble Classical/Opera Soloist: Lane Conklin Club DJ: JJ Sands College/Community Radio Personality: Dave Fry College/Community Radio Station: WLVR Commercial Radio Personality: Bearman and Keith, 95.1 WZZO Commercial Radio Station: 99.9 The Hawk Contemporary Christian Band/Soloist: The Holmes Family Country Band/Soloist: Scott Marshall and Marshall’s Highway Drummer/Percussionist: Kevin Soffera Electric Guitarist: Craig Thatcher Female Artist: Sarah Ayers Female Vocalist (tie): Bev Conklin Female Vocalist (tie): Chelsea Lyn Meyer Folk Band/Soloist: Dave Fry Fusion Bluegrass Band/Soloist: Serene Green Gospel Group/Soloist: The Holmes Family
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Harmonicist: James Supra Jam Band/Soloist: Dana Gaynor Jazz Band/Soloist: Fusion Jazz Trio Karaoke Venue: The Tally Ho Keyboardist: June Thomas Loud Rock Band/Soloist: Cherry Bombs Male Artist: Scott Marshall Male Vocalist: Scott Marshall Metal Band/Soloist: Sinister Realm Music Photographer: John Bedics Music Producer: Andrew Chervak Music Reviewer: Michael McKenna Music Store: Dave Phillips Music Store Music Supporter (Individual): Phil Stahl Music Supporter (Organization): Godfrey Daniel’s Music Website: TheLargeFlowerheads.com New Band/Soloist: Doubting Thoma$Ö Open Jam Venue/Host: Grumpy’s BBQ Open Mic Venue/Host: The Wooden Match Performance Venue: Sands Bethlehem Event Center Pianist: June Thomas Polka Band/Soloist: Alex Meixner Punk Band/Soloist: Damn Dirty Apes Recording Studio: Midnight Studios Rhythm & Blues Band/Soloist: Charlie Brown’s Notorious Groove Rock Band/Soloist: Social Call School Marching Band: Liberty High School Singer/Songwriter (fan ballot): Scott Marshall Singer/Songwriter: Scott Marshall Song: “Shine,” Scott Marshall Sound Technician: Phil Forcelli
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Spiritual Urban Artist/Band: The Holmes Family Spoken Word Group/Soloist: Wendy Smale String Instrumentalist: Nyke Van Wyk Urban/Hip-Hop Band/Soloist: EZ Video Producer: Lisa Koza Video: “Never Gonna Be”: Erin Kelly Volunteer of 2015: Chelsea Lyn Meyer Wind/Brass Instrumentalist: Pete Fluck World Music Band/Soloist: Trouble City All-Stars Youth Band Associated with a School: Bank Street Band Youth Band Not Associated with a School: A.D.D. 20-Year Veteran Awards: jazz guitarist Frank DiBussolo, The Blue Tarp Wranglers bassist Nick Franclik, The ColourSound lead singer Doug Batt and guitarist Sean Hieter, James Supra Blues Band drummer Allen Wanamaker, and guitarist and The Lesson Center owner Jeff Roberts. Recognition awards were presented to horn and funk band Lucky 7, the acoustic singer-songwriter duo of Steve Brosky and Jimmy Meyer, and DJ Menace. Lifetime Achievement awards: Dave Fry , Rock and R&B singer Gary “U.S.” Bonds, best known for his 1960s hit “Quarter to Three,” Award for a career of more than 45 years and “Jolly” Joe Timmer, who died in July after a career of more than 60 years was also inducted into the Polka Hall of Fame.
Backstage with Mindmaze
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Jim Steager, Andrew Chervak and Geno Barron
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Backstage with Steve Brosky and Jimmy Meyer
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LOCAL SPOTLIGHTGRAYSTONE ALL STARS Members: Bryan Harmony - Vocals, Shane Stoneback - Guitar & Vocals, Jose Matos - Drums & Vocals Graystone All Stars is an electrifying acoustic trio featuring members of successful Lehigh valley cover bands- M80 & Social Call. The band covers Classic 70’s, 80’s & 90’s to Modern Pop & Rock. The band kicked off their first appearance with their performance at The Mixx Nightclub, in Allentown,PA on Saturday April 2nd 2016 to a crowd of appreciative fans. Stay tuned for your chance to see them at a venue near you! https://www.facebook.com/GraystoneAllStars
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The response of last’s month premier of my column and the treasures presented was overwhelming and brought a lot of joy by the readers. One of those readers, Kathleen from White Township, NJ, was inspired by my column and contacted me. Her treasure is featured in this month’s column. But let me introduce myself; my name is Johanna van der Heyden. Born in Rotterdam, the Netherlands where I started my Antique Collection with items passed down through my family when I was a teenager. It sparked my interest in collecting Antiques, by purchasing objects while traveling through Europe which France being one of my favorite countries. Thirty Years ago my husband Ton Van Der Heyden, daughter Monique and I decided to immigrate to America and settled in New Jersey. We were fortunately to ship the entire collection to America. In 1985, I opened a Victorian store which is called Johanna’s Boutique. I started to design and create Victorian Costumes in White Township, New Jersey.
In 2001 I moved the store to Belvidere, NJ and renamed the store Johanna’s Boutique Showtime. I continued to create Victorian Costumes the same year I inherited a Grand Piano made in 1840 by Broadwood and Sons in London. This inspired me to start presenting monthly musical concerts offering a variety of talented local and international artists surrounded by the Antique Collection.
In this Issue you will discover few items.
Here are the featured “Treasures From The Past” presented this time:
1. Blue and white porcelain is always one of my favorites. The little jar that is on the far left with the lid came from my grandmother on my mother’s side. She stored her sugar candies in it. There is a mark on the bottom that says Prunus Adams and the letters ESPS 1657 England. The top ring on the jar is nickel with the lid. Next to it is a set of two porcelain ginger jars. A pretty pattern, no marks on either one. The large brass box is for fireplace ashes. I always thought it was for small pieces of wood for the fireplace, such as kindling. The copper is embossed with a scene from Old Dutch masters. It portrays an Old Dutch family from the 16th century’s household interior with a father, mother and children. The decanter on top of the box in blue porcelain is for milk. No mark, but it blends in with the rest.
I thank my family for introducing me to the marvelous ‘’Treasures From The Past’’. With each issue of Steel Notes Magazine I will discover some of these Treasures with you.
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2. This is an oil painting on canvas without a frame. I never came to the point to buy a frame for it as I like it as it is. Years ago I bought this at a flea market in Amsterdam Holland for not too much money. An unknown artist from the past. His name is Frank Dean. Not a Dutch name. The wine glass and the fruit make the picture very inviting for hanging in the kitchen or dining room. The pitcher in the painting was used for pouring wine. On the left is a green urn. It resembles the decanter. The fruit dish with the grapes and the pear is from 1930 made by Kenilworth and the little marks say “silver super plated.” The handle is very ornate. Filigree metal. And the pearls on display some of which are very old, Sweetwater pearls and some are just vintage.
4. One of the nicest pieces of the collection, a condiment set. 1910 with 6 pieces in a pewter holder. The mustard jar is complete with a spoon, 2 jars for oil, one for vinegar, one for salt and another one for pepper. It spins around like a lazy Suzy. I found out that dinners in the early 1900s was most likely cooked without spices. You flavored your own meal at the table. It was my first birthday gift from my husband he bought here in the USA in 1985 near Fairfield NJ.
After last month’s issue was published I was contacted by Kathleen from White Township, New Jersey. She called me at Showtime and informed me she has a beautiful vase which she would love to feature in “treasures from the past. I’m proudly 3. Portrait of a lady dressed in an empire design. No presenting the Vintage Dragonware Nippon Kutani mark or signature on it. Also, her bracelet is a beau- Moriage Vase and her story she wrote: “This striking ty. The more I look at it the more I know she must Dragonware vase has been in my family for 90+ be from France from about the time of Empress years. It belonged to my grandmother who was Josephine and Emperor Napoleon. Well, anyway born in 1894.She purchased it in the 1920s. It stands she is a beauty, even if it is a print. The fruit dish is 13“tall, and is adorned with raised (“Moriage”) etched glass on top with hanging crystal prims. With artwork, featuring a dragon with an open mouth a bronze foot mounted on white marble. Made in and long tail. It has a matte, beige background with Italy. So many lookalikes were made in the 1950s. green, beige and white painted, raised artwork on The influence of old Europe made people like these both the front and back, with two sculpted side types of pieces in their homes to remind them of handles. where they came from. As a child, I grew up in Monmouth County NJ, near the beach. My grandmother lived in Jersey City NJ, in a lovely large apartment on Palisade Avenue. I loved the city, and had the pleasure of spending
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two weeks with her every summer. This vase was displayed on her front room Chippendale table, on one of her handmade lace doilies. I had always been a little scared by the vase when I was very young, as the dragon had a bit of a fierce face, so I would walk out wide around the table to avoid getting too close to it! Who would have thought that as I got older, I would grow to truly love the vase? My grandmother knew this and as a gift she presented the vase to me when I gave birth to my daughter in 1990. It is now lovingly displayed in my own home for all to see and enjoy, and I will pass it down to my own daughter when she has her first child. – Kathleen, White Township, NJ
A very unique collection of original Victorian dresses will be featured in next month’s issue of Steel Notes Magazine. If you have a “Treasure From The Past” and like it featured here in the next issue, please contact me at joboutshowtime@aol.com or call Showtime at 908-475-1002 and I’m looking forward to hear from you. In the next issue I will feature more items of my collection and hopeful one or two of yours. www.facebook.com/showtimeworks Twitter: @showtimeworks
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Blues Musician Plainfield Slim Plainfield Slim is the blues alter ego of singer/songwriter Gar Francis. Guitarist and songwriter for The Doughboys whose song “Black Sheep” from the acclaimed first album “Is It Now?” was chosen by Little Steven’s Sirius radio show The Underground Garage as the #2 “Coolest Song In The World” for the year 2008. Their single “I’m Not Your Man” from the second album by the Doughboys became the “#3 Coolest Song In The World” for 2009. As many “Coolest Song In The World” followed between The Doughboys releases and Mark Lindsay’s former lead singer of Paul Revere & The Raiders comeback album “Life Out Loud” , whom Gar Francis co-produced and wrote with Mark Lindsay and released on Bongo Boy Records. As well as solo projects under the Gar Francis name, there is Plainfield Slim & The Groundhawgs, a very raw, hypnotic, Mississippi type juke joint Blues musician. The Groundhawgs are band members: Lee Fink (from Nasty Ned and the Famous Chili Dogs) on slide guitar, fellow Doughboys Myke Scavone on harmonica, Mike Caruso on bass, and Myke’s little brother Rocco Scavone on drums. Plainfield Slim & The Groundhawgs have released two albums. Their
latest “When The Devil Hits Home” followed after much global success from “Another Mule In The Barn” the first Plainfield Slim album. Songs such as “Dirty Girl”, “Moan”, “Hideout”, “Marlene”, and “Sweet Jesus” have been receiving airplay around the world as well as here in the US. Both CD’s are available on CD Baby and as downloads on iTunes, other online retail outlets worldwide and direct
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and Music. Here is what moniker of Gar Francis, Plainfield Slim, liked to share with us for your readers.
from the record label Bongo Boy Records. Plainfield Slim brings a kind of excitement to the stage that is like no other Blues musicians. His live performances are simply a unique experience.
Rock n Roll Fashion Corner caught up with Plainfield Slim and asked him the question about Fashion
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“Although image is very important in the music industry, too many artists overlook this factor when putting their act together. Many artists want to be known for their music which I totally understand as a songwriter but as a performer people need a way to identify their favorite artist. From the Beatles to Madonna to Jack White and Katy Perry there has always been a close connection with the music and the fashion industries. In a live situation people want to be entertained with a visual as well as a musical experience.
People identify Plainfield Slim with top hats, long scarves and jewelry, which adds to the voodoo mystic of his music. There are thousands of blues bands that walk out on stage in jeans and a tee shirt and play great music but people want more. They want to have fun and be a part of the whole expe-
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rience which draws them into the music even more if there is a visual they can connect with. Think of all the popular artist of today as well as in the past and you can always associate a fashion or hair style with the act. When you hear the words: The Beatles, Madonna, Lady Gaga, Michael Jackson, Elvis, Sinatra, etc. there is a visual that goes along with their music. Don’t be afraid to dress up and be noticed that’s part of your job as a performer, have fun with it “ -Plainfield Slim
Plainfield Slim Nominated GRAMMY Live“Roll Down Your Stockings” Watch Live Performance video here https:// www.youtube.com/watch?v=jVeHUM-voho Also Plainfield Slim’s song “Miss Stacey” is featured on Bongo Boy Records Backroom Blues Volume One a Blues compilation release available worldwide.
For more information about Plainfield Slim aka Gar Francis Official Web site www.garfrancis.com www.facebook.com/plainfieldslim Twitter @plainfieldslim Record Label www.bongoboyrecords.com
Rock n Roll Fashion Corner is proudly introducing JMAXX from South Africa.
The one thing about fashion, is to embrace ones true identity of form and signature. To set your own trends, raising the bar and thinking out of the box. Things JMAXX use and things he puts together, different colours and fabrics to give it a good pop. It is the part of entertainment as every artist has the right to be unique in their own way. JMAXX tells us that the secret is like opening a wrapping paper, and you so
badly want to unwrap the paper to taste the magic inside. Showing people a world beyond imagination. For example the shows and props trends like
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popping the candy. Sharing your thoughts with other people and bring the inner child out of them. As we all have a desire of our deep consciousness. He loves to pull the audience into the shows and involve them to participate, to unwind and be one’s self. He really loves working with young emerging talent as they take his ideas and they enhance them. He works with different races as well as different cultures. JMAXX also told us that he likes to bounce out ideas and try to do the impossible, one thing he likes to do is meditate and open his mind. Working with people as they all have different gifts to work with, to help each other and grow together. When JMAXX works with music he loves to give each song its own identity, with the music must come image. As JMAXX will record his next album it will still have his identity and be different yet having his own stamp on it. Music and fashion opens the mind to love and will, great fascination sensation and satisfaction. – JMAXX
JMAXX will be featured in depth in next month’s issue at Rock n Roll Fashion Corner. His music video “Sassy Girl” has been seen on National TV in the USA with Bongo Boy TV Episode 1053 and the song is also featured on Bongo Boy Records Compilations Volume Five in Asia. JMAXX Sassy Girl Official Music Video https://www.youtube.com/watch?v=EEeYIpbIGSo
Music Video Director: Ryan Peimer. Official Web Site http://www.jmaxx.co.za/ www.facebook.com/artistjmaxx Twitter @jmaxxjustin
Rock n Roll Fashion Corner is always looking for the next artist. If this interest you let us know by contacting us via info@bongoboyrecords.com Like us on Facebook at www.facebook.com/ rocknrollfashioncorner
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LUCA CERARDI - ITALY
Time Flies … Spoiler of the movie “Creed” Yesterday afternoon I went to the movie theater. The last time I did was probably years ago.The cinema is a 30-minute drive from my place. It was my day off, it was raining and I felt like I needed to do something different. I didn’t know what to watch, with so many movies available.Generally speaking, I am not a big fan of movie theaters. I’d rather watch tv shows on my couch. When I saw that “Creed” was playing, however, I immediately decided I would go for it. Why would you not want to watch Sylvester Stallone? After checking my phone, I realized the movie was actually a continuation of the old “Rocky”... awesome! My mind suddenly flew back to the eighties – I am almost 39 years old now – and I started remembering the old movies. I used to watch them on TV, they were indeed played very frequently in various Italian channels. I recall the times I wanted to be like Rocky, mainly for the strenght he showed when fighting and, generally, in life. He was also Italian, hence the additional connection. In 1985 things were very different from now. I was 8 years old and ready to go to the movie theater to watch“Rocky IV”. We were living the cold war. My country was right in between West and East. Yugoslavia was just 2 hours away from my hometown. Even at school they would talk about capitalism and communism, but at the time I didn’t understand the differences. All I knew was that we were with the Americans, hence with Rocky. That day at the movie theater felt like a “battle”. The cinema was located inside the medieval walls of my city, Cittadella. They are not very big, but still thousands of people can fit inside them. That day the town was completely packed. It wasn’t a simple line, it was more of a stadium crowd trying to get inside the building. I could not get in that Sunday, so my only chance was to wait until the Thursday after.
