Hardly to believe but they finally made it – THE BRANDOS are back with the new studio album Los Brandos!
They owe their name to their love of Marlon Brando. Their fans know them as one of the most vital American live rock bands of the 20th century’s final decades. THE BRANDOS, known for timeless classics like „The Solution“ and „Gettysburg“ and their straight and true rock sound, come back with new album Los Brandos after a ten-year hiatus in June 2017. Frontman/guitarist/songwriter Dave Kincaid has been working for months on the follow-up to Over The Border which was released in December 2006 (after an eight-year wait). It seems like Kincaid will not let himself be rushed while he’s working in his Staten Island home studio.
In early 2015, Kincaid perked some ears with his Kickstarter crowdfunding campaign for an upcoming Brandos album: „Broadcast quality recordings have never been inexpensive to make, and while computer technology has opened up a world of possibilities not there twenty years ago, it’s still a very expensive process. The Brandos have always kept to the highest standards of professionalism with our recordings, and we will not lower those standards now for the sake of saving money.“
The campaign won him $26,000 which he used to expand his studio. On his Facebook page Kincaid kept friends and supporters updated about the recording process: „Since the beginning of the year, my main focus has been on upgrading the recording studio, Townsend Sound, here on lovely, scenic Staten Island, NY, USA. Few things are as time-consuming, maddening and frustrating as dealing with recording software/hardware upgrades, but it’s pretty much done now. We now have a new state-of-the-art computer based recording system, refurbished monitors (speakers), and the control room just tuned by the best acoustical engineer in New York. My instruments are all pretty much tweaked to perfection, and my guitar amp and drum systems are all in place and very, very happening.“
It’s been 44 years since the American singer/songwriter ELLIOTT MURPHY first made his mark on the rock music scene with his debut album Aquashow. The opener of this album that has since gained cult status was entitled ‚Last Of The Rock Stars‘ – in some ways that’s a clairvoyant motto for a remarkable career that’s not near its end. The 67-year-old artist who has been living in France for many years still has a few surprises up his sleeve. He never quite became a commercial rock star with #1 hits but Elliott Murphy is still a vital, seeking, creative force and someone who has never let himself be bent or pushed around, even though he might have stood in his own way once or twice. But that didn’t stop him from releasing album after album with admirable regularity and quality. Prodigal Son is his brand new album on Blue Rose Records. It’s not an anniversary record, simply another excellent album by Elliott Murphy who – in his own way – may be a true rock star and certainly is a unique artist.
Prodigal Son is his 35th album, more than a third of his oeuvre was released on Blue Rose. And almost all of these albums were developed in collaboration with French guitarist Olivier Durand. He has long been one of Europe’s finest, most original stringbenders with his fluid solos and excellent slide playing on acoustic & electric guitar and his mandolin picking. Together with Alan Fatras (drums) he forms Elliott’s backing band, The Normandy All-Stars. They have been accompanying Murphy on Coming Home Again (2006), Notes From The Underground (08), Alive In Paris (09), Elliott Murphy (10) and Aquashow Deconstructed and are doing so on Prodigcal Son, added by Gaspard Murphy, Elliott’s son, who replaced the longtime partner on bass, Laurent Pardo, who passed away in 2016. Murphy himself usually plays acoustic or electric guitar but also contributes banjo, piano and harmonica.
It’s been said before that love is a battlefield, and on his latest album Love Versus (out April 7, 2017 through True North Records), Leeroy Stagger comes well armed. The eleventh studio release by the Western Canadian native is also a milestone, marking the first recording made at Stagger’s home studio in southern Alberta. But more significantly, his ever-evolving fusion of roots, rock and pop reaches new heights on Love Versus, resulting in 10 tracks that confirm his status as one of Canada’s best contemporary singer/songwriters.
“Leeroy is one of the most insightful songwriters I have ever come across. He has a gift for distilling complex images, commentary and concepts into brilliantly succinct lyrical one liners,” says Geoff Kulawick, President, True North Records.
