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This
is a regular column in Eternal Jam where we feature from 5 to 10 unsigned
or lesser known bands a month. Most of the information comes from band's
bios and lets the readers know a little bit more about the bands.
COMPANY
OF SNAKES
If you ask people which was the most important and influential line-up
of the now defunct British heavy rock formation Whitesnake, most people
would probably list the original line-up of David Coverdale, Bernie Marsden,
Mickey Moody and Neil Murray. It was this constellation that helped Whitesnake
attain extraordinary success from 1978 to 1982, during which time they
released such great albums as Northwinds, Snakebite, Trouble, Live At
Hammersmith, Lovehunter, Ready An` Willing, Live In The Heart Of The City
and Come & Get It. The release of Saints An` Sinners in 1982 marked the
end of the classic line-up and, although having a difficult and painful
birth, it did represent a worthy farewell to this fabulous line-up. The
line-up`s zenith had actually already come and gone when Coverdale began
playing musical chairs with musicians, at ever increasing intervals, in
1983. But in his opinion, this proved to be an understandable and eventually
an enormously successful decision, as proved by the subsequent album,
the million-seller, Slide It In and the even more popular self-titled
album in 1987, which became the best-seller in the band`s entire history.
The basis behind this immense success was not only new song material but
also the single release of ´Here I Go Again` from the Saints An` Sinners
album - a throwback to the Moody and Marsden era and which was merely
being re-released. The song became the most famous and successful of the
entire Whitesnake repertoire, a classic in the true meaning of the word.
Whilst Coverdale kept the band going with different musicians in the late
eighties and early nineties, Bernie Marsden, Micky Moody and Neil Murray
at first went their separate ways. Amongst other things, Marsden formed
the successful band Alaska, whilst Moody got together with Bad Company
drummer Boz Burrell and formed Nightfly, aside from working in Roger Chapman`s
tour band now and again. Neil Murray was hired by Gary Moore and, together
with the two Deep Purple musicians Ian Paice and Jon Lord, made his own
mark on the history books before joining Brian May. But the three former
band mates still joined up now and again and talked about putting something
together - though the meetings always ended with a raincheck all round.
So insiders weren`t really all that surprised to hear about the formation
of the Company of Snakes at the end of the Nineties. They had already
had a taste of the old, authentic Whitesnake flair from the band`s predecessor,
the Moody Marsden Band, later known as the Snakes. The news was better
than expected, though, as it became known that no lesser than the former
Rainbow / Gary Moore / Ozzy Osbourne musician Don Airey had been hired
as Company of Snakes` keyboardist. Airey, who had played with Marsden
and Murray in the Cozy Powell Band back in 1974, is seen as one of the
most important rock organists of the past 25 years. As drummer, the band
hired John Lingwood, a popular artist constantly in demand, whose curriculum
vitae already included names such as Manfred Mann`s Earthband, Roger Chapman
and Elkie Brooks. It took several changes of vocalist before Company of
Snakes found the perfect frontman in the Swedish born Stefan Berggren.
Berggren grew up with Led Zeppelin, Deep Purple and Free, and had already
worked with Toto`s Fergie Fredriksen. MORE...