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When I finally got my tickets, I was really shocked to see that the room was still completely full, even after a few shows. I remember the feelings I had that day. The whole thing felt like a soccer game, with Rocky being the home team. It ended up being much more than a movie, much more than a fight. It was about two opposite worlds colliding, with Italy being right in the middle of it. Just as an anecdote, my grandma told me once that she felt free for the first time when the Americans crossed the river Brenta - she was 9 - and gave her a piece of chocolate. The Rocky movie represented people’s need to be free against tiranny. In everyone’s mind, Rocky HAD to win. When he finally did it, people started crying, screaming, jumping. I was young, and I didn’t understand all the implications of the story. I understood later. Many people in the room had experienced poverty. Many went through the second world war, a time of true destruction. With the help of the Americans, Italians had a second chance, and built a new future for themselves. After all this went through my mind, I was even more excited to finally watch this new movie. I sat down and focused on the story. It was a pure storm of sensations. 31 years later I was sitting there, as if the movie represented my own life and time passing. Stallone looked old and tired, while Creed looked so strong and young. I loved the story. I loved how it ended. I loved pretty much everything about it. While I was exiting the movie theater, I started thinking again about the old movie I watched 31 years before. The war would be over four years later with the collapse of the Berlin wall. Then the arrogant and greedy ‘90s arrived. 9/11 followed, and now Europe is fighting new enemies. But at least, there are no longer two big political and geographical blocks. Now it’s easy to go to Slovenia and Croatia for vacation or to work. I can basically travel wher-
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ever I want! I remember the first time I visited ex Yugoslavia. I was a little scared at first, but fear went away as soon as I got there. I played in concert in Slovakia, Poland and Czech Republic. It’s still hard to forget the tank I saw in Ostrava and the grey part of East Berlin. Now I have many friends from Eastern countries…and I love them all.
Everything shall come to an end, that’s something we all have to accept. The only thing to do is turning the page, every time, and fight again. Possibly with a proud smile.
Going back to the movie, I was also surprised by the size of the movie theater. I had never seen a cinema this big. So different from the one I went to for the original “Rocky” movie. And so few people came to watch this one this time. As for the story, I liked the way they introduced the cancer problem. That’s the one thing that hasn’t changed from the ‘80s. Overall, it was a great movie for a guy like me, who grew up idolizing Rocky Balboa. Creed was great as well. He showed his passion for fighting, the passion that everyone should have inside, to reach their objectives.This one, though, wasn’t a fight between two men, as with Rocky and Ivan Drago. Nowadays mankind is fighting to survive. We are all fighting our inner battles. Many are also fighting cancer and other serious illnesses. When people saw Rocky first, and Creed just now, they related to them. They felt they knew what the characters were going through. At the end of the story, all people share similar paths. We all need to have somebody to love and to be loved. We all need to share our successes and defeats. As opposed to Rocky, Creed lost. But he lost only after fighting extremely hard. That’s the message that people should take away from this movie. Give it all you got, and you’ll never regret a moment of your life. You’ll be proud of everything you’ve done. Choosing this movie was a fantastic choice. I was happy to see Stallone again on the big screen. And it was great to re-live old feelings. The best shot of the movie for me was the last scene, in which Rocky can hardly make it upstairs, in Philadelphia.
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Alessia Bastianelli - ITALY Alessia Bastianelli
Everybody Loves Music I don’t know anyone who doesn’t like music. Even people who listen to that kind of music we hate, yes, even they love music. So, why do people love music so much? Science has shown a lot effects and changes that happen to our brain when we listen to music. For instance, some chemical studies indicated that certain cells produce more endorphins, serotonin or other neurotransmitters of serenity and good mood. In recent years, more and more research has been carried out on the close relationship between music and the brain. Anyway, one thing is clear: the effect of music is an experience we live every day of our lives.
Music is not only an artistic activity but mainly a form of communication. It is able to remind us about emotions and reinforce them. Music brings images and memories back to mind. Also it reduces depression, pain and anxiety. In addition,music changes the responses of the vegetative system, the heart and the rate of breath. Listening to music affects a complex series of brain-processing systems, such as those related to sensory-motor processing and those involved in mental cognition or mood fluctuations. Music is also used as a therapeutic tool. In many hospitals, health workerspractice music therapy to calm patients, to relieve muscle tension and even to improve mood during rehabilitation.
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Although research is trying to clarify the complex brain mechanisms behind musical activity, it is still unclear how music produces its effects on the brain. In a recent research study published in Nature, the authors examined the effects of music on the brain of some healthy volunteers. Each study participant had to listen to selected music including classical, country, rap, rock, Chinese opera and a song ever.
The authors recorded a sequence of brain images obtained by the functional magnetic resonance imaging -fMRI- while each participant listened to the music. The fMRI is a non-invasive image technique that measures brain activities by detecting changes associated with blood flow. Through a sequence of these images the authors were able to observe the brain activity of volunteers as they listened to different types of music. First, they wanted to identify how the brain changes according to the musical genres. Second, they studied how neural circuits were activated after listening to favorite pieces of music - associated with introspective thought, emotion and memory - compared to no music. Results showed that the brain areas – or circuits – activated during the listening session were the same for both preferred music and other genres, regardless of gender and acoustic characteristics. In addition, the researchers found that listening to a favorite song improved the link between these areas. In particular, the authors found connections between the brain regions involved in auditory functioning and the hippocampus. This is a specific part of the brain responsible for memory and emotions. Thus they showed that brain network connectivity patterns are associated with music listening and preference. These current findings indicate that, regardless of the acoustical characteristic, functional brain connectivity states depend on whether music is liked, disliked or a favorite song. In addition, listening to
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one’s preferred music affects functional connectivity in regions involved in self-referential thought and memory encoding. Consequently, according to the authors, listening to a favorite song or piece of music produces similar mental and emotional states for everyone, no matter what the person’s musical preferences are and no matter what the acoustic complexity is.These results might explain why similar mental and emotional states can be experienced by people who listen to very different types of music, from Beethoven to Eminem.
it, just remember that they are feeling the same experience of joy, sadness, pleasure, or energy that you feel when you listen to your favorite music
In short, the next time that someone is listening to their favorite music and you happen not to like
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HELEN O’NEILL
G’day!! I’m Helen and I’m an Independent Presenter for a company called Younique. Younique is an American Beauty company that promotes quality, cruelty free, naturally sourced range of products that include skin care and cosmetics. Over the coming months, I’ll be giving make up tips and tricks to help with makeup issues, and I’d love to hear from you about anything you are interested in learning about(my email is at the bottom of the story). A little about me, I live in Perth Australia, i trained as a photographic makeup artist and have loved make up and make up looks for as long as I can remember. Ive worked as a makeup artist with Photographers doing glamour shots. And now, of course, help women to feel confident and empowered
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through supplying a beautiful range of make up to the every day lady! So, for me one of the most important things about cosmetics is what is in it and what its gone through to land in my make up drawer in my bathroom, what is the REAL cost of beauty?. What ive noticed recently is the awareness of consumers about what it is they are putting both on and in their bodies. I think its fantastic that people are doing research, they are checking out the ingredients of products they put on their face. There are so many nasties that companies use to make their products perform, ingredients like Parabens, Talc and many carcinogens that are absorbed into our bodies through our skin. Not to mention the testing these companies do on
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Animals that leave them with major skin irritations. sometimes permanent. I personally would never use a product that needs to test on animals again, to land in my make up drawer. This month, I wanted to introduce myself and hopefully you will get in touch with any questions you have about make up tips or latest looks or any other questions i can help with. Id love to see this regular piece be directed by you and what you would like to know or learn. How great would it be to also know that the make up you use and purchase helps women and children in abusive situations escape to a safe place and get the support they need to make a new start in their lives? Yes, thats right, a percentage of all purchases supports the Younique foundation.... www.youniquefoundation.org for more information. My products are for sale, and of course if there is anything at all i can help you with, don’t hesitate to get in touch. There is always an option to get product for free, just let me know and I’d be happy to discuss with you.
Contact details: Email: Helen.oneill@live.com.au Web: helensluxelashes.com.au FB: https://www.facebook.com/ helensluxelashes/?ref=aymt_homepage_panel
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Poetry by Lower East Side Bilingual Poet Yvonne Sotomayor 1- A SUDDEN RELEASE A sudden release Afloat in the air Whirlwind takes ahold,
To dispel and cast away Rumors of a love forlorn. In you is my reflection Of beauty sage and whole Trust is the blueprint of our soul.
Gliding into an unknown certainty. Warmth coats and soothes the icy smooth center Surrounded by fiery red. Enveloped by your absolute stare Swallowed whole by your breath
1-UNA LIBERACION REPENTINA
I am redeemed by Love, and humbly stumble toward.
Una liberaci贸n repentina
The mercurial flame flits away at the heart
A flote en el aire
Leaving temporal smoky puffs
Aire revuelto me agarra
Of remnants of a past gone by.
Deslizamiento en una certeza desconocida
Making path for anew
Calidez y calma calienta el centro suave y helado
Swirling road of smiles
Rodeada de rojo fuego.
And an irrepressible future of Joy!
Envuelta por tu mirada absoluta
The grayness is ending
Tragada entera por tu respiraci贸n
Giving way for sunlit bliss
Soy redimida por el amor, y humildemente tropiezo hacia.
The buoyant force is undeniable Yet timid in its direction. A slight prod is all Encouragement that is needed
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La llama mercurial revolotea en el coraz贸n Dejando bocanadas de humo temporales De los restos de un pasado que ya fue. Creando el camino para lo nuevo
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Remolinos de la carretera de sonrisas
Bridging the chasm
Y un futuro incontenible de alegría!
Of truth and dream
La grisura está terminando
For both are at hand
Dando paso a la felicidad soleada
One must simply reach.
La fuerza es innegable Sin embargo, tímida en su dirección. Un ligero empuje es todo El estímulo que se necesita Para disipar y desechar
2-PUERTA DE LA COMPASIÓN
Los rumores de un amor desesperado. En ti está mi reflexión
El silencio solitario
De belleza sabia y entera
De pasiones en reversa
La confianza es el modelo de nuestra alma.
Revela la profundidad del amor al descubierto Es firme y verdadero
2-COMPASSION’S DOOR
La inconstancia diaria Eso puede influir en el viento Interrumpe y confunde
The lonely silence
La fuerza inamovible
Of passions in reverse
En medio de la confusión
Reveals the depth of uncovered love
Erosión amenaza
That is steadfast and true
Con un amor terror estremecimientos
The daily fickleness
Y con súplicas apasionadas
That may sway with the wind
Consuela al corazón y
Disrupts and confuses
Confiesa con el cerebro
The unmovable strength
Superar el abismo
Amidst the disarray
De verdad y sueño
Erosion threatens
Por tanto están a la mano
With a terror love shudders
Uno debe simplemente llegar.
And with impassioned pleas Consoles the heart and Confides with the brain
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3-MY HERO My hero, my love, my golden one I swirl within the magic of your eyes And dance upon the sweetness of your breath My damp skin rejoices at your touch
Y las olas ondulantes de alegría me abruman Mi cuerpo libera a lo menor de tus dedos A medida que trazan un laberinto de eros y deseo Arrecostada estoy en suspenso y asombro En espera de mi respuesta durante nuestra próxima interludio
Your lips gently gnaw through my pleasured nooks
Agarrando y arañando aguantandome para salvar la lujuria
And undulating waves of joy overwhelm me
Lentamente regresamos a nuestro lugar denuevo
My body releases at the slightest of your fingers
En los brazos del otro con la vista y el sonido completo
As they map out a maze of eros and desire throughout
Ahora consciente y despiertos
And I lay in suspense and wonderment
Aterrizamos del otro mundo
Awaiting my response during our next interlude
Y regresamos a ser mortales
Clutching and clawing holding on for dear lust
Para vivir nuestras vidas mano en mano.
We slowly return to our place once before In the arms of one another with sight and full sound Now conscious and awake Back to earth we do land And return as the mortals To live our lives hand in hand.
4-EFFECT OF U Electric love singeing my heart Waking, disturbing what once tamely was Bringing shudder and awe into seeming calm Where the soul can arise anew. Open, irreverent, accepting, Enveloping, yielding, presence Met with a sensual, encompassing, assertive spirit
3-MI HEROE
Of Ardent and skittish sagacity. Confusing the one
Mi héroe, mi amor, mi amor dorado
Draining the other
Me revuelvo dentro de la magia de tus ojos
Learning the duet
Y bailo en la dulzura de tu aliento
Of fiery passion that cannot be denied.
Mi piel húmeda se alegra por tu toque
Initial resistance-fear looms high
Tus labios roen suavemente a través de mis rincones Relenting to the west wind’s move placenteros
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A balance yet to be struck
Presencia envolvente, rendida Se reunió con una, que abarca, espíritu asertivo y sensual
4-EL EFFECTO TUYO
De sagacidad ardiente y temorosa Confundiendo a uno Agotando el otro
Amor eléctrico chamuscando mi corazón
El dúo aprendiendo
Despertando, perturbando lo que era domestico
Pasión ferviente que no puede ser negado.
Traendo estremecimiento y asombro en calma aparente
Resistencia al principio-el miedo surge alto
Dónde el alma puede surgir de nuevo. Abierto, irreverente, aceptando,
Cediendo a la medida del viento oeste Un equilibrio aún no adquirido
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SAINTS AND ROBBERS IN BOMBAY BY REX MAURICE OPPENHEIMER ©2016 Before I’d gone there everyone had told me that Goa wasn’t India. Having been a Portuguese Colony until 1961, and thus with a strong Catholic influence, it was in many ways different than the rest of India, through which I’d been traveling for the past six months.
Yet the sights and smells, the clothing, colors and textures, were definitely Indian, what I found very different was the liberty enjoyed and expressed by the mostly British, European, Australian, New Zealand and South African travelers. Although I understand that Goa has now changed, this was back in 1979, and these diverse tribes of Westerners had settled in their makeshift gypsy camps, and with their exotic Indian garments, piercings, tattoos and paraphernalia, resembled gypsies more than they did Indians or the people they were back home in their normal lives.
While some had become real gypsies of a sort, living in the north of India during the summer and down in Goa during the winter, dealing drugs and scrounging a living as best they could, others were doctors, lawyers, forest rangers and firefighters back in the West, who had mostly come to indulge some hedonistic fling. Goa was a sort of a Woodstock Nation realized, with all-night rock and roll parties on the beach and lots of nudity and drugs. I remember hearing Ian Dury singing “Sex and Drugs and Rock
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and Roll” so much that it became the anthem or sound track for the scene.
