For Immediate Release

Santana / Journey Legend Gregg Rolie To Play Acoustic Solo Show At Famed Iridium In NYC

2/20/2012 – Gregg Rolie, co-founder of two multi-platinum super groups, Santana and Journey, will make two unique solo appearances on March 2 & 3, 2012 at the famed Iridium in NYC. The legendary Iridium has a dual history as both a jazz institution and the home of Les Paul, who performed at the venue regularly from 1996-2009. Les Paul Mondays were always an event with such iconic guitarists as Jeff Beck, Steve Miller, Todd Rundgren and Ted Nugent sitting in with the Les Paul Trio. Gregg Rolie’s two-day performances at the Iridium come on the heals of his new solo EP, “Five Days”. Gregg, along with his special guest, blues guitarist Alan Haynes, will be playing selections from the new EP along with many old favorites. He’ll share stories from his 40-plus year career and answer questions from the audience during the show. After his performance, there will be a meet and greet with the audience and Gregg will be on hand for pictures and autographs.

Gregg Rolie is the voice behind the classic Santana hits “Black Magic Woman” “Evil Ways” and “Oye Como Va”. In 1998, this world class musician, writer, producer was inducted into the Rock ‘n Roll Hall Of Fame as the unmistakable lead vocalist of the Santana band. In addition to launching- along with Carlos Santana- the now legendary act, Rolie also co-produced their first four groundbreaking albums. Departing Santana after the pioneering jazz fusion offering ‘Caravansarai’ in 1972, band members Gregg Rolie and Neal Schon went on to form the 1980s hit-makers Journey, co-writing and producing that band’s first 7 albums.

Just released in 2011, “Gregg Rolie – Five Days” is Gregg’s latest EP/CD consisting of 6 songs with Gregg playing acoustic piano and singing live. He recorded these tracks in his living room on the piano given to him by his father in the early days of Santana, and as Gregg says, “it’s from my house to yours” He gives beautiful new renditions of 2 classic hits that he sang as the lead singer in Santana – “Black Magic Woman” and Journey – “Anytime” – as well as 4 new songs, his own compositions through solo voice and piano. Recently featured on the cover of the UK’s Keyboard Player magazine, Rolie is a renowned Hammond B3 player, celebrated for his gritty and intense performances. Up close, personal and intimate, the show will feature a side of Gregg that all fans should get to know.

When: March 2 & 3, 2012 – two shows per night 8:00 / 10:30 PM
Where: Iridium Jazz Club, 1650 Broadway and 51st Street, New York, NY 10019 – PH: 212-582-2121
For Ticket Info: http://theiridium.com

For more information: www.GreggRolie.com

Video at: http://www.youtube.com/watch?v=KDwiZYL21To&

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@cs.com

For Immediate Release

Legendary Flower Kings Vocalist Hasse Fröberg & Musical Companion To Release Second Album ‘Powerplay’

2/17/2012 – Sweden – Much to the excitement of the progressive rock community around the world, legendary Flower Kings vocalist Hasse Fröberg and his group Musical Companion are releasing a new album. ‘Powerplay’ is the second album by Swedish progrockers Hasse Fröberg & Musical Companion. About a year after the release of their critically highly acclaimed debut ‘Futurepast’ (Sept. 2010), the band entered the studio to cut the backing tracks for ‘Powerplay’ (April 2012). The line-up of the band is still the same, Hasse Fröberg & Musical Companion:

Hasse Fröberg: Lead vocals, rhythm guitar
Anton Lindsjö: Lead guitar, backing vocals
Kjell Haraldsson: Keyboards, backing vocals
Thomsson: Bass, backing vocals
Ola Strandberg: Drums, backing vocals

The debut CD generated gigs in countries such as Sweden, Norway, Germany, Holland and Belgium. With the release of ‘Powerplay’, the band is now confirmed for festivals (“RoSfest”, Gettysburg in USA and “Night of the prog”, Loreley in Germany) as well as gigs on both sides of the Atlantic.

As sound engineer on ‘Powerplay’, the band has chosen to work with Tomas Bodin. He’s a collegue with Hasse in the established and influential prog band The Flower Kings. The collaboration proved to work out just fine and even if Hasse likes to be in the studio, he prefers the live scene: “Playing live is definitely the right element for us. I really can’t wait to take The Musical Companion and and the songs on ‘Powerplay’ on the road”.

Release date 23rd of April, 2012

Pre-orders from www.reingoldrecords.com 13th of April, 2012

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@cs.com

For Immediate Release

Wishbone Ash Drummer Joe Crabtree Develops Innovative New Drum and Music Software

2/15/2012 – London, UK – Best known for his drumming with UK classic rock legend Wishbone Ash, Joe Crabtree has developed new and exciting software for the drummer and musician. Crabtree, who has been creating music software for a number of years, is excited to introduce the RhythMachine, OctopuSequencer, Pyramid and PolyNome.

