Rock And Blues International - April 2023

Rock And Blues International

Oscar Wilson Of The Cash Box Kings

ALSO IN THIS ISSUE

Costanza Alegiani

Duane Betts

Carlos Santana

Snow Patrol

Savoy Brown

Elton John and more!

Rock And Blues International

April

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

Be sure to check out all the tour announcements and ads in this issue. If you’re a publicist and your act doesn’t have a tour announcement in here, then you’re client is really missing out. Don’t leave them by the wayside.

And now on to the April issue of Rock And Blues International. On the cover of this issue you can see Oscar Wilson of The Cash Box Kings and the legendary Blues-Rock band Savoy Band. Oscar and The Cash Box Kings have a new album called “Oscar’s Motel’ and it’s fantastic. We have an interview with Joe Nosek of The Cash Box Kings and Joe gives us a lot of great insight into the new album. Also on the cover is Savoy Brown. Savoy Brown’s leader and founder, Kim Simmonds, has just passed away prior to the release of their new album, ‘Blues All Around. Drummer Garnet Grimm talks about the last days of Kim Simmonds and what the new album means to him. We’ve also got a great story by Edoardo Fassio about Costanza Alegiani and her new album release saluting the great Lucio Dalla titled ‘Lucio Dove Vai?’. There are also stories on Memo Reza, Duane Betts, Carlos Santana, Eljuri, Useless ID, Claiere Rosinkranz, Unearth, Snow Patrol, Megadeth, Rush, Donna Summer, Elton John and more! As you can see, there are a lot of varied genres of music here for you to check out, or as we like to say, there’s a little of something for everyone here. We have even included the current installment of the novella, “The Biker”. Read it and than email us back with your thoughts on this. So far our readers seem to really like this Blues loving Biker.

I sincerely hope that everybody reading this publication finds something here that they like and I would like to encourage you to let your friends and colleagues know about us. Just look for us every month at http://www.rockandbluesinternational.com. I would also like to encourage you to email us for a free subscription to Rock And Blues International as well. Just email us at rockandbluesinternational@gmail.com and in the subject line simply put “Sign Me Up” and we’ll email you a link to the magazine each month when it is published.

Rock And Blues International

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The Cash Box Kings

The Cash Box Kings Release Their New Alligator Records Album Oscar’s Motel

Page 26

Costanza Alegiani

Edoardo Fassio talks about Costanza Alegiani and her new release Lucio dove vai? where she sings the songs of famed songwriter Lucio Dalla

Page 18

Savoy Brown

Kim Simmonds And Savoy Brown Release Their New Album Blues All Around

Page 32

Carlos Santana

Santana Announces 1001 Rainbows Tour Summer 2023 Dates

The Tour Will Celebrate His CareerSpanning Hits From Yesterday, Today and Tomorrow

The Cash Box Kings Release Their New Alligator Records Album Oscar’s Motel

Alligator Records recording artists The Cash Box Kings have just released their new masterpiece of Blues Music. The album, titled Oscar’s Motel is the 11th release for the band and their third for Alligator Records. Recording for Oscar’s Motel took place at Reliable Recorders/Hi-Style Studio in Chicago, Illinois. The recording of the album was engineered by Alex Hall and produced by Joe Nosek. Mixing on the album was handled by Alex Hall and Mr. Alligator Records himself, Mr. Bruce Iglauer at The Boiler Room, who also mastered the album along with Collin Jordan.

The new release is filled with nine great new original songs, along with two nods to the past recreating the songs “Please Have Mercy” by Muddy Waters and “Pontiac Blues” by Sonny Boy Williamson. The album kicks off with the tale of a really hip motel called “Oscar’s Motel”. If you want to have fun and kick off your shoes and dance, you can take it on down to “Oscar’s Motel”.

Here’s a great tune that will kick up your heels and get you to dancing.

The primary songwriters on this album are Chicago vocalist Oscar “Mr. 43rd Street” Wilson and harmonica great and singer Joe Nosek. Also contributing in the writing of this album are guitarist Billy Flynn and Deitra Farr. Steeped in the sounds of the ’50s, The Cash Box Kings carry on the traditions of the old school Blues scene along with a step into the future as well. Be sure to check out the song, “I Can’t Stand You.” It’s hilarious and it shows what happens when you spend too much time on Facebook.

“Oscar’s Motel” features some of the best guitar licks you’ve ever heard on a blues album, not to mention the extreme prowess of Harmonica Great Mr. Joe Nosek. His harp just rings true throughout this album. But of course, this album is truly fantastic with the soulful vocal skills of Blues singer Oscar “Mr. 43rd Street” Wilson. His vocals are simply out of this world.

The whole album will have you captivated from the moment you start it up till the closing bars of “Ride Santa Ride.” That’s right, “Ride Santa Ride,” one of the coolest Christmas songs you’ve ever heard. Find out what happens when Oscar gives Santa a helping hand on his latest Christmas delivery. Other great moments on here include “Down On The South Side,” a fun-filled journey through Chicago’s South Side. And then there’s the Joe Nosek penned “Hot Little Mess.” Find out all about this young lady that walks into Joe’s life… Not quite the girl you’d take home to mother. Joe also reminisces about another young lady when he let’s us know that “She Dropped The Axe On Me.” Billy Flynn contributes a fine song as well to this album in the form of “Trying So Hard.” There are definitely a lot of great songs on this album, some serious and some just a little bit on the edge. But that’s not all you’ll find here. On “Nobody Called It The Blues” you’ll be taking a bit of a history lesson when you find out just where the Blues

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came from. Believe me folks, there’s more to the Blues than just a good beat. And the guys are most happy to introduce you to a friend of theirs, Chaz. After you hear this song, you’ll be saying, “I Want What Chaz Has” too. Famed Blues singer John Nemeth lends his vocals to this fun-ride of a song.

We had a chance to sit down and talk to The Cash Box Kings’ Harmonica Ace, Joe Nosek and he was able to give us a lot of insight to this great new masterpiece, Oscar’s Motel.

Rock And Blues International: Well, first off, you get a helluva good sound out of Reliable Recorders. The whole album has that distinctive traditional Blues vibe to it.

Joe Nosek: They do great work man. Do you know Jimmy Sutton?

Rock And Blues International: No, I don’t.

Joe Nosek: He’s real known in the Rockabilly, Blues scene, but he’s a Chicago cat. He built that in his attic basically and got all old vintage equipment and really did a nice job making it. It’s live, one room, and it’s a real nice space. The equipment’s all vintage, but it sounds Hi-Fi. It’s been great I think. I think he’s done most or all of Blind Pig Records there and most of the Alligator stuff too.

Rock And Blues International: Are you going to tape or is it digital?

Joe Nosek: We’re going to tape.

Rock And Blues International: That’s what it sounded like to me. It sounded like tape.

Joe Nosek: Yep, yep, it goes straight to tape and they have vintage tape machines and reverb… all analog stuff from back in the day. Eventually everything finds it’s way into the Digital realm, but we cut it to tape.

Rock And Blues International: Yeah, it had that raw sound to it as opposed to that sterile Digital sound. It was really authentic sounding.

Joe Nosek: Yeah, thank you. That’s what we were going for. We don’t use any funky effects to make it sound scratchy intentionally, but yeah, it’s a very warm,

vibrant, earthy organic sound and that’s thanks to the room and the vintage equipment and the great engineer Alex Hall.

Rock And Blues International: Well, it also definitely has that ’50s vibe to it.

Joe Nosek: Absolutely, absolutely, that’s what we were going for.

Rock And Blues International: Well, you got it.

Joe Nosek: They made some good sounding records back then and they were some of our favorites, so we try to keep the topics up to date, but recreate that sound. I’m glad that you felt that we got somewhere close to hitting the mark there.

Rock And Blues International: So, tell me… is there an Oscar’s Motel?

Joe Nosek: There is not. It is a fictional location, but it is based off of the hotel that he (Oscar Wilson) knew as a young man on the south side. He said there would be storefronts on the first floor. On the first floor there would be a barbecue joint, a bar, maybe a hardware store, a liquor store and then you’d go get your various items at those places and hang out, then there would be a hotel up above. He describes it as sometimes

a hotel-by-the-hour.

Rock And Blues International: I’m familiar with those.

Joe Nosek: I guess it was a transient hotel. We kind of intentionally on this album… we feel strongly about our obligations as artists to use our songwriting to highlight issues within society that we feel need attention. I think on this one everyone was so burnt out between politics and the pandemic that people needed an escape and this was a good time. That’s kind of what the theme is that we were going for in the music and the first two tracks on the album. One is “Oscar’s Motel” and that was an invitation to leave your troubles behind and have a good time and come on down to Oscar’s Motel as if he were running one of those places in the ’50s or ’60s. That’s what he was envisioning. And the second song, “Down On The South Side” is kind of a celebration of a really vibrant music scene in his (Oscar Wilson) neighborhood in the ’60s and early ’70s where you could go. He said there was a juke joint and club on every corner. You could bounce around from one place to another, hear different kinds of music, dance, and have a good time.

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Rock And Blues International: The subjects for this album are a bit more different than when you did “Download Blues.” It’s a little less modern other than when you mention Facebook on “I Can’t Stand You.”

Joe Nosek: That’s right. That one is very up to date and current. It’s Oscar and Deitra Farr poking fun at each other and the counterculture of Facebook. They’re always giving each other the business and don’t let up. They’re actually friends. Their Facebook posts and jabs at each other were so funny, that we’ve got to make a song out of this.

Rock And Blues International: It was hilarious.

Joe Nosek: I wish I could’ve recorded the songwriting session we did over Zoom. We did a lot of songwriting over the pandemic on Zoom. Man, just being in the middle of those two, cause they thought it was method acting, staying in character while we were writing the song. I was dying. I wish I had the outtakes from that. We could’ve made a whole album from that.

Rock And Blues International: You’ve got a couple of songs on here that you were the primary songwriter on, “Hot Little Mess.” I really like that one. Tell me a little bit about that one and the inspiration behind it.

Joe Nosek: I really think that what created the inspiration was that that one was a little New Orleans, early New Orleans R&B, but also kind of… I was going after a vibe, some of those blue-eyed R&B singers from down there, Bobby Chiles and Jimmy Donley. That was kind of the musical

inspiration and the topic itself is someone that a lot of us have encountered. It is based off of someone I knew, a beautiful girl, lots of fun, kind of captivated a room from the time she walked in the door, but she also had other issues that she brought through the door with her as well. It just made any long-term relationship or bringing her home for Christmas probably unlikely.

Rock And Blues International: Evidently not quite the girl you wanted to bring home to meet your parents…

Joe Nosek: That’s it… not quite the girl you want to bring home to mama. But I’m hoping some day it could happen, but she needs to fly right to bring her home to mom. That’s what that one is all about.

Rock And Blues International: The other one was “She Dropped The Axe On Me.” Now that’s a very interesting song as well.

Joe Nosek: That one goes back to “We Straddle The Fence.” We like Chess Records… their kind of Blues is kind of our home base. We branch out to a lot of American styles and that one is definitely one of those Sun Records Rockabilly sides. And so I think I was kind of going for something in that vein, a Rockabilly-Country thing on Sun Records. That’s where the musical inspiration for that one came from.

Rock And Blues International: Well, you’re even digging further into the past with songs like “Nobody Called It The Blues.” What started that one off?

Joe Nosek: Well, Oscar and I noticed

that during the pandemic unfortunately we had spent more time on social media and Facebook. It was interesting to see the whole social justice movement unfold after George Floyd died. We were kind of surprised at the reaction of some people who are Blues fans, but didn’t really understand the roots of Blues music or it’s original story. Coming out of the slave plantations or the horrific violence or conditions that African-Americans had to try to survive in when they got here, slaves. And after this music came out and people out there saying you shouldn’t be talking about politics or race. Leave it out of the music. How can you leave it out of Blues music when it’s one of the original forms of protest music in this country? But I think with that song, the message is that Blues came about as a way for people making that music to survive, the visceral racism that they faced and the violence and hatred and the subjugation. They found power and they found hope and I think we really intentionally thought about how we wanted to open and close that song. It opens with kind of a field hollar going back to the days when slaves would sing with music in the fields and then kind of tell them the story, the message that the song details, and then ending with a Gospel church call and response between Oscar and the young vocalist Cameron Webb. It conveys a feeling of hope and also conveys the fact that Oscar and Blues artists of his generation are trying to pass this music on to a new generation of musicians, especially AfricanAmerican musicians so that the message and the history of this music isn’t forgotten and carries on.

Rock And Blues International: Well, I think that a lot of the younger audiences don’t really know the history of the Blues. They just know the feel and don’t know where or how it originated. It was the inspiration for a lot of people a long time ago.

Joe Nosek: Yeah! That’s the thing too. We had a song on the last record called “Bluesman Next Door.” It was Oscar basically saying there’s a lot of people out there saying they like the Blues and will be very friendly face to face in a club, but if they saw us in their neighborhood, they’d probably call the cops. And the fact that there’s a lot of people who’s knowledge of the history of the Blues doesn’t go past Eric Clapton, John Mayall, The Stones, and the British Invasion bands that first started playing it and the artists that they inspired, like Stevie Ray Vaughan and then more modern day artists like Joe Bonamassa. For Oscar, it was important and he really didn’t want the roots of this music and where it came from forgotten. From the Blues, Muddy Waters had a baby and they called it Rock And Roll. They gave birth to Rock And

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Roll, Soul, and R&B. Those came directly out of the Blues.

Rock And Blues International: Well, you mentioned The Stones and you mentioned Clapton. A great deal of the British Blues scene was merely the Black American Blues scene being reinterpreted by the British musicians. They simply took the old Blues songs and re-recorded them. At that time a good deal of the American musicians had seemed to forgotten or overlooked them. They listened to the English Blues and all of a sudden they started emulating what the British musicians were doing. It opened up a whole new world for them. What do you thing the British musicians had going for them that inspired the white musicians of America to start looking at the Blues again?

Joe Nosek: Well that’s a really good question. There were definitely white musicians here… I’m thinking Charlie Musselwhite, Paul Butterfield, and Canned Heat. Those were some really good musicians around the same time doing the same thing, but not if you consider the population of the U.S. compared to the population of

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Great Britain, a small island, and the amount of bands that came out of there. It wasn’t the same. I don’t know what it was… honesty, if the records were more readily available, that they were just so new and novel to them. I guess sometimes you tend not to notice and you take for granted things that are right in your backyard. That’s what was going on here in the U.S. It’s a really good question. But, I agree with you. Later on we had the Claptons. When I was first starting out it was really hard for me to find any young musicians who wanted to play Blues who’s knowledge of the Blues has barely gone past Clapton and Stevie Ray Vaughan. They’re like ‘listen to this Stevie Ray Vaughan lick I learned,’ and yeah, you might have learned it from a Stevie Ray Vaughan record, but that’s Albert King. Stevie took that directly from Albert King and he’d be the first one to admit it. So I was always trying to help my buddies who really liked Eric Clapton or Stevie Ray Vaughan learn who their influences were, like BB, Freddie, and Albert King and some other guys like that.

Rock And Blues International: On this album, you give a nod to some Blues greats

as well, Sonny Boy Williamson and Muddy Waters. What made you pick those songs in particular. You’ve included “Please Have Mercy” and “Pontiac Blues.”

Joe Nosek: We primarily write our own material for recording, but we also… as you said… give a nod to some of the originators that we revere. I think Muddy and Sonny Boy are on the top of that list. We try to do and pick songs too that aren’t warhorses that everyone does. We try to stay away from the “Sweet Home Chicago” and “Hoochie Coochie Man” type of songs. The Sonny Boy Williamson one, the Sonny Boy song that we did, “Pontiac Blues.” You don’t hear too many people doing that. It’s one of his earlier songs and it’s one that Oscar really dug as a young man. We started just doing that live one night. “Do you know “Pontiac Blues” by Sonny Boy” and it was “Yeah, I know that.” We played that and it went pretty well, so we did that again. So, we decided to record that one and Muddy… Muddy’s probably… if you had to chose one artist you really embodied, that post war Chicago sound

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and vibe, it’s Muddy Waters. Oscar was born on 43rd Street in Chicago and that was known as Muddy Waters Drive. Muddy was a legend in his neighborhood, so that’s him kind of paying homage to Muddy and that was a song I honestly wasn’t familiar with in Muddy’s catalog and Oscar knew it. I was like ‘wow that sounds great.’ Little Walter played some steel harp on the original recording and I’m like, ‘let’s do it.’ So we tried to really recreate that stripped down raw. That’s our approach on that tune. We’re pretty happy with that one.

Rock And Blues International: I’m loving your treatment on those songs.

Joe Nosek: I appreciate that because they’re two of my favorite harp players, so anytime I get to try, I may try in vain, but nonetheless, I try to pay tribute to Sonny Boy and Little Walter. It’s important to acknowledge the past masters.

Rock And Blues International: And do you really want “What Chaz Has?” (talking about the song “I Want What Chaz Has”)

Joe Nosek: Yeah man, if you knew Chaz and what he has, you too would want what Chaz has.

Rock And Blues International: Two girls in back and one by his side.

Joe Nosek: One by his side, man. Yeah, unlike Oscar’s Motel, Chaz is a real character. He’s a buddy of ours and one of the coolest cats you’ll ever meet. He looks like a little Santa Claus. He’s a Vietnam vet, combat vet, who really came back and got into the peace movement and he’s got this killer, vintage VW bus. He’s got one of the best record collections you’ll ever find anywhere. He loves to dance, loves Blues music. Let’s put it this way to give it a Texas reference. He and Willie Nelson… they would get along well with their recreational habits.

Rock And Blues International: I can understand that.

Joe Nosek: He’s also very generous. We may have embellished his prowess with the ladies. He’s got a steady girlfriend, Jeannie. He’s just such a lovable guy that everyone always wants to hang out with Chaz. It was like, ‘man, we’ve got to write a song about Chaz.’ That’s how that came

about.

Rock And Blues International: And tell me about “Ride Santa Ride.” You’ve got a Christmas song on the end here.

Joe Nosek: It is… It’s about Santa. That one is interesting because I wrote it with a cousin of mine that I grew up with. He’s a good writer. He’s not a musician, but he’s a writer. He would talk about, ‘why don’t you do a Christmas song.’ He bugged me for years to do one and finally I said, ‘you know what, let’s do it.’ I’ve always been a huge Chuck Berry fan. The whole band and me thought, let’s kind of take that “Run, Run Rudolph” vibe and set the story of Santa’s sleigh getting tragically wrecked on Christmas Eve and him asking Oscar for a ride to get those toys delivered. So that’s how that came about. You hear about people recording Christmas songs in June and that’s just what we did. We recorded it in June. I think we caught the holiday spirit even though we were in the middle of summer.

Rock And Blues International: Well, if you write the right Christmas song, there’s a lot of money to be made on that. Paul McCartney wrote the Christmas song, “Wonderful Christmastime” and he makes over $500,000 on it each Christmas, off that one Christmas song.

Joe Nosek: My God! I would be happy making half of that for the entire existence of that song. But, you’re right. That gets played every year no matter how old that album gets.

Rock And Blues International: That’s right, every year.