Goa was great, and I had enjoyed my free floating months in that crazy community of expats and Asia travelers, but with another visa approaching its expiration date, it was time for me to leave. The next stop was Bombay.
I don’t know what the visa requirements are now, but when I was there an American could get a threemonth visa and extend it once for another three months, which amounted to six months in India. A new visa couldn’t be had until one had spent six months out of the country. So my plan was to head for Bombay, then Calcutta and then on to Thailand, Malaysia and wherever inspiration may lead me until I could return to India.
There was a steamer that left Goa and traveled up the coast to Bombay, the trip took 24 hours, and I booked passage on the deck at a cost of 50 rupees, which was then the equivalent of about $4.00. Many of the passengers on the deck were the same
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British and European travelers that had populated the Goa scene. As we sailed north there was music and chillums full of hash, or charras, as it’s called in India, passed around circles, as each traveler would shout out a chant, “Boom Shankar, Bholenath,” praising Shiva the God of Destruction, who used to lie in the Himalayan valleys and smoke cannabis, and take a deep drag, the cone-shaped clay pipe glowing red against the dark night on the Arabian Sea.
When we pulled into the docks at Bombay I headed for a relatively cheap hotel that I’d learned about the way I pretty much learned about everything in India, from other travelers. I only had a few days in Bombay before I was to head off to Calcutta. I wandered through the labyrinth of market stalls around Sassoon Docks, where images both beautiful and grotesque danced before my eyes.
Sassoon Docks were not far from the grand hotels, such as the Taj Mahal, yet there were groups of people sitting one behind the other picking lice out of each other’s hair. Barbers squatting in front of their customers giving them a shave, and scores of men, their lungis and dhotis pulled up on their thighs, squatting along the shoreline to defecate, as the gentle tide would wash in and carry the feces out to sea. Yet Bombay also seemed a majestic city, with grand architecture and those red, double-decker English style busses plying the broad boulevards.
On my last day in Bombay I had to check out of my hotel at 2:30 in the afternoon. My train for Calcutta didn’t leave until nine-thirty that night, so I went down to the big train station, Victoria Terminus, where I planned to leave my Tibetan backpack at the cloakroom. The clerks in the cloakroom explained that they couldn’t keep my pack because it didn’t lock. So, with the pack on my back, I walked over to a large park. Taking the one-foot square piece of woven Tibetan cloth I used for the purpose of keeping relatively clean and dry in all the situations where one must sit on the ground from my shoulder bag, I sat on the grass and began to write a letter.
It wasn’t long before some young Indian guys called out to me, “Hey, you want smoke chillum?”
“Always,” I replied, and went over to join them.
I was met with the usual questions, “Where is your natural place? Are you married? Do you have children?” Although I had no “natural place,” which is why I was adrift in India, and had no wife or child, the conversation was very friendly. We sat smoking and talking on the grass, but before long a policeman came by to inform us that the park was closing and we’d have to leave. I followed my new friends outside the park to a place beside the busy street where one of the guys, Raju, lived and worked. A mat spread on the ground, a small alter with flowers, incense and pictures of gods, served as his home and place of business.
Raju used to deal hash, selling little balls of charas for one rupee each. Then, in an effort to better himself, he learned to give massages and was now a masseur who worked out of his home, a mat on the street.
I sat with them smoking and talking for some time until I decided that I should get something to eat before I had to go and wait for the train. So I bid farewell picked up my things and walked off into the teeming streets of Bombay.
The river of people flowing by me made it feel like I was riding the rapids. With my pack on my back, I was bumped and jostled by the thick, fast running crowd. Finally, I found a small restaurant and sat down to eat.
I had fallen in love with India sometime before. I relished the slower pace and didn’t miss the modern conveniences, except maybe hot water for a shower once in a while. Although the basic chores of sustaining myself took a lot of time, I seemed
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to have more time. My moments were filled with the reality of the world right up against me. No constant bombardment of news from beyond the borders of my daily life.
and feeling so comfortable, I had become lax and had left it in my shoulder bag.
My God! Here I was in the middle of Bombay with absolutely no identification and only about two When I walked through Varanasi, Jaipur, or Bombay, dollars to my name. I couldn’t prove who I was and among the people wound in saris, dhotis, lungis I was destitute. What could I do? Who could have and turbans, enmeshed in the flow of modern life taken it? through ancient lanes, I’d witnessed an elegance of existence, imbuing everyday things with beauty and meaning. The slanting brightness of sunlight on a Someone could have easily pick-pocketed it when mound of spices, flowers in a garland, appeared as I was squeezing my way through the crowded visual poems. streets, and if that happened, it was gone for good. Yes, running water, especially hot running water, is rare. Power fails often, and although there is an intelligentsia, and India has nuclear weapons, computers, scientists and a middle class, a majority of the population remains poor and illiterate; irrigation in village fields is often accomplished by hand, with women carrying little clay pots full of water to pour on the plants. I used to see them when I traveled long distances by train. I’d look through the window and watch the women in their cotton saris and knobby bare feet carrying the pots of water as they moved through the fields.
But although Bombay’s streets were crowded and dirty, and pervasive nature of India’s disorder was always apparent, in the haphazard, kamikaze traffic patterns, and the ever wandering homeless and beggars, all was well.
Finished eating, I asked for the check and reached for my shoulder bag, but it felt strangely light. When I reached inside I discovered the small leather pouch containing literally all my worldly wealth, my passport, my visa, my ticket to Calcutta, about $2,500 in Travelers Checks, $500 in cash and a few hundred rupees, was gone.
When I had first arrived in India I had worn that little leather pouch around my neck and under my shirt, but after having spent so much time in the country,
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Or, one of those guys I was sitting with at the park might have taken it. If they had taken it, I don’t know why the bag didn’t feel light to me when I left the park, but that was my only chance. I still had about two or three dollars in rupees in my pocket. I paid my bill at the restaurant and took off, almost running back to the park.
As I turned the corner and approached Raju’s mat beside the large fence surrounding the park, I saw him sitting there. Running to him I blurted out that my bag was gone. Raju didn’t speak much English, and my Hindi was abysmal, but he understood what I was saying. His soft, black eyes hardened; he stood up with a swift seriousness, held up his hand and said, “Wait.” Then he turned and jumped up grabbing on to the high fence behind him. Climbing up he skirted the barbed wire at the top and leapt to the ground, running off and disappearing into the darkness of the Bombay night.
An hour before my train was to leave for Calcutta, and here I sat with no ticket, no identification, and no money.
After about 10 minutes I heard a clanging sound and saw Raju at the top of the fence. With a smile as broad as a boulevard and as bright as a beacon he shot his arm upward and my bag was dangling from his hand.
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Thank God, I thought, opening the bag and counting the contents. The cash, American and Indian, my passport, ticket to Calcutta and visa, all were there. I thanked Raju, whose eyes once again glowed with softness, and handing him a reward, I shouldered my bags and headed off toward the station.
After walking a short way I realized I’d counted the cash and saw that everything else was there, but I hadn’t counted the Travelers Checks. Sure enough, I found that four one hundred dollar checks had been torn out of the center of the folder.
I ran back to Raju and told him. Once again he leapt over the fence, and once again, this time about 20 minutes later, he came back with the four missing checks.
Raju barely spoke English, and when I showed up saying that my bag had been stolen, he could have simply looked at me, shaken his head and uttered the phrase, “No, no sahib, don’t know.” There was no way I could have proved anything, and I didn’t even know for sure if any of those guys had taken it.
Raju earned between five and ten dollars a month. The passport on the blackmarket at that time was worth at least $500, the $2,500 in travelers checks, unsigned, were worth half their face value, there was hundreds of dollars and hundreds of rupees in cash. If he could get that bag and give it back to me, he could have gotten it and kept it.
When I left Raju, he looked up from his mat and offered me a saint’s beatific smile.
I was smiling, too, as I climbed aboard a second-class sleeper bound for Calcutta.
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N O I T C N U J S ’ Y N
JOHN
Interview with Billy Lord Photo’s by Johnny Gibbs Houston Texas-
Hi folk’s, this month I would like to introduce you to a very good friend of mine. We became friends through social media facebook about a year ago and have been good friend’s since. Billy Lord and I share many mutual friends together and have a lot in common such as music
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and songwriting. I can’t sing as good as Billy can but nevertheless he is a great friend to have around.
Billy Lord, originally from Portland Oregon but considered Bristol Rhode Island his hometown after growing up there now resides in Nashville Tennessee.
Billy put it all on the line when he up and moved himself and two of his bandmates to competitive Nashville less than one year ago. It didn’t take long for him to make his mark on the town when the locals came to watch Billy and his band play at Layla’s and other local venue’s and soon word spread fast.
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was debuted February 19th, in upstate New York at the Turning Stone Casino and Resort to a sold out show. His album should be released to the public some time Later this month or mid April so keep your eyes and ears open and be on lookout for it.
Me: Hello Billy. It is finally nice meeting you in Person.
Billy Lord is on the rise and has a remarkable story behind him. I was able to get Billy a gig playing in Houston Texas at the Firehouse Saloon as well as Badlands radio show this past February and Houston was not dissapointed.
Billy Lord is unquestionably one of the fastest rising stars in the country rock scene, and is a “Rocky” story for the once unemployed American. After losing his job, home and marriage, Billy began teaching himself guitar and writing songs while homeless and working part-time jobs in New York City, just four short years ago.
Since that time, Billy has stormed to a Top 40 chart position on the Country Charts with his single “Steal the Evening Sky,” spent four consecutive weeks at #1 on the Iceman’s New Country Artist Chart, and earned opening slots with Eric Church and Uncle Kracker.
Billy’s debut album, American Music was hailed as “One of the 10 best releases in 2012,” and his newly released National Anthem album put Billy on the ballot for consideration for Grammy nominations in three categories and helped Billy climb to the prestigious Number 1 spot on the New York City Reverbnation artist rock charts.
Billy had just completed his third album with a brand new video. His new song “Netflix and Chill”
Billy: Right back at you. The blessing and curse of the social media age is we have so many friends we never met in person so this is a privilege. Me: Likewise, The pleasure is all mine. How was your road trip to Houston? Billy: Uneventful, which is quite the opposite for my band. We have a terrible track record for hitting animals with our cars on road trips. Once it was an endangered hawk. Another time, a bear. Can’t make this stuff up. No on is safe around this band! Me: Wow. That is amazing and awful all at the same time, haha. Me: You guys drove all the way from Tennessee, How was the weather? Billy: When we left Tennessee it was about 20 degrees. When we hit Houston it was in the mid 70’s. I felt like kissing the ground when I got out of the car. I like my weather hot. The hotter the better. Me: You came at a perfect time. It’s not too hot and not to cold. You should get right into your comfort zone. It does however get hot as hell in the summertime so you are more than welcome to come back if you like. Billy: We are looking forward to it during our summer tour. Me: Great! Me: Billy, where do you hail from? and how did you wound up in Tennessee? Billy: I am originally from Portland, Oregon where Country, they called it Country Western back then, was big in the 70’s when I was a kid. My family moved to Bristol, RI. when I was 9. And I didn’t hear
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country music again til I was 40 and living in NYC. I came to Nashville on a promise by a management company that turned out to be a mirage. But, it turned out well. Once I struck out on my own again everything started falling into place and I knew why Nashville was meant to be part of my story. Me: Interesting. Me: You have a remarkable story behind you Billy, with your Homelessness and your rise in the music Industry, would you like to share that with us today? Billy: I never considered writing, playing or singing until I turned 40. People find it strange. They ask if
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I knew I could sing or wrote before that. I tell them I’m still not sure I can!!! Seriously though, I never once consisted it until the worst of times hit. Music saved me. Literally from the depths of failure... I had lost my job like millions of other Americans in 2009. A field I had worked in for 15 years, newspaper publishing died a quick death when the economy and the emerging Internet created the perfect storm. I had bills I had taken on at a salary level that I could afford to pay then. But in an instant it was gone and I couldn’t replace the income. By 2011, I lost my home, my car, and ended up divorced and working three jobs while homeless in NYC. It was a very dark time. Those hours between 3 am, when I’d
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get done with my shift unloading trucks to sunrise were the loneliest, depressing hours is ever known. I don’t know what would have happened if I hadn’t picked up the guitar. It was my saving grace. Me: Wow Billy that is a very inspring story. You have great faith. Someone was looking out for you. Billy: I believe that with all of my heart. Me: So you say you have taught yourself to play guitar in four short years. Tell me about that. Billy: When I was a teen, my parents bought me an electric guitar back when I dreamed of being Eddie
Van Halen. But I never learned to play it. That guitar disappeared. Then in college, they got me an acoustic. Again, I never learned to play it. But, it stayed in its case and moved with me through the years. It witnessed me build my career and raise a family. It stayed in closets in probably seven different houses. And when I lost everything, imagine what was left? That guitar. My last remaining material possession. When I started to play it, almost immediately I was hearing songs in my head. I would spend many sleepless nights figuring out the songs I heard in my mind. With some basic chord charts, and the “radio station” that kept playing these new songs in my head, I was writing within a few weeks. My playing
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was awkward. But I was able to write the songs and chart the chords. That was the beginning of what became and obsession. The playing was born out of necessity. I was terrible for years. But when you love something, you stay with it, even when you suck. The good news is you get better, even when you can’t hear it improving, you’re getting better very day, until you’re good. Greatness is earned. I’m still earning. Me: Wow, that kind of reminds me of myself. I tried to learn guitar at 14 and just kept giving up. I didn’t have the patience for it because well, I was born without patience. I am glad you didn’t give up or we wouldn’t be meeting here today. Billy: I never give up Johnny. Don’t ever give up! Me: Tell us about your cross country ride on a Motorcycle after your life started to change for the better and where did you go? Billy: After writing and playing for just one year, I raised money through a Kickstarter campaign and recorded American Music, my first album. It did well. Got me an opening spot with Uncle Kracker and was reviewed as “one of the ten best albums of 2012.” But I was still homeless, and in a financial shamble. I knew I wanted to make a second album but felt I needed to see the country, to feel some
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freedom, to listen to music from different regions, and learn from other musicians. As a kid I drove cross country with my parents and I recall it as one of the happiest times in my life. After losing everything, I wanted to feel that again. I had a clean slate and no fear. So, I conjured up this idea that is crops the country on a motorcycle with the guitar strapped to my back. And it reached a point in my life where I just simply decided to make my dream happen. Just like that... Let’s do it! My manager at the time brokered a deal with Harley Davidson for a bike, so I flew down to Florida to get it. Funniest thing is, I’d never ridden a motorcycle before. In fact, I got my license only two days before leaving for Florida to start my journey. I remember them handing me my keys and thinking, “I’ve never been on a motorcycle on a real road- with traffic . It was a white knuckle ride to my hotel and when I got off, I swore I’d never get on again. Twenty minutes later, I couln’t wait to get back on. I ended up riding 11,774 miles in six months. I stated with $40 in my pocket and often played songs for food and gas from coast to coast. Better still, I wrote 25 songs. Thirteen of which became my album National Anthem. That album got my my first Top 40 County single and made the ballot for a Grammys nomination consideration in three categories. The single was also number one for four straight week on The Iceman’s
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New Country Artist chart.