SAGA
As an exceptional phenomenon in the history of rock music, Saga is a band
definitely worth mentioning. They count among the undisputed protagonists
of a genre that was referred to as ´art rock` (later this particular style
was renamed prog rock) and are considered legitimate successors to groups
like Yes, King Crimson, or Emerson, Lake & Palmer, combining symphonic
elements with rock passages and epic arrangements. However, unlike those
other acts, Saga have survived to this day - in their original line-up
at that (!!) - and have even remained faithful to themselves stylistically
all these years. Their characteristic style, their typical trade marks,
the staccato-like guitars that are underlined by virtuoso keyboard cascades,
the synthesis of progressive rock and classical quotations, and on top
of all this vocalist Michael Sadler's voice, are a long way away from
wearing themselves out. And what is more: their current album House of
Cards, a collection of eleven new compositions, each one of them well
worth listening to, sounds fresh and inspired, contemporary and modern
all at the same time, without ever neglecting the most important elements
of the unambiguous Saga sound. "No other band sounds like we do. You can
recognize a Saga track among thousands of other songs, no matter which
era of our band's history the number in question stems from," declares
bassist Jim Crichton, not without pride. "At the beginning of our career
we described our style jokingly as ´medieval funk,` an indication of the
band members' sense of humour, but it also shows that we knew precisely
from the start that we were creating something unusual. These days we
no longer need fantasy terms to define our music. It's simply Saga." Listening
to ´God Knows,` the opener of the new album, it becomes immediately apparent
what Crichton is talking about: it's hardly possible to imagine a more
timeless Saga anthem. But also the subsequent numbers ´The Runaway,` a
track about the fascination of the Internet, ´Always There,` or ´Once
In A Lifetime` could not have been penned by anyone but Messrs. Sadler,
Crichton, drummer Steve Negus, keyboard player Jim Gilmour, and guitarist
Ian Crichton. After a few minutes, House Of Cards proves to be an intense
and inventive Saga recording with lots of wonderful songs, as well as
the continuation of the ´chapters` series, which is particularly popular
with the fans and has been an integral part of the band's albums for some
22 years. "The ´chapters` are a kind of musical puzzle," explains Crichton.
"We have a precise outline of the whole story, and every album reveals
more information. To make it more of a challenge for the fans to work
out the whole tale, the ´chapters` do not appear in chronological order
but at random. On our debut album featured chapters 5 and 6, the last
recording parts 9, 10, and 13." House Of Cards contains sequels 11 and
15 in the songs ´Ashes To Ashes` and ´We'll Meet Again.` "We may reveal
the rest on the next album," reckons Crichton, hinting at a resolution
of the story. "Let me just say this much: it's about what's going on in
the world, about politics, culture, and religion." Next to these typical
Saga elements there are also a number of innovations on House Of Cards.
"I think that the new numbers venture even more strongly into different
extremes. There are some very quiet passages where we rely on acoustic
guitars, and then there are rock sections that sound heavier than ever
before." Saga composed a total of over 30 numbers between spring and autumn
2000. "The songwriting process was repeatedly interrupted by gigs in Canada
and Germany, which in effect only meant that were in a position to transfer
a lot of the energy from our gigs onto the record." Thirty tracks, eleven
of which actually made it onto the final product, are an indication of
the group's undiminished creativity. House Of Cards was produced by Jim
Crichton at his Sound Image Entertainment Studios in Los Angeles. "I own
two studios in L.A.," the bassist explains, "so I ended up having do everything:
play music, produce, engineer and be the coffee boy." Luckily on stage
Crichton can concentrate exclusively on his bass guitar. "We don't have
to reinvent Saga," he says. "We still play our original sound in the original
line-up, as we have done all these years. There's no reason to change
our music as long as we can come up with as many new and exciting ideas
as we did on House Of Cards." HISTORY The Canadian rock act Saga consists
of former members of the groups Fludd and Truck, who got together in summer
1977 and originally called themselves Pockets. When the trio of Jim Crichton,
Steve Negus and Michael Sadler was supplemented by Ian Crichton (guitar)
and Jim Gilmour (keyboards), they changed their name to Saga. From the
start, the band's success crossed every border, and even their early releases
Images At Twilight (1979), Worlds Apart (1982) or Head Or Tales (1983),
which contained world hits like ´Humble Stance,` ´Wind Him Up,` ´On the
Loose,` ´The Flyer,` ´How Long,` and ´Don't Be Late,` entered the radio
charts worldwide, and the group's style - a mix of "&ldots; synth epics
and monumental rock" (HiFi Vision) and "&ldots; rock without that lumberjack
mentality" (WAZ) - has sold over 7 million albums to date. The mid-eighties
saw a temporary split when keyboardist Jim Gilmour and drummer Steve Negus,
who brought out a solo album in 1986, left. Saga continued as a trio (supported
by a number of renowned guest musicians like Curt Cress, ex-Honeymoon
Suite keyboardist Ray Coburn, and Trevor Morell), and brought out the
two internationally acclaimed albums Behavoir and Wildest Dreams. At the
beginning of the nineties, Saga, to the delight of their many fans, toured
for the first time in their original line-up again, signed a new recording
contract, and brought out their impressive comeback album The Security
Of Illusion in 1993. The subsequent world tour turned into a global march
of triumph, and the international press enthused about the return of the
five Canadian elite musicians. Steel Umbrellas, which had been composed
for the TV series 'Cobra,' saw the light of day in 1994, followed by a
concept album called Generation 13 (1995), which dealt, in terms of content,
with the excesses of today's consumer society, as well as Pleasure & Pain
(1997) and their most recent studio recording Full Circle (1999). Saga
celebrated their twentieth stage anniversary in June 1997 during their
extensive Pleasure & Pain tour and recorded a total of eight shows in
Germany, Austria and France with a mobile recording studio, the result
of which was released a few months later on the live album Detour. House
of Cards sees Saga ready to prove their exceptional live qualities once
again.