Joe Nosek: I will admit that was a consideration. That wouldn’t hurt the

pocketbook. So, we’ll see. I hope we get just a sliver of what Sir Paul gets on royalties.

Rock And Blues International: You’ve got a song on here called “Trying So Hard” that Billy Flynn wrote. Can you give me a little insight on that one?

Joe Nosek: Yeah, I think we co-wrote a couple of songs with Billy in the past. He’s a great songwriter and probably a phenomenal guitar player. He’s a great songwriter and it’s a song that he gave Oscar and Oscar just really connected with it because at the time, what was going on in Oscar’s life was directly mirrored in that song. It’s got that Muddy (Waters) vibe again and we thought, ‘hey, let’s hit it’ and Oscar really wanted to do it because it’s one of his favorite songs to perform. That’s how that one came about.

Rock And Blues International: You’ve been writing and recording with Oscar for some time now. How did that come about and how did the two of you meet?

Joe Nosek: Of all places, when his wife passed away, he had two young daughters that were still high school age on the south side of Chicago and he decided to move up to Wisconsin to get away from the violence and drugs that were in his neighborhood. He just happened to go to a Blues jam one night and he met one of our original guitar players at that Blues jam. They hit it off and Oscar came out and sang a couple of songs and my buddy said, ‘hey, we’ve got to get this guy to play with us one of these times.’ He asked Oscar if he wanted to perform and he said, ‘I’d really like to play Buddy Guy’s with you guys sometime…’ My guitar player said, ‘no problem, next weekend come on down.’ Well, I’d never met Oscar, continued on next page

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but I had faith in my guitar player that he wouldn’t lead us astray and Oscar showed up in a 3-piece orange suit and he got up and just killed it. He did three songs and got three standing ovations. I said, ‘okay, I think we’ve found a spot for this guy in the band.’ That’s how we were introduced to him and he had worked day jobs, labor jobs his whole life, and never ever been a professional musician up to that point, but he it’s in his DNA. That guy is a human jukebox. His father was a Blues musician and had passed away two months before he was born. His mother was friends with a lot of great neighborhood Bluesmen like Junior Wells, Elmore James, Honeyboy Edwards, and Big Smokey Smothers. They’d all come to his house on Friday nights for Oscar’s mom’s fish-fry parties. It’s in his DNA. It’s part of just who he is and it’s been a real incredible journey to make music with him and now writing songs with him. He had never written songs before, but I said ‘Oscar, you can do it, man’. We started writing maybe ten years ago and with every album he’s played a bigger and bigger role with songwriting duties. It was one of those things that kept us kind of sane during Covid when we didn’t gig much. We’d get online and just grabbed a guitar and started running through ideas. I think it’s really blossomed into a great musical partnership when he started writing songs.

Rock And Blues International: Tell me a little about the writing process between the two of you when you write a song. I would imagine that he would come up with the lyrics and you would put together the music end. Does he give you a feel on how he

would like the melody go with the lyrics?

Joe Nosek: Yeah, it kind of varies from song to song. Most of the times I will generate the music and some of the lyrics and then we come in together and collaborate. But, there are the ones, like Oscar’s Motel. That is a great example where he came to me with the idea, an idea in his head and a lot of the lyrics. It’s really done on a song by song basis. I think the most typical way is that it comes from a conversation that he and I have driving or flying somewhere. He’s got so many funny expressions that he’s got and these amazing stories from back in the day. I’ll say ‘wait’ and take a note down and then we get to, ‘well, you were telling me about this club, or you said this thing one time’, then we’ll just sit down and collaborate together and the next thing you know, we’ve got a song laid out. I think more and more these days it’s gotten to be much more evenly distributed and collaborative songwriting between the two of us.

Rock And Blues International: Tell me about the first single that you picked out from this album.

Joe Nosek: Yeah, “Oscar’s Motel” is the first one that’s come out and it’s been getting a lot of airplay on Sirius XM radio and now on other terrestrial radio stations. That’s the first one and I think there are plans to release “I Can’t Stand You” and “Down On The South Side.” I think those will be the next ones that we will probably release.

to you and the band, but is there one song or two songs that when you listen to them you go, ‘Yeah, this is the real Cash Box Kings?

Joe Nosek: Wow that’s a good question. I would say maybe some of the one’s we’ve talked about. “Oscar’s Motel”, I mean, that’s pure 1950s Chicago and Howlin’ Wolf driving music. It’s all about what Blues music is… what we feel, which is having fun, dancin’, drinkin’, getting’ down, and forgettin’ about your troubles. I think “I Can’t Stand You” is a great example, of the way that we put light humor in our music because I think one thing that Oscar feels strongly about is that Blues music is not depressing, not sad either… it celebrant. I think humor is a big part of that so that song. If that song doesn’t make you smile and laugh, you probably need to make a therapy appointment. That’s what were going for with that one, and “Hot Little Mess,” I think really straddles that line between Blues and Rockabilly that we kind of call Bluesabilly. It shows that we have these other side highways that we go off of the main Blues highway. So, those are the ones that I would probably choose and say like ‘Yeah’! And also with “Nobody Called It The Blues.” We do take our role as a band that’s trying to both celebrate and carry on the traditional Blues sounds, but also keep people aware that this music has a history about it. It’s music that enables people to have their voice expressed and highlights issue in society that need to be addressed.

Rock And Blues International: That song is like an education course in itself.

Joe Nosek: Well, we’re trying to pack that into three minutes and we did our best.

Rock And Blues International: Well, you did a great job on that. Can you comment a little on the other members of the band, the roles they play within this collaboration called the Cash Box Kings? It would appear that you and Oscar are the primary songwriters on this project, but the other members have contributions to this as well. I know that some of their contributions can change the songs somewhat.

Joe Nosek: Well, it’s nice to play with such talented musicians and great human beings. Kenny “Beedy Eyes” Smith, son of the legendary Willie “Big Eyes” Smith has been a part of this band since it’s beginning… 22 years ago. He’s just the best in the business as far as Blues drumming goes. He’s just kind of telepathic in knowing exactly just what to play at the right time and what we’re thinking and going for. And Billy Flynn… we’ve been playing with him for about 18 years and he’s just… well, you talk about a master guitar player that can play any

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style of Blues and do it really well… He’s just a team player. The newest member of the band is John W. Lauler, on upright bass. He’s a great young Blues, Jazz, and Soul player out of Chicago and he’s really done a lot of woodshedding and did his homework. He knows himself and is great every time that we play. And then there’s our piano player Lee Kanehira. Unfortunately she lives in Tokyo, so we don’t get to play with her a lot. She usually comes to the US for a month or two and will often meet us when we tour in Europe. She’s really one of the best boogie woogie piano players in the world right now and she is just so good at doing exactly what needs to be done on piano. She’s a male Otis Spann, Pinetop Perkins, Sonnyland Slim, and Memphis Lynch. She’s got them all down. We recorded this album live, so there’s a real synergy and an ensemble approach that we take as a band. No one’s trying to outplay anyone. We’re just team players. We listen and we really try to play together as a group and I think it carries through in the recording and the live shows that we play.

Rock And Blues International: I really think it sounds very authentic. It doesn’t sound multi-layered. It does sound live. I think it carries through in the recording perfectly. It definitely doesn’t sound like everybody showed up at the studio at different times and did their part. It sounds very cohesive and together. It sounds like there’s a real connection between all of the band members.

Joe Nosek: Well, we’re locked in. We record these albums live and in 90% of our shows, that’s the lineup that you hear on this album, that’s who’s playing live. A lot of shows, a lot of miles. Traveling together I think has made us a tight band. I think the novel thing about this record is probably that a lot of the songwriting was made on Zoom. People were isolated, laying low and Oscar and I… it was like ‘Oscar, I’m going to teach you how to use Zoom.’ I learned Zoom and then I taught Oscar how to use Zoom. Despite the idea that we’re playing this older, retro style of music, we were able to capitalize and use up to date technology to help us in putting this album together and writing it. By the time the Pandemic opened up and we were able to get back in the studio together we had those whole set of songs ready to go. I think that’s what really made this album unique compared to the others.

The Cash Box Kings Oscar’s Motel is

a celebration of the Blues that you won’t want to miss. It’s filled with great moments and tons of fun. As you can tell from the interview above, a lot of thought went into the making of Oscar’s Motel. They were able to take their time during the pandemic to sit down and constructively take advantage on this tragedy of American history and turn it into a very constructive period for the band and create a fantastic new album. Every song on this album is simply a masterpiece and I really can’t wait for everybody to hear it. Oscar’s Motel was very inspiring for me to

listen to. From the opening bars of “Oscar’s Motel” to the last note of “Ride Santa Ride,” The Cash Box Kings kept my ears glued to the speakers. It’s definitely one of the best Blues albums I’ve heard in the last couple of years. I’m sure you’ll feel the same way I did once you start listening to it. Be sure to pick it up today. The Çash Box Kings are vocalist Oscar “Mr. 43rd Street” Wilson, Harmonica player and vocalist Joe Nosek, guitarist Billy Flynn, drummer Kenny “Beedy Eyes” Smith, bassist John W. Lauder, and pianist/organist Lee Kanehira.

Kim Simmonds And Savoy Brown Release Their New Album Blues All Around

Quarto Valley Records has just released the new album by famed BluesRock band, Savoy Brown, Blues All Around. As you probably know by now, Savoy Brown’s founder and leader, not to mention the sole driving force behind the band has passed away due to complications from Cancer. Shortly after the recording of the album was completed, Kim Simmonds lost his battle with cancer on December 13th last year. He had just turned 75 the week prior to that. During the recording of the album, Simmonds was recuperating from his latest series of Cancer treatments.

Kim’s death was announced through his Facebook page on December 15th, just two days after his passing with the release, “One of Kim’s last requests was to thank

the fans of Savoy Brown. Your support was, and shall always be, immensely appreciated.” Kim had been battling Cancer for about two years now. He had been first diagnosed with the disease in September 0f 2021 and had undergone surgery, which he said, “kept me going with a decent quality of life.” Unfortunately the chemotherapy that he had to go through had taken a toll on his body and he started experiencing peripheral neuropathy. This side effect deadened the nerves in his finger and hands making it even harder to cope with playing the guitar and he had to suspend touring. However, that didn’t stop him from completing Blues All Around. His last release was 2022’s release, Ain’t Done Yet.

“The new album continues the approach I’ve been taking with the band

this past decade,” said Kim Simmonds at the time of the sessions. Kim formed Savoy Brown in 1965 in London, England, and it has been one of the longest running Blues-Rock bands in existence. “The big difference with the new album is the multilayer approach I took to recording the guitar parts. It’s all blues-based rock music. I try to find new and progressive ways to write and play the music I’ve loved since I was a teenager,” he said.

For 57 years Savoy Brown has been one of the premier bands in the genre of Blues-Rock. In fact, Kim is credited as being one of the originators of this style. As a matter of fact, this album is reported to be Savoy Brown’s 42 album, which is quite a feat for any band. Savoy Brown has pretty much been Kim’s only band that he participated in. Savoy Brown’s first recording was released in 1966 and since that time he has steadily released album quite often. Kim was the band’s premiere songwriter. He may have had help in the early years, but for the most part he was the sole writer and originator of the band’s songs.

On Blues All Around, Kim is joined by Pat DeSalvo (bass) and Garnet Grimm (drums/percussion). These two have been with Kim for about 14 years now and it has been the longest single lineup that Savoy Brown has had to this day.

“I enjoyed making this album perhaps because I approached the recording in a different manner from the usual ‘Live in the studio’ format I’ve always used,” Simmonds says in the album liner notes.

“Here’s how it went. My tracks, guitar, vocal, etc., were laid down first. Pat and Garnet then added bass, drums and percussion and the whole process worked beautifully. They clinched the deal using my tracks as a guide. Brilliant work. They’re heaven sent. The concept wasn’t my brainchild. Studio owner and engineer Ron Keck suggested the approach to make things easier, due to my failing health and I’m forever grateful.

“John Shelmet was another angel in the preparation stages. He suggested I play slide guitar when the neuropathy affecting my fingers made single string playing difficult. Good idea!!

“My wife Debbie was a great help as well in the mixing stage. She added an

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extra set of ears and a source of helpful suggestions as we moved along ... often at lightning pace.

“You have to be quick on your feet in the recording of an album. Things not working have to be put aside and new ideas have to be decided upon quickly so the creative forces don’t grind to a halt. I do have a quick mind which helps .... and sometimes hinders! I do push events forward rapidly. Life is energy. Music is energy.

“Enjoy listening to this set of energetic blues/rock songs as much as I’ve enjoyed making it.”

Blues All Around features 12 great songs and some of the best work that Kim has done to date. The album starts off and ends with pretty much the same song, “Falling Through The Cracks.” Other songs on the album include “Black Heart,” “Going Down South,” “Gypsy Healer,” “Blues All Around,” “Texas Love,” “California Days,” and several more that are bound to become Savoy Brown classics.

We had a chance to sit down and talk with longtime Savoy Brown drummer Garnet Grimm and he was quite helpful in detailing out the last several months with Kim and the recording of Blues All Around, as well as his speculation on the future of Savoy Brown and the current future that he and bassist Pat DeSalvo have embarked on.

Rock And Blues International: This album must be kind of a bitter-sweet release for the band considering that the driving force of the band, Kim Simmonds has recently passed away.

Garnet Grimm: It is. Kim and Pat and myself have been together for close to 14 years now. This has been the longest running version of Savoy Brown. It feels very strange not to have Kim here to support this album, but we’re going to do the very best we can for him. We’re got to try to make it good for him. I have a lot of gratitude and a lot of grief at the same time with this album.

Rock And Blues International; Can you elaborate on that a little bit?

Kim Simmonds

Garnet Grimm: Like I was just saying, I’m grieving a little bit because it’s still pretty raw. Kim passed in December and that was quite a shock. Even though it was not a total surprise. He had been dealing with cancer for a long while. He was very tenacious and I thought we had some more time. So we did get this album out, but when the album came out I felt a little like you said, “bittersweet”. It was nice that we got it out, but it’s kind of emotional to hear him sing and play and know that he’s not here. I owe him a lot of gratitude because he really has helped me along through the years and really solidified my career for me. Without him I wouldn’t have been able to really do any of the things that I set out to do. He justified my career for me.

Rock And Blues International: What lies in the future for Savoy Brown? Will you continue on as Savoy Brown?

Garnet Grimm: First of all I really think that there is no way this band can tour and still be Savoy Brown without Kim. I do like to think though that there might be some more juice in the tank as far as our recordings. Maybe there might be another Savoy Brown release down the road, Kim left us quite a bit of demos and some of them are nearly finished, so there

may well be that kind of thing in the future. But I will say… a lot of people have asked me this in the last couple of weeks… my caveat is that if it’s going to be done, it will have to be done with the same kind of fortitude that Kim would have put into it. It can’t be something that would be done lightly. It has to be done with the right people. We’ll have to see how that goes. Yeah, that’s where I stand on that. That’s what I hope for. There’s a good possibility that might happen.

Rock And Blues International: Before Kim passed, did he express any desire on what he’d like to see on the legacy of the band or with the future of the band?

Garnet Grimm: Well, not with me personally, but I do know that he was… he had been working with some people, record industry lawyers and stuff like that, to insure that things would be in order as best as possible. He didn’t really express those personal things to me that would be a better question for his wife Debbie. I’m sure he was very concerned about that, his band Savoy Brown had become kind of an institution. It’s something he cared very much about. It was his whole life’s work.

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Rock And Blues International: I know that Savoy Brown has been a big part of my life. I’ve been listening to Savoy Brown ever since… I want to say ’68 or ’69.

Garnet Grimm: That’s incredible, yeah!

Rock And Blues International: One of my favorite Savoy Brown albums is “Street Corner Talking”. That was an unbelievable album.

Garnet Grimm: That’s a great album. ’68 or ’69 would have been a school night for me. I would have had to been in bed by 8 o’clock all those shows, so I couldn’t have gone to those.

Rock And Blues International: Well, we still would sneak out the window to go to some of these shows back then. You did

that I’m sure. You’d sneak out the window to go somewhere you shouldn’t have been.

Garnet Grimm: (laughs) Yes, Yes. I did that a few years later, but I was a young boy in ’68. But that let’s you know how long he kept this thing going. You know, there are so many incarnations of the band and Kim helped launch a whole bunch of careers. I don’t know that he intended to do that, but he really did. I believe that the only band he was in was the band he started, which is Savoy Brown when he was about 16, 15 or 16. He was involved in every album, every show, and wrote most of the songs and took the organization around the world several times.

Rock And Blues International: Oh yeah, I’ve seen him in Houston several times.

Garnet Grimm: Yes, I know I’ve played there with him. We used to do a Texas Tour at least once a year. We would do Austin. We would play San Antonio. I know we played Houston. I can’t remember where. It was around The Woodlands. Is that around Houston?

Rock And Blues International: Yeah.

Garnet Grimm: We would play Dosey Doe. Is that right?

Rock And Blues International: Yeah that’s right. And even further back than that in the ’70s, I’d see him at The Music Hall, places like that. That was a long time ago, before you were in the band. Now I’m showing my age.

Garnet Grimm: Yes that was quite a few years before me. I’m sure he was doing all that. He was going all over the place. I’m amazed that I found out that there’s a lot of bands that started their careers touring with Savoy Brown. I think the Doobie Brothers first tour was with Savoy Brown, the first tours that ZZ Top did outside of Texas were with Savoy Brown. So, there’s quite a few of them. I think the first tour that KISS did was with Savoy Brown.

Rock And Blues International: I wouldn’t be a bit surprised. What was the atmosphere like in the studio when you

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were recording this last album?

Garnet Grimm: Well that’s a good question, because… that’s a really good question. As long as I had been with Kim… I first met Kim back in 1999 in person. I was well aware of his history. A mutual friend of our introduced us and I was invited to play on a studio date that had nothing to do with Savoy Brown. It was a solo project that he was doing and we became friends throughout this time, but it wasn’t until about 2009 that I joined Savoy Brown. The whole time that I have known Kim, we always recorded live as a band. We always recorded live. This one is different because Kim wasn’t feeling 100%, so we had to figure out how could we do this record because there was no way he could spend long hours a day in the studio. So, what he did was… He sent all of us, Pat DeSalvo, the bass player, myself, and Ron Keck, the engineer at Subcat Studios… He sent us all demos and said, “This is what I’m interested in doing.” So, Kim went in first and laid down some tracks, vocal tracks over the demos. Pat and myself went in and I think it took us a couple of days to go through the songs and lay down our tracks. Kim came in the second day of our recording, gave us some advice and added some keyboard parts. I think he added some harmonica that day. I guess my point is we had to build the album from the ground up, which is much different from anything that I had ever done with Kim. It was always very straightforward. We would always rehearse the songs. Many times Kim would rehearse the songs on the road when we were touring. We would start to rehearse them at sound checks and then we would continue to rehearse them when we were off the road, but we would go in live and play them live. So this one was very different the way we approached it. I was a little… I don’t know if I was apprehensive… I was just a little anxious because I thought, ‘we’ve never done it this way’, but it worked beautifully. It came off really good I think. Kim had to add a little more time the next week or so of the recording to do slide, some vocal parts that he went over… some stuff like that. I added percussion parts, so it was a cool way to do it because you did get to listen a bit as it was being built rather than you would play and listen back. It was a little bit of a different way, it was kind of neat,

but that’s how that one went.