Me: How did you meet your band mates? Billy: Two of my bandmates are from my hometown. One of them, my drummer Colin Boughton, I knew since I was 9 years old. We played little league baseball together and sports all through high school. Colin had been playing drums his whole life, while I was busy building a career in corporate and raising a family. When American Music was released, I got the offer to open for Uncle Kracker. I said yes. And, they told me I needed to be in Seattle in three days. I hung up the phone in a panic. I didn’t have a band. I’d never even played a live show before. I called Colin and asked if he was up for the challenge. He said, “I’m in.” And four years later, he’s still with me. The guitar player for that Uncle Kracker show was a guy named Tommy Queen. He came recommended by Rosevear’s Music Store. He has two days to learn my album and the first time I met him was on stage at show time. He killed it. I didn’t see him for years after that, until I moved to Nashville and had to fire my guitar player. In my search for a replacement, I discovered Tommy had moved to Nashville a couple month before me. Fate. And my bass player, Bill Ferri had been in a band with Colin. He’s a beast and the musical director. Lots of hometown pride. We are on a mission. Me: Wow..Like I said, someone is looking out for you. That is remarkable Billy! Billy: Yes it is. Me: How did you get the two originals to just up and move to Tennessee? Billy: They believed. For the most part, I had been building my career on my own through American Music and National Anthem. The move to Nashville was a big one and very risky. They all left behind family and jobs to do this. It’s about passion. We loaded a giant U Haul and all moved together. We’re a family. Me: Any special place in Nashville that you guys play on a regular basis? Billy: We are regulars at Layla’s on Broadway. And are very blessed to play in that legendary venue.
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When I arrived, I was told I’d never land a gig on Broadway. Layla herself gave us a chance and I’ll never forget it. But we earned the right to stay. Our audition was a Friday night slot. In Nashville, the crowds on Broadway walk up and down the strip window shopping. They only go into bars where they like the music they hear. When we started that night, there were about six people in the bar. About a half hour into our set, you couldn’t move inside the bar it was so packed. The bartender that night said the bar tab was the best she had ever seen. Needless to say, Layla was happy. And so were we. We also love playing on a stage we built in our backyard. We have bonfire shows there every other Sunday. We play and we usually have about four other bands play sets. It’s not unusual for 100 people to show up. There’s nothing better than a bonfire under the Tennessee stars. Me: That is great that you earned your spot and your name is getting out there. Billy: We are blessed. Me: Tell us (Readers) about the special people in your life that helped pick you up and encourage you on your long Journey the last four or five years. Billy: There are so many stories I could tell, so I will try to keep it short, but I’ll say this. I believe in Angels. They’ve come at different stages in my career to offer me help... Gina Majore, Debby Stevens, Janet Coats... They are all angels. I’ll just leave it at that. I wouldn’t be here standing on the threshold of major success without them. Listen to Angel in Dacono from my National Anthem album. You’ll understand.
Me: How did you like Houston? Tell us about your experience. The places you visited, the foods you enjoyed and your treatment from the friendly folks of Houston. Billy: Houston was a place I visited and loved on my motorcycle journey, so I was excited to return and see old friends and meet new ones. Our style of country mixed with rock and blues is always well received here and the crowds are always wild. We love Houston. Me: How did you like playing the firehouse Saloon?
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Billy: Firehouse Saloon is a landmark venue and we loved playing there. The staff there was super friendly, the crowd was great and I was able to do an amazing interview on the Drink of Ages Show on Badlands Radio. One of the best interviews I’ve ever done. I was able to play two new unreleased tracks, Netflix and Chill and Rise love on the air to incredible listener reviewers so that was really an exciting moment for me. We can’t wait to return. We would like to thank Rebecca and Management for giving us the opportunty to play there and hope to return soon. Me: You played your songs, some originals as well as covers that night. how did that go? Billy: When we do three hour shows we literally throw in the kitchen sink. We play it all, from Johnny Cash to Billy Idol. But we love playing my originals most. I have two albums of material to choose from so we try to weave the songs I wrote seamlessly
into the mix. We can play a Jason Aldean song and then one of mine and people don’t even realize it’s an original until I announce it afterwards. We’ve gained a ton of new new fans out on the road who are just loving my material. It’s a humbling experience for me for sure. Me: Tell us more about your new album coming out real soon. Billy: My new album is expected out this summer, and will be my third album. This is my first album recorded on Music Row in Nashville with producer Ryan Rossebo and some of the best session players in the world. I’m especially proud of this album and its generating a lot of buzz around Nashville right now. The first single, Netflix and Chill will be released in late March. The new album is called “Ravae,” and it will be available on iTunes, Amazon, and on my website www.billylordmusic.com this summer.
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Me: Billy, I know February was a tough month for you. you had so much going for you. I hear you had a video shoot in L.A as well as a show to do upstate New York and a Local show in Tennessee as well as the Houston show. Tell us how you managed all of that in just a short amount of time? Billy: I flew out to LA to shoot the video for Netflix and Chill with award winning director Daniel Catullo, and it was a massive undertaking with a huge crew. I flew from there on a red eye to debut the video two days later at Turning Stone Casino in Verona NY. The band met me there and we just spent a month playing shows all the way down to Florida ending with a show at Daytona Bike Week. It’s been a whirlwind. Me: Sounds mind boggling. That made me dizzy. Billy: The video for Netflix and Chill is the third video I’ve shot in my career and by far the most professional. The crew was made up of Holllywood A listers and my co-star in the video, Ravae Comstock, was the real inspiration behind the song, which lends an unusual authenticity and sincerity to the video. We shot in Laguna Beach, which was breathtaking and the feel on set was buzzing with great energy. We all became best friends in that set. It was a really enjoyable time and I hope that come through on he finished product. We have very high hopes for distribution. Me: I cannot wait to see it myself. Billy: You’re gonna love it Johnny. Everyone will love it. Me: Tell us about your new song Billy,The one that goes along with the video that was shot in L.A. and what you are hoping to accomplish from this? Billy: Netflix and Chill was inspired by a picture. A beautiful girl in a blue dress with her hand on her hip, all beauty and attitude. The meaning of Netflix and Chill socially is about hooking up. But this song it truly a love song. It’s a moment in time. When you get to the door to pick up your love and she’s standing there, looking stunning, stealing your every breath. And you want to take her out. But at the same time, you just want to be with her alone. The song came to me in the middle of the night. It woke me up. I almost went back to sleep but forced myself to finish it. And I believe it will be the song
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that breaks my career wide open. When you hear it, see if you can count how many movie titles are in the lyrics. Me: The story of the song sounds like it would make a great movie as well as a soundtrack for the movie itself. Billy: Wow Johnny, that would be awesome and a dream come true. Me: Billy, I have heard you sing even before we’ve even met. I have watched your YouTube videos and I just have to say that I am surprised that Nashville is not knocking down your door right now. Has anyone from Nashville tried to contact you yet about a major contract or record deal? Billy: To date, I have turned down two record deals. So far, the deals just haven’t been structured in a way that I saw any long term benefit. Im not opposed to signing with a label. But, my gut tells me that if I can break my career on my own, I have a lot more pull to structure a deal that works in my favor. I have to be the one to mitigate the risk for them first. It’s just business. But I want to be Willie fucking Nelson, Ya know? Making albums till the day they bury me. Me: Willie has had a long Career and still kicking, You are a young man and I would love to see you make it as long as Willie. (If you are reading this Willie, we love you. What advice would you give Billy, Willie?) Me: What date is the release of your video? and where can it be viewed? Billy: We are hoping to release in late March but we are waiting until we can do it right. Anyone can throw something up on YouTube. We have a grander plan. And if it takes a little longer, so be it. Me: Billy, I want to thank you for this interview today. I thank you for the time you gave me and I wish you all the best.I just want you to promise me that when you get your first grammy that you will invite me to see it happen live.. in person. Can you Promise me that? Billy: Absolutely Johnny. I think you know I’ll be my very best! I thank you very much for everything!!! Me: You’re very welcome Billy. Take care.
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DAZED: The Film COMING 2016....Based on the ramblings of Kurt Cobain (Nirvana) during my time with him. All they want is love; but with damage done, they choose a needle instead. From author Nikki Palomino The DAZED Novel Series, Coming Cobain Junk, The Underground Diaries, Blackbird New Haven Publishing Ltd UK and a collaboration with the biggest pot smuggler in US history, the True Crime book “The Gentleman Smuggler” by Steven M. Kalish and Nikki Palomino Available:http://www.amazon.com/s/ref=nb_sb_ss_c_0_12… https://www.facebook.com/dazed.novel.series/timeline https://www.facebook.com/DAZEDGrungeRockerAuthor https://www.facebook.com/groups/dazedraioshow/ https://www.facebook.com/dazedradio https://www.facebook.com/groups/506370846059672/ Starring: Matt Mercer,Carlos Ramzey Ramirez, Bergandi Phoenix, steelnotesmagazine.com 100 | Steel Notes Magazine
Palmer Davis, Ruben Pla, Dave Johansen, cameos Ginger Coyote, Johnny Ray, Avina Richard, Ashley Evans, Alfred Jiminez and more... Genre: Based on DAZED Novel Series by Nikki Palomino from the ramblings of 3 junkie musicians, most notably Kurt Cobain and why those most disposable should matter. Directed By: Director,Cinematographer Jason Herring with CBS’ Mike& Molly, formerly Will&Grace American TV. Editor, Director Cinematographer Ezra Spurrier TV and Film FIlm Assistant & Publicist Ashley Evans Music: Brian Kroll “Don’t Play Dead” Release Date: 2016 http://www.nikkipalomino.com/
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The following are a few Photoshop Manipulations created by Steel Notes Magazine cover and layout designer Keith Boisvert. Keith owns Vero Concepts, a graphic design company based in Massachusetts. Shown are the before pictures (some consisiting of multiple photos) and the end results. Vero Concepts also works with bands on logo design as well as CD/MP3 graphics 102 | Steel Notes Magazine
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MARLOWE B WEST & THE BROOKLYN HORNS Ladies and Gentlemen and Children of all ages ... My name is Marlowe B West and I am your Ring Leader ... Today the tables are being turned ... I’m going to step into the spotlight myself ... Along with Alexxis Steele and Steel Notes Magazine we have just celebrated our second year anniversary on the air ... by way of the ever gracious and lovely host of the Rew & Who Show ... Rew Starr ... filmed live stream at Otto’s Shrunken Head 538 E. 14th Street, New York, New York ... you can find us on You Tube ... The Rew & Who Show is now voraciously trending in Manhattan ...
In talking of myself it is imperative to start with my birth ... My Mom was born a twin on April Fool’s Day ... My Mom and Dad were married on Halloween ... a week before their first anniversary I was born ... thus the entire week before Halloween is Marloween ... With the deepest regret and sorrow I must say my Mom just passed away on January 10th ... In a few short hours I will be boarding a plane to Orlando, Florida ... My brother Thomas, his wife Kat, their son Tommie Willie and our little niece Courtney will be setting Mom and Dad’s ashes out into the sea on a raft of white roses ... Their lifelong wish will finally come true ... They will spend Eternity together in Love.
As for me ... I am embarking on some dreams come true of my own ... My Rock and Roll Memoir (1967 - 1970) ... Go West ... will finally be released when I return to New York from Florida ... This is a thrill of a lifetime ... I am sure you will all thoroughly enjoy the stories of my wild Hollywood gypsy, hippie, flower child, Rock and Roll, boyhood immensely ... You see, I have a jacket that belongs to Jimi Hendrix and I wrote this book to explain where I was and what I was doing to have been the exceptionally fortunate owner of this incredible Rock and Roll relic ... Go West ends the day Jimi Hendrix dies ...
Aside from that ... nothing could make me happier than to be announcing my brand new ... from out of the blue ... magic union with The Brooklyn Horns ... My band Marlowe B West Takez Manhattan had been making various New York City appearances for a couple of years when Phil Stone, the trombone player of The Brooklyn Horns, approached me and exclaimed “Marlowe, you would be great with horns!”. That was only just recently, in February ... So far we have had such a mind blowingly wild reception at our two gigs at Sidewalk NYC ... at 6th and Ave A, on the awesome Lower East Side ... Many thanks to my wonderful friend, Anne Husick, who books the joint ... We have just nailed a cable TV show early in May and are anxiously anticipating hitting the recording studios pronto !!! So there you have it ... short and sweet ... I would like to thank all of my loyal fans and readers for your continued love and support ... I love and appreciate you all ... I have some new and exciting interviews lined up ... so stay tuned to the greatest magazine on earth ... Steel Notes Magazine ... ciao mein, man !!! ... MBW ...
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Show Review Edgar Winter at the 2016 Centenary Blues Bash By Jenny Cat Photos by Dave Hummell The last time I was at Centenary College, I was a wayward English major and the school had a big ugly field and gatehouse where the Lackland center now stands. The complex hosts WNTI Internet Radio as well as the Sitnik Theater.
South in the belly of the blues and Americana music) and Jersey ‘s own, The Bob Lanza Blues Band (from a different belly of the blues and pork roll music). Both bands were loud and proud and set the tone for a night of supernatural talent. Oh yeah, and me and my bassist, Rick Young entertained the music lovers with rock, blues and good tunes between acts. I’m happy to report that the audience was sincerely supportive of all the acts and it was evident that they love and value live music. Dan Hirshberg of Joe Hirsh productions assembled this crack team of artists for the people of northern NJ and deserves recognition as a major contributor to the artistic health and well-being to musicians and music lovers North of 78 West. Edgar Winter - you and your band possess mystical musical powers and I encourage everyone to catch your show.
Centenary has come a long way, baby. Moving on, March 18th was a night to remember as I witnessed rock and blues history. At 69 years of age, Edgar Winter moved with more enthusiasm and passion than a Wednesday night ZUMBA class at the YMCA. At first, I thought it was going to be a nostalgia show where he’d play his two hit songs and then talk about the good old days but I was wrong. Winter and his band comprised of top LA session players destroyed my previous nostalgic notions. Age certainly has no hold on Edgar Winter and he proved that by singing each and every note and vocal riff with nearly perfect intonation. His sax playing was exemplary and of course his innovative keyboard work was something I found myself looking forward to more than I imagined. He easily had the crowd of devoted music lovers eating out of his hand and a good time was had by all. A highlight of the night was during the iconic song, “Frankenstein” when Winter effortlessly switched from keys to sax to timbales and back to keys. Seeing that the crowd hungered for more, Edgar Winter delivered with “Free Ride” and a heated rendition of “Jumpin’ Jack Flash” ala The Stones. Opening the nights festivities were local and regional acts, The Red Dirt Revelators (from down
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Show Review - The Dictators NYC & The Battery Electric at The House Of Independents in Asbury Park, NJ
Beneath his tough New Yorker persona, Handsome Dick Manitoba is all heart and that came through during his song, “New York, New York” which is an ode to a city only a mother could love but The Dictators NYC probably loved your mother a couple of times back in the 70’s. I’m not judging or anything. With no shortage of pure Bronx charm, Handsome Dick Manitoba and his Dictators NYC created mosh pits, encouraged slam dancers and made a high energy thrill ride that proved that age only ads experience and if you want to have a good time being truly entertained, go see them live.
By Jenny Cat Photos by Dave Hummell Ah yes, Asbury Park, New Jersey. Birth place of Bruce Springsteen’s career and countless other Jersey Shore rockers. Yes. Bruce made a living out of writing songs about escaping the Great Garden State, but I digress. Back on February 19th, I went to see some killer bands at a new club in Asbury Park called, The House of Independents. The Battery Electric are the hometown favorites of AP as they usually win all of the awards at the Asbury Park Music Awards. I’m not kidding! I never saw them live and was skeptical to the hype (I’m always skeptical) and I know band guitarist Brent Ovar Bergholm’s cousin. I watched as these larger than life rock Gods from down the shore tore the faces of the eager punk-loving crowd with their high energy rock and roll and selected R&B classics. A small mosh pit broke out but was soothed with some old school soul from these hairy men of mayhem. If you want a show that won’t bore the shit out of you, go see The Battery Electric. The Dictators NYC soon took the stage and instantly the room took on the snarky tone of a dirty Bronx sewer (not like that’s a bad thing). Lead singer and Sirius XM DJ, Handsome Dick Manitoba grabbed the mic and sang his classic hit, “Pussy And Money” which I gather is about his pet cat and veterinary bills. I think I’m joking.