RhythMachine is a tool for generating rhythms and melodies and orchestrating them on the drum kit or pitched instruments. It can be used for ear training, creating vamps to solo over or generating grooves and fills.

“I began work on my first piece of software, the RhythMachine, back in 2008,” Joe explains. “It was inspired by some lessons I took in New York with Robby Ameen. In my lesson with Robby we were playing double drums – both playing a songo groove with a left foot clave. We’d play 3 bars of groove, then Robby would keep the clave going and play a 1 bar melodic fill on the toms. We’d go around the 4 bars again and my challenge was to mimic what he had played. It was challenging and I wanted to develop some software that would replicate that scenario. I wrote RhythMachine to do exactly this.”

OctopuSequencer is a tool for creating multi-layered grooves consisting of overlapping time signatures. Its core feature set allows you to easily program and manipulate grooves in order to discover new ones.

“To play the songo groove in RhythMachine I had to build a step sequencer,” says Joe. “I built in the ability to chose any subdivision rate between 1 and 32, and to loop at any point in the sequence. Once I’d written the step sequencer I realized that I could stack them, and that having four independent step sequencers would allow me to program some of the kind of grooves that Virgil Donato, Marco Minnemann and Mike Mangini were playing – grooves which are essentially combinations of different time signatures layered over each other. That concept evolved into the OctopuSequencer.”

Pyramid is an advanced metronome which allows you to easily program polyrhythms and the rhythmic scale. It includes features which make it easy to learn how unfamiliar rates and polyrhythms sound.

“Someone who’d bought OctopuSequencer asked me how they would use it to program in the rhythmic scale where you work your way up through all the subdivisions between 1 and 16,” Joe explains. “OctopuSequencer wasn’t designed to do this, so I spent a few weeks working with that idea and developed The Pyramid. It’s much simpler than OctopuSequencer but is an invaluable tool for all musicians (not just drummers) who want to become more familiar with unconventional subdivisions.”

PolyNome is the ultimate metronome for the iPhone/iPad/iPod Touch.

“Soon after writing Pyramid I met Lucas Ives, a New York-based drummer who used to work for Pixar,” says Joe. “He had experience coding for the iPhone so we worked together to develop PolyNome, which is basically the metronome that I wanted to own. It has all the functionality of Pyramid and more. We built in the option to program clicks with bars of rest so you can use it to improve your internal clock which is proving to be a very popular feature among all musicians. So far we’ve had great feedback from Dave Weckl, Jon Riley, Peter Erskine, Will Lee and others. In the words of Dennis Chambers – it’s the s**t!!!”

“Wow! Polynome is a brilliant tool for drummers and any musician! It allows you to understand precisely what subdivisions among bars of time feel like, teaches you the drum rudiments, and so much more. I love ‘time check’ where it’ll leave bars of silence in between bars of click to see if your groove stays in time. One of the best apps for your toolkit, right up there with a good tuner!” – Will Lee – session bass legend (Late Show, Brecker Bros, Bette Midler…)

Joe Crabtree has been teaching drums for 16 years. He has recorded and toured with UK prog-rock ensembles Pendragon and the David Cross Band and has been a member of legendary UK classic rock band Wishbone Ash for the past 5 years. Joe’s website features many free lessons and software for drummers. “Joe is a drummer who has it all, he has an unbelievable ability to learn complex songs fast with an accuracy and power that makes it feel as though he has been in the band for years,” says Nick Barrett of Pendragon. “He has an astonishing flair for playing odd time signatures and straight fours with easy flowing technique,” adds David Cross, formerly of King Crimson.

Along with the marketing of his new software, Joe is preparing for a world tour with Wishbone Ash on the heels of their critically acclaimed new CD release ‘Elegant Stealth’. For more information visit the official website at www.WishboneAsh.com. Joe also has a regular column in Drumhead Magazine in the US. Finally Joe has this to impart to drummers around the world: “Never forget why you started playing drums in the first place. I’ve seen so many drummers get caught up in the business side of things and end up hating the instrument. I’ve always said that if it gets to the stage where I’m not enjoying it I’ll get a regular job and keep drumming for fun.”

For more information on RhythMachine, OctopuSequencer, Pyramid and PolyNome visit www.JoeCrabtree.com

Press Inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@cs.com

For Immediate Release

Psychedelic Surf Music Legend Merrell Fankhauser’s ‘Best Of Tiki Lounge’ Volumes 1&2 DVDs
Now Available on Gonzo MultiMedia

2/10/2012 – London, UK – Hailed as the godfather of surf music, legendary Merrell Fankhauser, who has led one of the most diverse and interesting careers in music, has released ‘Best Of The Tiki Lounge’ volumes 1&2 DVDs, featuring performances from his famed TV show ‘Tiki Lounge’, on UK’s Gonzo MultiMedia. Merrell Fankhauser is considered one of the main innovators of surf music and psychedelic folk rock, and is widely known as the leader of the instrumental surf group The Impacts who had the international hit “Wipeout”. His travels from Hollywood to his 15 year jungle experience on the island of Maui have been documented in numerous music books and magazines in the US and Europe. Merrell has gained legendary international status throughout the field of rock music; his credits include over 250 songs published and released.