Rock And Blues International: How was the recording emotionally for you and Pat?

Garnet Grimm: I think that we hit a little on that earlier. I’m very grateful that it came out, but it is hard to hear Kim sing and play and know that he’s not here to support the record. That gives me a little bit of sadness, especially because the recording is doing quite well. Pre-sales were very strong, for example today, we peaked at #6 for Blues Sales on Amazon and I believer we’re #4 for the second week in a row on Billboard for Blues. So, ahead of us is Bonnie Raitt, Buddy Guy, Edgar Winter, and then Savoy Brown. That’s a pretty good showing. Those are some tough people up there at the top. Two of them won Grammys™ recently. I think that Kim would be very, very pleased with the way the recording is going. It’s just that emotionally I’m a little bummed out and feeling sad that we can’t tour to support this, but very grateful that it’s out… very grateful.

Rock And Blues International: Well you say that you won’t be able to tour to support this album. What about a listening tour where you and could go out and play the recorded music and then comment on the songs and the experience with the recording of this album? You could still do somewhat of a listening tour. You could even talk about your years of involvement

with Savoy Brown. That could be quite interesting. And it would still be a tour.

Garnet Grimm: You know what… That’s a cool idea! I don’t think that’s been brought up yet. I’m going to bring that up and give you credit.

Rock And Blues International: Okay! It’s a shame to have a new album out and not be able to do something like that. It would even be easier to do a short little tour where you did talk about those things… You and Pat, and maybe even get Ron Keck to go out with you.

Garnet Grimm: Right, right, that is an excellent idea. It would be cool to get out and do something like that. You’ve just given me ideas that would work. Thank you!

Rock And Blues International: On the writing of the songs, did Kim do all the writing, or were there contributions from you and Pat?

Garnet Grimm: No, I have to tell you, Kim was almost always the primary songwriter, especially during the time we were in the band. That’s the way it was always, but he did have people that would come in with songs at different times during different versions of the band, but our time as a trio it was all Kim. I will tell you that he was very good with Pat and I

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and really had a way of bringing us into the creative process. He would introduce the songs through an idea and we would often record ourselves either at soundchecks or in his studio. He has a home studio. He would often send them to us and say, “what do you think of this, how can we do this better, or is this groove working?” Key changes, etc. would very often happen. So, he was very good at bringing Pat and myself into the creative process, but the initial ideas in the songs themselves were Kim’s ideas. They were always Kim’s. In fact, I was stunned at how much music that guy could write. It was incredible. I will share one story from this record that was a lot of fun for Pat and myself, and that was the song “California Days Gone By.” When the initial demo came to us, we talked about it because the demo had an initial Country feel to it, but the lyrics were about a Rock And Roll band, presumably Savoy Brown hanging around in California in the ’60s. So we messed around for a bit and started talking and figured what we were going to do. So Pat and I just got behind the instruments and started playing

a groove or several grooves and Ron kept his finger on the record button for an hour till we figured out what… in our imagination… what was fitting for the song. So what you’re hearing on the record is what we landed on, what we thought a Rock And Roll band hanging out in California in the 1960s would have felt like. It was really a lot of fun doing that. I enjoyed that.

Rock And Blues International: Other than “California Days Gone By”, are there any songs that you listened to… I’ve been around this business for a long time now and someone wrote the song and it may be scripted out, but when the other musicians step in, there’s always a bit of themselves in those songs.

Garnet Grimm: Right, sure.

Rock And Blues International: So, other than “California Days Gone By” are there any other songs or grooves on there where you go, “That was Me.”

Garnet Grimm: Well, yeah! If you

listen to “Can’t Go Back To My Home Town,” it’s got a little bit of a Latin flavor to it almost. I had a bunch of ideas for percussion, throwing in some conga parts and stuff like that and Kim seemed to enjoy that, so I guess that would be my signature tune. But I have to say that stylistically there’s a lot of… you might hear some changes in there that are cool. In “Texas Love” there’s a bunch of New York guys trying to a nice raunchy, Texas shuffle on that. I like that. The guitars are wide open on that one. I love that one. The song “Going Down South” is kind of R&B-ish and there’s a tonality with Kim’s guitar. Stylistically it’s nuanced… It’s not like it jumps out at you, but yeah, there’s some pretty cool things going on in there if I have to say so myself.

Rock And Blues International: For you, what is the hardest part of listening to this album?

Garnet Grimm: Well, I think that some of this… the hardest part for me is the last… knowing that this is the last we’ll see Kim on where he was actively upfront and involved with it, you know, making changes and just really intimately involved with it. There’s a kind of malady to know that this creative giant was silenced and it gets a little hard to deal with it. The other thing that is really emotional for me is that when you listen to the songs, they’re a little autobiographical I think for Kim. The song, “Winning Hand” seems to be a little reflectionable. You know, I had a winning hand but it kind of got past me. The initial track was called “Falling Through The Cracks”. He sandwiches the album with that. He begins the album with that and he finishes the album with that. I kind of view that “Falling Through The Cracks” is maybe a nod to a historian saying, ‘not quite getting my due here.’ I feel personally that Kim’s up there with all the greats… Eric Clapton, Jeff Beck, you name ‘em, any of those great guitar players… he’s up there with them. He was a pioneer and his writing was huge. He had a huge book of writing behind him. And somehow, he doesn’t get mentioned with those guys often. I wonder if that was “Falling Through The Cracks” for him. I don’t know, but I’m kind of alluding to that, but I wonder. It makes me wonder.

Rock And Blues International: Normally I’ll ask and artist about the meaning of some of the songs that they wrote for an album, but in this case I’m unable to. Did Kim express any feelings or

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details about any of the songs he wrote for this album? Did he say this song is about such and such or this one is about a particular moment in his life?

Garnet Grimm: No, he didn’t come out and say that. No, not that I can remember. But when you listen to the record you’re going to hear, like I mentioned in “California Days Gone By”, you’re going to hear references to hanging out with Janis Joplin, jamming with Jimi Hendrix, hanging out with Humble Pie. You’re going to be hearing those references and that stuff is pretty autobiographical for him. You know, ‘hanging out on Sunset Strip, everyone’s a little high’. Those were definitely probably times he lived, I would imagine. But I couldn’t speak to a person with an experience like that.

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Rock And Blues International: If someone heard this album and it was the first Savoy Brown or Kim Simmonds album that they heard, what would you want them to come away with? What would you want their thoughts to be?

Garnet Grimm: I think I would like people to take away… if you like it, I would encourage you to look deeper into Savoy Brown and the history, look deeper into the catalog of the music that he has, Kim Simmonds and Savoy Brown. I would like people to understand and take out of it that this is a serious person who was very serious and consistent with this genre of music. In fact, he helped create it, really. Not the Blues, but the Blues-Rock part. He was creating and keeping this genre alive all these years and was very consistent in it and I think it’s a durable

music, something that can live on for a long, long time. I think that’s something I would like people to come away with and take with them, the historical part, the relevant part. It’s relevant and durable and it’s something that I’d love to see go on.

Rock And Blues International: I know that this was a while back. You’ve been with Savoy Brown for about 14 years now. What was your first though when you got a call from Kim or someone from his organization saying, “Hey, would you like to play in Savoy Brown?” What was that thought that ran through your mind?

Garnet Grimm: Well, it’s funny. I entered from a little bit of a different way than probably anyone else ever did. We were already friends and acquainted with

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each other. We would talk occasionally. We’d already played together. What happened was the bass player that Kim was using back in 2008, Gerry Sorrentino. Gerry was having some health issues, so Kim had called Pat DeSalvo and said, ‘Do you think you can cover these dates?’ and so what happened was Pat quickly called me and let me know what was going on. He said, do you think you can help me rehearse this set and I said, ‘sure’. “We’re going to go out to Kim’s, so I said sure, I love going out there. We all got together. I learned 90 minutes of music to get Pat up to speed. It was during that time that I spent a couple of weeks doing that. Kim and Pat and I were there. It was during the summer, late summer… the weather was nice. We were chatting and having a good time. It was right after that when Kim had thought about changing up the band. When he called me, I went “yeah, of course, I would love to do this. Kim called me personally and said that this is what he was thinking about doing and it would be a good move since we were all friends. We all lived in the same area and we could rehearse. I said, I think that’s wonderful and I remember saying to him, ‘yeah man, I hope I’m with you for a long time.’ I remember having that conversation. I was very excited. It was more like putting on a nice fitting pair of pants or something. It just fit. It wasn’t like an audition. I didn’t have to go audition. It was more like, ‘I’ve learned the material, we had played together before that. We actually did some gigs together because we had supported Kim’s solo project that I was on. Pat and myself went out as a trio. We actually played a few gigs just as the Kim Simmonds Band or something like that. I can’t remember how it was publicized but we went out and played a few gigs like that. We weren’t really strangers to each other or how each other played, so that was a really cool thing how it all fit together. It kind of fit together like a puzzle rather than ‘hey, can you come and audition at 2:00 o’clock on Thursday. That’s how it came about, but I was very excited.

Rock And Blues International: I know this is a bit early, but what do you see yourself doing in the future?

Garnet Grimm: Well, Pat and I are already doing it and I’ll explain. It’s kind of a nice ‘turn the page’ moment for us, so I have take you back a few years, maybe

about five years or so. It was before Covid. We were playing in Newton, Iowa. We had a festival to play there and there was a gentleman… his name was Sean Chambers. I don’t know if you’re familiar with him. Sean’s a guitar player from Florida. Sean had played ahead of us this day and he was kind of hanging out after his show and he wanted to meet Kim. We introduced him to Kim and I was having some equipment problems or issues that day. His drummer let me use some of his equipment, so we got to hang out after the show during the festival and everybody sort of hit it off and the two bands really enjoyed each other’s company. Kim and Sean became kind of kindred spirits. They would talk and they became friends. When it became apparent that Kim was not going to be able to tour, this was in 2022, Sean had approached us, Pat and myself and said, ‘I’m doing a few gigs. Would you be interested?’ Of course we were interested. We had to work it out. We were very committed to Kim, even though he was not feeling very well, so as long as Kim okay’s it, we’re good for now. We all got on the phone and asked Kim if we could do it and Kim said, ‘yeah man, I think it’s a good opportunity for you guys.’ In fact, it was really kind of sweet because we were doing the tour in October. Pat and Kim and I would text back and forth quite often. I would say once or twice a week during that tour the four of us would get around the phone and Pat and Sean and I would call Kim. He’d want to know where we were and what we were doing and he’d give us some advice and say, ‘oh yeah, I remember that place’ or whatever. It was good for him to be there and be a part of that for us. That was very memorable in and about it in itself. So Pat and I will try to continue this thing with Sean. In fact, I just got back from doing a few gigs with him in Florida this past week. We’re going to try to continue that and see if we can develop that. It’s very easy for us to work with Sean on a couple of levels. One, he’s a sweet guy, great guitar player, good songwriter, but he’s also on Quarto Valley Records. We’re label mates with him, so it works out that way too.

Rock And Blues International: Is there anything else you’d like to add to this interview?

Garnet Grimm: Well, there is one thing that I would like to mention. For anybody that’s reading or listening to this interview, go to the Savoy Brown website and you can see a history of the band, you can see a discography, you can see and buy the current album and the merchandise

that’s for sale there. And, Kim was also a painter, so you can get a lot of his artwork there that’s available. You can see some of it and you can buy some of it, so that would be a great thing to go there.

Rock And Blues International: Well Garnet, thank you for doing the interview on the new album with us. I have been a Savoy Brown fan for many years now. I believe I may have just about every album that the band has issued, probably 30 or 35 or more. I’ve always enjoyed the music.

Garnet Grimm: Probably more. People have been throwing a lot of numbers at me. I tell you, if you count his solo stuff, it’s up there. It’s got to be over 40 for sure. He’s put out a lot of stuff. He was working right up to almost the very end. In fact he sent me, he sent Pat and I some demos about a week or so before he went into the hospital for the last time… some stuff he was working on. That was in November and I just can’t bring myself to open that file yet. I will open them. I feel like it’s a little emotional for me to open them. He sent us the demos and said, ‘hey, these are some songs I’m working on.’ That’s as he was going into the hospital. That’s someone who was working all the time, that guy!

Rock And Blues International: Thank you so much for your time. I really enjoyed the interview with you.

Garnet Grimm: Thanks so much. I really appreciate it as well.

I’d like to thank Garnet Grimm for his participation in this interview. I realize that this is somewhat of a painful time for him and Pat DeSalvo and talking about this no doubt has mixed feelings for him. While he is happy to be able to complete and release this new album, he is very sad that he cannot share the happiness of that with his former bandleader Kim Simmonds. For Savoy Brown fans out there, our heart goes out to you as well. Those of you who enjoyed Kim’s music for so many years will now have to make due with what he has already released. It’s a shame. As Garnet revealed in the interview, Kim was still very active writing and had more plans in the future for more releases. Maybe someday that will come to light. In the meantime get yourself a copy of Savoy Brown’s Blues All Around and join in the celebration that right now we do have a great fantastic album available from this legendary band and musician. Without a doubt, this is one of his best albums and I’m sure you’ll love it.

Costanza Alegiani sings Lucio Dalla: The house of my most intimate dreams

Moody and committed, lyrical and surreal, declamatory and romantic, Lucio Dalla (1943-2012) has been one of the most emblematic personas and the most beloved voices of Italy’s pop scene. Dalla, who in his first artistic incarnation was a promising jazz clarinetist, had reinvented himself as a singer-songwriter in the mid-sixties. His first ticket to success came in 1966, when he sang at the Sanremo festival (in alliance with Jeff Beck-era Yardbirds!).

Dalla’s fame went beyond national borders; his epic “Caruso” (1986) is still regarded as an international classic, the second-best world-known and most sung Italian song, after Domenico Modugno’s “Nel blu dipinto di blu” (Volare). According to The New York Times, he was “a plain-spoken intellectual,” whose songs “captured both the exuberant spirit of Italian popular culture and the country’s political agony and social turmoil in the 1960s and ’70s”.

Although the Bolognese chansonnier’s creativity spanned a much longer period, Lucio dove vai? (Where are you going, Lucio?), jazz artist Costanza Alegiani’s fourth opus, focuses on a selection of songs recorded in those two decades. The album was presented on March 4, to celebrate the 80th anniversary of Dalla’s birth.

Alegiani, a performer and composer skilled in many areas, including folk, poetry, literature, and theatre, is featured with her Folkways Trio (Marcello Allulli on tenor sax and Riccardo Gola on double bass), who shared her fine 2021 work, which took its name, repertoire and inspiration from the seminal label devoted to popular music and culture.

The mysterious, existential title track, the thoughtful utopia, ecologist ahead of its time, of “Anidride solforosa” (Sulfur Dioxide), plus the successful takes on a couple of imaginative stories from the 1973 LP, Il giorno aveva cinque teste (The Day Had Five Heads), “La canzone di Orlando” and “Il coyote”, mark the boundaries of a new, successful achievement for Alegiani. Unlike in Folkways, where improvisational freedom prevailed, this time the Roman performer adheres faithfully to the letter and spirit of the authors (in five compositions, the lyrics are by the poet Roberto Roversi).

The project started almost by chance in 2022, following her appearance in a Rai Radio 3 program for the tenth anniversary of Dalla’s passing. A year of training was worth the mastery of a gentle but nervous, immediate, almost dancing enunciation of the chosen songbook. Humble and competent, skating on syllables, Costanza takes visitors to “an ideal home where I have never lived, but which I have always known, as in my most intimate dreams”.

Costanza Alegiani canta Lucio Dalla: La casa dei miei sogni più intimi

Umorale e impegnato, lirico e surreale, declamatorio e romantico, Lucio Dalla (1943-2012) è stato uno dei personaggi più emblematici e delle voci più amate dell’Italia pop dell’altro ieri. Dalla, che nella sua prima incarnazione artistica era un valido clarinettista jazz, si era reinventato cantautore a metà degli anni Sessanta. Il suo primo lasciapassare per il successo lo esibì nel 1966, quando apparve al festival di Sanremo (in abbinamento con gli Yardbirds di Jeff Beck!).

La sua popolarità travalicò i confini nazionali; l’epica “Caruso” (1986) è tuttora considerata un classico internazionale, la seconda tra le canzoni italiane più conosciute e cantate nel mondo, dopo “Nel blu dipinto di blu” (“Volare”) di Domenico Modugno. Secondo il New York Times, Dalla fu “un intellettuale schietto”, le cui canzoni “catturarono sia lo spirito esuberante della cultura popolare italiana che l’agonia politica e le turbolenze sociali del paese negli anni Sessanta e Settanta”

Sebbene la creatività del chansonnier bolognese abbia abbracciato un arco di tempo ben più lungo, a una selezione di brani incisi in quei due decenni è dedicato Lucio dove vai?, il quarto album di Costanza Alegiani, presentato il giorno dell’ottantesimo anniversario della nascita di Dalla, avvenuta il 4 marzo 1943. Alegiani, interprete e compositrice ferrata in numerose discipline tra jazz, folk, poesia, letteratura e teatro, si accompagna al suo Folkways Trio (Marcello Allulli al sax tenore e Riccardo Gola al contrabbasso), già protagonista del fortunato lavoro del 2021, ispirato al repertorio della seminale etichetta di musica e cultura popolare.

La misteriosa, esistenziale title track, l’utopia pensosa e l’ecologismo ante litteram di “Anidride solforosa”, oltre alle riuscite riprese di un paio di fantasiose storie tratte dall’LP del 1973 Il giorno aveva cinque teste, “La canzone di Orlando” e “Il coyote”, segnano le coordinate di un nuovo traguardo per Alegiani. A differenza di Folkways, in cui prevaleva la libertà improvvisativa, stavolta la performer romana si attiene con fedeltà alla lettera e allo spirito degli autori (in cinque pezzi il paroliere è il poeta Roberto Roversi).

Il progetto partì quasi per caso nel 2022, in seguito alla partecipazione a un programma di RaiRadio 3 per il decennale della scomparsa di Dalla. Un anno di studio è valso la conquista di un’enunciazione gentile ma nervosa, immediata, quasi danzante, del canzoniere prescelto. Con umiltà e competenza, pattinando sulle sillabe, Costanza guida i visitatori in “una casa ideale dove non ho mai vissuto, ma che ho sempre conosciuto, come nei sogni più intimi”.