DREW
BARRETT
Drew Barrett is a singer/songwriter, producer/engineer from New York.
He has been writing, recording, and performing music for over ten years.
Drew began his music career fronting the hard rock band Barakade. Barakade
released a full-length CD titled Volume 1 in 1995. Drew co-wrote all 12
songs on the disc. Several songs from that release went into heavy rotation
on many college and commercial radio stations in the USA. The band was
also popular overseas in Europe and Japan. Since the band’s break-up in
1997, Drew has been working on his solo album. Drew Barrett’s debut CD,
The Strolling Minstrel, contains 11 fully produced songs. Because Drew
plays all of the instruments, with the exception of two bass guitar tracks,
the album took 2 1/2 years to record. With infectious hooks and a just-slightly-less-than-metal-edge,
Drew’s music weaves a sonic tapestry of powerful rhythms and sweeping
guitars behind strong vocal arrangements. Drew’s production techniques,
and an emphasis on strong songs with catchy hooks & melodies, all combine
to create his own unique signature sound. The Strolling Minstrel is available
for purchase at Drew’s website and many fine online stores such as www.cdbaby.com,
www.tothebone.com and www.earbuzz.com. For more information about Drew,
his lyrics, and mp3/RealAudio song clips, please visit his official website
at: www.drewbarrett.com or e-mail him at drewbarrett@netscape.net.
LOAD
POINT PULL
Frank Campobasso - Lead Vocals: Franks gritty vocals and 
high-impact
lyrics speak for themselves. His last band Jet Black was signed with Alfa
Brunette Records (Japan).
John Pyne - Guitars, Backing Vocals, Sequencer Programming: John is a
graduate of the Guitar Institute of Technology, Hollywood, CA. and has
been playing keyboards since the age of 3. Prior to joining L.P.P., John
spent three years touring the Midwest with Ceremony and Wolfgang Bang,
rocking thousands. John endorses Hot Tamales & Coca-Cola!
Doug Kenworthy - Bass, Backing Vocals, Sequencer Programming: Doug most
recently played with Motherlode, a band that enjoyed both European success
and air play on thirteen stations across the U.S. Their single “Fingerpaint”
topped out at #1 on Salt Lake City’s K-Rock. Doug is endorsed by Ampeg.
Dave Lee: I played drums with John in Wolfgang Bang for over 3 years,
so I guess you could say that I’ve rocked thousands as well. Also like
John, I’m a major Coca-Cola-holic. I don’t have any endorsements, but
as far as drumming equipment goes I use Tama Granstar drums, Sabian cymbals,
and Promark drumsticks. The reason that I chose my Tama Granstars was
because I saw Lars Ulrich use them and I thought they looked really cool.