Merrell Fankhauser has presented a number of television programs over the years including ‘California Music’, ‘Route 66 TV Live’, and in 2001 he began hosting a music show called ‘Tiki Lounge’ that airs on the California Central Coast, Southern California, Hawaii and parts of the East Coast. ‘The Best Of The Tiki Lounge’ volumes 1&2 feature highlights from Merrell’s cable TV show. Volume One features Merrell performing alongside other music artists, such as Willie Nelson, Randy California, Dick Dale and Nicky Hopkins. The DVD also includes clips from Merrell’s Birthday Boogie with Mary Ramsey of 10.000 Maniacs, Fito De La Parra of Canned Heat, Ed Cassidy of Spirit and many others! Joined once again by former Spirit drummer Ed Cassidy, along with John Cipollina, Mark Tullin and others, the ‘Best Of The Tiki Lounge’ Volume Two features new original songs by Fankhauser, including “The Whole Day Ahead of Us”. Also in this volume, Merrell takes an expedition into the Nevada desert to the edge of the secret airbase Area 51 in search of UFOs.

To purchase Merrell Fankhauser ‘Best Of Tiki Lounge’ DVDs www.gonzomultimedia.co.uk/product_details/15360

Visit the official Merrell Fankhauser website at www.merrellfankhauser.com

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@cs.com

Interview:

1. Thank you very much for taking your time and effort to do this interview. I’m really happy we can talk about your music, Norman. First I would like to ask you where did you grew up and what were some of the influences on you as a young kid?

I grew up in Malden , Mass., near Boston. If you mean music influences, I had many. My parents listened to Benny Goodman, my sister loved Sinatra I listened to Senor Wences, Elvis, Bill Haley and anything I could find in folk music, Dave Van Ronk, Eric Von Schmitd, all jug band music, Bob Dylan, along with odds and ends played by Wolfman Jack out of Del Rio, Texas. Other influences, such as sports? The Red Sox, Celtics & Bruins, my home teams. Still love the Red Sox. Still love jug band music.

2. What was the scene in your town and at what moment did you decide to move to Los Angeles? There you formed a band called Dr. West’s Medicine Show & Junk Band. Were you perhaps in any other bands before that? Any releases?

My town had no scene. I was going to Boston University, playing music around town and decided I would rather be a musician than scholar. I had friends who had moved to Hollywood and I left school and moved there, enamored by the weather, Beach Boys and the music business. It was there that I started to make friends connected to the music business and other musicians and when I said I wanted to start a modern jug band, I started Dr. West’s Medicine Show & Junk Band with Bonnie Wallach, Evan Engber & Jack Carrington. Because we were an oddity, we got noticed immediately, were asked to do auditions and were signed to a contract where we made our first record, The Eggplant That Ate Chicago.

3. Why did you decide to form a jug band? Why did you choose such name?

I like the humor in jug band music, it fit my offbeat style of writing, gave me the opportunity to schmaltz it up on stage and while it entertained the audience, it entertained me. The name just came to us. No big story there, although some of the instruments Evan played were junk, like car fenders.

4. The Eggplant That Ate Chicago is title of the album you released back in 1967. It was released on Go-Go Records. What are some of the strongest memories from producing and recording this LP?

Music is very “unusual” and it’s a mixture of jug and also proto psych…how did you menage to mix those two genre together?

Where did you record it?

Being that it was the first time in a recording studio for all of us, it was exciting. We did what we did, the album was recorded and released, nothing that memorable except the songs and the album cover, as people know, we painted our faces for performances, never the same 2 nights in a row and I think we were the first band to do that, long before Kiss. So, we did a psychedelic cover, faces all done up behind us a light show screen, as we used a small light show in the act and were one of the first to do that. We were a psychedelic jug band, first of it’s kind. We were very interesting. Non conformists in an about to start era of such, free form music, light shows, psychedelic art, flower power, flower children, be ins, concerts in the park. What an amazing time.

How many pressing were made and what can you say about the cover artwork?

I don’t know, was never given pressing amounts, but the single hit the charts and went up to about 50 on Billboard.

5. Would you like to tell me about the Dr. West’s Medicine Show & Junk Band concerts?

We toured and all that. We were weird, like my song. It didn’t always go over. It stopped being fun because of management, everyone dropped out but me, they were replaced, the act changed, no more light show or painted faces, the on stage medicine show skits were kept, they went over well, we were getting attention for my humor, but I never fit into becoming straighter than I wanted to be by management, so, eventually, I left the band after an uproar about my Dr. West suppository pills skit, where I ended it with, “Dr. West suppositories, you know what you can do with them”. That and because the drummer used to light his junk pail drum kit on fire singing, Don’t Eat The Monkey’s Peanuts, Joe, management said I was going too far. So I decided to go even further. Leave the group and become a rocker.