Conversations With The Professionals Meet One Of The World’s Best Kept SecretsProfessional Drummer Memo Reza

Lead blues rock guitarist Martin Craig from Turin Italy was in Houston as a special guest of recording artist Evelyn Rubio performing two gigs with her and the band. It was at the Big Easy that I saw Memo Reza on stage. I had seen him perform previously but not like this night, it was this night that caught my eye. I had seen Memo perform with his band, Dream Band, previously but this night it was Memo sitting in with Evelyn Rubio’s Band. Both of Memo’s events were tribute shows, one to Juan Gabriel and the other to Selena. In both of those events Memo was noticeably good but his job was to remain subdued and not overpower the ambiance that was building in the

room and the man did his job well. However at The Big Easy Evelyn had Memo let the genie out of the bottle and the man did his solo and did it

ever catch the attention of the crowd. I was sitting next to the owner of the club and when Memo lit the fuse on those fireworks with his impeccable timing and theatrical stage presence the owner was deeply impressed. The

crowd was digging it big time too. The second time I experienced Memo was at a blues club known as Green Oaks Tavern. Once again the man did his thing and he knocked the socks of this crowd as well. This reaction is not unusual as Memo Reza is a well known rock drummer in Mexico. He was with Sistema on the Sony Music label for seven years beforeemigrating to the United States. He relocated to Houston and became a naturalized citizen. Today in Texas he’s regarded as a top session drummer, he teaches percussion at the Teora Music School in The Woodlands Texas and has his own band, The Dream Band. Memo has toured with the USO in Japan, Kuwait, Iraq, and more. Most recently he’s been on tour with Shaila Durcal, Carlos Cuevas and the Woody Witt Jazz Trio. An incredible portfolio and yet many of us may have never heard of him. He’s performed in Chicago, New York, Los Angeles, Nashville, New Orleans plus others in the U.S. My take on this guy is that if you like John Bonham’s performances, that kind of cool presence and energy, then Memo Reza is your cup of tea. Memo has been teaching drums for 29 years and when asked who has influenced him the most from his youth up he couldn’t limit the list to just three musicians. He cited Ringo Starr of the Beatles, Neail Peart of Rush, Will Kennedy of the

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Far right jazz guitar great Mike Wheeler

Yellow Jackets, Dave Weckl, Stewart Copeland, Tony Williams and Jeff Vaccaro, that’s quite a list. But it’s not that surprising either because when you talk with him about music you can tell that his heart is expressing the passion of what he feels. Speaking of heart Memo continues to support many worthwhile charities in greater Houston. He says, “If I am available yes I want to give back.” This brings me to write about his tribute shows. Shows that always sell out whether in Houston, San Antonio or Nashville. Memo is the band leader for such tribute shows as Candlelight for Selena and the ever popular Juan Gabriel Candlelight performances. An equally interesting tribute is for jazz guitar great Mike Wheeler (see photo below). Plus there is another event in the works right now but at press time I cannot disclose it. However, I am sure you

will see it advertised in the near future. When I asked Memo about what it was that got his interest early on he said that was easy to answer, his Uncle. At five years old Memo’s uncle gave the young boy his first set of drums. That started it then he learned about a guy named Ringo Starr and that sealed the deal. Not too long after that he learned about a group named Rush. Today he remains in awe of those top performers, those stars, and you can add Foo Fighters to his list as well. So here we have this young man being raised in a musical family including four older sisters that were into rock. Then you add the family’s passion for multiple genres such as jazz, Latina and opera. Combine those multi-genre influences with a giving uncle who brings the drum scene to life and you get the roots for something really good to happen and it did. Meet Memo Reza the highly respected drummer. Memo continues to teach drums, for 29 years now, and

he does it in The Woodlands Texas at the Teora Music School. There, he instills in his students that perfection comes from practice and that practice reveals the essence of one’s soul and this personal element is what allows your originality to grow, you expand and finally a creation arrives that becomes something notable, pleasurable to both yourself and others. He shares with them that it really and truly takes five to eight months to get what you are creating to where you want it and then you are ready to take it to the stage. I asked Memo about the soul like presence I feel in his expressions and words. He told me that he used to attend an African American church. While he had always been musical because of his influences the joy and praise he witnessed within that church within the music they chose to bring to life was so inspirational that he still carries that around with him to this very day. The closing thought he had for me was that if someone has an old musical instrument that they do not use please consider donating it to a band director or a young person you know could get into it. Look what it did for me. If you would like to make contact with Memo just reach out to John in Houston PR

Southern Rock Royalty GuitaristVocalist-Songwriter

Duane Betts Spring Vacancy Tour

Follow Duane Online At http://www.duanebetts.com

http://www.facebook.com/DuaneBettsBand

http://www.instagram.com/duanebetts

Southern Rock Royalty guitarist-vocalist-songwriter Duane Betts and Palmetto Hotel embark on their Spring Vacancy Tour, with a local performance at Mangy Moose Emporium, 3295 Village Drive, Friday, March 24. Show: 9pm. Tickets: $25. Info: (307) 733-4913 or visit https://mangymoose.com.

“We can’t wait to play some new tunes off the forthcoming record as well as tunes you may know and a few of the “classics,”

Duane Betts “Taking Time”

Click On https://youtu.be/RFCt3yVNwCw

says Betts. “Our buddy Charlie Overbay Music will be opening select shows and selling his bad-ass Lone Hawk Hats. See you on destiny’s highway...”

As a teen, Duane Betts cut his teeth sitting in regularly with Rock and Roll Hall of Fame inductees The Allman Brothers Band. A native of Sarasota, Florida, Betts relocated to Southern California and fronted Malibu rock groups Backbone69 and Whitestarr, then ascended to a near-decade stint playing guitar alongside his father, Dickey Betts, in his dad’s group, Great Southern. Whether as a touring guitarist for folk-rockers Dawes or sharing the stage with luminaries from Jack Johnson and G. Love to Kid Rock and Phil Lesh, Betts became a consummate musician. He continued to hone his craft in notable collaborations, including a brief but celebrated 2017 stint with Jamtown — a super-group featuring Love, Donovan Frankenreiter, and Cisco Adler.

In 2018, Betts’ own impassioned, six-string stories portraying a life and a history steeped in blues, rock, and country music tradition, inspired the release of his first solo record, Sketches of American Music. With venerable guitar, time-worn vocals and enlightened, seasoned songwriting on a six-pack of instant favorites, Betts delivered five of his own freshly-drawn rock-and-roll portraits, brilliantly colored in country and blues, plus a special homage to his Rock-and-Roll Hall of Fame dad. Betts enlisted the guiding pen of respected song-smith Stoll Vaughan and veterans Steve Cropper (Booker T. & the M.G.’s) and Marc Ford (Black Crowes) for a production hand on sessions in Nashville and Los Angeles.

In support, Betts released two videos for the EP’s singles — “Taking Time” and “Downtown Runaround” — and undertook a world tour with the Devon Allman Project, fronted by the son of the late Gregg Allman. Betts also reunited with dad Dickey and his Band for a round of summer 2018 tour dates.

At year’s end Betts announced the formation of The Allman Betts Band, officially uniting with Devon Allman and Berry D. Oakley, son of the late Allman Brothers Band founding bassist, Berry Oakley. The group recorded tracks at Muscle Shoals Sound Studio in November for its debut album, Down to the River, released in June, 2019. A world tour commenced in 2019 in New York City.

Duane Betts has picked up a lot along the way. With every note and every word, he’s showing what he’s learned, while holding with the utmost respect what’s been passed to him. “There are traits that are inherent. It’s in your sense of melody or with your phrasing. I think some of that stuff comes from hearing it a lot and from your instinct,” says Betts. “I have my own identity, too, and that’s my identity, for sure. I don’t think you could really get around that history if it’s there. I’m honored and I’m grateful to be a part of that legacy.”

Carlos Santana

Santana Announces 1001 Rainbows Tour Summer 2023 Dates

The Tour Will Celebrate His CareerSpanning Hits From Yesterday, Today and Tomorrow

Rock and Roll Hall of Fame guitarist Carlos Santana has announced he will hit the road with his band across North America this summer for the 1001 Rainbows Tour. Throughout, Santana will perform high-energy, passion-filled songs from their fifty-year career, including fan favorites from Woodstock to Supernatural and beyond.

Detroit, MI, Oxon Hill, MD, Atlantic City, NJ, Bridgeport, CT, Bangor, ME, Boston, MA, and more before concluding on August 6 in Springfield, MA.

Delivered with a level of passion and soul equal to the legendary sonic charge of his guitar, the sound of Carlos Santana is one of the world’s best-known musical signatures. For more than five decades— from Santana’s earliest days as a groundbreaking Afro-Latin-blues-rock fusion outfit in San Francisco—Carlos has been the visionary force behind artistry that transcends musical genres and generational, cultural, and geographical boundaries.

For more than five decades - from Santana’s earliest days as a groundbreaking Afro-Latin-blues-rock fusion outfit in San Francisco - Carlos Santana has been the visionary force behind artistry that transcends musical genres and generational, cultural and geographical boundaries. To date, Santana has won ten GRAMMY Awards and three Latin GRAMMY Awards, with a record-tying nine GRAMMY Awards for a single project for 1999’s Supernatural (including Album of the Year and Record of the Year for “Smooth”). He has received the Billboard Century Award (1996), was

Santana will wrap up the Blessings and Miracles Tour at the legendary New Orleans Jazz and Heritage Festival on May 4 followed by dates in Dallas and Houston, TX before kicking off the 1001 Rainbows Tour in Newark, NJ on June 21. Stops include Canandaigua, NY, Niagara Falls, ON, Northfield, OH, Huber Heights, OH, continued on next page

Carlos Santana

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ushered into the Rock and Roll Hall of Fame (1998), received the Billboard Latin Music Awards’ Lifetime Achievement honor (2009), and was the recipient of the Kennedy Center Honors Award (2013). Among many other distinctions, Carlos Santana has been cited by Rolling Stone as #15 on their list of the “100 Greatest Guitarists of All Time;” and has joined the Rolling Stones as one of only two bands to have an album reach the Top 10 in every decade since the 1960s. In 2018, he released his first MasterClass, and recently celebrated three epic milestonesthe 20th anniversary of his groundbreaking album Supernatural, the 50th anniversary of his legendary performance at Woodstock, and the 50th anniversary of his masterpiece Abraxas. His most recent album, the powerful, energy-infused Blessings and Miracles (2021) features collaborations with Rob Thomas, Chris Stapleton, Steve Winwood, and many others. Santana continues his residency at the House of Blues Las Vegas where he celebrated his 10th anniversary of performing in the intimate venue in May 2022.

Santana’s 1001 Rainbows Tour North

American Dates:

*Blessings and Miracles Tour

León Larregui (Zoé) Releases Two New Singles from Upcoming ‘Prismarama’ Album US Tour Starts May 1

Award-winning Mexican singer, composer, and producer León Larregui has always been at the forefront of contemporary music, exploring various artistic manifestations as the front-man of Zoé and in his solo work. Today, he unveils two new singles, previewing even more music from his upcoming album.

“Chromocosmic Avenue” has a video directed by Diego Vargas and photographed by Nicolas Croes with cinematic texture and highlights the constant invasion of our privacy due to technological advances. It is the story of Isabel, an introvert full of idealism who feels constantly observed. She builds a device to enter the servers and free society from the globalized system, all in the name of independence and love. Through an electro-pop atmosphere with distorted voices and lyrics in English, Italian, and Spanish, León asserts that we are at the mercy of those who have the information to manipulate us and we must fight back.

The “Holidays” video is a stopmotion animation that intersperses images of Larregui performing the folkrock song, reminding us of the world’s terrible isolation from the COVID-19 pandemic. It shows a woman confined to her house, her only contact with the outside world through binoculars and her monotonous daily activities, which we can all relate to.

“Holidays” and “Chromocosmic Avenue” are available on all streaming platforms and will be part of Larfegui’s next solo album, Prismarama, releasing soon.

The 16-date Prismarama U.S. Tour will kick off on May 1st at The Fillmore in San Francisco and will visit Los Angeles, Las Vegas, Houston, Dallas, New York, and Washington DC, among others, before wrapping up on May 30th at Chicago’s House of Blues.

The recently released “Amantes” and “Su Majestad La Eternidad” will also be included on Prismarama and are both available now on all streaming platforms.

New Music From Australia

Australian Singer, Songwriter & Producer Bobi Andonov Reveals New Single “Bad Decisions” Out Now Via Saless / Warner Music

STREAM / DOWNLOAD HERE @ https://lnk.to/bad_decisions

WATCH OFFICIAL VIDEO HERE @ https://youtu.be/HhRT8P5fuis

CONNECT WITH BOBI ANDONOV: INSTAGRAM @ https://www.instagram.com/bobiandonovofficial/ TIKTOK @ https://www.tiktok.com/@bobiandonovofficial?lang=en

FACEBOOK @ https://www.facebook.com/bobiandonovofficial

TWITTER @ https://twitter.com/thebobiandonov

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

SPOTIFY @ https://open.spotify.com/artist/5EXfqUleFQVrNrQIDpuAxy

APPLE MUSIC @ https://music.apple.com/au/artist/bobi-andonov/297177498

SOUNDCLOUD @ https://soundcloud.com/bobiandonov

Australian singer, songwriter and producer BOBI ANDONOV returns with his first release of 2023 - the seductive new single “Bad Decisions,” out now via Say Less / Warner Music Australia. The song is carried by mysterious chords that usher in the cinematic chorus Bobi has been teasing on socials for the last few months, with over 500k views on TikTok alone.

“’Bad Decisions’ is about finding someone who can keep up with your freedom, and your decadence, and the fun you can have exploring with them,” Bobi says.

“Bad Decisions” earmarks a new chapter for the rising talent, calling upon his expansive influences – the likes of Prince, Michael Hutchence, Childish Gambino and Tame Impala – to experiment beyond the confines of his previous work. Feelings of both devotion and defiance are threaded through Bobi’s newest offering, as he explores outside the bounds of genre classification and takes the listener on a unique and necessary musical journey.

Last year, Bobi released two funkinfused pop tracks “Until The Morning” and “Night Crawls” under the moniker Drella. The former arrived alongside an incredible music video by Grey Ghost (Ruel, Hiatus Kayote) and attracted rave reviews on triple j Unearthed, with Abby Butler praising it as “world class” and Tommy Faith proclaiming it a “certified hit”.

Having fallen in love with music at an early age, Bobi has had a whirlwind musical career thus far. His passion has taken him from performing as Young Simba in the Broadway production of The Lion King in both Melbourne and Shanghai, representing North Macedonia at Junior Eurovision, and making it as a grand finalist in Australia’s Got Talent (with his audition reaching over 15 million views), to spending studio time in Stockholm with some of Sweden’s most illustrious hitmakers including The Wolf Cousins – who have penned hits for the likes of Ariana Grande, Sam Smith, Dua Lipa. Bobi’s music has received acclaim from the likes of Billboard, NYLON, Time, triple j, and Unearthed and 2023 sees him continue his evolution, with new releases produced by the likes of Ilya (Ariana Grande, The Weeknd, and recently Sam Smith’s and Kim Petras’ “Unholy”), Rykeyz, and Dylan Bauld.

New Music From Ecuador

Singer Songwriter Eljuri presents her new vibe video ‘No Puedo Cruzar’

LISTEN HERE @ https://eljuri.lnk.to/NoPuedoCruzar

For all of Eljuri’s latest news, follow her on: Instagram @ https://www.instagram.com/eljurimusic/ YouTube @ https://www.youtube.com/eljurimusic Web @ https://www.eljurimusic.com/ Facebook @ https://www.facebook.com/eljurimusic Twitter @ https://twitter.com/eljuri

Eljuri’s reggae compositions have been dubbed as ‘roots reggae’ by the esteemed musicologist and reggae historian Dermot Hussey. ‘No Puedo Cruzar’ is the latest addition to that list. This song emphasizes the value and importance of patience, respect and tolerance. Eljuri’s inspiration was the ongoing crisis faced by immigrants and asylum seekers trying to come to the United States. In this case, the tide is too high, making a crossing frustrating during a difficult journey. As her lyrics say, ‘I can’t get across. How do I get there? When the tide goes out. I’m lost but, I must be patient. If I can wait, I’ll get there today. When the tide goes out, I can cross.’

“When we’re at a roadblock in life we are presented with a test. Stay hopeful, be patient and eventually the ‘tide’ will go your way.” –Cecilia

The video, created by Alexandra Gatje from Manovill Records, follows in the feel good, vibe video style of Eljuri’s most watched video, ‘Resiste’. It ties together Eljuri’s LIVE stage performance with visual representations of ‘rising tides’ and draws on the Eljuri tour visualizer graphics created by ZCollective. ‘No Puedo Cruzar’ is the fifth single and music video from Eljuri’s album, ‘Reflexíon’.

The rockstar humanitarian launches her 2023 international touring season with her European debut in the Netherlands. Eljuri’s ‘Reflexión’ Record Release concert will be presented at Patronaat in Haarlem. Their new Zoca Flavor series, expands cultural offerings in Haarlem and is named for the Mexican zocalos where communities come together and cultural and creative ideas cross-pollinate. The Eljuri power-trio is honored to be sharing their explosive Latin Rock fusion with this series.

A second more intimate show at Thiemeloods in Nijmegen. This semiacoustic concert will allow for a thrilling afternoon exploring the songs from Eljuri’s album, ‘Reflexión’.

Eljuri Presenta Su Nuevo Video De Vibra No Puedo Cruzar

ESCUCHA AQUÍ @ https://eljuri.lnk.to/NoPuedoCruzar

Sigue todas las novedades de ELJURI por: Instagram @ https://www.instagram.com/eljurimusic/ YouTube @ https://www.youtube.com/eljurimusic Web @ https://www.eljurimusic.com/ Facebook @ https://www.facebook.com/eljurimusic Twitter @ https://twitter.com/eljuri

El musicólogo e historiador del reggae Dermot Hussey bautizó las composiciones reggae de Eljuri como ‘roots reggae’ y “No puedo cruzar” es la última incorporación a esa larga lista de la artista. Esta canción subraya el valor y la importancia de la paciencia, el respeto y la tolerancia. La inspiración de Eljuri fue la actual crisis a la que se enfrentan los inmigrantes y solicitantes de asilo que intentan llegar a Estados Unidos. En este caso, la marea es demasiado alta, lo que hace frustrante la travesía en un viaje difícil. Como dice su letra: “No puedo cruzar. ¿Cómo voy a llegar? Cuando baja la marea estoy perdido, pero, debo ser paciente. Si puedo esperar, llegaré hoy. Cuando baje la marea, podré cruzar’.

“Cuando nos encontramos en un atolladero en la vida se nos presenta una prueba. Mantén la esperanza, sé paciente y al final la ‘marea’ irá en tu favor”.Cecilia Villar

El vídeo, creado por Alexandra Gatje, de Manovill Records, sigue la línea del vídeo más visto de Eljuri, “Resiste”. Une la actuación en directo de Eljuri con representaciones visuales de “mareas crecientes” y se basa en los gráficos del visualizador de la gira de Eljuri creados por ZCollective. “No puedo cruzar” es el quinto sencillo y vídeo musical del álbum de Eljuri, “Reflexión”.

La artista ecuatoriana/ Neoyorquina, inicia su temporada de giras internacionales 2023 con su debut europeo en los Países Bajos. El concierto de presentación del disco ‘Reflexión’ de Eljuri se presentará en el Patronaat de Haarlem, introduciendo una nueva serie de conciertos bajo el nombre Zoca Flavor, donde las comunidades se unen y las ideas culturales y creativas se cruzan. Es un honor para el power-trio Eljuri compartir su explosiva fusión de rock latino con esta nueva serie en abril.

Un segundo concierto, más íntimo, se llevará a cabo en Thiemeloods, en Nimega. Este concierto semiacústico permitirá pasar una tarde explorando las canciones del álbum de Eljuri, ‘Reflexión’.