Plus I was looking for a very deep and thunderous drum sound and my theory
was that if it was good enough for Metallica, then it was good enough
for me. As far as my favorite and most influential drummers goes, John
Bonham is without a doubt my all time favorite. He’s so powerful and awesome,
but he’s also very fluid with a lot of little subtle things that he throws
in that a lot of people don’t always pick up on. After Bonham, I would
say that there is a tie for 2nd place between Tommy Lee and Joey Kramer.
Tommy to me is like a modern day Bonham in his power and smoothness and
I just love Joey for the way that he can lay down some really cool grooves
and add some really simple fills that have such a fat and juicy vibe to
them. Those three guys have been such a huge influence on my playing and
I know that there are so many more, but I guess I have to stop somewhere.
I’m very glad that I chose the drums, cause no matter what kind of mood
you’re in, you can always play to fit your mood. Even if you’re mad at
the world you can just get on the drums, go ballistic, and get your aggressions
out. I think that drumming is very therapeutical. I would urge everyone
that needs an escape or an outlet, that you should get some drums and
just let go. Also, it’s such a trip when you’re onstage playing and you
look out at the crowd, (especially the women), and you can see the way
that the rhythm affects them. It’s almost a primal experience like when
you hear tribal drums at a ceremony and the tribe would dance in a circle
and just lose themselves in the music. There’s nothing else in the world
quite like it. The way that I came to join LPP goes a little something
like this. I was leaving work one night about 2:30 a.m. and there was
a note on my car from John. All that it said was to come out to his house
after I got off work. So, I went to see what was up and he handed me a
LPP set list and asked me how many of those songs that I could play. I
grinned and looked at the list. I was pretty familiar with the songs from
“We’ve Come To Take What’s Ours”, but I didn’t know any of the other songs
at all. John then told me that I had a little less than two weeks to learn
them because they still had a few gigs booked that they didn’t want to
cancel. And things didn’t work out between Aaron and LPP and that he left
kind of abruptly so LPP was in a bit of a pinch. Since I hadn’t played
in a band in over a year or more, I was very thrilled to be filling in
with LPP. The 1st gig that I played with LPP was at Sioux City, Iowa on
Sat. June 5th. Once I played that gig, I knew that I wasn’t going to be
happy with just being a substitute and I wanted to land the job as the
full-time drummer. The Sioux City gig was a little rough, but it was a
lot of fun. I worked my ass off on the songs until we played the next
two gigs at Niener’s and Racer’s 2. Again it was a major thrill to be
onstage especially at Niener’s because I’d played there many times before.
On the Monday following those gigs I received an e-mail message from Doug
and he said that both he and Frank were pleased with me and that they
were interested in keeping me around as their permanent drummer. And the
rest is history in the making.
Aaron Mumma - Drums, Backing Vocals: Aaron is endorsed by ProMark Drumsticks.
Known for his superior showmanship, Aaron played and toured extensively
with SingSing. Aaron also played with Motherlode. Aaron is endorsed by
Promark drumsticks.
MORTIIS
Elfin, batlike, inhabiting shadows and shunning company..........grotesquely
featured, razor taloned and inhuman in appearance........the result of
a misshapen mind, a fertile yet polluted imagination, the ultimate example
of creation  replacing
creator. Mortiis - the concept born of dissatisfaction, desire and even
mild dementia - is a being like no other, with a story to tell that knows
no end. Neither in this world or the next, the space in time that Mortiis
occupies is one where the imagination is King, and the farthest reaches
of the mind is God. Mortiis is a concept that allows anything to become
a possibility, where the only restraint is the limits the creator imposes
on himself. For the world Mortiis inhabits is self-created, ever-evolving
and endless - an escapism of the most extreme form that means that Mortiis
lives literally between worlds, displaced from where he started and headed
to who knows where? They say that the lines between fantasy and reality
are often blurred - never has this been more true than in the case of
Mortiis, the alter ego of his withdrawn, obscure earthly creator. In pursuing
an existence so unique and solitary, Mortiis is open to criticism, normally
from those with a singular lack of imagination or drive - the very bonds
Mortiis has striven to shake off. For the whole Mortiis concept and search
is concerned with the eternal quest for answers - what lies beyond our
comprehension, how far can we expand our minds, where does the possibility
end? So far Mortiis has yet to draw the line - his physical appearance,
(striking, seething, enigmatic, imposing, elf-demon), is at odds with
his music (epic ambient-based soundtales), yet the apparent contradiction
of such an overwhelming image coupled with such a laidback musical style
works, precisely because it challenges the accepted perception of how
things should be. Despite outward appearances, black metal this is not
- in Mortiis’ world, things have gone far beyond the conventional. Debuting
with the mono-tonal Fodt til A Herske, a release that dumbfounded fans’
expectations, many of whom expected a continuation of Mortiis’ past work
in Emperor, the whole shadowy concept took further shape with the second
chapter Anden Som Gjorde Oppror. Slowly a new world was taking form, one
in which the only god was the mind and its ultimate expansion. The archaic
ambient nature of the music shrouded the world of Mortiis in more obscurity,
and the outrageous persona the artist had adopted still seemed at odds
with the music. A third exploration, Keiser av en Dimensjion Ukjent, showed
greater signs of progression, but ultimately still left people confused.