6. I will write down songs from the LP and I would love if you could comment some of them…

Patent Medicine

Descriptive of the fake medicine we faux peddled in our skits.

A Summer Love Song

Gotta love a song with whistling.

How Lew Sin Ate

One of our best. Just listen to the words. LSD was coming into it’s own.

Look At Her Now.

I wrote songs about observations. I always picked up on phrases being used around me and extrapolated.

The Eggplant That Ate Chicago

Yes indeed, mu homage to early sci fi movies, my Saturday afternoon favorite.

Modern Day Fish

Again, times were a changing. Listen to the words.

Nora

A relative. Of all of us. A spinster?

The Old Fruit Peddler

A take off of vegetable cart merchants, horse and buggy, home delivery, the 40′s and early fifties. Now we have Taco trucks.

Weird

Yes we were. And me, not so much anymore.

7. What happened next? You started your solo carrier…You released several singles from 1968 on and in 1969 you released one of the most well-known rock songs called Spirit in the Sky.

Solo career. I started a rock band. We were playing The Troubador in Los Angeles, Erik Jacobsen, producer of The Lovin Spoonful happened to be there. He liked my songs and my singing, signed me as a solo artist, had to leave the band, I moved to Northern California and started recording in San Francisco. Dr. West music was recorded around L.A. Studios.

I would like to know what are some memories from recording your whole LP later in 1969, which was released on Reprise…how did you came in contact with Reprise?

What gear did you use for the recording sessions and where did you record it?

What can you tell me about the cover artwork?

Spirit In The Sky was recorded is San Francisco. I was a solo artist, so we put together a backing band and singers and recorded at 960 Bush, Coast Recorders.

Basic band for the tracks. Bass, drums, 2 guitars. I had a Telecaster, Russell DaShiell played a Les Paul, I guess, I had Fender tube amps. I don’t remember what other people had.
Erik Jacobsen had a production deal with Warner/Reprise, so I was at first signed to Erik’s production company and subsequently to Reprise with a 3 LP deal.

The sessions had all sorts of memorable events, being that Spirit has gone on to be one of the biggest one hit wonder songs of ever. More discussed with each song.

The cover art was taken on my at that time ranch rental, atop an old thrasher with my then wife and daughter. We later moved to our own farm where the cover art for the Petaluma album was taken, me in full overall regalia holding a chicken. Lots of photos of me around the farm were always included with the discs. I later was always referred to as a farmer, but when I got divorced, I left the ranch life.

8. Again I would like if you could comment each song a bit.

Junior Cadalac.

Well, dudes back then had nicknames, as they have monikers now, such as T Pain. Just an example.

Spirit In The Sky.

Inspired by me being a fan of country music which I forgot to mention before and a fan of Porter Wagoner, who, on his TV show, always sang a gospel song. I said to myself, I think I can write a gospel song, so I did, but, of course, in my usual endeavor to be different, wrote music never associated with gospel before, but it was a great idea and has endured forever. Been number 1 three times in the U.K., has been in 47 movies and numerous TV ads and series.

Skyline.

We all travel and we all come back.

Jubilee.

Things are going good, huh? Great song with great vocals as usual by The Stovall Sisters who did backing on Spirit also.

Alice Bodine.

Not a Clampett relative, just a name of a longing.

Tars Of India.

Those were smokin days.

The Power.

My songs are self explanatory. You either got it or you don’t.

Good Lookin Woman.

Wish I could find one now.

Milk Cow. Jethro, my son.

We actually didn’t have a cow, but it sounded good. We had goats.

Marcy.

Interesting how I got an e mail from a guy who wanted to know how I knew his wife. I never met his wife, nor was ever anywhere near him in Texas, but there you go, the power of lyrics.

9. After the massive success what happened next? Where was your touring territory? I would love if you could share some interesting stories that happened to you in that period of time…

We toured with Spirit In The Sky on the charts. Opened for The Doors and Moody Blues, 2 of our bigger shows. I have always been sort of reclusive, so I actually never mingled with other bands, a brief how are ya, blah blah blah and off to another gig.

We weren’t rauckus and rowdy on tour. Just went about business. Never got in trouble. After the follow up flops, I still played quite a bit, mostly West Coast clubs with an entirely different band. Could never get signed again by a label. Some thought I still lived on the farm and wouldn’t leave, when I actually had been living in L.A. again for 3 years. Others wouldn’t sign a one hit wonder. Well, bite me.

10. Back Home Again and Petaluma were your following releases. Would you like to tell a story about these two releases…

You were wrong.

Back Home Again was the 2nd album, with follow up single Canned Ham on it. The record company didn’t like Canned Ham. It wasn’t Spirit In The Sky. They forgot what they said when I brought that to them Well, we don’t know, it’s different.

Bah. It didn’t do well. So it goes, I like it.’I'm singing it next week at my reunion gig with The Stovall Sisters. California Earthquake didn’t quite make it either as a single, but one of my favorites.