28 Songs for 28 Years: Israeli Punk Unit Useless ID Unleashes blistering LIVE IN TEL AVIV “We caught some lightning in a bottle.”

Career-Spanning 2LP Set Out April 21 via Double Helix Records

Pre-order Link:

https://www.hellomerch.com/collections/double-helix-records

Follow Useless Id online: Twitter @ https://twitter.com/ Facebook @ https://www.facebook.com/ Instagram @ https://www.instagram.com/

If live performance remains as the great leveler in the world of rock and roll, then USELESS ID floats above the rest with their forthcoming set, Live in Tel Aviv (release date: April 21, 2023 via Double

Helix Records).

“Live In Tel Aviv is a recording from our 25th anniversary tour in our hometown of Israel, where we normally celebrate the

milestones of the band with a special show,” explains vocalist/bassist and central

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Useless ID

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songwriter Yotam Ben Horin. “Though we had no idea it would be at the time, it was our last show in Israel before lockdown. We were at the top of our game, so I really felt we caught some lightning in a bottle with the recording.”

He’s not just blowing smoke. Boasting ‘no edits,’ the set serves as all the documentation anyone could ever possibly need of the quartet’s melodic-but-sinewy punk chops. Live in Tel Aviv captures the raw energy of the band’s stage show, spread over a staggering 28 songs and shot through with an addictive dose of musical rocket fuel. From the urgent opening notes of “Land Of Idiocracy” to the poignant politicism of album closer, “State Of Fear,” the torrential onslaught refuses to let up.

“The band always works towards a tight live show,” adds guitarist Ishay Berger, commenting on the raging fire that Live in Tel Aviv so effectively documents. “We take the studio experience and try to recreate the passion and energy of the albums when we hit the stage, and on that night we were kind of at our best.”

“I first met [the folks from] Double Helix when we were talking about my solo album Young Forever, which was released in May of 2022,” Yotam says, reflecting on merging forces with the Arizona based label. “I kept thinking back to this live show— which I had a rough mix of—thinking that one day it should be released. I’d had such a wonderful experience working with them that I asked if by any chance they would be into releasing a Useless ID live album, and I sent them all 28 songs. They quickly replied, ‘We’ll make it a double LP!’ What could be better than a Double LP on Double Helix? So we have 28 songs for our 28th year as a band,” he adds, laughing about the double dose of duplicates.

“We play the songs a bit faster here and there, and some of them have morphed into different versions over the years, which can be felt in the live recordings,” Yotam continues. “Most of all, Jason Livermore, (Descendents, Propaghandi, NOFX, Hot Water Music) mixed the recording in a way that makes you really feel you’re at a Useless ID show when listening.”

Songs may change over time, but the band’s core remains committed to the quintessential punk ideal: radical freedom of expression. From dealing with getting dumped to avoiding interpersonal catastrophes to socio-political calls to arms, Useless ID showcases all of their various inspirations on their first official live album. It’s a reminder of the breadth of quality material they’ve released (spanning eight full-length albums, myriad EPs, splits, singles, and

compilations) and that they’ve never shied away from speaking their collective minds.

“‘Stopwatch’ to me feels more relevant than ever these days since it’s about how Israel is becoming more and more of a rightwing state as time goes by,” Yotam points out. “The fanatic religious members of the population have this master plan to take over and force their beliefs on others. If, through our music, we can play any part in helping someone follow their own path and not fall into certain norms and patterns that they were born into, then we’ve done plenty.”

When Useless ID took the stage at Tel Aviv’s The Barby in August of 2019, they were already poised to bring a little something extra for their hometown show, coming at the end of a 25th Anniversary tour. Now fans can experience the magnetic feel of the gig ‘on demand,’ and they won’t want to stop: Live in Tel Aviv sounds and feels like we’re right there, in the room, a sweaty enthusiastic mob seeing some old pros show everyone how it’s done.

Useless ID is: Yotam Ben Horin, Ishay Berger, Guy Carmel, and Corey Ben Yehuda. Live In Tel Aviv was mixed by Jason Livermore at The Blasting Room. It will be released April 21, 2023 via Double Helix Records across DSPs and on a trio of 2LP vinyl variants, the lacquers for which were cut by Wes Garland at Nashville Record Productions in Nashville, Tennessee. The vinyl was then hand-pressed by Burlington Record Plant in Burlington, Vermont.

Live in Tel Aviv Tracklisting

Side A

1. Land Of Idiocracy

2. Stopwatch

3. Deny It

4. Borrowed Time

5. Mouse In A Maze

6. Turn Up The Stereo

7. Unhappy Hour

Side B

8. How To Dismantle An Atom Bomb

9. Genetic

10. Before It Kills

11. Pink Stars And Magazines

12. Punx On The Other Side

13. Local Expert

14. Too Bad You Don’t Get It

15. Tour Song #2

16. Night Shift

17. At The Stadium

18. Before I Go

19. Dying Love

20. At Least I Tried

Side C

21. Always The Same

22. Bring Me Down

23. Blood Pressure

24. It’s Alright

Side D

25. Kiss Me Kill Me

26. Night Stalker

27. Isolate Me

28. State Of Fear

Bourbon & Beyond

A Perfect Blend of Bourbon, Food & Music In Louisville September 14-17, 2023At Highland Festival Grounds At Kentucky Exposition Center

Headliners Include: Bruno Mars, The Killers, Brandi Carlile, The Black Keys, Plus Duran Duran, Billy Strings, The Black Crowes, The Avett Brothers And Many More Acts From Rock, Americana, Bluegrass, Blues & Alt Rock

The World’s Largest Bourbon & Music Festival Showcases An Elevated Bourbon and Culinary Experience With Master Distillers And Celebrity Chefs

GA, VIP, and Angel’s Envy Beyond VIP Passes Plus Camping On Sale Now At BourbonAndBeyond.com

For more information on Bourbon & Beyond please visit: Website: BourbonAndBeyond.com Facebook: @bourbonandbeyond Instagram: @bourbonandbeyond Twitter: @bourbonNbeyond Hashtag: #BourbonAndBeyond

We believe in quality before quantity. Please drink responsibly

Danny Wimmer Presents is excited to announce the biggest Bourbon & Beyond lineup yet after a recordbreaking attendance of over 140,000 in 2022. The unique festival, celebrating the perfect blend of bourbon, food and music, celebrates what makes Louisville such a beloved festival destination.

“Bourbon & Beyond is our love letter to the city of Louisville and the great state of Kentucky,” says Danny Wimmer, Founder of Danny Wimmer Presents. “We can’t wait to showcase why Louisville has become our home away from home, so having the opportunity to curate an unbelievable festival experience rooted in amazing musical

performances combined with our passion for bourbon and culinary arts is our dream come true.”

Hailed by Forbes magazine as “One of America’s most unique festival offerings,” Bourbon & Beyond continues

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to live up to its reputation as The World’s Largest Music & Bourbon Festival with a wide array of talented music acts along with the best pours and tempting eats from Kentucky’s favorite establishments. For the first time ever on the Bourbon & Beyond stages, the festival welcomes headliners Bruno Mars, The Killers and The Black Keys, along with the return of Brandi Carlile after her unforgettable performance last year.

“We were totally blown away by Brandi Carlile’s performance at Bourbon & Beyond last year. She is the voice of a generation and her set had such an impact on the crowd, we immediately knew we had to bring her back as a headliner,” comments Wimmer. “Having her return as a headliner, along with Bruno Mars, The Killers, The Black Keys as well as 2022 Rock & Roll Hall Of Fame inductees Duran Duran, wow…we can’t wait to share the great community and spirit of bourbon country with the world.”

Over 65 musical acts in total will perform over the four-day festival. In addition to headliners Bruno Mars, The Killers, Brandi Carlile and The Black Keys, the 2023 lineup includes 2022 Rock and Roll Hall of Fame inductees Duran Duran, Billy Strings, The Black Crowes, The Avett Brothers, Blondie, Train, Hozier, Jon Batiste, Brittany Howard, Ryan Bingham, Babyface, Midland, Bastille, Spoon, The Gaslight Anthem, First Aid Kit, Old Crow Medicine Show, Buddy Guy, Aloe Blacc, Wayne Newton, Mavis Staples, City and Colour, Inhaler, Paolo Nutini, ZZ Ward, Fantastic Negrito, Drew Holcomb and the Neighbors, Luke Grimes, The Lone Bellow, Joy Oladokun, Maggie Rose, Hailey Whitters, Darrell Scott Band, Danielle Ponder, Dumpstaphunk, Boy

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Named Banjo, Brandy Clark, John Primer, Willie Jones, Stephen Wilson Jr., Drayton Farley, Goodbye June, As You Were, Vivi Rincon, Kelsey Waloon, Michael Cleveland & Flamekeeper, The Lil Smokies, Twisted Pine, The Cleverlys, Town Mountain, Della Mae, Sunny War, Lindsay Lou, Dan Tyminski, and Frank Solivan & Dirty Kitchen.

In addition to the amazing musical acts, Bourbon & Beyond festival-goers will be treated to one-of-a-kind festival experiences throughout the weekend. The four-day event will feature daily workshops and demonstrations at the Team Kentucky Bourbon Stage Presented by Kentucky Proud and the Kentucky Venues Culinary Stage Presented by GE Appliances, pairing world-renowned master distillers and celebrity chefs with guest artist appearances and a who’s who of Kentucky personalities. The programming is hosted by Chefs Amanda Freitag, Chris Santos, and Ed Lee, along with the lead bourbon buyer in the United States, Chris Blandford, plus Blind Bourbon Live: Fred Minnick. The complete bourbon and culinary lineup will be announced this summer.

“Bourbon & Beyond is by far my favorite festival of the year! I am thrilled to be back in 2023 for the incredible music lineup, the tastiest cocktails and of course the food,” says Chef Amanda Freitag. “It combines all my favorite things in one weekend. I get to hang out with my buddy Chris Santos from Chopped and we get to play on stage with other great chefs from around the country. See you there!”

“I am beyond excited to be back hosting the culinary stage at Bourbon & Beyond after all the fun we had last year! This year’s lineup is bigger and better than ever and joining me will be the amazing Amanda Freitag,” says Chef

Chris Santos. “This festival of revelry, amazing music, fine bourbon and culinary delights is simply the perfect party weekend and I’m honored to be a part of it. September can’t come fast enough!”

Bourbon lovers will be able to stop by Chris Picks MiniBar for select single barrels curated especially for the festival; the Hunter’s Club for rare and vintage sips; the Kentucky Distillers’ Association Craft Bourbon Bar for hand-picked craft distillery tastes; the George Dickel Flight School for daily step-by-step tastings where fans can learn about the art of bourbon; and the Jim Beam Tiki Barrel Bar for the perfect oasis to make the festival vacation complete. In addition to select bourbon experiences, fans can rejoice in other cocktail offerings including the Highland Grounds Wine Garden and Blackened Presents, The Whiskey Bar. Bourbon & Beyond is also proud to present the 1Million Strong Wellness Retreat, providing fans a place to relax, recharge and enjoy the hottest mocktails this side of the Ohio river.

Another highlight of the weekend will be spending time in the Kroger Big Bourbon Bar. Featuring the best bluegrass bands, a podcast taping (or two), line dancing AND expertly curated picks of Kentucky’s finest, the bourbon trail is coming right to Bourbon & Beyond.

Visit the Bourbon & Beyond festival website for a complete description of festival experiences.

“As not only partners, but also fans, our team is excited for this year’s Bourbon & Beyond. September will showcase Kentucky’s hospitality and food scene to those expected to visit continued on next page

(continued from previous page) from 50 states and over 20 countries,” said David S. Beck, president & CEO of Kentucky Venues. “We appreciate the continued collaboration with Danny Wimmer Presents in hosting and growing this festival in the heart of Bourbon country.”

Calling Louisville, KY home, Bourbon & Beyond is the companion festival to Louder Than Life, which takes place the following weekend, September 21-24, 2023. With the back-to-back festivals, 275,000 fans turned out in 2022, creating over $43 million in local economic impact, an attendance boom at all bourbon distilleries along the urban bourbon trail, and more than 50,000 hotel nights.

Single day, weekend, and VIP passes, along with camping are on sale now for as low as $10 down at BourbonandBeyond.com, or fans can purchase festival passes at DWPBourbon.com to utilize ShopPay or AfterPay payment methods. New in 2023, Bourbon & Beyond is proud to elevate the festival camper experience with Glamping offerings for both tent and RV in the Barrel and Oak Coves. VIP passes include exclusive perks with options including The Mint VIP Experience and Angel’s Envy Beyond VIP, which features all-inclusive drinks and complimentary curated bites from chef Anthony Lamas of Louisville’s famed Seviche restaurant. Visit BourbonAndBeyond.com for details on VIP passes.

Bourbon & Beyond is also partnering with Fuse to provide exclusive pass and hotel bundles. In addition, fans who are interested in celebrating back-to-back weekends in Louisville with both Bourbon & Beyond and Louder Than Life can purchase an

Exacta Pass for less than $60 per festival day (Exacta Pass starts at $459.99 plus fees).

Danny Wimmer Presents is proud to welcome back new and returning partners alike which includes: Angel’s Envy, Bardstown Bourbon, Basil Hayden’s, BeatBox Beverages, Bluegrass Distillers, BirdDog, Boundary Oak, Brother’s Bond Bourbon, Budweiser, Bulleit Bourbon, Cutwater Spirits, Crowne Plaza Airport Expo, Elijah Craig, Four Roses, Galt House Hotel,George Dickel, Glencairn, Huber’s Starlight Distillery, Jack Daniel’s, Jefferson’s, Jim Beam, Kentucky Peerless, Knob Creek, Kentucky Proud, Kentucky Venues, Kroger, Larceny, Legent, Louisville Tourism, Lyte, Maker’s Mark, Maker’s 46, Marriott Louisville Downtown, Michter’s, Middle West, Old Forester, Ole Smoky Distillery, Pappy & Co., Pegasus Distilled Experiences, Rabbit Hole, SelvaRay, Stonehammer, T-Mobile, Team Kentucky, Tito’s Handmade Vodka, The Bard Distillery, The Music Experience, Wilderness Trail and more to be announced.

Bourbon & Beyond also thanks nonprofit partners Artists for Trauma, Take Me Home, To Write Love On Her Arms, Dare to Care, Louisville Visual Art, Amped Music Academy and Sweet Evening Breeze. More partners and experiences will be announced closer to the festival.

The Highland Festival Grounds at Kentucky Exposition Center are located at 937 Phillips Lane in Louisville, Kentucky.

Bourbon & Beyond is produced by Los Angeles-based Danny Wimmer Presents, one of the largest independent

producers of destination music festivals in America. Additional DWP events in 2023 will include Aftershock Festival, GoldenSky Country Music Festival, Inkcarceration Music & Tattoo Festival, Louder Than Life, Sonic Temple Art + Music Festival and Welcome To Rockville.

Since 1995, music industry veteran Danny Wimmer has been producing concerts and festivals, both large and small. In 2011, he formed Danny Wimmer Presents, which now produces the largest rock and alternative festivals in the U.S. By combining A-list talent with local cuisine and culture, DWP has become recognized within the industry for delivering the highest-quality entertainment experiences to fans, artists, sponsors, partners and host cities. DWP creates memorable and all-encompassing festival experiences, leaving both consumers and partners with lasting and meaningful impressions. The 2023 festival lineup will include Aftershock, Bourbon & Beyond, GoldenSky, Inkcarceration, Louder Than Life, Sonic Temple Art & Music Festival and Welcome To Rockville. Previous DWP festivals include Rock On The Range, Carolina Rebellion, Chicago Open Air, Northern Invasion and more. Since 2020, DWP has been an innovator in the digital content space with over two dozen international livestreams, acclaimed social series Offstage with DWP and the DWPresents Channel on Twitch featuring That Space Zebra Show, which has garnered over 25 million worldwide views since its launch in mid-2021.

www.DannyWimmerPresents.com Twitter.com/DannyWimmerPres Facebook.com/Dannywimmerpresents Instagram.com/

Gen-Z Pop Phenomenon Claire Rosinkranz Shares New Single “Never Goes Away”

She says, “Most of the time, when you say something or put something out into the world, you can’t take it back. So be wise with your words and your actions. This song was inspired by my friend Hunter after he and I did a photoshoot, and he wrote little messages on the sides of the photos. One of the messages was about once something’s out you can’t take it back.”

“Never Goes Away” lands in the wake of “Sad In Hawaii” ( https:// clairerosinkranz.lnk.to/SadInHawaiiPR ),which has quickly garnered critical acclaim. In addition to plugs from Entertainment Tonight, DORK, and more, Clash professed, “New track ‘Sad In Hawaii’ has an old school flavour, with her 90s pop tendencies coming to the fore,” and Ones To Watch hailed it as a “melancholic bop.”

Over a soundtrack of alternative pop spiked with just the right amount of punk and electronics, Claire Rosinkranz asserts herself as a true Gen-Z storyteller whose vision instantly captivates. Since releasing her breakout Gold-Certified debut “Backyard Boy,” the buzzing artist has built a diehard fanbase worldwide, racked up over 1 billion global streams and counting, received a US Gold Certification, won the MTV Trending Award for “Best Breakthrough Song” at the 2021 MTV VMAs, garnered a “Social Star” nomination at the 2022 iHeartRadio Music Awards, toured with Alec Benjamin and sold out headline shows across North America, and performed at a slew of legendary music festivals, including Lollapalooza, Austin City Limits, Life Is Beautiful, and more.

Claire Rosinkranz Socials:

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

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

Facebook: https://www.facebook.com/clairerosinkraz/

Twitter: https://twitter.com/clairerosinkraz

19-year-old Southern California singer, songwriter, and multi-instrumentalist Claire Rosinkranz unveils her new single “Never Goes Away” via slowplay/ Republic Records.

Claire initially penned the intimate

“Never Goes Away” in the car on the way to a writing session. Delicate guitar underlines her glassy delivery in between finger-snaps. On the track, she deals with the permanence of a post online and offers up a word to the wise.

Claire Rosinkranz turns idyllic days of a teenage summer, road trips, post-high school adventures, and the butterflies of young love into breezy alternative pop anthems. In 2020, the 19-year-old, GoldCertified Southern California singer, songwriter, and multi-instrumentalist emerged as a smart, sharp, and savvy voice for Gen-Z with her independent breakout “Backyard Boy.” It not only amassed north of 1 billion total streams, but it also picked up a gold plaque. She maintained this momentum with fan favorite EPs, such as BeVerly Hills BoYfRiEnd [2020] and 6 Of A Billion [2021]. Along the way, she collaborated with Jeremy Zucker, ROLE MODEL, Clinton Kane, Hauskey, and Aidan Bissett, in addition to touring alongside Alec Benjamin. Beyond praise from The New York Times, Billboard, HYPEBAE, and many more, Claire garnered the MTV Trending VMA for “Best Breakthrough Song.” On her soonto-be-announced debut album, Claire captures all of the joy, confusion, anxiety, and wonder of growing up with songs set to a soundtrack of gleeful guitars, lo-fi production, and chantable choruses—all under the California sun.