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Music Review Anytime James, “Anytime James” By Dana Saravia – Life-long rock & roller, current music critic and Girl From Baltimore
As a huge fan of MC5 and The Stooges since the 70’s, it’s always exciting to hear a band who proudly carries those influences into their own music. Australia’s Anytime James builds on the Detroit snarl and punk blues fury of those groups and adds their own raw honesty, humour and experiences to create one hell of an album.
“Tryin’ To Write A Love Song” starts the album with a bang. A song that celebrates living your own life groove and fitting backdrop to the song’s vocal on your own terms in spite of society’s expectations is backed with some fierce heavy blues rock in description of trying to fill that restless, relentless that heady early 70s style. It’s not only a killer track, aching void in life. Next up, lead singer/songwriter Michael Gibbons brings a tremendous Iggy Pop vibe but perfectly chosen to both introduce the band to “Yoga Demon”, a fantastic lust song. The sixth and set up the songs that follow. The bluesy grind track, “Going In Heavy”, features the strength of of “Jonson Street Catwalk” follows. With lyrics as the rhythm section while the sax brings heat and relatable and prickly as “Everywhere I look, there’s a fucking Kardashian”, this is a wail against the plas- helps make this song about conquering demons and regaining control one of the most emotionally tic trash that permeates current culture and those impactful of the album. It’s followed by “Wild Cat who are too easily influenced by its celebration of mindless consumption. A strong statement and one In The Night”, where Michael’s vocals are front & of the album’s stand out tracks. Gritty, smoking gui- center as the slinky, sensual guitar riffs provide the perfect backing for the lyrics of a man on the prowl. tar is the centerpiece of “On Your Trail”, a crunchy “Grandma’s Money” closes out the album. Slow blues rock number with a chorus that contains the lyrics “My burning eyes/Are locked in on you/There’s burning instrumentation is paired with lyrics that nothing you can do”. The chorus’ lyrics are aimed at have a stream of consciousness feel and a touch a few targets throughout this powerful song, includ- of Lou Reed influence to create a strong narrative about addiction ruining a life. Lines like “They’ll ing someone who needs to hear the truth as well never silence that inner voice” and “How the fuck as a gal he wants. It’s clear that when the singer is did you ever go so fucking wrong?” ring true to determined, he lets nothing and nobody stand in anyone who’s ever experienced watching someone his path. The fourth track “Itch To Scratch (Always Got An)” is both slow burning and hard-hitting. The struggling in the grip of addiction, whether it’s Karloff in The aWalking Deadthemselves (1936) or someone close to them. Haunting piano and guitar work Boris together to create textured
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and memorable, a terrific album closer. Anytime James’ self-titled album is phenomenal, especially for a debut. The band brings gritty, honest, real rock & roll with that blues punk groove, combines it with bold, ballsy lyrics and creates a raw power all their own. Definitely a band worth hearing and an album that will leave you wanting more.
**** Available on CD and digital download via http://www.anytimejames.com.au ****
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Film Review “Race” is hampered by Nazi propaganda By Jerry Saravia – Pseudo Film Critic 80 years ago, Jesse Owens, a track-and-field super athlete, fielded a major upset at the Munich Olympics as he scored historically high scores. The fact that this was a black athlete who managed to beat all the Aryan athletes with Hitler and Goebbels in attendance was the real upset. That game is at the heart of “Race,” a squeaky-clean, inoffensive biopic that short-shrifts Jesse Owen’s background in favor of Olympic politics. I do not mind an exploration of the racism of a tyrannical group like the Nazi Party that was forced by the U.S. to cater to someone like Jesse Owens, but why leave out major insights into Owens himself? The film begins rather oddly with dark blues hues covering Owens’ Cleveland home, as if a dark cloud was penetrating his existence. What is this…a horror movie? Still, this section of the film proves most rewarding as we see Owens readying himself for Ohio State University and though the family is happy for him, his quiet, reserved father is uneasy. His father’s reaction is understandable because Ohio State University does not welcome Jesse with open arms. For the athletes, the white players get to shower first, then the blacks. Everyone on campus (meaning white students) looks at Jesse with disapproval. Remember this is the early 1930’s, yet it is Jesse’s new competitive coach, Larry Snyder (a marvelous Jason Sudeikis) who doesn’t see color in Jesse, he sees a champion in the making especially after Snyder has suffered so many game losses. The coach wants to help Jesse to prepare by playing syncopation jazz LP’s; by tuning out the hateful, racist slurs slung on a daily basis by the white players and, most significantly, by knowing that beating scores isn’t as important as winning medals. That includes winning Olympic medals.
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Suffice to say, there is nothing here we haven’t seen before and possibly better, but I am a sucker for inspirational sports dramas where the underdog overcomes hurling obstacles. “Race” is not content, however, with doing just that. We are talking the superhuman runner Jesse Owens here, the man who changed Olympic history and in Munich no
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less. Unfortunately, the screenwriters Joe Shrapnel and Anna Waterhouse decide to take one too many sharp turns towards U.S. politics when competing in Munich. We are introduced to Avery Brundage (Jeremy Irons), President of the United States Olympic Committee, who sees that participating in Munich will prove to the world that the Master Race is wrong in thinking they are superior to Jews and blacks. There is a lot of the backroom intrigue between select members of the committee (including a sleepy-eyed William Hurt as Amateur Athletic Union head Jeremiah Mahoney who wishes for a boycott) and the meetings with Goebbels and infamous filmmaker Leni Riefenstahl (who helped to make Owens iconic in her film “Olympia”). I am not saying I did not find this intrigue and political manipulation fascinating but it takes too much time away from Jesse Owens. We sense a struggle with Jesse who has to work at a service station just to support his future brideto-be and their daughter. Jesse also tries to win back her love after carrying on an affair. The film bravely doesn’t shy away from showing how the Germans allowed blacks to stay in the same hotels in their country while in America, segregation was still allowed. These moments punctuate the Owens story of surviving against all odds yet, aside from almost breaking his leg during a stupid stunt, Jesse Owens is presented as a reverent idol, a gift from the gods who ran faster than anyone and could beat anyone. But he must have had some strenuous
coaching that went beyond mere rhythm to jazz albums. Once he is at Munich, he competes and wins his medals – where’s the training? I am not one for clichéd “Rocky” montages but come on. Jesse’s story is overwhelmed and undercut by all the political machinations behind-the-scenes. Even Sudeikis’ coach Snyder seems to steal the spotlight. For a two hour and 14 minute, I expect a lot of the triumphant human spirit of Jesse Owens and less, well, everything else. “Race” is a clear-cut entertainment designed to promote Jesse’s wins, and it does that beautifully, but there is an overflow of Nazi propaganda that would’ve better served a Leni Riefenstahl biopic (which has yet to materialize in La La land). “Race” is slightly hampered by second-string subplots that divert from Jesse Owens (a somnambulist William Hurt is not what I call entertainment). The film suffers from similar problems that plagued “42,” a far more penetrating biopic about another legendary sports figure, Jackie Robinson, and the racism and struggles he had to endure just to play ball. There is one shot, however, in “Race” that took my breath away. It is a spectacular long-take where we follow Jesse as he enters the Olympic field and sees the crowd and a German zeppelin above and prepares to run, slowly putting on his shoes. It is all so entrancing and overwhelming, all from Jesse’s point-of-view. “Race” could have used more of that.
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Film Review 10 Cloverfield Lane: An Exercise in Terror By Jerry Saravia (Pseudo Film Critic) When I first saw the J.J. Abrams-produced, anxiety-driven “Cloverfield,” I was taken aback by its unrelenting intensity and its fleeting hand-held found footage of a monster destroying half of New York City. It was unapologetically an apocalyptic B-movie which curiously resisted showing too much of the creature and focused more on the horrified faces of its main characters. The film was just shy of 80 minutes long yet managed to be a scary roller-coaster ride of a movie – an efficient thrill machine. “10 Cloverfield Lane” is also scary yet far more intense and serves as a slight character study of three people in a claustrophobic bunker trying to survive the supposed contaminated gas that has permeated the outside world. Be thankful that this
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movie will not remind you of the peculiarly campy and downright tedious “The Happening” – think of it more as a cross between the insularity of confined spaces of “Assault on Precinct 13” mixed with a drop of “The Twilight Zone.” Mary Elizabeth Winstead is Michelle, a young woman interested in getting the hell out of her current predicament with her fiancé (played by Bradley Cooper as only a cellular voice) – she has left hastily from her apartment from an unseen argument. Michelle is interested in fashion, though we don’t know if she aspires to be a designer or if she is one already. In early scenes, we see her talking on the phone but we only hear the instrumental music score. We can assume she is uncertain of her status in life. These scenes, played with utmost, refreshing restraint, show what a gifted actress Winstead is – she says so much without uttering one syllable. As Michelle is driving away from New Orleans, a truck barrels into her and her car flips over a few times. We have seen scenes like this in innumerable flicks but, this time, I was really taken by surprise because you don’t expect it and there is no CGI vehicle collision. No, we hear it and the camera shakes violently – we are still in the car with her without seeing a damn thing. That sets up the tone for the
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rest of “10 Cloverfield Lane.” Michelle wakes up in a window-less basement room with her leg strapped to a chain in the wall. Before you can say “Saw: The Final Chapter Returns,” it is John Goodman who plays Howard, a former Navy man armed with a gun who caters to Michelle. He tells her that he crashed into her car…but naturally, this can’t be good news when you find yourself strapped to a wall like a wild animal. He explains that the air is contaminated and there has been either a nuclear or chemical attack in the U.S. They are not alone since there is one other occupant named Emmett (John Gallagher, Jr.), a former employee of Howard’s who helped build the bunker in case of a future doomsday scenario. Except is Howard telling the truth? Who is the woman with a bloodied face who attempts to enter the bunker? What is it with all the rumbling above ground? Did everyone die outside the bunker or did some survive? There are several burning questions in “10 Cloverfield Lane” and many are not going to be answered here. Stunningly directed by debuting director Dan Trachtenberg under the guidance of producer J.J. Abrams, the film is engineered to scare the bejesus out of you and it succeeds. It also chooses intimacy with its characters over simplistic one-note renderings. Winstead’s Michelle is spectacular, the one with the strength, will and stamina to survive. John Goodman’s Howard is a bit
of an enigma, a conspiracy theorist and survivalist who may have lost his humanity and gone bonkers. Goodman is appropriately threatening and throws in a touch of tenderness (I love how he almost humps his jukebox) yet when he asks that a dumpster of acid be moved, watch out! John Gallagher, Jr. also caught my attention as the jovial, jocose survivor who may have some doubts about his former employer. Whatever horror awaits the three characters in the outside world, nothing can be as horrifying as dealing with unpredictable human beings in a tight little bunker where the toilet is actually in the shower stall! “10 Cloverfield Lane” has been stated by J.J. Abrams as the spiritual successor to 2008’s “Cloverfield.” Clearly the title name “Cloverfield” is being used to tout a horror anthology of sorts, with perhaps future films embarking on unspeakable horrors that are heard and implied rather than seen. Still, you will not see that startling finish coming for miles. Hang on to your seats. ###
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TV Series Review “The Last Man On Earth”, Fox TV, Sundays at 9:30pm EST By Dana Saravia – Life-long rock & roller, current music critic and Girl From Baltimore Recently, I read that one of my favourite current TV series, Fox’s “The Last Man on Earth”, wasn’t being talked about very often and as a result, isn’t getting much attention. So I thought I’d take a detour from my usual music reviews to write about one of the best TV comedies currently in production. Last Man on Earth is a creative, smart and thoughtful sitcom--qualities alone that make it unique on a major network. This show was funny in its first season, and with the current second season, the series’ sense of humour has deepened as the writers have found a good groove and are beginning to further explore the comedic possibilities of the show’s premise. As the core group of characters, the last people left on Earth after a virus has wiped out most of the population, are learning to adapt to their new living situation--first in Tuscon, then in Miami and currently in Malibu--they find themselves in interesting predicaments, some expected and others not so much. The cast could not have been better chosen. Will Forte stars as the title character, Phil Miller, who discovered in the first season he’s not alone. The always hilarious Kristen Schaal is Phil’s wife Carol, while January Jones makes a marked departure from her Mad Men character Betty Draper as neighbour Melissa. Rounding out the series regulars are Mel Rodriguez, Cleopatra Coleman, Boris Kodjoe and Mary Steenburgen, each of whom bring something special to their roles and the series.
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We viewers are also getting to discover characters the core group has yet to find out about, expanding the show’s comic potential as well as providing excellent opportunities for guest stars. The episode that originally aired the 13th of March alone featured fantastic comic performances from two great actors, Jason Sudeikis and Mark Boone Junior, who I hope we see again as the series further unfolds.
The Last Man on Earth is the most original and intelligent sitcoms I’ve seen in quite some time. The humour can be all over the map, but it all works together beautifully. The writing is superb and the series uses some absolutely stellar music in the background – already The Standells and Lou Reed songs have been cleverly used to enhance scenes, as have a few well-chosen (and lesser heard) songs from The Kinks. The actors that comprise the series
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regulars have charm and great chemistry, as have each of the guest stars -- even when their characters are not the most likeable of people, you still want them to get it together, turn it around and succeed. And you’ll certainly laugh as they do. “Last Man On Earth” is a bright and welcome addition to the Fox Sunday night comedy line up--very highly recommended, check it out Sunday nights at 9:30 pm EST on your local Fox affiliate and available anytime via FOXNOW.
Web Site: http://fox.com/the-last-man-on-earth FB: http://www.facebook.com/TheLastManOnEarthFOX Twitter: http://twitter.com/LastManFOX
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Music Review Blind Lemon Pledge “Pledge Drive” By Dana Saravia – Life-long rock & roller, current music critic and Girl From Baltimore
There are few artists whose names are so flippant and clever, they sound like they were born on a Simpsons episode. Blind Lemon Pledge is one of those rare artists and while his name is irreverent, his respect for the blues runs true and deep. His latest album “Pledge Drive” is a journey bringing blues and traditional Americana sounds to address modern life’s issues.