Petaluma was a wonderful album. Sounds now like we did yesterday. Fritz Ricmond, Ry Cooder and me, acoustic. Record label hated it.

11. What happened next for you, Norman?

Here we go again. Greenbaum can’t do anything that resembles what he did before. Isn’t that what art is all about? At least mine.

12. What are you doing these days and what are some of your future plans?

I’m doing a few appearances here and there. I mostly manage my web site, www.spiritinthesky.com, which is an almost full time job. I am working on some new material. Spirit In The Sky was used in the intro of American Idol last week, a pleasure for me. I’m single, have a cat., am on Facebook, but don’t twitter much, although I am there.

I am not on a farm but have a garden, enter plants at the local fair along with photos and pastries, as I have over the years become a good cook. Have won a bunch of blue ribbons. I also sponsor a horse race at the local fair, a fun outing.

13. Thank you very much for being a part of It’s Psychedelic Baby Magazine. Would you like to send a message to our readers?

For my fans, I appreciate having you. I appreciate you sharing stories on my web site on how Spirit In The Sky has affected your life, and to my staunch fans who actually have grasped my music and lyrics over the years, especially the dude who named his car, “the green-bomb”. It was painted green. Of course. How cool is that?
Interview made by Klemen Breznikar / 2012

Source

Anderson-Wakeman “The Living Tree: In Concert” – Album Review
One of my favorite all time bands is Yes, that said by Yes fan standards, I’m a casual fan. Albums like “Tales from Topographic Oceans” are just too challenging for me. So die hard Yes fans, if I get something wrong during this review, please forgive me. Jon Anderson and Rick Wakeman are not in the current incarnation of Yes, so they’ve been hitting the road as a duo and released the live album “The Living Tree: In Concert.”

There are so many genres of music. You have folky, sing songy simple music like Simon and Garfunkel and Crosby Stills and Nash then on the complete other end of the spectrum you have really technical progressive music like Yes and Rush. Jon Anderson has the vocal range to play both folk music and progressive music and it’s never been more apparent than on “The Living Tree: In Concert.”

Rick Wakeman is a God when it comes to the keyboards. With Anderson’s story telling voice mixed with Wakeman’s technical skills you get one beautiful picture painted. Wakemen is such an amazing composer. He’s playing the musical score to the story that Jon Anderson is telling. The score is so complex and interesting and when Anderson sings on top of the score everything seems so simple and peaceful.

While they play Yes songs, it’s different than Yes. The songs take on a whole new light when it’s just Anderson and Wakeman. I think all Yes fans should experience “The Living Tree: In Concert.” Yes is the total sum of it’s parts, but with this you’re pulling two parts out and shining the spot light on them and it really makes for an enjoyable listening experience. It’s like hearing some of these songs for the first time all over again. I highly recommend Anderson and Wakeman’s “The Living Tree: In Concert.”

Bob Zerull is the Managing Editor of Zoiks! Online. He writes pop culture commentary, does interviews with bands, and reviews music and stand-up concerts. He also administers Zoiks! Online’s Facebook page. Follow Bob on twitter atbzerull. Email Bob at bob@zoiksonline.com.

Source

For Immediate Release

Prog Rock Records To Release Highly Anticipated Second Album By Prog Duo Centric Jones
‘The Antikythera Method’

2/2/2012 – Loveland, CO – One of the most highly anticipated new CD releases in 2012 by prog duo Centric Jones has the music community buzzing with excitement. Slated for release on March 6th by Prog Rock Records, ‘The Antikythera’ is Centric Jones’s sophomoric release and promises to take the listener on a sonic adventure. With influences like Rush, Porcupine Tree, Dream Theater, UK, YES and King Crimson, Centric Jones has taken progressive rock to a whole new level!

Centric Jones is Chris Fournier and Tobe London, augmented by an eclectic set of revolving musical guests. Chris plays bass, guitars, keyboards and electronic percussion, and Tobe plays drums, acoustic/electronic percussion and keyboards. They met in 2007 and discovered a shared goal: to create songs that broke through musical boundaries without sacrificing feel and an emotional connection to the audience. Fournier and London had the ability to excel at doing this, which in 2009 resulted with the duo’s critically acclaimed debut CD ‘Foreign Tea’. Centric Jones continued to build up the emotional appeal and complexity of their music both rhythmically and melodically following that first album, culminating in the up-coming release of their new CD ‘The Antikythera’ on Prog Rock Records. With both musicians being involved in various bands since the late 1970s, Centric Jones is able to stand apart from much of the musical pack today by merging their mature musical senses with the drive to create ever-more-expansive sonic imagery.