UNEARTH Announces Album Release Tour

Their new album The Wretched; The Ruinous Drops May 5th

Watch “Mother Betrayal” here at https://youtu.be/TiV1RDfUe2Q

Watch “The Wretched; The Ruinous” here at https://youtu.be/c3ftYYCi49o

pre-order album here:

https://Unearth.lnk.to/TheWretchedTheRuinous

UNEARTH online:

https://unearthofficial.com/ https://www.tiktok.com/@unearthofficial

https://www.facebook.com/unearthofficial

https://www.instagram.com/unearthofficial/

https://twitter.com/Unearthofficial

https://open.spotify.com/artist/ 44wJRGNtWywCUJZug8FJg3?si=KP3YHrfRSWimZk9H998raA

“It’s been almost five years since we’ve headlined the Midwest and West Coast of the USA and we are excited to be coming at you all first to support our new album ‘The Wretched; The Ruinous’. We’ve got two killer bands joining us on all dates, Upon A Burning Body and 156/Silence, as well as some yet to be announced bands on select gigs. See you all out there.” - UNEARTH

On album number eight, The Wretched; The Ruinous, UNEARTH not merely continues to amp-up their metal

meets hardcore intensities, but they also exceed themselves with a record that incorporates elements of classic UNEARTH offerings dating back to 2004’s “breakthrough” The Oncoming Storm, while exploring beyond the recent back-to-basics promise of 2018’s Extinction(s). For UNEARTH’s founding mainstays, Trevor Phipps and guitarist Buz McGrath, it feels like the beginning of a new chapter. “Buz took the entire pandemic to write these songs,” says Trevor. “He pushed himself to get out of his comfort zone and explore

what UNEARTH is, both past and present. Buz adding these new elements and killer song structures inspired me to be more diverse vocally. The Wretched; the Ruinous is still UNEARTH, but it’s also the most dynamic record we’ve ever done.”

Teaming again with Extinction(s) producer, Will Putney (Body Count, Thy Art Is Murder), the goal was simple: create the definitive UNEARTH record. From the scathing title track opener to the explosive “Cremation of the Living”, the brooding “Mother Betrayal” to the album’s riffviolent closer, “Theaters of War”, The Wretched; The Ruinous is UNEARTH pulling out all the stops. “There’s certain songs where you can really hear the band’s hardcore roots,” explains Trevor. “The track ‘Dawn of the Militant’ is a true mix of metal and heavy hardcore, that to me define what the term ‘metalcore’ truly is. For the bulk of this record though, the metal, aggression, and technicality are reminiscent of our Watchers of Rule (2014) album. All of the ingredients of UNEARTH are present on these songs, but the band continues to explore new territories as writers and players.”

The Wretched; The Ruinous is a turning point moment for UNEARTH. It’s first album in their canon recorded without guitarist Ken Susi, who mutually parted with the band in 2022. Trevor shares, “It simply came time for Unearth and Ken to take a break from working together. He’ll always be a large part of the story of this band, and we wish him the best on all of his endeavors”

The frontman makes no bones about the arduous writing process for The Wretched; The Ruinous. “Coming out of the pandemic I found myself struggling to find my zone of creativity with writing, but I pushed through, and once I found it things caught fire.” Phipps has never been one to shy away from often scathing social commentary. “Lyrically, it’s a warning shot record,” Trevor continues. “I’ve spoken about the decline of our environment by Mankind’s hand dating back to our first record in 2001, and I’ve continued to write about the environmental crisis throughout our entire career. We are now at a tipping point with Mother Nature and our place on this planet, and I had to devote the entirety of this album to what is happening around us. This album is a collection of stories of what is happening, and what is to come, if we do not make monstrous changes to how we treat our only home.”

“The Wretched; The Ruinous is about the eight billion people on this planet,” echoes the frontman of UNEARTH’s latest state of the world address. “We’ve created a man-made mass extinction event and have been too slow to correct our faults. Extreme weather, drought, famine, disease, erosion of land, culture wars, civil wars, continued on next page

UNEARTH

(continued from previous page)

wars for natural resources, and the displacement of billions of people, is all a current reality. This isn’t a future problem; it is a now problem and I take this record to talk about it. As a species we are very quickly turning our once Garden of Eden into our future hellscape.”

?”It’s not all devastation and gloom though,” adds Phipps. “On the track ‘Call of Existence’ I talk about how we can turn this around with swift, drastic changes to our emissions and consumption of natural resources. There is a responsible way forward that will benefit all life on our planet, and we have to embrace and act on that responsibility now.”

With their 25-year mark looming, it’s a daunting thought that UNEARTH has been a part of the metal landscape since making their recorded debut with 1999’s Above the Fall of Man EP. At that point, UNEARTH was one of the key bands in an-about-todetonate New Wave of American Heavy Metal (NWOAHM) scene that included nascent lineups of Killswitch Engage, Lamb of God, Shadows Fall, Darkest Hour, Bleeding Through, and God Forbid. “It was a healthy competition between all of us,” the vocalist recalls. “It made for some great music and opened up a new chapter in American metal.”

The release of 2001’s The Stings of Conscience album (Eulogy) and its landmark follow-up Endless EP ignited excitement about UNEARTH, who in 2003 joined Killswitch Engage, Shadows Fall and Lamb of God on the inaugural MTV Headbanger’s Ball tour. Inking with Metal Blade that year for the album The Oncoming Storm, UNEARTH took their spot as one of American metal’s most explosive live acts. “Those early years of full-time touring were really impactful for us,” says Trevor. “We were hitting milestone after milestone, year in year out. Endless road work followed including countless tours, massive European, Japanese, and Australian festivals, and rite-of-passage American road-jaunts, including the Ozzfest and Mayhem festival tours, cemented the Mass quintet as a force in the world of metal. That unassuaged work ethic drives the band to this day.

Joining Trevor, Buz and long-time bassist, Chris O’Toole, on the road is not only new guitarist Peter Layman (ex-Apiary), who filled in for UNEARTH before, but also drummer Mike Justian, long considered an integral part of UNEARTH’s halcyon days. “Mike’s live performance and presence are unmatched, and we couldn’t be happier to have him back with us,” states Trevor. In the Summer of 2022, with Justian and Layman, the band headed off to Europe for festivals and haven’t looked back since, with appearances at various US festivals, a tour in Mexico to round out 2022, and upcoming world touring in 2023, with tours in Australia, Japan, Taiwan and Europe all on the docket in the first quarter of the new year.

Unearth is: Trevor Phipps- vocals, Buz McGrath- lead guitar, Peter Layman- guitar, Chris O’Toole- bass. Mike Justian- drums

UNEARTH - Hell on Earth Tour 2023 - Europe with Misery Index, Year Of The Knife, Turbid North and Leach

?4/1 - Dortmund, Germany – Junkyard

4/2 - Antwerp, Belgium – Trix

4/5 - Munchen, Germany – Backstage

4/4 - Freiburg, Germany – Crash

4/5 - Eindhoven, Netherlands – Dynamo

4/6 - Sheffield, UK – Corporation

4/7 - Leeds, UK – The Warehouse

4/8 - London, UK – Islington Assembly Hall

4/9 - Lille, France – The Black Lab

4/10 - Paris, France – La Machine Du Moulin Rouge

4/11 - Stuttgart, Germany – Im Wizemann

4/12 - Weinheim, Germany – Cafe Central

4/13 - Cottbus, Germany – Gladhouse

4/14 - Leer, Germany – Zollhaus

4/15 - Chemnitz, Germany – AJZ Chemnitz

4/16 - Ostrava, Czechoslovakia – Barrak Music Club

4/17 - Berlin, Germany – SO36

4/18 - Hamburg, Germany – Bahnhof Pauli

4/19 - Copenhagen, Denmark – Pumpehuset

4/20 - Gothenburg, Sweden – Musikens Hus

4/21 - Stockholm, Sweden – Slaktkyrkan

UNEARTH - The Wretched; The Ruinous Album Release Tour With Special Guests Upon A Burning Body and 156/Silence

5/4 - Lubbock, TX - Jake’s

5/5 - El Paso, TX - Rock House

5/6 - Tucson, AZ - The Rock

5/7 - Anaheim, CA - Parish Room @ House of Blues

5/8 - Los Angeles, CA - The Regent Theater

5/9 - Roseville, CA - Goldfields

5/11 - Portland, OR - Star Theater

5/12 - Seattle, WA - El Corazon

5/14 - Salt Lake City, UT - Soundwell

5/15 - Denver, CO - HQ

5/16 - Lawrence, KS - The Bottleneck

5/18 - Columbus, OH - Ace of Cups

5/19 - Rochester, NY - Montage Music Hall

UNEARTH

Supporting Halo Effect With Special Guests High Command

5/20 - Hartford, CT – The Webster

5/21 - Brooklyn, NY – Monarch

5/22 - Philadelphia, PA – Brooklyn Bowl

5/23 - Worcester, MA – The Palladium Upstairs

5/24 - Quebec City, QC – Imperial bell

5/25 - Montreal, QC – Fairmount Theatre

5/26 - Toronto, ON – Horseshoe Tavern

5/27 - Detroit, MI – Crofoot Ballroom

UNEARTH Festival Dates

5/28 - Milwaukee, WI – Milwaukee Metal Fest

6/15 - Dessel, Belgium - Graspop Metal Meeting

6/16 - Clisson, France - Hellfest 2023

6/30 - Emmen, Netherlands - Pitfest

7/2 Saarbrucken, Germany - Reality Bites Fest

The wait is finally over! Genrebending metal powerhouse VEIL OF MAYA have today announced their first new studio album in nearly 6 years. The new album, ‘[m]other’, will be released on the

band’s long-time label, Sumerian Records on May 12th. Pre-orders, with a variety of merch and vinyl bundle options, are available now from https:// veilofmayaband.com/

Heralding today’s news is the release of brand new track, “Red Fur” and its epic, continued on next page

futuristic music video. Find the new track on streaming platforms here at https:// sumerian.lnk.to/mother and watch the music video here at https://youtu.be/ _KEdxh2FdwI

Speaking on the announcement of the album and the release of the new track, frontman Lukas Magyar shares

“This record is a collection of personal experience, history and a touch of my own imagination. I enjoyed approaching each song in a different way this time around. It was certainly challenging at times to find the right mood but when the work was finally complete it seemed to come together very well. I’m thrilled to see how our fans respond!”

Speaking on his inspiration for writing the new single, Veil Of Maya’s incendiary guitarist and songwriter, Marc Okubo adds

“I got convinced to go to a Rufus Du Sol concert. I was immediately inspired though. The next day, I was like, ’Let’s combine some of this with our style’. That explains the electronic opening.”

“Red Fur” follows the release of stand alone singles, “Godhead” (released last month) and “Synthwave Vegan” (released in May of last year). Both tracks feature on the new album and between them have clocked up 1.5 million Spotify streams and 478,000 YouTube views.

By channeling energy in one direction, force grows exponentially. Veil of Maya harness the individual experiences and talents of four distinct musicians— Marc Okubo [guitar], Sam Applebaum [drums], Danny Hauser [bass], and Lukas Magyar [vocals]—into airtight grooveladen metal accented by fits of instrumental virtuosity and vocal catharsis. This approach has endeared them to a devout fan base with critical acclaim and over 100 million total streams and counting (unprecedented for an outfit this crushingly heavy). The Chicago band draw on the strength of their union on their seventh full-length offering, [m]other [Sumerian Records].

Veil of Maya have consistently pushed the boundaries of heavy music by pushing themselves collectively. 2015’s Matriarch made major waves, crashing the Billboard US Hard Rock Albums Chart at #2 powered by “Aeris,” “LeeLoo,” and “Mikasa.” The latter has gathered over 25.4 million Spotify streams and counting. In 2017, ‘False Idol’ saw the band return to the Top 3 of the Hard Rock Albums Chart as “Overthrow” and “Doublespeak” each eclipsed 8 million-plus Spotify streams apiece. The record also incited the applause of LoudWire, Substream Magazine, Metal Hammer, and Invisible Oranges who raved, “False Idol is undeniably Veil of

Maya: greatly contrasting the band’s past, it serves as a companion and booster for their older work.” Simultaneously, they toured alongside Animals As Leaders, Upon A Burning Body, Chelsea Grin, Oceans Ate Alaska, and more. In the midst of the Pandemic, they dropped “Outsider,” “Viscera,” and “Outrun.”

The Chicago band now draw on the strength of their union on their seventh full-length offering, [m]other [Sumerian Records]. In short, this is Veil of Maya at their collective best. Speaking on his hopes for his band’s upcoming opus, guitarist, Marc Okubo shares

“I hope you’re inspired to listen to this again and again. Maybe you’ll hone in on the little details as you go further, and it will musically become a cinematic experience.”

Veil Of Maya | [m]other

Track Listing

Tokyo Chainsaw

Artificial Dose

Godhead

[re]connect

Red Fur

Disco Kill Party

Mother pt 4

Synthwave Vegan

Lost Creator

Death Runner

VEIL

?4/28 Omaha, NE - The Admiral

4/29 Denver, CO - Ogden Theatre

4/30 Salt Lake City, UT - The Depot

5/01 Garden City, ID - Revolution Concert House

5/03 San Diego, CA - The ObservatoryNorth Park

5/04 Los Angeles, CA - The Belasco Theater

5/05San Francisco, CA - The Fillmore

5/06 Las Vegas, NV - House of Blues

5/07 Phoenix, AZ - The Van Buren

5/09 Austin, TX - Emo’s

5/10 Dallas, TX - The Echo Lounge & Music Hall

5/12 Minneapolis, MN - Skyway Theatre

5/13 Green Bay, WI - EPIC Event Center

5/14 East Moline, IL - The Rust Belt

5/15 Chicago, IL - House of Blues

5/16 Royal Oak, MI - Royal Oak Music Theatre

5/19 St Petersburg, FL - Jannus Live

5/20 Atlanta, GA - Buckhead Theatre

5/21 Lexington, KY - Manchester Music Hall

5/23 New York, NY - Webster Hall

5/24 Boston, MA - Paradise Rock Club

5/25 Silver Spring, MD - The Fillmore Silver Spring

5/26 Philadelphia, PA - Theatre of Living Arts

5/28 McKees Rocks, PA - Roxian Theatre

DAWN OF OUROBOROS share new single and music video, ‘Velvet Moon’

WATCH THE MUSIC VIDEO FOR VELVET MOON AT https://youtu.be/FlOVUWy8L1s

Stream Velvet Moon via Apple Music @ https://music.apple.com/gb/album/velvet-incandescence/1646155914

TIDAL @ https://tidal.com/browse/album/249625947

Deezer @ https://www.deezer.com/us/album/358539267

Bandcamp @ https://dawnofouroboros.bandcamp.com/album/velvet-incandescence Spotify @ https://open.spotify.com/album/5CdA3GDaxf8P4Na1yK11il

Pre-order Velvet Incandescence here at https://lnk.to/DawnofOuroboros

FOLLOW DAWN OF OUROBOROS ONLINE: Facebook @ https://www.facebook.com/dawnofouroboros Twitter @ https://twitter.com/OuroborosOf Instagram @ https://www.instagram.com/dawnofouroboros/

DAWN OF OUROBOROS

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Blackened progressive metal quintet DAWN OF OUROBOROS have today shared their new single, Velvet Moon, and an accompanying music video. Velvet Moon is the second track to be taken from the Oakland, CA based band’s forthcoming sophomore album, Velvet Incandescence, due out via Prosthetic Records on April 21.

Speaking on the single and music video, DAWN OF OUROBOROS’ Tony Thomas (guitar / synths) comments: “Velvet Moon is the final track on our upcoming album. We felt it was best to end Velvet Incandescence with it as it has a strong sense of nostalgia associated with it. We also felt it is the most cinematic of the tracks on the album, as it steadily builds up in intensity, reaches a climax, and then concludes with a strong sense of finality.”

Formed in 2018 by Tony Thomas (Botanist, Cailleach Calling) and vocalist Chelsea Murphy (Cailleach Calling, Tegmentum), DAWN OF OUROBOROS’ formative years saw the band solidify their core lineup to a fivepiece before releasing their debut album, The Art of Morphology, in 2020. The Art of Morphology showcased the young band’s penchant for hybridising the extreme and canorous qualities of progressive, atmospheric black and death metal, ushering in a warm reception from both fans and critics.

Invigorated by the response to their debut album DAWN OF OUROBOROS came together in November 2021 to commence recording of Velvet Incandescence, once again opting to team up with Nick Loiacono at Fang Studios in San Mateo, CA for recording and mixing, before being mastered by Jack Shirley (Deafheaven, Oathbreaker, Bosse De Nage) at The Atomic Garden Studio. Placing an emphasis on melody and feel above technical virtuosity, Velvet Incandescence’s eight tracks revel in sanguine triumph both musically and lyrically.

Album highlights Rise from Disillusion and Iron Whispers both rise and fall with a beguilingly ethereal quality, thanks to additional vocals

provided in the form of a choir. Elsewhere, precise and calculated bursts of tremolo picking and resplendent lead guitar from both Thomas and Ian Baker (Red Rot) coalesce in dizzying fashion on Testudines. Rhythmically bolstered by the talents of David Scanlon (Deliria) on bass and Ron Bertrand (Botanist, Red Rot) on drums, album closer Velvet Moon musically encompasses Velvet Incandescence’s dual nature of serenity and volatility.

Both lyrically and vocally, DAWN OF OUROBOROS’ Chelsea Murphy interfuses a deeply personal approach with the cosmic and universally human need for healing and a feeling of home across the album’s 46 minute runtime, with tactful hope and heart at the forefront of all things over solemnity and resignation. The thematic melding of the universal and personal is conveyed in arresting fashion by album cover artist Jilly Colbert at Manfish Inc.

Three years on from their debut statement, DAWN OF OUROBOROS’ latest offering refines and redefines their sound. Velvet Incandescence will no doubt serve as a luminous spark for the quintet’s increasingly bright future.

DAWN OF OUROBOROS is:

Tony Thomas - Guitar / Synths, Chelsea Murphy - Vocals. David Scanlon - Bass. Ian Baker - Guitar / Piano, Ron Bertrand - Drums

Velvet Incandescence tracklist:

1. Healing Grounds

2. Testudines

3. Iron Whispers

4. Levitating Pacifics

5. Rise from Disillusion

6. Castigation

7. Cephalopodic Void

8. Velvet Moon

DAWN OF OUROBOROS Velvet Incandescence album release tour w/ Ashbringer

21 April - Thee Parkside - San Francisco, CA

22 April - Supply and DemandLos Angeles, CA

23 April - Til Two Club - San Diego, CA

24 April - Yucca - Phoenix, AZ

25 April - Kilby Court - Salt Lake City, UT

26 April - The Shredder - Boise, ID

27 April - The Plaid Pig - Tacoma, WA

28 April - Substation - Seattle, WA

29 April - Mano Oculta - Portland, OR

New FORETOKEN Album, ‘Triumphs’, Premiering In Full

LISTEN TO TRIUMPHS IN FULL VIA HEAVY BLOG IS HEAVY HERE AT https:// www.heavyblogisheavy.com/2023/03/13/exclusivepremiere-witness-foretokens-triumphs/ Pre-order via Bandcamp here at https://foretoken.bandcamp.com/album/triumphs

FOLLOW FORETOKEN ONLINE: Facebook @ https://www.facebook.com/ForetokenMetal/ Twitter @ https://twitter.com/ForetokenM Instagram @ https://www.instagram.com/foretoken_metal/ Virginia, VA blackened death metal duo FORETOKEN are today premiering their new album, Triumphs, in full via Heavy Blog Is Heavy. On their second full-length, FORETOKEN set folkloric tales from both Western and Middle Eastern origins to meticulously lofty soundscapes and elaborate extreme metal and orchestral musicianship.