What was Mortiis, and what was he trying to communicate? Ambition accelerated
with the release of five separate 12" singles (ultimately collected under
the title Crypt of the Wizard), works that finally developed the whole
theory of another world, ruled by imagination and vision, a place where
the human is replaced by the alter-ego. The present brings us to the most
varied (both musically and lyrically) view of this other-world. The Stargate
again relates tales of grim journeys, hard fought battles and grim contemplation,
cloaked with a mythological backdrop of pseudo-reality. For the world
we are allowed to see is one that we can never inhabit, being exclusively
the domain of Mortiis himself, a world where his fantasies are given wings.
As listeners all we can do is wonder at what takes place in this creature’s
head, what made him this way - the answers are not easily found. Reconciling
the sounds you experience through The Stargate with the shocking image
that Mortiis portrays in not easy either. Only by surrendering to your
own mind-god, and maybe creating your own nether-world, can you come close
to appreciating the experiences that Mortiis conveys through his schizoid
existence.
NEEDLES
DOWN
Needles Down is a band that is intent on complete world domination. The
band formed in 1996 from members of band through the Southeast. Their
lineup includes Jason Smith - Lead vocals and guitars, Jason Reid - Lead
guitars, John Fievet - Bass, and Steve Rockett - Drums. Word of the band
spread quickly throughout the Southeast. With an increasing fan base they
sold 1,000 copies of their first CD release and received air play in seven
states. The band established themselves quickly by touring and networking
the underground music scene. A mailing list approaching 5,000 names and
internet promotions have spread the word of Needles Down nationwide. A
new 5 song demo has been completed showing off a style and sound that
belongs only to Needles Down. The band shares influences such as Black
Sabbath, Tool and Acid Bath. The band is currently writing and recording
new material as well as promoting the latest CD. The band has proven themselves
with years of hard work, dedication and a live show that leaves you wanting
more. This is truly a band that deemed themselves unstoppable in their
pursuit of making a permanent mark in music history. For more info. e-mail:
needledown@aol.com.
TEMPEST
Lief Sorbye (lead vocals, acoustic and electric - mandolins and mandolas),
Adolfo Lazo (drums), Michael Mullen (electric and acoustic violins, vocals),
John Land (bass, vocals) and Todd Evans (guitar).