It’s not that Stagger needed much more validation; after working with acclaimed producers Russell Broom (Sam Roberts) and Steve Berlin (Los Lobos) on his previous two albums, Stagger teamed up with Colin Stewart (Dan Mangan, Black Mountain, Yukon Blonde) to produce Love Versus, and put together a dream band for the project. Longtime friend and collaborator Steve Bays (Hot Hot Heat, The Mounties) remixed and ‘reimagined’, as Stagger would say, the title song and single in Vancouver.
The cornerstone was Pete Thomas, longtime drummer for Elvis Costello, who came up from L.A. for the sessions, joining guitarist Paul Rigby (Neko Case), keyboardist Geoff Hilhorst (The Deep Dark Woods), and Stagger’s longtime bassist Tyson Maiko. Over the course of three weeks, they christened Stagger’s new studio, and in the process changed his perspective on his art.
After 26 years the company (Massacre Records and Blue Rose Records) is moving. Just a few kilometers from our old location we’ll settle in Untergruppenbach. Here is the full address info, valid from April 1st, 2017:
Massacre Records/Blue Rose Records
Walter Salas-Humara is a musician who seems to have a lot of fun with his rich back catalogue. It’s not that he lives in or from his glorious past – he’s been releasing quite a bit of new material this decade, solo and with The Silos – but he continues revisiting his early material after the successful start with Work: Part One now, consequently, with Work: Part Two. Again, he focuses mainly on classic, early Silos albums from 1985-1990, broadening his spectrum to include songs from early- to mid-90ies‘ albums. Once again he re-imagines these songs in a contemporary acoustic alt.country/Americana sound.
Walter Salas-Humara! The name is as unique as the man it belongs to. More than 30 years ago this versatile artist first appeared on the scene as the mastermind of alt.rock pioneers The Silos. With him as songwriter, lead singer and guitarist at the helm, the band created sensitive, smart, hooky, American „indie pop goes alt.country“ rock of the highest order. The 90s, however, were a decade of restlessness and experimentation. Changing places between New York, L.A. and the vibrant Austin, TX scene, the band repeatedly changed personnel and direction. They found their form again after the turn of the millennium in a series of albums for Blue Rose Records between 2001 and 2006 – and then in 2011 with the fabulous Florizona. Recently, Blue Rose released Curve And Shake, Salas-Humara’s first solo outing after 18 years. It was followed by the aforementioned Work: Part One in March 2016 and Explodes And Disappears just two months later. With this burst of releases, Walter Salas-Humara has cemented his status as an important and relevant independent musician and darling of the alt.Americana/No Depression scene.
Rich Hopkins came of age on his abilities as a guitar-slinger and songwriter. His ear-bending way of expression became a rock ’n‘ roll definition of the romantic American southwest, these desert blasts filled with spirited tales, soaring hooks and a warm, beating heart. The songs pump blood in that essential way that says there’s nothing else in life for Hopkins but the song. Think of the music as an aural equivalent of rainwater-etched swirls in sandstone-it’s got timeless unstoppable beauty, and its shape sometimes shifts in graceful ways, but it’s always formable, always heavy.
Yes, that might sound like bio-ready hyperbole, but hold on: Trust the sizable audiences the world over who have long regarded Hopkins as the essential lifeguard of „desert rock,“ audiences who have responded to Hopkins‘ guitar heroics and scruffily quixotic songs since the storied, late-’80s and ’90s albums he made with that rowdy (now-mythological) major-label combo he co-founded called The Sidewinders (later rechristened The Sand Rubies), and then his own Rich Hopkins and the Luminarios. Nearly two-dozen albums all told, each persuasive and subtly dramatic, like a mounting monsoon storm, and also fun as hell.
Along the way he met Texas born-and-raised Lisa Novak, another gifted singer/songwriter whose shrewd yet empathetic storytelling rivals good short-story fiction, and whose voice and songwriting resembles a dusty mix of Emmylou Harris and Aimee Mann, and that’s considering just how hallowed (and odious) such comparisons can be.
Weiterlesen / Read more