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A chugging backbeat and minimal instrumentation start the album with the opening track “Run John Run”. A slinky beat and low vocals combine with the stand out harmonica playing of Jenny Reed to create a seductive yet threatening atmosphere, fitting for “Moon Madness’” theme of sexual obsession. The honky tonk piano and fantastic brass bring a strong NOLA flavour to “Nag Nag Nag”, a fun, boozy mid-tempo number. Emotive vocals are the centerpiece of the slow tempo blues ballad, “Cara Lee”, where Lemon yearns for his long gone lady, who left him with a letter and a broken heart. The bass heavy slow burn of “Birmingham Walk” follows. Guitar riffs bring attitude and add spice to the rootsy, campfire folk tale vibe of this song recalling civil rights marches & those who participated. “5 Weeks Of Heaven” is next. Classic rock is blended with the more traditional blues sounds here and with lyrics like “5 weeks of heaven/A lifetime of misery”, it’s an easily accessible song that would make a great single. “She Broke The Ten Commandments” brings back the more traditional blues sound and lyrical theme, while “You Can’t Get There From Here” combines a slow tempo with sparse instrumentation to create a late night lounge vibe. “O Katrina”, a song about Hurricane Katrina with a swamp stomp backbeat follows. In spite of some sharp, descriptive lyrics such as “Devil wind is blowin’/Black water gonna rise/Better get your family goin’/Or you’re gonna lose your lives” and a strong narrative describing mistrust of the government and having enough liquor “’til Jesus comes again”, the music on this track doesn’t pack quite the emotional gut punch I expected. The tenth song “You Know You Really Got The Blues” features slide
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guitar that immediately drew me in to this slow burn blues song. The vocals have an emotionally warn feel that fits the lyrics, helping create a song that shows a deep knowledge and fine performance in the traditional blues sound. “Kokomo”, which combines a driving beat with richly detailed lyrics, immediately follows. Using music and storytelling from the folk and blues tradition to relate the modern issues of the current economic downturn along with its frustration and resulting actions, this is an impactful song that stands out as the most powerful on the album. The sound of a train and the wailing harmonica provide a strong start to “Railroad Mama”, the jug band rave up that closes out the album. Adding authentic Appalachian sounds to a fast paced beat, it’s a fun number that would be a perfect fit for a film or TV series that takes place in that region and it brings the album to a close on a positive and energetic note.
Even with a couple songs that don’t quite hit the bullseye, Blind Lemon Pledge has crafted a rich, passionate album with “Pledge Drive”. He makes great use of both his voice and solid playing from the instrumentalists joining him to create mood and atmosphere, sometimes adding depth in unexpected ways. There is a musical purity and sincere respect for each musical tradition represented throughout the album, making “Pledge Drive” a drive worth taking.
****Available on digital download via Amazon. com and iTunes****
Web Site: http://www.blues.james-creative.com FB: http://www.facebook.com/blind.pledge
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Music Reviews/ Quick Takes Black Joe Lewis & The Honeybears “Tell ‘Em What Your Name Is!” Thunderbitch “Thunderbitch” By Dana Saravia – Life-long rock & roller, current music critic and Girl From Baltimore
Although Black Joe Lewis & The Honeybears released “Tell ‘Em What Your Name Is!” back in 2009, it still packs a serious punch. From the minute the needle drops on the opening song “Gunpowder”, this LP grabs the listener with a brash blast of fantastic sounds. BJL&TH play an authentic mix of electric blues, soul and good old fashioned rock & roll. They create strong songs with memorable melodies that back narrative lyrics that are heartbreaking and hilarious, sometimes all at once—the well-chosen single from that LP “I’m Broke” is an excellent example of both their lyrical and songwriting talent. “Get Yo’ Shit” is another good example of the band’s lyrical prowess as the characters and situations in this song are effortlessly sketched to life in this soul rock gem. A couple songs later, the band’s superb musicianship is on display with the red hot Southern fried funk of “Bobby Booshay”. Every song on “Tell ‘Em What Your Name Is!” adds something to the album and shows the strong musical foundation that Black Joe Lewis & The Honeybears have continued to build on with each album since. Although the band simply goes by Black Joe Lewis these days, their sound remains as inspired and full as ever. Though each of the band’s subsequent releases, 2011’s “Scandalous” and 2013’s “Electric Slave”, are unquestionably worthwhile listens, the eclectic energy of “Tell ‘Em…” keeps it my favourite. A true original and a new classic. **Available on LP, CD & digital download via local record stores, Amazon, & band website** Web Site: http://www. blackjoelewis.com
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FB: http://www.facebook.com/blackjoelewis Twitter: http://twitter.com/blackjoelewis ----------------------------------------------------------------------------Released last year with scant publicity, Thunderbitch’s self-titled album still managed to announce itself loudly into my record collection. Thunderbitch is the revved up garage rock side project of (maybe) a well-known, whiskey voiced front woman who is (possibly) moonlighting from her day job with Alabama Shakes and musicians gathered from two other bands – Fly Golden Eagle and Clear Plastic Masks. It all adds up to a raucous LP that comes straight from the gut to the vinyl. “I Don’t Care” has a raw 70’s CBGB sound, while “Eastside Party” combines a 50’s rave up rock vibe with a bit of Janis Joplin & Big Brother style primal energy. “I Just Wanna Rock & Roll”’s title says it all with loud guitars and reckless fun and those are just highlights of Side 1. Side 2 starts with the bottom
heavy hard rock groove of “Wild Child”, while “Let Me Do What I Do Best” features some great piano playing on this celebration of everything wild and wonderful about rock & roll freedom. “Heavenly Feeling”, a slow, smoky blues number closes out the album on a contemplative note, one that will stay with you after the song and album end. The powerful vocals, bluesy riffs and crunchy, rough rock of Thunderbitch make this album of bare bones immediacy one of the best of last year and have kept it in regular rotation for me this year too.
***Available on LP and digital download via local record stores, Amazon & band website***
Web Site: http://www.thundabetch.com FB: http://www.facebook.com/thundabetch
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Music Review Garage Rock 45s, Hidden Volume Records releases By Dana Saravia – Life-long rock & roller, current music critic and Girl From Baltimore
Though there positive aspects to purchasing music via digital download, for me, nothing beats good old fashioned vinyl. The sound, the cover art, the label on the record and, if you’re really lucky, the coloured vinyl and extras in and on the inner sleeve as well. This is certainly true for full length albums and it remains true for the 45 rpm single as well. Though the 7 inch single could be harder to find in the cassingle and CD single format years, it has been steadily making a very welcome return. One of the best labels concentrating on putting out fantastic garage rock singles and EPs on a regular basis is Baltimore’s Hidden Volume Records. I order from them frequently and am always more than pleased when I receive my order. This month, I chose to write about 3 bands whose work I either discovered or heard additional music from via Hidden Volume.
First is the latest single from Lyon, France’s The Missing Souls, a band that’s quickly become one of my new favourites. Their energetic blend of northern soul and garage rock is made even more distinctive with the gritty, melodic lead vocals of Zaza Sharps. The A side, a cover of “Got To Have Your Lovin’” is clap along, dance around fun, while the B side’s cover of “You Ain’t Tuff” is a rhythmic bit of freakbeat that showcases the band’s instrumental prowess, especially on the organ and bass.
Next is a 3 song EP from Oregon’s The Reverberations, who play potent, guitar heavy, Mersey sound inspired garage rock. The A side
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“Lost In Tyme” is a fuzzy, psych rock gem. The first song of the B side, “Why Should I Care?” has a harder edged crunch and features some stand out guitar playing in the middle that adds to this song’s flavour. “The Way I Want You” brings a sweet, mid 60’s AM sound to this sunny love song. A memorable and upbeat way to end this impressive EP.
Last, but certainly not least, is the 2014 single from South Philly garage punk band The Improbables. Building on their melodic, adrenaline-shot garage punk heard on past singles, the A side “Bad Vibrations” adds some classic melodic pop influence to the mix while bringing edge and bite to the lyrics. The guitar intro sounds like something from a lost Monkees tune that somehow wandered into an early MC5 recording session and it sounds incredible. “Giving You A Key” keeps the guitar prominent in the mix while the drums play a galloping beat, which all adds up to a smokin’ B side with attitude and energy to spare. This single is a great intro to the band if you aren’t familiar with them and a boss addition to both their catalogue and your record collection if you are.
Though the vinyl copies of these stellar 45s might be sold out by the time you read this, the digital
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downloads will still be available via Hidden Volume Records’ web site. If you are lucky enough to be able to grab copies of these singles on vinyl, I definitely recommend it. The artwork is eye-catching and each brings back the excitement of Saturday afternoons by the turntable, cranking up the latest singles and having a blast.
Hidden Volume Records Web Site: http://www.hiddenvolume.com FB: http://www.facebook.com/hivorecs Twitter: http://twitter.com/HiVoRecords
The Missing Souls Web Site: http://themissingsouls.wix.com/ themissingsouls FB: http://www.facebook.com/ohmymissingsoul
The Reverberations Web Site: http://thereverberations.bandcamp.com FB: http://www.facebook.com/thereverberations
The Improbables Web Site: http://theimprobables.bandcamp.com FB: http://www.facebook.com/theimprobables Twitter: http://twitter.com/The_Improbables
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Bongo Boy TV Rock N’ Roll TV Show Episode 1075 “This Time For Good” Synopsis by: Dana Saravia—Lifelong rock & roller, current music critic and Girl From Baltimore Bongo Boy TV is proud to present the latest episode in their Bongo Boy Rock N’ Roll TV Series, “This Time For Good”, featuring videos from 7 talented artists in 1 special ½ hour show. This latest Bongo Boy TV produced episode premieres Saturday, 5th March 2016 in Brooklyn via the following TV channels: Channel 34 on Time Warner Cable, Channel 67 on CableVision, Channel 82 on RCN and Channel 42
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on Verizon FiOS in Brooklyn and all NYC boroughs at 5:00pm. This rotation repeats Tuesday, 8th March 2016 in Manhattan via the following channels: Channel 67 on Time Warner Cable, Channel 85 on RCN and Channel 33 Verizon FiOS at 10:30pm. For a complete broadcast schedule, please visit https://www.bongoboytv.com
Opening this episode is Madison Charingo from Doylestown, PA with the video for her song “Different”. An earnest poppy rock number with a sweet melody, Madison brings more style and wisdom to her music than most of her pre-teen/ teenage peers. She shows impressive confidence and enthusiasm in this song about having pride in being herself and fearlessness in using her own voice in life. The video accompanies the lyrics nicely, using scenes typical of a 12 year old’s life while showing the power of music throughout.
Video Director: Anthony Gallagher and Merked Out Beatz
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Web Site: https://madisoncharingo.com FB: https://www.facebook.com/ Madison-Charingo-293385264152415 Twitter: https://twitter.com/11MadisonMusic
Next up is Budapest, Hungary’s Barbara Kiss with “This Time”. A frothy, fizzy love song, this track mixes upbeat vocals with 80s influenced bubblegum electropop. This blend of modern and 80s electropop would fit in perfectly on a playlist between Katy Perry and Debbie Gibson and the video would be at home on either era of music television as well.
Next from Bex, Switzerland is Michael Resin with his latest “Come Back Daddy”. This is a slower paced electronic number that describes trying to heal the wounds of childhood abandonment as an adult. The video intercuts B&W scenes of a child in a park playground and at home with fighting parents with colour clips of the adult he becomes, returning to those places to seek peace in the present.
Video Director: Gergely Mate Kiss
Video Director: Sophie Hernandez
Joyslam brings us “Re-Invent Yourself” from Toronto, Canada. This song’s blend of bass heavy modern funk, soul and ska backs lyrics that encourage listeners to embrace change and take chances to improve their lives whenever possible. A song good for both the headphones and the dance floor.
Web Site: https://michaelresin.com FB: https://www.facebook.com/MichaelResinArtiste Twitter: https://twitter.com/michaelresin
Web Site: https://www.barbara-kiss.com FB: https://www.facebook.com/barbarakissmusic Twitter: https://twitter.com/barbara_kiss
Video Directors: RJ Martine and Matthew Kelly Nick Le Juge, a French import who now makes his home in Los Angeles, CA, follows with the video for his latest “Good & Evil”, featuring Prodigal Sunn from Sunz Of Man (Wu-Tang Clan). The sound of hard rock guitar and drums start off this track, which leads into slower tempo auto tuned vocals. The lyrics describe the potential for good and evil present in everyone and the struggle to do the right thing, even when temptation and harsh surroundings make that choice difficult. Prodigal Sunn’s hard hitting rap adds depth and bite, sharply punctuating the song’s theme. The video effectively uses jail and street scenes to further illustrate the music.
Video Director: Nick Le Juge Web Site: https://nicklejuge.com FB: https://www.facebook.com/Nick-Le-Juge
Web Site: https://www.joyslam.com FB: https://www.facebook.com/joyslammusic Twitter: https://twitter.com/joyslam
In celebration of Bongo Boy TV’s 5 year anniversary, The Rock N’ Roll TV Show is proud to bring you some favourite videos from the archives. This video for the song “Spin” from Chicago, IL’s KickBend is from the 4th season of Bongo Boy TV and the song was also featured on the recent Bongo Boy digital music compilation album “Out Of The Garage Volume One”. The angular rhythm of this straightforward rock song backs lyrics that smartly detail the frustration of dealing with information overload. Fun from start to finish, as is the silent-film inspired video that accompanies it.
Twitter: https://www.twitter.com/NickLeJuge
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Video Director: Danny Karabaic Web Site: https://www.KickBend.com FB: https://www.facebook.com/KickBend
and is fully funded by sponsorships from all the indie musicians and their affiliations in each episode and Bongo Boy Records. Bongo Boy TV produces and distributes the Bongo Boy Rock N’ Roll TV Show, which puts the spotlight on independent artists and their music videos worldwide.
Twitter: https://twitter.com/KickBend All TV episodes are available on their online channel: https://vimeo.com/bongoboy Closing out this episode is another video from the Bongo Boy TV archives, Glore, AZ’s own Amy Schugar with “500 Miles Away”, originally seen on Rock N’ Roll TV Show’s 3rd season. The mournful guitar and Amy’s whisky soaked vocals make this modern blues track memorable. The slow simmer emotion of longing & missing a faraway love is sharply present throughout the music and lyrics on this track. The performance scenes, especially the shot of Amy playing guitar on a balcony backed by the cityscape at sunset, add to the organic vibe of the song.
Video Director: Layna McAllister
Bongo Boy TV is Real Television on 54 channels across the USA offered in 2 regions – New York City and National.
Bongo Boy TV is also available via GO INDIE TV RokuChannel for free on demand.
Web Site: http://www.bongoboytv.com
Email: submit@bongoboytv.com
Web Site: https://www.amyschugar.com FB: https://www.facebook.com/amyschugar Twitter: https://twitter.com/amyschugar
Every episode of Bongo Boy TV brings exposure for each of these very talented independent artists.
This episode has been brought to you by Bongo Boy Records in celebration of Bongo Boy TV’s 5th season of bringing independent music back to television and also in part by Backroom Blues Vol 1, True Tea Magazine, Gypsy Poet Radio and Steel Notes Magazine.
The Bongo Boy Rock N’ Roll TV Show is produced by Grammy members Gar Francis and Monique Grimme
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Bongo Boy Rock N’ Roll TV Show Episode 1076 “What I Am” Synopsis by: Dana Saravia—Lifelong rock & roller, current music critic and Girl From Baltimore
For a complete broadcast schedule, please visit https://www.bongoboytv.com
Barbara Kiss from Budapest, Hungary brings us the video for her latest song “This Time”. A breezy bubblegum pop tune, it has an 80’s flavour and influence. This upbeat number wouldn’t sound out of place on a playlist between Katy Perry and Debbie Gibson.
Video Director: Gergely Mate Kiss Web Site: https://www.barbara-kiss.com FB: https://www.facebook.com/barbarakissmusic Twitter: https://twitter.com/barbara_kiss
Bongo Boy TV is proud to present the latest episode in their Rock N’ Roll TV Show series, “What I Am”, which presents 7 talented artists in 1 special ½ hour. This Bongo Boy TV produced episode premiered Tuesday, 1st March in Portland, OR on Channel 29 at 10:30 pm with rotation repeated for 2 weeks on all channels in the Bongo Boy TV National Region.