Tempest has been recording and performing since 1988, has played more
than 1000 performances and has released 7 CDs. Some have described Tempest
as a fold-rock band. Much of their repertoire is based round traditional
folk music and they definitely rock; there the accuracy ends. Who could
blame the hapless categorist when faces with Celtic and European themes
interpreted by a Norwegian lead singer and double-necked mandolin player,
a Cuban drummer, a crazy fiddle virtuoso, a seasoned American rock bassist
and a guitar player with a fervent aptitude for heavy rock guitar. This
unlikely crew has had the audacity to mix mythology and history, Irish
jigs and reels, Norwegian traditional music and Scottish ballads with
a crunchy helping of rock & roll. Tempest is signed to the New York based
progressive label, Magna Carta Records. Their CDs have received critical
acclaim not only in North America and Europe, but all over the world as
well, from Japan to Argentina! Tempest’s high profile studio activities
notwithstanding, this is a band dedicated to creating dynamic and compelling
live shows. Tempest is well aware that the best way to keep their enthusiastic
following satisfied is to tour extensively. The band has appeared regularly
at such major festivals as Philadelphia Folk Festival, Milwaukee Irish
Fest, and the Winnipeg Folk Festival in Canada. Tempest made their British
debut in front of twenty-five thousand people at Fairport Convention’s
annual Cropredy Festival in Oxfordshire.
 TORIE
TYSON
Far be it for me to ask a blonde about her roots. But lemme tell ya something
about Torie Tyson - her roots are straight outta American rock n’ blues.
Born in Detroit, Rock City and raised in Chicago, Torie is the daughter
of a Copacabana singer who was discovered by Milton Berle. Mom would be
proud - at the end of 1977, longtime L.A. Streetmag Rock City News awarded
Torie Tyson the trophy for “Best Local Pop Rock Performer” the week after
she self-released her debut CD You’re Gonna Get It In The End. A week
later, industry stalwart Music Connection selected her as one of “L.A.’s
Top 100 Unsigned Local Bands.” Torie’s decision to dive head first into
the tidepool came when she saw Elvis Presley’s hi-res ghost shimmering
the cathode ray tube with his Vegas rockabilly howl on a rerun of one
of his TV concerts. Before that, the pale blue light of the TV screen
emitted countless images of the glamour of Hollywood’s rock and roll era
icons to Tyson. The brooding sedition of James Dean and Marlon Brando.
The allure of Monroe, the cat scratch of Betty Davis. All of it poured
out of the screen and into all of the things that make Torie Tyson, well,
Torie Tyson. When her mom was crooning tunes at the birth of the lounge
era, Torie was there in spirit - sitting on a bike next to Brando, curling
her lip at the hiss of Bette Davis, peering into a diamond haze with Marilyn.
“Elvis knocked me off my feet,” recalls Tyson. Like her fave movie star,
Tyson was attracted to Presley’s larger than life image, and “star quality”
- “which is one thing you won’t find too much of on today’s rock and roll
menu,” cites Tyson. Inspired as well by the quality rock songsmithing
of Rolling Stones, the vocal vim and vigor of Tina Turner and Janis Joplin,
and the new wave antics of Blondie, Tyson began singing in her teens,
only recently throwing down the gloves as a full-fledged performer. Her
first odyssey was a trip to Marla’s Memory Lane (the now defunct R&B/Jazz
nightclub owned by actress Marla Gibbs) for a talent night. Tyson recalls,
“I was the only white girl there. I got up and did “Hot Legs,” and the
whole place went crazy. I took first prize.” Tyson took first prize at
a handful of other local contests, impressing crowds at venues as diverse
as gay bars and Country/Western nightclubs. “I wanted to see if I could
win over the people who were outside of the rock arena. When I started
winning all of those talent contests in front of audiences who generally
wouldn’t get into my type of music, I figured, hey, maybe I should just
go for it.” Her live performances on the L.A. club circuit may seem unfashionable
with the almost narcoleptic trend of those who would rather shoe-gaze.
But clubgoers fed up with the deliberate impassion of the alternasnobs
from ‘you know where’ don’t seem to mind Tyson’s live rambunctions at
all.
ICE
AGE
Jimmy Pappas (guitar), Josh Pincus (vocals/keyboards), Arron DiCesare
(bass), and Hal Aponte (drums/percussion).