Speaking on the premiere, Steve Redmond (guitar and orchestration) comments: “Triumphs is the culmination of two years of intense work. We pushed ourselves hard on this one. We really listened to the feedback we received from our first album, Ruin, and we wanted to improve upon it, and take FORETOKEN to the next level. I personally am really proud of this album and it was certainly a blast to make!”

Vocalist, Dan Cooley adds: “Triumphs marks the next page in the FORETOKEN story and I couldn’t be more excited for people to see it. We pushed ourselves to

improve on every aspect of songcraft and that’s allowed us to create a grandeur within these tales which is almost palpable. Whether it’s stories of witnessing the death of Beowulf or our take on the epic conclusion of the Titanomachy, we hope Triumphs gives you a ringside seat to some of the most timeless stories in human history!”

Utilizing traditional narratives of myths, legends, and folklore, Triumphs examines the ignored collateral damage of the cost of victory through these established mythos. Stories throughout Triumphs include the tale of the Persian epic poem Shahnameh, written by the Persian poet Ferdowsi (referenced in Serpent King’s Venom), Zhong Kui, the mythological Chinese King of Ghosts (Demon Queller) and Mexico’s The Weeping Woman, La Llorona (The Wraith That Weeps).

Taking musical inspiration from melodic and tech death metal, as well as

power, folk and black metal, FORETOKEN’s core sound on Triumphs is bolstered by subtle and captivating use of traditionally Scandinavian, Southeast Asian, and Middle Eastern instruments for atmospheric depth within the album’s 51 minute runtime. Reunited once again with Hannes Grossmann (Hate Eternal, Alkaloid, Obscura, Necrophagist, Blotted Science, and Triptykon) on drums and boasting a guest guitar appearance by The Black Dahlia Murder’s Brandon Ellis on penultimate track A Tyrant Rises As Titans Fall, FORETOKEN’s technical prowess shines through without overpowering any of the nine songs’ rhythmic charge.

Triumphs was penned throughout 2021 by both Steve Redmond (guitar and orchestration) and Dan Cooley (vocals), with the pair settling on eight original compositions and a cover of Naglfar’s I Am Vengeance. Grossmann then commenced drum tracking at his own studio, Mordor Sounds, with guitars recorded by Redmond himself and vocals captured at Trepan Studios by Tony Petrocelly, before mixing and mastering duties were placed in the accomplished hands of Jacob Hansen (Arch Enemy, Fleshgod Apocalypse, The Black Dahlia Murder, and more) at Hansen Studios.

Visually tied together by portrait artist Tomas Honz’s detailed cover painting, depicting a protagonist’s journey in the aftermath of battle, Triumphs aesthetic component is a symbolic embodiment of the duo’s enduring fascination with historial consequence via a folkloric lens. Taking fables and fantasy to extreme sonic heights, FORETOKEN’s Triumphs is as lofty in ambition as it is accomplished in its musicianship and songcraft.

FORETOKEN is:

Dan Cooley - vocals, Steve Redmondguitar and orchestration, Hannes Grossmanndrums (recording only).

Triumphs tracklist:

1. Revenant of Valor

2. Demon Queller

3. The Wraith That Weeps

4. The Labors

5. Serpent Kings Venom

6. His Riastrad

7. Devil o’ the Sea

8. A Tyrant Rises as Titans Fall

9. I Am Vengeance (Naglfar cover)

SNOW PATROL ANNOUNCE 20TH ANNIVERSARY EDITION OF ‘FINAL STRAW’

Snow Patrol has announced details of a 20th Anniversary edition of their classic record Final Straw, with a previously unreleased demo version of their anthemic hit “Chocolate” out now. The album will be released digitally via UMe on March 31, with a special double vinyl edition following on August 4 to mark the record’s original release date 20 years on. The anniversary edition includes 23 additional tracks*, including never-before-heard demos, B-sides, live tracks from the band’s August 2004 show at London’s Somerset House, and a previously commercially unreleased track, “Tired.” Click https://shopuk.snowpatrol.com/ to preorder the 20th Anniversary LP of Final Straw.

“I still have days where I don’t believe much of the last 20 years,” writes Snow Patrol frontman Gary Lightbody in extensive liner notes accompanying the release. “In the back of my mind, I’m still waiting for the tap on the shoulder and someone saying, ‘you’re

not supposed to be here.’ In a lot of ways, it’s a gift we were given. We’ve never taken any of what happened after the release of this album for granted.” Alongside Gary’s recollections, the package also includes writings on Final Straw from Jo Whiley and Fiction Records MD Jim Chancellor.

Final Straw was Snow Patrol’s third album and their major label debut. Written and recorded during a make-or-break period for the quartet, it set them on the path to becoming one of the biggest British guitar groups of the 21st century. Their 2006 single “Chasing Cars,” taken from Final Straw’s follow-up “Eyes Open,” is one of the biggest songs of all time, a five-times platinum hit with streams of one billion on Spotify and three million combined sales.

Final Straw, though, is where everything began to fall in place for Snow Patrol. Propelled by the stirring ballad “Run,” which has over 127,000,000 Spotify plays, and

urgent, hooky singalongs such as “Chocolate” and “Spitting Games,” Final Straw went on to sell over four million copies worldwide, inclusive of 1.8 million sales in the UK going six-times platinum in the process. Nothing would ever be the same for Snow Patrol after its release. Here’s to revisiting the record that changed everything.

Tracklisting

How To Be Dead

Wow

Gleaming Auction

Whatever’s Left

Spitting Games

Chocolate

Run

Grazed Knees

Ways & Means

Tiny Little Fractures

Somewhere A Clock Is Ticking

Same

Steal (Spitting Games B-Side)

Stronger Than Before (Demo)

By Heart (Demo)

We Can Run Away Now

They’re All Dead And Gone

Tired *Previously commercially unreleased

Post Punk Progression (Run B-Side)

Chocolate (Demo)

*Previously unreleased

Run (Demo) *Previously unreleased

Gleaming Auction (Demo)

*Previously unreleased

Somewhere A Clock Is Ticking (Demo)

*Previously unreleased

Grazed Knees (Demo)

*Previously unreleased

Spitting Games (Demo)

*Previously unreleased

Wow (Live at Somerset House)

Gleaming Auction (Live at Somerset House)

Spitting Games (Live at Somerset House)

How To Be Dead (Live at Somerset House)

Chocolate (Live at Somerset House)

Same (Live at Somerset House)

Somewhere A Clock Is Ticking (Live at Somerset House)

Ways & Means (Live at Somerset House)

Run (Live at Somerset House)

Post Punk Progression (Live at Somerset House)

Tiny Little Fractures (Live at Somerset House)

*Digital edition only. 2LP Vinyl doesn’t include Live at Somerset House.

Experience MEGADETH’s Landmark Album

‘Countdown To Extinction’ In Dolby Atmos

Countdown To Extinction’ Also Now Available Newly Remastered From The Original 1992 Stereo Analog Mix

MEGADETH has announced that fans will now get to experience their multi-platinum Thrash Metal classic Countdown To Extinction, in full Dolby Atmos, submerging listeners in full 3D immersive sound with a new level a clarity and depth. In addition, Countdown To Extinction is also available newly remastered from the original 1992 stereo analog mix in hi res 96kHz/24-bit stereo. Both the Dolby Atmos mix and the long-awaited, remastered 1992 stereo mix are now available through digital platforms and can be heard, here at https://megadeth.lnk.to/CountdownToExtinctionATMOS.

Released in 1992 and debuting at No. 2 on the Billboard 200, MEGADETH’s GRAMMY® nominated release, Countdown To Extinction, is the band’s breakthrough album that helped catapult the band into arena status. Countdown To Extinction is another step

forward in the evolution and expansion of the Thrash Metal genre MEGADETH helped create. The album was also an important benchmark in the band‘s career in both songwriting and music technicality as they broke new ground and thrashed their way through the height of the grunge movement to mainstream radio and the MTV generation on their own terms with tracks such as “Symphony of Destruction,” “Sweating Bullets” and “Skin O’ My Teeth.” In 1993, MEGADETH were presented with “The Doris Day Music Award” at The Humane Society’s Genesis Awards for the title track, “Countdown To Extinction,” a song advocating for animal rights. Other recipients of this prestigious honor include Paul McCartney, Peter Gabriel, and Crosby & Nash.

Last year, MEGADETH released their highly anticipated sixteenth studio album The Sick, The Dying… And The Dead! to both fan and critical acclaim. The album debuted at the top of the charts during its first week of sales, taking the No. 1 slot on Top Album Sales, Top Current Albums Sales, Top Rock & Alternative Album, Top Rock Albums, and Top Hard Rock Albums, and No. 3 spot on the Billboard 200. The Sick, The Dying… And The Dead! is the highest charting MEGADETH album of all time around the world, also notching No. 1 in Finland, No. 2 in Australia, Poland, Switzerland, and Scotland, No. 3 in the UK, and more. MEGADETH received their 13th GRAMMY® nomination for Best Metal Performance for the song “We’ll Be Back” from The Sick, The Dying… And The Dead! (The band won a GRAMMY® for the track “Dystopia” in 2016).

Countdown To Extinction Track listing:

Skin O’ My Teeth

Symphony Of Destruction

Architecture Of Aggression

Foreclosure Of A Dream

Sweating Bullets

This Was My Life

Countdown To Extinction

High Speed Dirt

Psychotron

Captive Honour

Ashes In Your Mouth

The thrash metal titans kick off their “Crush The World Tour 2023” in support of The Sick, The Dying…And The Dead! with a U.S. date in Everett, WA on April 26, before the start of their Canadian tour on April 28 in Abbotsford, moving throughout Canada, and wrapping up on May 15 in Halifax. Go to https://megadeth.com/ for tickets and information. See full itinerary below.

U.S. Tour Date:

April 26, 2023 - Everett, WA - Angel of the Winds Arena

“Crush The World Tour 2023” Canadian Dates:

April 28, 2023 - Abbotsford , BC - Abbotsford Centre

April 29, 2023 – Kelowna, BC - Prospera Place

May 1, 2023 – Edmonton, AB - Edmonton Events Centre

May 2, 2023 – Calgary, AB - Grey Eagle Event Centre

May 4, 2022 – Saskatoon, SK - SaskTel Centre

May 5, 2023 – Winnipeg, MB - Canada Life Centre

May 8, 2023 – Hamilton, ON - First Ontario Centre

May 9, 2023 – Ottawa, ON - Canadian Tire Centre

May 10, 2023 - Quebec City, QC – Centre

Videotron

May 11, 2023 – Laval, QC - Place Bell

May 13, 2023 – Moncton, NB - Avenir Centre

May 15, 2023 – Halifax, NS - ScotiaBank Centre

COUNTDOWN TO THE RELAUNCH OF RUSH’S ‘SIGNALS’

Canadian Rock Legends Commemorate The 40th Anniversary Of This Classic Album With Expanded Reissues On April 28th

Follow RUSH online at: Official Band Site @ https://www.rush.com/band/ Facebook @ https://www.facebook.com/rushtheband/ Twitter @ https://twitter.com/rushtheband Instagram @ https://www.instagram.com/rush/ YouTube @ https://www.youtube.com/rush Spotify @ https://open.spotify.com/artist/2Hkut4rAAyrQxRdof7FVJq Apple Music @ https://music.apple.com/us/artist/rush/50526

On April 28th, UMe/Mercury and Anthem Records continue the comprehensive Rush 40th anniversary album series with new and expanded editions of the band’s decadedefining 1982 release, Signals, an album that signified how the band was in no way detached and subdivided from the evershifting 1980s musical landscape. Signals40th Anniversary will be available to fans in three distinct configurations, including the (1) Super Deluxe Edition, (2) one-LP Picture Disc Edition, and (3) Dolby Atmos Digital Edition. There will also be a limited edition Super Deluxe box featuring eight lithographs of Neil Peart’s original hand-drawn lyrics for each song on Signals only available through the official Rush online store. All configurations can be pre-ordered and pre-saved, here at https://rush.lnk.to/Signals40PR.

Signals, Rush’s ninth studio album, was originally released in September 1982, and its technology-embracing riffs and rhythms, continued the forward-thinking trajectory of the acclaimed Canadian trio as it continued to chart the demands of a new decade. The album’s eight songs built upon Rush’s penchant for adapting to the flow of the times without compromising its flair for melding long-established progressive roots with radio-friendly song arrangements. Signals, co-produced by Rush with longtime band confidant Terry Brown and engineered by Paul Northfield, was the third of numerous Rush recording sessions held at Le Studio in Morin-Heights, Quebec. The band’s synergistic recording process at Le Studio had been well-established during sessions for the aforementioned Moving Pictures, as well as the sessions for that album’s predecessor, January 1980’s Permanent Waves.

“Subdivisions,” the generationdefining lead-off track on Signals, succinctly captures the angst of the perennial restless dreams of youth, and this synth-driven song subsequently became one of Rush’s most celebrated FM favorites as well as a cherished concert staple for many years to come. Next, the band shifts gears and leans back into the wide-eyed yearnings of “The Analog Kid,” a propulsive track that also reached No. 19 on the Mainstream Rock chart. Meanwhile, the quest for emotional interactivity reaches a combustive head in the connective musical tissue of “Chemistry.” Side A closes out with the fast-forward thinking of “Digital Man,” presaging our eventual reliance on the 0s and 1s that now permeate our daily lives.

Side B commences with the angular thrust of “The Weapon” (subtitled as being “Part II of Fear”), a rumination on personal apprehension and doubt that also serves as a modernized offshoot of the mob-mentality prejudices of “Witch Hunt” (a.k.a. “Part III of Fear”) from Moving Pictures. “The Weapon” also became another Rush concert favorite featuring a videoscreen-projected introduction courtesy of Count Floyd, one of Joe Flaherty’s many notable characters from SCTV. The kinetic, reggae-tinged lilt of “New World Man” peaked at No. 21 on the Billboard Hot 100 singles chart, Rush’s singular Top 40 hit in the United States. The truly beautiful “Losing It,” a starkly honest

assessment of knowing when the optimalperformance curtain is coming down and how to gracefully deal with its consequences (or not), features poignant electric violin accompaniment from guest performer Ben Mink. “Losing It” was never played onstage until Rush’s final R40 Live Tour in 2015, with Mink reprising his role at the tour’s stop in Toronto and Jonathan Dinklage of the Clockwork Angels Ensemble playing on it when the song was performed in the States. The album wraps up with the optimistic skyward views of “Countdown,” an unabashed celebratory chronicle of the launch of the Space Shuttle Columbia in 1981. “Countdown” also features approved audio of the voice communications between the Columbia astronauts and ground control.

The Super Deluxe Edition includes one CD, one Blu-ray Audio, one high-quality 180-gram black-vinyl LP with new artwork from original album designer Hugh Syme in a premium tip-on jacket, and four 7-inch singles (“Subdivisions,” “Countdown,” “New World Man,” and “The Weapon (Single Edit”), all of them with new artwork from Syme. The set encompasses the Abbey Road Mastering Studios 2015 remastered edition of the album for the first time on CD. The Bluray Audio disc contains the core album newly mixed from the original multi-tracks in 48kHz 24-bit Dolby Atmos (the second Rush album to appear in Atmos, following Moving Pictures) and 96kHz 24-bit Dolby TrueHD 5.1 as done by esteemed producer/engineer

Richard Chycki, alongside the previously available 48kHz 24-bit PCM Stereo mix. Also included on the Blu-ray are new animated visualizers for all eight songs, as well as two bonus remastered vintage promo videos: the high-school halls narrative of “Subdivisions” and “Countdown,” the latter of which features authorized Space Shuttle Columbia launch footage. Additionally, the LP in the Super Deluxe Edition has been cut via half-speed Direct Metal Mastering (the second Rush album to have been done as such, again following Moving Pictures) on a 180-gram audiophile black-vinyl LP, and it has been pressed at GZ Media in the Czech Republic.

The Super Deluxe Edition of Signals40th Anniversary will also include several exclusive items, including a 40-page hardcover book with new song illustrations and new artwork by original album designer Hugh Syme and unreleased photos from the Signals Tour, along with three lenticular lithographs that transition from the original black-and-white band headshots into the original album’s “Digital Man” color headshots; four Signals Tour band lithographs; Syme’s original album cover sketch lithograph; and a double-sided 24x24-inch poster featuring Syme’s new Signals artwork on one side, and an outtake photo from the original album cover shoot on the other side. All contents are housed in a premium lift-top box, which features significantly reimagined

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RUSH

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cover artwork by Hugh Syme.

The second configuration Signals-40th Anniversary will be released in is a one-LP Picture Disc Edition. The picture disc is housed in a transparent plastic sleeve, and it showcases new Hugh Syme artwork on both album sides.

Finally, the third configuration, the Dolby Atmos Digital Edition, is the digital equivalent of Richard Chycki’s expert Atmos mix of all eight tracks from the original album.

Rush — bassist/keyboardist/vocalist Geddy Lee, guitarist/vocalist Alex Lifeson, and the late, great drummer/lyricist Neil Peart — maintains a large and uniquely passionate worldwide fanbase that acknowledges and respects the band’s singular, bold, and perpetually exploratory songcraft that combines sterling musicianship, complex compositions, and distinctive lyrical flair. Rush has sold more than 25 million albums in the U.S. alone, with worldwide sales estimated at 45 million (and counting), and has been awarded 24 Gold, 14 Platinum, and three Multi-Platinum album distinctions. Rush has received seven Grammy nominations, and the band was inducted into the Canadian Music Hall of Fame in 1994 and the Rock and Roll Hall of Fame in 2013.