When asked if there was a concept behind the new Centric Jones album Tobe had this to say: “I’ve always had a fascination with mechanical devices and gizmos. Of particular interest to me is the Antikythera mechanism – the ancient Greek mechanical computer designed to calculate astronomical positions. I’d like to go on and on about the thing, given the fact that it predates anything like it by about a thousand years. The most fascinating aspect of it for me would be its inherent rhythm. I picture all those handmade gears turning and churning in an amazing visual if not audible display of polyrhythmic wonder. Centric Jones loves to apply this as much as we can to our music. We call it The Antikythera Method.”

In support of their new CD release, Chris and Tobe are currently putting together a live show consisting of some of their favorite album songs combined with improvisations and some theatrics. The duo plan on performing locally on the Front Range of Northern Colorado in addition to some of the progressive rock festivals going on in the US and elsewhere during the summer of 2012. They are also implementing a new recording setup in Tobe’s studio in order to more directly compose and trade tracks together – new albums of increasing ambition are on the horizon for sure!

Finally, Chris and Tobe have this to impart to their listening audience: “We would like to sincerely thank anyone who purchases our album and gives us a chance to share our music with them – it is truly exciting and enjoyable to compose and perform, it’s the kind of thing we’ve both dreamed of since high school! As we continue to perform live, we are hoping to add more musicians to our collective to bring you an ever-increasing wall of sound. We hope to see you at a festival during he summer of 2012.”

‘The Antikythera Method’ is the first release from Centric Jones on Prog Rock Records and is available for immediate ordering at a $2 discount till early-February 2012 and will be shipped in mid-February. It will be available at retail and digital outlets March 6, 2012. Audio samples, information and ordering can be found at www.therecordlabel.net/progressive-rock/centric-jones/the-antikythera-method

For more information visit www.facebook.com/pages/Centric-Jones/154174534602065#!/pages/Centric-Jones/154174534602065?sk=app_2405167945

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@cs.com

Sunday, January 29, 2012

Nektar interview with Roye Albrighton

Interview:

1. It’s a great pleasure talking with you about your music! I would like to ask you first where were you born and what can you tell me about some of the influences back then when you were a kid and teenager…

Hi Klemen..the pleasure is all mine.
I was born in Coventry in the west midlands UK. Not that far away from Birmingham.
Most of what I listened to when I was growing up has been forgotten in the sands of time however a few you may recognize..like..The Ventures and the Spotniks..and of course the Shadows of which I hold Hank Marvin in high regard as one of the worlds great guitar influences.

2. You started your carrier in a band called The Peeps and you released a few singles. Then you were a part of Rainbows and later you joined Outsiders. Please tell us about your first bands…

The Peeps and Rainbows were basically the same band with the exception of the drummer and keys player..Martin Cure and myself were the two remaining members from the Peeps when we changed our name and musical direction. I was at this very time when I started to write my own material and worked it into Rainbows.

When Rainbows came to an end, I moved to Sweden where I met up with an old promoter from the time that Rainbows toured there and he put me in touch with a band called the Outsiders with whom I played with until my return back to the UK.

3. Nektar was formed in Hamburg. How did you guys came together?

Purely by chance I was walking around Hamburg during the day when Rainbows were playing at the Top Ten Club and heard a drummer rehearsing on his own in the Star club. During the day most of the clubs were closed and being cleaned and readied for the evening. This was the perfect time for artists to practice their chops.

I looked in on the club and met Ron Howden and we hit it off together..the next day I brought my guitar along and we played together..this led me to moving over to Hamburg and becoming a memeber of the yet unamed Nektar in 1969.

4. Journey to the Centre of the Eye is your debut. What are some of the strongest memories from producing and releasing this LP. It was produced by Dieter Dierks…

Actually it was produced by Nektar and Peter Hauke and was recorded at Dieter Dierks studio in Stommeln engineered by Dieter himself.

I think one of my strongest memories of this album was (can we get away with this) it would seem at the time that it was maybe a little too far out for some people..but hey! what the hell..we just went ahead and did what we wanted and threw caution to the wind.

What would you say is a concept behind the album?

Many things can be taken from this album and can be associated with many situations in a persons life..however the overall concept would be using your minds eye to look inside yourself to see the real person within.

What gear did you guys use?

As you can imagine..in those days there wasn’t very much around for effect pedals or synthesizer..the Mellotron was still a new toy so we used what we had to effect.

An instance would be to turn the Hammond motor off and on to create the whining sound you hear sometimes and I would use slide guitar and repeat echo for some parts, even strike the strings behind the bridge for an effect. Mo Moore would use a tremelo pedal and fuzz box on the bass.

Basically anything we could get out of the instrument we would use.

How did you came in contact with Bacillus?

We were actually originally signed to bacillus records as they were really the only label that showed any kind of interest in what we offered..like I said, ‘Journey’ wasn’t everyones cup of tea..Peter Hauke then sold the label to Bellaphon records.

I’m not sure how the contact with Bacillus came about..I think it was at a concert somewhere..I may be wrong.

5. Then you started recording A Tab in the Ocean. What is the story behind that release?

We had our own house nestled in the hillside of the Bergstrasse in a village called Seeheim where most of our writing and rehearsing was done in the early days.