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Sydney, Australia’s Nick de la Hoyde is next with his latest “Changing”. EDM backs light hip hop styled vocals on this modern pop number. The song’s lyrics describe growing up and moving on and remind the listener to take time to make memories with friends
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and enjoy the moment before time moves on. The video’s use of scenes such as cruising in a car with friends and heading to the beach are well matched to the song’s theme.
Video Director: Andrew Seaton Web Site: https://www.nickdelahoyde.com FB: https://www.facebook.com/nickdelahoyde Twitter: https://twitter.com/Nickdelahoyde1
Doylestown, PA’s Madison Charnigo, the youngest artist appearing on Bongo Boy TV to date, follows with her latest song “Different”. This poppy, heartfelt modern rock number features sassy vocals and a bit more insight in the lyrics than what is usually heard from her preteen and teen peers. This song celebrates proudly being yourself and lyrics such as “Maybe I’m different/Maybe I like it like that/I don’t care what you say or do/If you don’t like me, you can go away” show impressive confidence and attitude, along with an organic musical sound that would be refreshing to hear today’s pop chart. The video expands on the song’s positive message, including scenes of Madison having fun with friends and alone and singing in school, encouraging others through her music. Another of Madison’s songs, “Stay Strong”, can be heard on the latest in the Bongo Boy Records Compliations series, Volume 8, which will be released March 2016.
Next, Jackson Turner featuring Lisa Rowe bring us “New Beginnings” from NY, NY. Lisa Rowe singing a gentle melody begins this slower tempo, old school hip hop inspired song. Jackson raps lyrics that detail the end of a long term relationship in a bittersweet and mature way. A grown folks love song, his take on a break up being the start of a new beginning while wishing his former partner well is a welcome perspective not often heard. The black & white footage of both Jackson and Lisa singing gives a classic and dramatic look while allowing the emotion of the song and the story in the lyrics take center stage.
Video Director: Marcel Gothow Web Site: https://emceeheretic.bandcamp.com FB: https://www.facebook.com/emceeheretic Twitter: https://twitter.com/emceeheretic
From Bound Brook, NJ, Lisa Coppola brings us her latest “Just A Little Time”. Current country rock combines with Lisa’s emotional vocals on this mid-tempo song about wanting to prove her value to an ex-boyfriend. The video features Lisa singing outdoors on a farmstead and in a field adding to the down-home flavour and breezy feel of this number.
Video Director: William Henra Web Site: https://www.lisacoppola.com FB: https://www.facebook.com/LisaCoppolaMusicPage
Video Directors: Anthony Gallagher and Merked Out Beatz
Twitter: https://twitter.com/LisaCoppola
Web Site: https://madisoncharnigo.com FB: https://www.facebook.com/ Madison-Charnigo-293385264152415 Twitter: https://twitter.com/11MadisonMusic
Las Vegas, NV’s Nick Hawk brings us “We Fight”. Electronic music, modern hip hop and a bit of metal combine on this track about not giving up and fighting for what you want, no matter what. This aggressive, fast paced song would fit right in on a video game or included on an MMA or WWE
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soundtrack.
Video Director: Nick Hawk Web Site: https://NickHawkExplicit.com
This episode has been brought to you by Bongo Boy Records in celebration of Bongo Boy TV’s 5th season of bringing independent music to television and also in part by Backroom Blues Vol 1, True Tea Magazine, Gypsy Poet Radio and Steel Notes Magazine.
FB: https://www.facebook.com/thenickhawk Twitter: https://twitter.com/TheNickHawk
Wrapping up this episode is Toronto, Canada’s Joyslam with the video for his latest song “ReInvent Yourself”. Heavy bass with some island influences drives the groove on this modern funk number. The lyrics bring a positive message about being unafraid to change, encouraging the listener to be brave and find ways to improve themselves, to have faith that positive changes will bring better outcomes. An upbeat song for the headphones or the dance floor.
Video Directors: RJ Martine and Matthew Kelly
The Bongo Boy Rock N’ Roll TV Show is produced by Grammy members Gar Francis and Monique Grimme and is fully funded by sponsorships from all the indie musicians and their affiliations in each episode and Bongo Boy Records. Bongo Boy TV produces and distributes the Bongo Boy Rock N’ Roll TV Show, which puts the spotlight on independent artists and their music videos worldwide.
All TV episodes are available on their online channel: https://vimeo.com/bongoboy
Bongo Boy TV is Real Television on 54 TV channels across the USA offered in 2 regions – New York City and National.
Web Site: https://www.joyslam.com FB: https://www.facebook.com/joyslammusic
Bongo Boy TV is also available via GO INDIE TV RokuChannel for free on demand.
Twitter: https://twitter.com/joyslam Web Site: https://www.bongoboytv.com Every episode of Bongo Boy TV brings exposure for each of these very talented independent artists.
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Email: submit@bongoboytv.com
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Bongo Boy Rock N’ Roll TV Show Episode 1077 “Love Tower” Synopsis by: Dana Saravia – Lifelong rock & roller, current music critic and Girl From Baltimore
The Bongo Boy Rock N’ Roll TV Show is proud to present the latest episode in their Rock N’ Roll TV Show series, “LOVE TOWER”, featuring 7 talented independent artists in 1 special ½ hour TV show. This latest Bongo Boy TV produced episode premiered Tuesday, 15th March 2016 in Portland, OR on
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Channel 29 at 10:30 pm with rotation repeated for 2 weeks on all channels in the Bongo Boy TV National Region. As Bongo Boy TV continues to celebrate their 5th season of bringing independent music artists’ videos back to television, we are featuring some of our viewers’ favourites in this episode. For a complete broadcast schedule, please visit http://www.bongoboytv.com
As Bongo Boy continues celebrating the Rock N’ Roll TV series’ 5th season, Alabama’s The Wild Fruit begin this episode with the video for their song “Slow It Down”. Strong, stand out drumming begins this track and stays prominent throughout the entire number. A rhythm heavy Southern fried blues and hard rock blend, it’s a fast paced joy ride of a song. The video’s scenes of the band playing in front of a swamp interspersed with a young couple hitting the road work well to enhance the song’s feelings of wild freedom.
Video Director: David Harrison Skipper of Reel Team
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Six Web Site: https://www.reverbnation.com/thewildfruit FB: https://www.facebook.com/TheWildFruit
Bongo Boy continues celebrating their 5th season of the Rock N’ Roll TV Show with another selection from the archives, this one from the UK’s Rozii Chaos and her song “The Beginning Of The End”, which was also featured on Bongo Boy Records Compilations, Vol 1 in Asia. With a strong backbeat and a metallic-tinged, 80’s cha rt rock throwback sound, this song is toe tapping fun. Rozii’s powerful vocals have a Pat Benatar influence that helps set this song apart. The video shows the band performing in various locales, allowing the song to take center stage.
Video Director: Rolling Vision Web Site: https://roziichaos.com
Next up is Switzerland’s Michael Resin with the video for his latest song “Come Back Daddy”. This is a slower paced electronic song with moody lyrics that describe trying to overcome the pain of childhood abandonment. The atmospheric video features scenes of a young child experiencing both good and bad times with his parents intercut with scenes of Michael returning to these places to help heal the scars and move on.
Continuing Bongo Boy TV’s 5th season celebration is another favourite from the archives, as well as another song featured on Bongo Boy Records Compilations Vol 1 in Asia, NYC’s own B. Bless featuring The Gipht with “She’s Looking Good”. This modern hip hop song features layered beats under a rhythmic, on point rap. The lyrics are charming & fun and are a real compliment to the woman they are written about. The video is colourful with some great fashions, makes a splash whether playing on a home TV or a club’s video monitor.
Web Site: https://www.bblessmusic.com FB: https://www.facebook.com/bblessmusic Twitter: https://twitter.com/bblessmusic
From the Bongo Boy TV archives in celebration of the Rock N’ Roll TV Show’s 5th season comes this fan favourite from the UK’s The Whitaker Brothers, the video for their song “Good Love”, a track which was also included on Bongo Boy Records Compilations Vol 1 in Asia. A strong backbeat opens and provides the solid foundation for the soulful rock groove of this song. Raspy, lived in vocals fit the laid back vibe of this song that encourages listeners to stand out from the crowd. The animated video is a knockout. Beginning with stark b&w drawings, colour is added to the dynamic and at times psychedelic drawings as instruments are added into the music. Unique and beautifully done, this video truly enhances the song’s atmosphere.
Web Site: https://www.thewhitakerbrothers.com Video Director: Sophie Hernandez
FB: https://www.facebook.com/TheWhitakerBrothers
Web Site: https://michaelresin.com
Twitter: https://twitter.com/whitakerbros
FB: https://www.facebook.com/MichaelResinArtiste Twitter: https://twitter.com/michaelresin Bongo Boy TV continues their 5th season celebration with another from the archives, Germany’s own Hella Donna featuring US rapper None Like Joshua
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(NLJ) with “Gimme Lights, Camera, Action”. EDM beats are the centerpiece of this dance pop song. Donna’s vocals flow easily over this upbeat number that celebrates being the center of attention. The modern video features fast cuts of Donna performing in front of several colourful backdrops that add to the playful vibe of the music.
Web Site: https://www.helladonna.com FB: https://www.facebook.com/helladonna
The Bongo Boy Rock N’ Roll TV Show is produced by Grammy members Gar Francis and Monique Grimme and is fully funded by sponsorships from all the indie musicians and their affiliations in each episode and Bongo Boy Records. Bongo Boy TV produces and distributes the Bongo Boy Rock N’ Roll TV Show, which puts the spotlight on independent artists and their music videos worldwide.
All TV episodes are available on their online channel: http://vimeo.com/bongoboy
Twitter: https://twitter.com/HellaDonna
Bongo Boy TV’s 5th season celebration continues with the video from the archives that closes out this episode, Belgium’s Secret Wish with the video for their song “Ivory Tower”, which also appears on Bongo Boy Records Compilations Volume 2 in Asia. Slick, electronic pop music is paired with auto-tuned female vocals on this song with a mainstream chart sound. Heavy keyboards back lyrics about breaking free and wishing to express individuality. The B&W video features dancers in an abandoned factory setting, which matches both the mood and message of the song.
Bongo Boy TV is Real Television on 54 channels across the USA offered in 2 regions – New York City and National.
Bongo Boy TV is also available via GO INDIE TV RokuChannel for free on demand.
Web Site: http://www.bongoboytv.com
Email: submit@bongoboytv.com
Web Site: https://secretwishmusic.com FB: https://www.facebook.com/ groups/1460887264208429
Every episode of Bongo Boy TV brings exposure for each of these very talented independent artists.
This episode has been brought to you by Bongo Boy Records in celebration of Bongo Boy TV’s 5th season of bringing independent music back to television and also in part by True Tea Magazine, Gypsy Poet Radio and Steel Notes Magazine.
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The Split Squad, used courtesy of The Split Squad
Michael DennerAn Interview With A Metal Legend
Denner owns a record shop in Copenhagen called “Beat Bop”.
By: Scott Saxon
bands made you interested in doing music for a living?
1. You grew up in Denmark. What music inspired you? Was it local, or what
Michael Denner is a Danish heavy-metal guitarist. Readers will either recognize his distinct sound from the seminal heavy metal band Mercyful Fate or his Michael: The first thing that inspired me was the work with King Diamond. records my mom and dad bought in the 60’s like His style had heavily influenced Metallica and others.
Denner is a fourth generation musician. Denner is known for playing a Gibson Flying V guitar. He lists his inspirations as Uli Jon Roth, Michael Schenker and Ollie Halsall. He was a member of Mercyful Fate and King Diamond amongst others. He has made guest appearances with Furious Trauma, Jack Cracker, VOLBEAT, Notre Dame and Saturnus. His main focus as of late is Denner/Shermann with Hank Shermann.
The Beatles, The Doors, Jimi Hendrix, Donovan, and Bee Gees etc.... but i was also inspired by my uncle who was just 9 years older than me and a long haired tough guy that i looked up to, he listened to Steppenwolf, The Who and the Rolling Stones, and everything loud and dirty.
One night when my uncle came to visit my father, he had a brought a brand new album of a band called Led Zeppelin, I was lying in my bed listening to it ,and it changed my life completely! I was one of the best students in my school class , but my grades dropped to zero when heavy rock became the only way to go, this was in 1969.
2. Do you think growing up in Denmark had an influence on your sound?
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release in june.
5. What are your favorite guitars, and have you designed a Signature guitar? Would you be interested in doing that? A Michael Denner Signature V ? Michael: My favorite guitars are my Gibson Flying V, and the Black BC Rich Stealth I used for the Abigail album.
6. Which King Diamond album, if any, do you still listen to?
Michael: No, not really ,more the northern Europe music traditions, and of course the German guitarists,Schenker and Roth.
3. How many instruments do you play, and when did you start learning? Do you sing?
Michael: Guitar,Bas,Drums,Keyboard and yes I sing, I had a few years as a jazz singer,but dropped it cause i wasn’t that good, and I started playing accordion and harmonica when i was around 6 and switched over to guitar when i was around 10.
4. You are known for your rather legendary career...Mercyful Fate, King Diamond, many others... and now Denner/Shermann. What are some of the songs you feel are highlights of your career? What are you looking forward to next?
Michael: Obviously, the two albums I did with him (King Diamond), but also the two albums Them and Conspiracy, which I think are great albums!
Mercyful Fate?, I do listen a lot to the Mercyful Fate albums these days,but mostly the mini debut and Melissa and Don’t Break The Oath.
7. Most people associate King Diamond with very dark stuff. However, on classics like No Presents For Christmas and Halloween, there is a playful sense to the music. Did you enjoy having fun with the sound, and lyrics, or did you prefer the heavier stuff with Mercyful Fate and storytelling mode of Abigail?
Michael: Yes, I prefer the darker stuff,but had great fun doing these songs.
8. What is in store for Michael: The highlights for me are Melissa,Don’t Break The Oath, Abigail,and the things I do with Denner/Shermann these days , and the new album
Denner/Shermann? You guys are both amazing separately, and such a great team. What makes that work so well?
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How many years have you known Hank? 12. Michael: The chemistry with Hank is perfect, he’s like a brother to me, and I talk with him almost every day, not just about music. We know each other so well as players, and who to play what part, when we record and write music. I’ve known him since 1978.
9. What advice would you have for aspiring musicians that you think would be helpful?
Michael: Practice, practice , practice!!, there’s no short cut, and then believe in luck to get the break!
10. What are some of your other interests that might surprise your fans?
What do guitar gods do for fun?
Michael: I collect horror and thriller movies, I play a bit of netpoker and watch Darts, sports, Soccer and UFC and Boxing on tv, and also music trivia and quiz games in general are amoung my hobbies.
11. You have been a huge influence on a lot of players, obviously. Do you notice it when you hear the style you created? Is that something that is a good feeling?
Lastly, you own a record shop, also, I believe. Can you talk about that? Do you run it hands on? As a big fan of vinyl, I wanted to ask what you think of the Vinyl Resurgence? I’m a big vinyl collector, and of course own your work on some great sounding lp’s. Do you prefer vinyl for your own listening?
Michael: Yes, vinyl is a big part of my personal collection, and yes there’s a big sale boom these days, which makes my shop strong and healthy these days.
How many records do you own ?
Michael: I own around 2000 vinyl albums and around 1500 seven inch vinyls, but also around 1500 cd’s. There’s no more room for Records,Movies,Guitars, and books in my smal 3 room apartment :-)
Thanks, Michael, for the great interview! Michael: Oh yes, and I’ve talked to some of these players, and some of them are far more skillfull technically than me, but the feel and timing is a gift Michael: No problem! Best Wishes. for a guitarist, you need to have it in your blood and soul, it can not be taught, there are some fine examples out there in the new generation of players.