‘SIGNALS’ – 40TH ANNIVERSARY EDITIONS: TRACK LISTINGS

SUPER DELUXE EDITION

CD – DISC 1

Original Album – Produced by Rush and Terry Brown / 2015 remaster on CD for the first time

Subdivisions

The Analog Kid

Chemistry

Digital Man

The Weapon

New World Man Losing It

Countdown

BLU-RAY AUDIO – DISC 2

Dolby Atmos* / Dolby TrueHD 5.1* / PCM

Stereo

*Previously unreleased mixes

Subdivisions

The Analog Kid

Chemistry

Digital Man

The Weapon

New World Man Losing It

Countdown

Bonus Promo Videos

Dolby TrueHD 5.1* / PCM Stereo

*Previously unreleased mixes

Subdivisions

Countdown

1LP – SIGNALS

DMM Half-Speed Mastering / Original

Album – Produced by Rush and Terry Brown

SIDE A

1. Subdivisions

2. The Analog Kid

3. Chemistry

4. Digital Man

SIDE B

1. The Weapon

2. New World Man

3. Losing It

4. Countdown

(4) 7-INCH SINGLES

All four singles feature brand-new Hugh Syme artwork

SINGLE 1 – SIDE A

1. Subdivisions

SINGLE 1 – SIDE B

1. Red Barchetta (Live)

SINGLE 2 – SIDE A

1. Countdown

SINGLE 2 – SIDE B

1. New World Man

SINGLE 3 – SIDE A

1. New World Man

SINGLE 3 – SIDE B

1. Vital Signs (Live)

SINGLE 4 – SIDE A

1. The Weapon (Single Edit)

SINGLE 4 – SIDE B

1. Digital Man

1LP PICTURE DISC EDITION

SIGNALS

DMM Half-Speed Mastering / Original

Album – Produced by Rush and Terry Brown Both sides feature brand-new Hugh Syme artwork

SIDE A

1. Subdivisions

2. The Analog Kid

3. Chemistry

4. Digital Man

SIDE B

1. The Weapon

2. New World Man

3. Losing It

4. Countdown

DOLBY ATMOS DIGITAL EDITION* / previously unreleased

SIGNALS

1. Subdivisions

2. The Analog Kid

3. Chemistry

4. Digital Man

5. The Weapon

6. New World Man

7. Losing It

8. Countdown

Donna Summer’s She Works Hard For The Money Is Celebrated With Expanded,

Digital-only 40th Anniversary Deluxe Edition

New Additions to the Iconic Pop/ R&B/Soul Artist’s Chart-Busting 1983 Solo Album Include 4 Bonus Tracks Making Their Digital Debut HBO Original Documentary, Love To Love You, Donna Summer, Debuts May 2023

Listen to or purchase Donna Summer’s She Works Hard For The Money – Deluxe Edition here at https://donnasummer.lnk.to/SheWorksHardDeluxe

Watch the newly remastered video for “She Works Hard For The Money” here at https://donnasummer.lnk.to/SheWorksHardDeluxe

Mercury/UMe has released a digital-only 40th-anniversary Deluxe Edition of Donna Summer’s all-time classic solo album, She Works Hard For The Money. Originally released June 13, 1983, when musical tastes were changing by the minute, She Works Hard For

The Money sealed Summer as a creative multi-genre force to be reckoned with following her amazing string of charttopping disco and dance hits that helped define the sound of the 1970s. The 13track Deluxe Edition features the original 9-song She Works Hard For The Money

album plus four bonus tracks consisting of two club mixes and two instrumental tracks (full track listing below). These bonus tracks have not previously been available for digital download or streaming.

This special 40th-anniversary edition of She Works Hard For The Money coincides with Women’s History Month (March) and will kick off UMe’s multi-year celebration of what would have been Summer’s upcoming 75th birthday (New Year’s Eve, 2023). The deluxe edition album also complements the upcoming release of the HBO Original documentary Love To Love You, Donna Summer. The forthcoming documentary is directed by Oscar® and Emmy®-winning filmmaker Roger Ross Williams (“Life Animated,” HBO’s “The Apollo”) and Brooklyn Sudano, daughter of Donna Summer. The film offers a deeply personal portrait of Summer on and off the stage, featuring a wealth of photographs and never-before-seen home video footage – often shot by Summer herself – and provides a rich window into the surprising range of her artistry, from songwriting to painting, while exploring the highs and lows of a life lived on the global stage. Love To Love You, Donna Summer premiered internationally last month at the Berlinale (The Berlin Film Festival) and will premiere in the US at SXSW on March 11 before the film officially debuts on HBO/HBO Max in May 2023.

She Works Hard For The Money saw Summer re-establish her roots as an artist equally adept at pop, rock, soul, R&B, dance, and gospel. The propulsive, empowering title track became an anthem for working women worldwide, buoyed in no small part by its popular music video featuring Summer as a tireless diner waitress. That video makes its official debut on video platforms worldwide today, remastered and better than ever.

Meanwhile, the reggae-tinged hit single “Unconditional Love” showcased Summer singing along with featured guests Musical Youth, the young British/ Jamaican vocal group best known for their 1982 international No. 1 hit, “Pass The Dutchie.” On the touching ballad, “Love Has A Mind Of Its Own,” Summer dueted with noted gospel singer

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Produced and arranged by Michael Omartian (Whitney Houston, Christopher Cross), She Works Hard For The Money was recorded in a trio of locations in California, including Lion Share Recording in Los Angeles, Hollywood Sound Recorders in Hollywood, and Rhema Studio in Beverly Hills. For her part, Summer wrote or co-wrote all nine tracks on the core album, most of them with Omartian.

She Works Hard For The Money has been certified gold by the RIAA. The album peaked at No. 9 on the US Billboard 200 and reached the Top 10 in Sweden, Finland, and the Netherlands. The title track and aforementioned lead single, “She Works Hard For The Money,” was an international Top 10 smash hit and made an incredible chart impact upon its release in the United States, ultimately reaching No. 1 on the US R&B chart, No. 3 on the Hot 100, and No. 3 on US Club Play. The album’s next single, “Unconditional Love,” climbed to No. 9 on US R&B and No. 43 on the Hot 100, and it also reached No. 14 on the UK Singles chart. The album’s other two singles were “Stop, Look And Listen” and “Love Has A Mind Of Its Own.”

“She Works Hard For The Money” garnered Summer a GRAMMY® nomination for Best Female Pop Vocal Performance, while “He’s A Rebel” won her a GRAMMY® for Best Inspirational Performance. In addition, fans of the worldwide-popular Netflix series Stranger Things will recognize “I Do Believe (I Fell In Love)” from its prominent use in the series in 2017.

13.

UMe announces the 50th-anniversary reissue of Elton John’s Honky Château. Available to pre-order now on 2CD, 2LP, and limited-edition gold vinyl LP, the album is released on March 24th. Pre-order here. “Rocket Man (Live at The Festival Hall, London 1972)” and “Mellow” (Session Demo) are also unveiled today as the first instant grats available from Honky Château 50th Anniversary Edition. This live debut of “Rocket Man at the Royal Festival Hall” - recorded two months before its release as the album’s first single - is striking in its freshness and its ability to nearly replicate the studio arrangement on stage. The line-up of Davey Johnstone (guitar), Dee Murray (bass) and Nigel Olsson (drums) immediately established itself as the core of the “classic” Elton band, solidifying Elton’s studio and stage presence through his most prolific period.

Honky Château was Elton’s step into global superstardom, spawning classics such as the aforementioned “Rocket Man,” “Honky Cat” and “Mona Lisas and Mad Hatters.” Originally released in May 1972, his 5th studio album ushered in a to-this-day unparalleled hot streak of classic albums and was the first time he recorded at the now legendary Château d’Hérouville, a residential recording studio situated 25 miles northwest of Paris. It was here where he and Bernie Taupin were to write – and the band subsequently record – some of the biggest global hits of his career. Elton, Bernie, and the bandperforming together on record for the first time - decamped to the Château for a week’s pre-production on Honky Château in January 1972. Bernie brought his typewriter; the band set up in the dining room. Bernie would write lyrics at night and leave them on Elton’s piano for him to work on in the morning.

As Elton recalls of their notoriously prolific output at the time, “The first morning we were there, I had three (songs) done by the time the band drifted downstairs looking for something to eat: ‘Mona Lisas And Mad Hatters,’ ‘Amy’ and ‘Rocket Man.’” The remainder of the album would follow suit; ‘Susie (Dramas),’ ‘Hercules,’ ‘Salvation,’ ‘Honky Cat,’ ‘Slave,’ ‘I Think I’m Going To Kill Myself’ and ‘Mellow.’”

A pivotal album in Elton’s ascent to superstardom, the album’s sepiatinged cover belies the effortless grooves within of a band who had truly found their feet as a unit. By mid-1972, their live recordings now matched their hallowed live shows, and they effortlessly channeled a soulful sound that effortlessly drew together the deep south of America via Pinner and the Parisian suburbs.

Following the release of Honky Château, by June 1972, “Rocket Man” was in the UK pop charts at No 2. In the US, the single reached No 6. Honky Château became the first of six consecutive Billboard Hot 100 No 1 albums. It remains a firm fixture in the setlist of this record-breaking Farewell Yellow Brick Road tour. “Honky Cat” showcased the extraordinary swagger that was to define all of Elton’s work for the following half-decade. His first uptempo number to make the US Top 10, the track helped cement Elton’s reputation in America.

Still a shining jewel in Elton’s

back catalog, Honky Château was the album that announced his arrival on the world stage. Its impact and legacy endure to this day, and it will forever be remembered as the album where the Rocket Man truly took flight.

2CD

Contains the original album and a newly created selection of outtakes from the original session tapes. This 2CD format additionally contains eight live recordings from the Royal Festival Hall show in 1972, where the tracks received their live debut just a few days after being recorded at the Château. Includes a 40page booklet containing rare photos, memorabilia, and an essay featuring interviews from those who were there at the time.

2LP

Contains the original album and a newly created selection of outtakes from the original session tapes. Includes an eightpage booklet containing rare photos, memorabilia, and an essay featuring continued on next page

Elton John Honky Château 50th Anniversary Reissue

(continued from previous page)

interviews from those who were there at the time

Limited Edition Gold Vinyl LP

Contains the original album pressed for the first time on limited edition gold vinyl

Honky Cat (Session Demo)

I Think I’m Going To Kill Myself (Session Demo)

Hercules (Session Demo)

Slave (Session Demo)

LIVE AT THE ROYAL FESTIVAL HALL, LONDON, FEBRUARY 5TH

1972

Format Details and Tracklistings

Honky Château - 2CD

Disc 1:

Susie (Dramas)

Salvation Mellow

Amy

Mona Lisas And Mad Hatters

Honky Cat

Rocket Man (It’s Think It’s Going To Be A Long, Long Time

Hercules

Honky Cat

Mellow

I Think I’m Going to Kill Myself

Susie (Dramas)

Rocket Man (I Think It’s Going To Be A Long, Long Time)

Salvation

Slave

Amy

Mona Lisas and Mad Hatters

Hercules

HONKY AT THE CHÂTEAU (SESSION DEMOS) PART ONE

Salvation (Session Demo)

Susie (Dramas) (Session Demo)

Rocket Man (It’s Think It’s Going To Be A Long, Long Time) (Session Demo)

Mellow (Session Demo)

Slave - Alternate “Fast” Version (Session Demo)

Disc 2:

HONKY AT THE CHÂTEAU (SESSION DEMOS) PART TWO

Honky Château - Limited Edition Gold Vinyl LP

LP 1: Side A

Slave Amy

Mona Lisas and Mad Hatters

Hercules

Honky Cat

Mellow

I Think I’m Going to Kill Myself

Susie (Dramas)

Rocket Man (I Think It’s Going To Be A Long, Long Time)

Side B

Honky Cat

Mellow

LP 1: Side A

I Think I’m Going to Kill Myself

Susie (Dramas)

Rocket Man (I Think It’s Going To Be A Long, Long Time)

Side B

Salvation Slave

Amy

Mona Lisas and Mad Hatters

Hercules

LP 2: Side A

Salvation (Session Demo)

Susie (Dramas) (Session Demo)

Rocket Man (It’s Think It’s Going To Be A Long, Long Time) (Session Demo)

Mellow (Session Demo)

Slave - Alternate “Fast” Version (Session Demo)

Side B

Honky Cat (Session Demo)

I Think I’m Going To Kill Myself (Session Demo)

Hercules (Session Demo)

Slave (Session Demo)

Salvation

The Biker, The Blues and The Runaway Boa

There are all kinds of folks running away from all kinds of things. I ran into a good looking gal named Boa The Babe at a nightclub that favored rhythm and blues, scantily dressed ladies along with both men and women from the biker scene. Someone once asked me how does a person forget a bad situation and just relax for the evening? Well all I know is that if you watch Boa work those feathers you’re probably not thinking about missing last month’s electric bill. I mean if I am lying I’m dying people….. Allow me to digress.

I pulled out of Detroit Michigan and crossed the bridge into Windsor Ontario. Some of the best night spots in the world are located in Windsor. The customs guy was actually cool about the bike and nodded me on. Not always that way but this time it was cool. I had been there before, actually I met a young lady the last time around named Marilyn Chambers. Yes, that Marilyn Chambers. I only met her but she was interesting to say the least. She had a polaroid camera with her and she would take her photo with you for $25. I remember saying that I would give her $25 if she didn’t take my photo. She thought that was funny, I did too. She asked what are you running from? I said me, nothing just being free. She smiled and said yes me too and away she went. This trip however I was watching a sophisticated extremely exotic lady about town on the stage and she was not only good looking but talented. By the way if you think stripping for a living doesn’t require talent and they just bump and grind well try it. It is an art for sure and the music is great. This dancer was presenting her performance to the tune of “Dancing In The Moonlight” by King Harvest. The song came out in ‘72/73 by a French American band and smoked the charts for weeks. So there I was taking in this song and the charisma of this fine dancer. Nice time to be alive was the over arching feeling in the room I would say. Sure beat watching Dr. Welby or another rerun of Gilligan’s Island that’s for sure. Molson is the beer of choice up in their neck of the woods, good beer too. So I tilted a few, ok maybe six but no more than eight anyway. So this place was clean, not your standard den of iniquity and it actually had two pool tables. Whatever was going on at one of them was gathering a good size crowd. So my choice was to set still and give up this exotic love affair from afar or go check out the action. I opted to go and see what was happening. A big dude wearing a cut off told me that the game was up to $1,000. I said really because even in places like this that number is rare. They were playing nine ball and one of the players was a woman. Both tremendous shots and both prima donnas in their own unique ways. You could see it. It was in their walk and more. My eyes kept glancing over to the stage as this woman was now performing to Bad Company’s “Ready For Love” with some of the best lyrics a biker could ask for, “Walkin’ down this rocky road wondering where my life is leadin’ - rollin’ on to the bitter end - finding out along the way what it takes to keep love living - you should know how it feels, my friend.” Pool games come and go but this woman was more than just exotic. I was thinking she was being truthful about something revealing it through her choice of music. I had to know. There’s that damn moth to a flame thing again. I am telling you her beauty caught my attention, her movements increased my interest for sure but it was her choice of music that told this traveling dude there’s a story there. The question was how do I approach her? I certainly didn’t want to come

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Biker, The Blues and The Runaway Boa

off as some ordinary pervert and no I didn’t want to come off as some an extraordinary pervert either. I thought about it and decided well no big deal, if we talked fine and if we didn’t such is life. The funniest thought entered my mind - maybe she will come walking by with a camera? Well it happened once before. Her set was over and she received a warm applause and left the stage. A short while later she entered through a curtain by the bar that led into the main room. She still looked good but not wearing as big a smile so I felt sure there was a story there. What would make a gal like this perform to “Ready For Love”? She was making the stripper’s customary rounds, smiling and still wearing that boa. Finally she came by me and I blurted out with a smile what’s a good girl like you doing in a place like this? She asked do you really want to know and I said actually I do. She sat down. She said I don’t sit anywhere without a drink no conversations for free. That felt like a low shot but I bit. I said to her that I noticed her choice of music and the change in expression on her face when “Ready For Love” came on. I think there is a story there am I right? She sat back, folded her arms and said ok you really want to go there? I said for some reason I seem to need to know. Believe it or not she opened up. Of course at this point I had no way to know if it was the truth or not. But she was an American citizen that crossed the border four nights a week to make excellent money in Canada. She also found a way to get health insurance there and when you add those two things together that explains what a good girl was doing in a place like that. But I wanted to know more - was she just playing that song to build ambiance for a big finish or was she hiding something, on the move? Maybe running, lonely, missing someone and ready for love? Turns out she was jilted and left hanging without a job after she had moved to Detroit from Orlando. She still loved the guy and this song was her unspoken lament to him. That’s heavy. I think she could tell by the look on my face that she hit a nerve when she told me that and reached over and touched my arm. I said now I know thank you and I am sorry that happened to you. She said me too. Slowly but surely we moved closer toward getting to know one another and then some guy came by and gently told her to work the floor and that she was up again soon. She said ok and told me well that’s how it goes and she had to go. I nodded. Then she asked if I was going back across the bridge that night and I said yes and she said well me too. How about a dive bar with good sandwiches after I get off. Like any good boy scout of course I was willing to escort this distressed damsel into a dive bar with good bar food. She had one more set to do and then had to make her table rounds. She handed me a note and it was the address and name of the place she wanted to go to along with a phone number. The place was named The

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Biker, The Blues and The Runaway Boa

High Dive and it was cool actually. Big ass chandelier over the bar with friendly people and good late night snacking. Where ever this gal lived it had to be close because when she arrived just about everyone knew her. My bike was the conversation piece of the moment that night which was ok. I spied the juke and handed Boa The Babe who by the way looks way different without the make up and the boa but still attractive none the less. I handed her a five spot and said that because she had such good taste in music maybe she would choose the songs. She nodded and off she went. So here we were in the heart of Motown basically and what does this woman play? Aretha. You could see the small crowd giving an acceptance hoist to the song, “Respect”. This place be cooking now Jack! So we continued our time together talking about music, bikes, and places we had been. She asked me if I would take her for a ride and I thought touché woman you scored on me with your no free conversations routine so now take this: Yes for sure but no one rides for free, gas, grass, or ass is price to pay. She laughed and said ya ok but you’re not at work where they make you move the drinks. It was a good yuk between us. At one point she asked me where I was staying and I said Oh Sugar! (not really oh sugar but for this magazine and in writing it’s oh sugar but you get the drift) For the first time in a long time I forgot to check into the next motel before going off on an excursion. I looked at her and thought well this will sound contrived but it wasn’t and I said I forgot to get a place. She laughed like hell, I mean belly rolled laughed. I don’t know what was going on inside her head but if she thought I was so enamored by her beauty that I blew a reservation she would have been dead wrong. I just forgot. That can happen when you live free and easy, you just flow with the moments. She finally quit laughing and I didn’t even try to explain how this can happen because I was sure she would start laughing again. I would have to think that any lady in the fine arts business gets all kinds of BS lines and the last thing I wanted to be was on that list, life, go figure! She said you seem safe enough and you can come to my place if you want to but I need to tell you about my boa. I remember vividly saying oh honey you don’t have to tell me anything about your boa baby you know how to work a boa. She said no I have a seven foot boa named Babe. I said what? She said really, a yellow boa, seven feet long. I said well I really do like you but this dude isn’t going anywhere where a snake that size lives. She tried to convince me that it would be ok but I was dead sure I would be on my way, where to I certainly did not know but not to her place. I did a double shot of Jaegermeister, paid up and went outside to my trusty dusty scooter. It turned right over and I didn’t know where I was going actually but I wound up in a suburb named Warren Michigan. Still no place to stay but then I spied a for sale sign in front of a house with no lights on. I wheeled up into the driveway, took my bed roll off the bike and sat it on the front porch. I looked into the bay window and no furniture inside so I figured that I wouldn’t be freaking somebody out at zero dark thirty in the morning or some hour like that if I grabbed some zzz’s on their porch. Man, a freaking seven foot boa, are you kidding me? What a freaked up night and no motel to boot, man this sucked. (and no the word is not freaking but you get the drift) A freaking boa people, a yellow seven foot humongous snake, are you freaking kidding me?