We didn’t have a lot of furniture then other than a coffee table a couple of chairs and a huge fish tank that we inherited from the previous occupant.

We used to sit around a lot in the daytime just talking music when someone made a joke about what would happen if the oceans were spike with LSD. after the laughter died down we realized that we had a title for the new album as the beggining was sounding a little oceanic in the riff and effects being used.

6. Your third album called …Sounds Like This is more hard rock oriented, don’t you think?

I agree..it was Nektar in the raw..we were often told that although the albums were well presented productons with a lot more polish..the real essence of the band lies in the ‘live’ performance and so we decided to dedicate an entire double album to this and play all the pieces we had collected over the first few years of our being together.

7. Remember the Future was released in 1973. I always preferred side one on this album. It’s so amazing…what did you had in mind while recording this album?

Not a lot really..for us it was just going to the studio and recording another album..but something happened in the studio..something magical..it seemed to take on a life of it’s own and become an obsession for the band.
I tend to agree with you that side 1 was the better side

8. Then you released a couple more albums including Down to Earth and one of your best releases titled Recycled which is symphonic masterpiece in my opinion. What can you say about it?

Down to Earth was a change in direction that is for sure..but I really enjoyed making it although I feel now that the production sounded very clinical and not the usual Nektar sound. That’s not to say I didn’t like the songs..but they could have been treated differently.

However, I feel we made up for it with Recycled..to this day this is my most favourite album..and to perform side one on a concert is a joy, the finale at the end of side one to this day puts the hairs up at the back of my neck.

9. Where all did you toured and what are some great memories from touring?

During the early years and when Nektar were gaining ground in Europe, we played a lot of shows..too many..in fact we made ourselves ill at one point with all the travelling..you must remember that the luxury sleeper tour buses were not readily available around this time..or if they were they were cost prohibitive..and rock musicians were not the clientel that the bus companies wanted on their super coaches.

I think my greatest memory was the two nights we played in St Louise at the civic auditorium and the simulcast evening in NYC.

10. After all this years you are still very active and your latest two releases are Book of Days and Fortyfied. I would really appreciate if you could tell something about background of this two releases?

After our break in the release schedule of the band..I took on a new Bassist and Keys player. There was some confusion as to how the band sounded now with 2 new players..so to alleviate any misconceptions as to how strong the band still are I decided to release a ‘live’ album featuring the new players..and so to celebrate 40 years of Nektar I released ‘Fortyfied’.

Book of days was to intent and purposes the new album but in Demo format..it was supposed to be rerecorded..but at the same time we had some severe problems with our mamgement and instead this got released in demo format.

Maybe further down the road we will rerecord that album with the full band, although some of the tracks can be heard prformed on Fortfied.

11. What are some of your future plans?

In a few months time Nektar will be releasing an album called ‘a spoonful of time’ this will be an album of cover song that have been Nektarized to some extennt. We had the oportunity to have on board the musicianship of the likes of Rick Wakeman, John Wetton, Ginger Baker..and many more who will be putting their touches to it.

Also being worked on at the momentis a new DVD recorded at the Key club in LA.

This year will also see the finalizing of Nektars new album ‘Juggernaut’ that had to be delayed due to other work.

12. Thank you very much for your time! Would you like to send a message to all your fans and readers of It’s Psychedelic Baby Magazine?

For those who know Nektar and have fllowed us I would like to say thank you for your support..for those that are new to our music a big hello.

The band and I would like to say a big thank you to you all for keeping what we consider a great music genre going.

hope to see you on the road soon

Oh and thank you PBM for this interview.
best regards
Roye

Interview made by Klemen Breznikar / 2012

© Copyright http://psychedelicbaby.blogspot.com/ 2012

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For Immediate Release

Norman Greenbaum’s Spirit In The Sky Still Popular In 2012

1/23/2012 – Santa Rosa, CA – After 40 years, one of music’s greatest gospel-rock hits ‘Spirit In The Sky’, penned by Norman Greenbaum, remains as popular today in 2012 as it did in 1970 when it rocketed to number #1 in the US and UK. While being named song of the year by Cashbox magazine, the track would go on to sell two million copies in 1970 and through the next 4 decades would be featured in 47 movies and dozens of commerical ads and TV series. In addition, two British cover versions of “Spirit In The Sky” also made it to number one on the charts, making the song a three-time number one hit!

So the question remains, why does ‘Spirit In The Sky’ still resonate with the music listener today? Norman explains, “A few reasons: It’s just a great song, with a terrific production that has stood the test of time, still sounding as vibrant today as 40 years ago. It also sounds great in the car, yep, car radio. When we mixed it, we made sure it sounded as great on car stereos as it did on home systems. It has an unforgettable opening musical riff, at times referred to as ‘the heavy duty industrial fuzz tone’. It gives people chills listening to it. Plus, when it was included on Rock Band 2 it brought a new generation into the mix. Now that the song is aging in years, but not excellence, many fans have aged with it and now recognize it not only as a great song that reminds them of their life back then, such as taking their first date to my concert, ‘Spirit’ being the first album they ever bought, their parents screaming to turn the volume down, love making in the back seat to it and my favorite, naming their car ‘the green-bomb’, and as a song to take with them as we near the time to go up to the Spirit In The Sky. Because I answer my own e-mail, many people relate to me the circumstances of a loved one passing and how my song has brought them solace and each time they hear my song, either on the radio, in a movie or on TV, they are reminded that their loved ones are OK and looking down on them.”