In this verdant, vibrant age of progressive metal, it’s quite the treat
to hear a band stride confidently forth with more of a nimble, traditionally
progressive rock approach, Ice Age thenceforth advancing past the masters,
into often overlooked tones from bands like Styx, Kansas, Canada’s Saga,
even Journey. For this is a band steeped in Americana, but flavored with
worldly spice, most of it contributed by the band’s Euro-tinged guitarist
Jimmy Pappas, who is actually a transplanted American from Greece. Rounding
out the band, we’ve got Arron DiCesare, a native Bostonian who has studied
at his city’s venerable music school, the Berklee College Of Music, ex-Cold
Steel drummer Hal Aponte, and the band’s lead vocalist, keyboardist and
lyricist Josh Pincus. While the daunting chops wizardy of DiCesare and
Aponte provide a rockbed of exotic and mathematical rhythm experiences,
Pappas and Pincus create a marriage, and often a productive tension, between
those age old rivals, keyboards and guitars. “I think it’s our varied
backgrounds that create the unique flavors in this band,” offers Josh.
“Jimmy is actually from Europe, so he grew up listening to guys like Ritchie
Blackmore from Deep Purple, Michael Schenker, Gary Moore. My thing early
on was straight classical and film score music oddly enough, followed
by Rush, Styx and Kansas, and then when I got a little older, I got into
a heavier music like Fates Warning, King’s X and Black Sabbath.” But it
is this American progressive experience that seems to course through Ice
Age’s debut offering The Great Divide, a set of precepts that sets the
band apart from its darker, faster and faster still competitors. “It’s
definitely heavy progressive, definitely on the technical side,” explains
Pincus. “But we like to focus a bit more on the songwriting side of things
versus some of the other well-known progressive bands. We like to keep
it melodic and have memorable hooks as opposed to playing a mile a minute
constantly. We like to mix it up.” What enforces this unique directive
is first and foremost the vocal work of Pincus, which is often compared
to Steve Walsh and Tommy Shaw. It is Josh’s flair for the dramatic delivery
that has turned jaded progressive fans into believers as the band hits
the tough New York City circuit. Underneath the man’s thespian command,
one finds a coterie of keyboard sounds, from the graceful piano balladry
of ‘One Look Away’, to surprising ELP-like synthesizer tones rarely heard
in any progressive genre today. The pinnacle of the band’s rock theatre
comes within the gritty force of ‘The Bottom Line’, a track that pounds
home the indifference of the bottom line towards the lives of those affected
by it. One can envision this as a Broadway highlight...the lights, the
actors, the sets. All the while, expect some of the most exacting, exhilarating,
complex, but accessible riffing to be carrying the tune, over a rhythm
section that is fully in control despite the dangerous playing demanded
by the record’s ten tracks. It is of note that although many progressive
bands claim Dream Theater as an influence or inspiration, Ice Age are
one act who actually approach Labrie and Co.’s sense of sculpture, in
no small part due to the myriad of sounds we hear from drummer Aponte,
although it is Pincus who has the biggest personal connection, having
grown up friends with Dream Theater’s original keyboardist Kevin Moore.
So The Great Divide has finally arrived, the endwork of a process Pincus
describes as exhausting. “As far as writing goes, it’s pretty straightforward.
We work quickly because we all know each other pretty well, having played
together for what seems like ages. You get into little arguments during
mixing or whatever, because that’s just the nature of the thing. Are the
guitars loud enough? Are the vocals loud enough? Is this lead loud enough
here, is it loud enough there? It actually turned out to be a lot of work
because we did all the recording and mixing ourselves. We put together
our own studio, so it was the whole thing from soup to nuts on our own.
It got crazy at times. We set all this up in the rehearsal space that
we rent, and we have 24 hour access, so we’d work whenever we had to,
in the middle of the night, whatever.” If Ice Age’s music has gracefully
recaptured the splendor of the progressive age, it is lyrically that the
band really shines, which is no mean feat given Josh’s methodology. “I
have piles and piles of scribbled lyrics everywhere,” sighs Josh. “My
computer is full of unused ideas. The way I usually do it is that I let
the ideas brew for a couple of months, and then when it’s getting close
to the time when I actually have to do the track, I just sit in front
of the computer screen for like 24 or 48 hours and piece the words together.