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The Rew & Who Show Steel Notes Magazine | 169
Mercyful Fate-Don’t Break The Oath
you stare back, waiting for it to say something. It doesn’t speak; rather, it raises its hand from the lake. The figure is pointing directly at you, you’re sure of it. Suddenly, it hits you; you’re staring right at Satan himself. Just then, you see the name of the album...Don’t Break the Oath. You don’t think twice about playing the album. You don’t know what 5 of 5 Stars-Must Have possessed you to play the album; was it excitement, curiosity, or perhaps fear? One way or another, the album starts up. You turn off the lights and sit Review Summary: “Don’t Break the Oath” combines down, all alone in your cold, dark room. darkness, beauty, and the occult with expertise, making it one of the greatest albums of all-time in the heavy metal genre. “A Dangerous Meetings” starts off Don’t Break the Oath in fine fashion. From the opening riff, you can tell that the song is a real head-banger. While the guitar solos are fast and powerful, the song’s The year is 1984, one of the best years for heavy chorus is melodic and beautiful. It is the perfect metal of all time. It is a dark, cold, and stormy song to play when you are all alone in your room night, and you are all alone in your room. With the at night. King Diamond’s vocal work on the song exception of the pitter-patter of rain on your roof is truly remarkable, especially during the chorus. and the occasional strike of lightning, your room is Diamond’s deep voice never goes comically deep silent. Deathly silent. All alone in the dark, you flip and his falsetto voice never turns into a wail. The on a light and walk over to your personal library song is perfection; it being the year 1984, you’ve of heavy metal records. The first record you see is never heard anything quite like it. Sure, you’ve lisPowerslave by Iron Maiden. You shake your head tened to Venom sing about the glory of Satan, and at the album; despite your love of the album, it’s you’ve listened to songs by Black Sabbath and Iron no album for a stormy night. You seek something darker, more atmospheric. As you scan your library, Maiden that carry occult themes. However, King Diamond is something different. When Diamond one record catches your eye. The record is by sings about Satan or the occult, you feel something. Mercyful Fate. The cover is what struck you about You feel blasphemous, you feel evil, and yet with the album, and you want to get a closer look. You “A Dangerous Meeting,” you feel almost at ease. grab the album and hold it under the light. Especially of note is guitarist
A Review By Scott Saxon
From the cover, you see a lake of lava. Almost mesmerized, you stare at this lake until you notice something beginning to protrude from it. A pair of horns rises up from the lava, followed by a head that resembles a skull. The head rolls towards you and stares at you with its cold, dead eyes. Terrified,
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Michael Denner’s operatic yet heavy guitars.
The next song, “Nightmare,” is just about the polar opposite of the previous track. The song starts off slightly slower than “A Dangerous Meeting,” be-
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ginning with a drum and bass intro. Soon, the song picks up. The intensity of the drums on the song makes your walls rattle, while the the lead guitar solos make your ears scream. The first half of the song is another run-of-the-mill Mercyful Fate song. You are enjoying the song until about the four-minute mark. Suddenly, the song becomes a lot faster and the vocals become twisted. Diamond’s shrieks of “AH-ah-ah-ah-AH!” makes you no longer at ease. At the song continues, the rain begins to beat down harder on the roof. A bolt of lightning strikes in the background, causing you to jump to your feet. The song doesn’t let up; it simply becomes more disturbing. Suddenly, Diamond’s evil laugh bursts out of nowhere. You feel like the song is toying with your sanity. Diamond’s continues to shriek and laugh, until his voice drops down to a growl and yells, as if he is speaking right to you, “You’re only living on borrowed time...from your fate!” The song ends shortly afterwards. You can’t take it anymore. The combination of darkness, isolation, rain, lightning, and Diamond’s wicked laugh was simply too much. You want to stop playing the album, but you can’t. You’re intrigued, fascinated beyond belief. You let the album continue, hoping the next song with give you time to catch your breath.
“Desecration of Souls” begins with Diamond
doing the lowest growl he can muster up. The main riff kicks in, and you notice the different vocal approach. The majority of the song is sung in Diamond’s low voice. You take a sigh of relief; although you love Diamond’s falsetto, “Nightmare” was simply too much. The guitar solos are wonderfully atmospheric, and fit extremely well within the song. The relaxed nature of “Desecration of Souls,” complemented by the guitar solos and lower vocals, is what attracts you to it the most.
The intro of the fourth track, “Night of the Unborn,” is a delight to your ears. A fantastic guitar solo begins the song. The drums and bass kick in, and the song really starts. While you do thoroughly enjoy the song, you are not impressed by King Diamond. Perhaps you were spoiled by the superb vocals in the last song, but the vocals in “Night of the Unborn” are unimpressive. The beginning of the song in which Diamond has what seems like an argument with himself seems rather comical, especially with the part in which he yells “SHUT UP” to himself. The instrumental part of the song makes up for its shortcomings, however.
Pausing the album, you decide to take a quick break from listening. You turn on a light and walk over to
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your window. You open the shutters on your windows to see what the weather is like. Although the lightning has calmed down, it is still raining as hard as ever, and thunder has started to roll in. You take a deep breath, turn off your lights, and continue the album. “The Oath” creeps in slowly, choosing to take its time. The intro is making you feel uneasy, as if someone is at the corner of your room. Out of fear, you turn on your lights. The lights provide comfort for a little while. All of a sudden, right out of the blue, a pipe organ starts to play. As if on cue, every light in your room turns off. The thunder becomes louder, drawing closer by the second. People begin to chant. The chanting is beyond eerie, so eerie that you’re not even sure if the chanting is coming from the song or from somewhere in your house. Over the chanting, a voice bursts out in laughter. A deep, distorted belly laugh. Suddenly, a bolt of lightning lights up your room. You think you see a man in the corner of your room. A man dressed entirely in black robes, holding an ancient book in his hand. His eyes are pointed towards the ground as he chants from his book. The room becomes pitch black again, and just like that, the man is gone. You are shivering now, but not from the cold. You try to calm yourself down, but never in your life have you felt closer to the dark lord himself than at this very moment. Suddenly, the guitar picks up, and you snap out of it. The rest of the song is quite the trip. Filled with beautiful instrumental sections and melodic guitar solos, the song is musically impeccable. Diamond masterfully switches between his upper and lower registers with ease, as he growls or shouts some of the most blasphemous lyrics you’ve ever heard. “I deny Jesus Christ!” Diamond yells. As the song progresses, you come to a startling realization. By listening to the song, you realize that you are, in fact, the one who is taking the oath to “open wide the gates of hell” to bring forth Satan.
The darkest song on the album is followed by the lightest song on the album. The opening and main riff of “Gypsy” are very catchy, and the guitar solos are fast and insane. You’re not sure why Diamond is singing about some gypsy on an album that had previously been occupied with the occult, but you still enjoy his vocal performance. The shortest non-instrumental song on the album, “Gypsy” ends without leaving much of an impression on you.
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“Welcome Princes of Hell” begins with a chugging opening riff, which continues into the song. The song gives you that uneasy feeling once more, as you almost feel like, at any second now, these so called “princes of Hell” are going to burst through your door. Harmonizing well and delivering some truly impressive instrumental sections, the guitarists Shermann and Denner play extremely well off each other. The main guitar riff is one of the greatest and catchiest riffs in the entire album; you will be humming it for days.
As the eighth track, “To One Far Away,” plays in the background, you feel compelled to open your window and check the weather. You poke your head out of your window and smile. To your amazement, the storm clouds are gone. The sky has cleared up and the rain has stopped as well. It is sunrise now, and you just see the sun rising up behind the mountains. “To One Far Away” is the perfect song to be playing right now. Everything about the song is gorgeous. Diamond’s whisper-like delivery of “ooh, ooh, ooh,” combined with melodic, acoustic guitar solos, make this song a real treat. As “To One Far Away” fades away, you close your window and sit back down in your room. Your room is still mostly dark, as your lights are still shut off from earlier. You relax and wait for the final song on the album to come on.
Suddenly, the door to your room bursts open. You stay still, too frightened to move. A dark figure stands in the threshold. The figure is making some kind of signal, but the darkness is preventing you making it out. Then, out of nowhere, your lights turn back on. You can now see what is standing at your door. The figure is none other than Satan from the cover of the album. He is pointing at you with his long, bony finger, just like on the cover of the album. The figure’s hand starts to turn, and he bends his finger your direction, as if to tell you to come with him. Instead, you remain where you are. You stare at him and he stares back, until suddenly your lights turn back off and your door slams shut. Just then, the next song begins.
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“Come come to the Sabbath, down by the ruined bridge. Witches and Demons are coming. Just follow the magic Call!”
Those lines open up the album closer, “Come to the Sabbath.” It is a masterpiece, pure and simple. The song utilizes the harpsichord, which adds to its medieval atmosphere. The lyrics paint a picture, making you feel like you’ve been magically transported away from your room and into a dark, evil sabbath. You can feel the presence of the witches and demons, you can practically see the ruined bridge where the sabbath is taking place. King Diamond gives one of the best vocal performances you’ve ever heard. His voice, be it low or high, always blends perfectly with the music. The guitarists harmonize with each other and deliver an incredibly memorable riff. The harpsichord solo about three-and-a-half minutes into the song is nothing short of perfection. It is both atmospheric and poetic, you can’t help but smile at the beauty of what you’re listening to. You can practically see the sabbath’s proceedings going on right in front of your eyes; it is truly a sight to behold. After the harpsichord solo ends, you fear the song may be over. However, a guitar solo starts up and the outro begins. As the solo goes on, you see yourself wave “goodbye” to all the creatures of hell who joined you at the sabbath. King Diamond’s voice kicks in, ending “Come to the Sabbath” and, likewise, the album, by famously screaming: “My sweet Satan...YOU ARE THE ONE!” The line repeats until it fades away.
introduces you to a gypsy who informs you that you are none other than the devil’s child himself. The following track has you inviting princes of hell to your place, making you realize that you are a lot like them. The second-to-last track is a realization of how wonderful life is now that you’ve sworn off Christ. Finally, “Come to the Sabbath” is your personal invitation to a sabbath, which ends with you announcing your true love for all things heavy.
Your lights are back on now, but it doesn’t matter. The sun is shining bright; a brand new day has begun. You stand up and return Don’t Break the Oath back to your library as you whistle the chorus from “A Dangerous Meeting.” As you leave your room, you wonder what adventures await you next time you listen to an album by Mercyful Fate.
You sit there, all alone in your room, completely speechless. You reflect on the journey that Don’t Break the Oath took you on. The album began with a grave warning to those who dabble with the occult. The next track informed you that what you are experiencing is real; you’re not asleep in some nightmare. The third song gave you some rules that you must follow before you start summoning the powers of hell. The next song prepares you for what can happen when dabbling with the occult. “The Oath” forces you to renounce Christ and to swear allegiance to Satan. The next song
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Mercyful Fate-Melissa A Review By:Scott Saxon
Mercyful Fate hails from Denmark and is arguably Venom’s side kicks in the pioneering of the black metal genre. They played traditional heavy metal but their lyrics were mostly about evil and Satanism. Also, their lead singer, King Diamond, would wear capes and face paint. He looked like a cross between Gene Simmons and a pro wrestler. For an example of their “evilness”, their 1982 demo Nuns Have no Fun had a naked woman on a cross that is surrounded by satanic priests. In 1983, they released their first LP entitled Melissa. Their debut was an astoundingly powerful metal album from start to finish. It possessed every element of the NHOBHM sound but with a dark twist in the general sound that made them purely unique. In Metallica’s Garage Inc CD booklet Mercyful Fate are described as doing this wild Judas Priest meets Deep Purple thing with a more progressive element”. Personally, I would depict Melissa as seven tracks of pure metal ownage. Guitarist Michael Denner’s playing owns this album.
First off, King Diamonds voice and style of singing add so much to the music. He alternates between lower raspy singing that adds aggression to the music and high-pitched clear falsetto screams that add darkness and mysteriousness to it. Those who love lots of high pitch screams randomly inserted in
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songs (I don’t mean that in a bad way) are in for a treat. Yet, I wouldn’t call him an extremely talented singer. It’s his style that is outstanding more than his skill itself. Moreover, Diamonds lyrics are excellent. Alone they might sound cheesy and exaggerated, but along with the dark, heavy guitar riffs they sound perfect. With or without the music, they are sinister enough to upset parents all around the world. Especially lines like, “Suck the blood from this unholy knife. Say after me: My soul belongs to Satan”. As I mentioned before that might sound like they tried too hard to appear as Satanists and what not , but I can assure you that King Diamonds signature voice and the instrumentals make it sound incredibly convincing.
Melissa has, in my opinion, some of the best metal riffs and melodies ever recorded. A good example for riffs is the song Evil. That song is seriously only made up of excellent riffs. When you add that with a strong rhythm section and soaring high vocals, you get an almost flawless metal song. For melodies, a good example would be the intro to Into the Coven. Its very melodic and melancholy but then it explodes into a metal riff. In addition, the title track starts with a nice soft intro as well. Also, there is the 11+ minute epic Satan’s Fall. Throughout those 11 minutes, only the opening riff is repeated twice. Yet, it is filled with strong sections that keep the song from becoming boring. I would consider it to be a very well thought up song with brilliant organization. Furthermore, there is little repetitiveness throughout the album. The tempos change, the keys change, and so do the riffs in general. In fact, more than half the riffs on the album are actually memorable. Each song has its own way of standing out which is quite rare in a metal album.
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every time you listen to it. I would recommend this album to anyone who likes heavy metal, especially from the NWOBHM era, and to fans of black metal because to my understanding they are among the godfathers of the genre. Also, I would even go as far to say that I would recommend it to anyone just getting into metal, as this is pretty close to a perfect, classic, metal album. Unfortunately, Mercyful Fate are not too known and their music seems to be overlooked by other bands of their era such as Metallica and the whole thrash movement. Yet, on that note, Metallica paid homage to Mercyful Fate on their 1998 cover compilation Garage Inc by playing an 11+ minute Mercyful Fate medley, which has parts of most of the songs on this album and the whole song Evil. One thing that is essential for any metal band is to have a strong rhythm section, which Mercyful Fate does. The drums are very present but are well mixed and do not overpower the other instruments. I like a lot of Kim Ruzz’s entrances to songs. He seems to have an uncanny ability to enter with enough power to drag your attention into the song, which is a quality that unfortunately some drummers don’t have. In addition, he displays some pretty nice double pedal work without abusing it. Timi Hansen, the bassist, doesn’t display any remarkable skill but seems to do his job just fine with a few cool parts here and there, like most metal bassists. This band obviously isn’t rhythm oriented though. The main focus is visibly the riffs and the vocals.
All in all, Melissa’s greatness comes from consistency and apparent variety. Every track is strong from start to finish with no exceptions, and no two songs sound too alike. The songs are all well constructed and have nice heavy but melodically dark riffs. In addition, no songs drag on too long and therefore never get boring. Each is fresh and new sounding
Recommended tracks: There are only seven, which as I have repeated many times are all outstanding so I might as well recommend all of them.
Final rating: 5/5 One of the best metal albums in my opinion.
* King Diamond - all vocals * Hank Shermann - guitars * Michael Denner - guitars * Timi Hansen - bass * Kim Ruzz - drums
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APRIL’S MODEL OF THE MONTH PHOTOS BY MR. BRIAN LIMAGE MODEL-JILLIAN KAYE
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