The story behind the song “Spirit In The Sky” is an interesting one. The original idea for the song came from Norman watching a performance on TV one night by country legend Porter Wagoner, who was singing about a preacher. This inspired Greenbaum to write a religious rock song. Although many have believed through the years that Norman, born of Jewish heritage, was a ‘born again Christian’, in truth, this is not the case. He made the decision to challenge himself to writing a gospel lyric, hoping he wouldn’t flub it and meticulously crafted music that went on to surpass everyone’s expectations. The guitar riff to ‘Spirit In The Sky’ undoubtedly is just as important to the song’s success as the words and music. “My riff is a take on old blues riffs, common in the ’20s and ’30s,” Norman explains. “Although a few other songs have similar riffs, my riff really stands out, as I infused a few original notes and changes the others do not have. Plus, the fuzz just ripples your mind. It is a sound that has never been reproduced, another reason the song stands so well.”

Recently, Norman Greenbaum has redesigned his official website – www.spiritinthesky.com and has made available his much sought after CDs from the ’60s and ’70s, along with T-shirts, hats, mouse pads, signed photos and other memorabilia! Although Norman has not recorded anything in recent years, he is very active with his new website, posting messages to his fans and making available rare photos for viewing. “Since my website has been redesigned it is much more efficient and compact, with photo viewers and better links,” says Norman. “It also has an improved store, where I have introduced a new product, Going-Greenbaum tote bags; the small-sized bag is made of cotton and the large-sized bag is made of canvas. The new site also has music clips of all of my songs available on CD and ‘The Best of Norman Greenbaum’ import is available again. I also will be introducing some new shirt designs soon.”

Much to the excitement of his fans, Norman will be making a rare live appearance in February! “I’ll be doing a guest performance of 3 songs with the band Time In A Bottle at The Last Day Saloon in Santa Rosa, CA on February 18th,” says Norman. “My original back-up singers The Stovall Sisters will be joining me, the first time ever this has happened on stage! Time In A Bottle is a local rock/soul band. The Stovall Sisters will also be doing a few of their own songs with the band.”

Finally, Norman has this to impart to aspiring songwriters everywhere: “Keep at it until it all fits, you’ll know when. One song will stand out. Put all your effort into that song. Of course, ‘catchy’ helps.”

For more information visit Norman Greenbaum’s official website at www.spiritinthesky.com

Press Inquiries:
Glass Onyon PR
glassonyonpr@cs.com
PH: 828-350-8158

Jon Anderson has one of the very best and most well-known voices in progressive rock, being the creative force behind the rock band, YES. His early career saw him joining The Warriors in 1962 where along with his brother he shared the title of lead vocalist. He also sang with bands including The Gun and The Open Mind. The debut album for the group YES was released in 1969 and Jon remained with them until 1980. In 1983 the band reformed and released one of their most commercially successful albums, 90125. Jon has performed on many soundtracks for movies, including Cage of Freedom, St. Elmos Fire and Scream For Help. During 2010 Jon TOURED Europe and the USA as a solo artist and with Rick Wakeman, releasing The Living Tree in 2010.

It is a pleasure to publish his replies to our 2 questions.

What Brings You Happiness?

Being able to meditate and connect with my spiritual teacher and feeling surrounded by that Divine energy, seeing children having fun, watching old movies, walking with my Janee around towns and cities of the world, seeing my children grow to be wonderful adults spreading love and light, hearing a favourite song on the radio, relaxing and watching birds in the garden, hearing a funny joke, watching Man United playing great, cooking my favourite food, being with friends and listening to stories, reading Pat Conroy books, reading good honest reviews of my work, finding just the right ‘lyric’ and wondering where the songs come from, waking up and seeing my wife Janee and realizing how wonderful and beautiful she is, listening to Jean Sibelius symphonies, being thankful for the great events in my life, watching the 49rs win. Painting, remembering my humble beginnings, my family, those in heaven, and those on this amazing earth mother.

What Would You Change (If You Could) To Make Our World A Better Place?

Seeing the world deliver the promise of a good life to everyone, the end of all wars, living beyond war, the end of corruption, and slavery, a sharing of the bounty of the earth, using our talents to expand our dreams, to travel in space, meet beings from other worlds, join the enlightened ones, live in perfect harmony and good will to all men and women and children, to hear the new music, and see the new stories unfold……and most of all, a blessing on all beings ……for we are all truly one….

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