A lot of the time I write about psychological issues. Much of it is very
personal, almost dangerously so, but I hope I reach some universal themes.
I try to write about life experiences and relate them to things other
people can use.” And although not a concept album as such, Josh’s line
of thought throughout had to do with The Great Divide between childhood
innocence and the pressures of adulthood. “The first song, ‘Perpetual
Child’, sort of sets the tone for the album. Musically, I think it’s a
good mix. It has some really heavy driving parts, countered by nice mellow
passages. It kind of shows off our dynamics, the different sides of the
band, from very heavy to very mellow and everything in between. Lyrically,
it’s about the transition between being an innocent wide-eyed child into
the cynical world of adulthood. That’s basically what it’s about. The
character has to figure out how to do that, or if he wants to do that.
I think everybody has part of that in them, searching for their lost childhood
to some extent. I know I certainly feel that way, but I’d hate to speak
for the other guys (laughs). The title and the cover art also enforce
this concept. The cover image was actually designed by our guitarist,
Jimmy, who does a lot of graphics work. It’s really tough to describe
(laughs). It depicts a sort of a hunched-over figure crossing a strange
looking bridge. It’s pretty provocative and eye-catching. And the meaning
of it could be left to the viewer. This person is crossing a bridge and
you don’t really know where he’s going.” But if The Great Divide is any
indication of things to come, it is perfectly obvious where Ice Age is
going, and that would be firmly into the millennium as one of the foreground
figures in traditional progressive music, unafraid to use rip-it-up metalized
riffing, but more likely to build a deceptively accessible melody through
layers of detail-obsessed construction. It is obvious that a breath-taking
amount of work has gone into the making of this strong debut. Considerable
study, although less so, on the part of the listener will ensure the level
of reward the band has intended. On that note, it’s time to break the
ice.
STRETCH
ARM STRONG
John Barry (drums), Scott Dempsey (guitar), Jeremy Jeffers (bass),
Chris McLane (vocals) and David Sease (guitar)
From the classically influenced acoustic guitar chords that open “When
Sorrow Falls,” It’s evident that Stretch Arm Strong is not your average
hardcore band. Seconds afterwards, when the song erupts into a fast paced,
energetic hardcore anthem reminiscent of such genre defining bands as
Youth Of Today and Verbal Assault - without being a rip-off or shallow
old school revivalist re-tread - Stretch Arm Strong totally springs to
life. The rest of Rituals Of Life - the Columbia, South Carolina based
band’s second full length and debut for Solid State - follows suit in
a similar fashion, dipping into powerful bits of melody and emotion and
combining them competently and effectively with straight ahead hardcore.
Many heavy bands are trying to mix melody and aggro force with mixed results
- Stretch Arm Strong tackles both styles with enthusiasm, sounding more
than credible in the process, and adding a deeper impact to the soft and
hard parts by utilizing such dynamics so effectively. Produced by Barry
Poynter (Living Sacrifice, Zao, No Innocent Victim), Rituals Of Life is
most of all a testament to Stretch Arm Strong’s sincerity and passion
for hardcore music - two things that just bleed through all eleven tracks.
Chris McLane’s sing-songy scream just soars through the choruses of songs
like “Outside Looking In,” slowing down just enough to conjure up empathy
inducing, heart wrenching and syrupy singing when necessary (check out
“Try To Forget” if you are in doubt). The lyrics are honest and contemplative
- there’s no abstract gibberish to be found here. The rest of the band
- rounded out by guitarists David Sease and Scott Dempsey, bassist Jeremy
Jeffers and drummer John Barry - shifts smoothly from metallic crunch
to late eighties 7 second style hardcore effortlessly, making each transition
seamless. And Stretch Arm Strong are more than brave enough to break the
mold where appropriate - even bringing in a piano to help them through
“For Now,” exemplifying a knack for diversity that far too many bands
in the scene lack. Formed in 1993, Stretch Arm Strong have also released
a six song EP on their own, a split record with Prevail and the ground
breaking and inspiring “Compassion Fills The Void” (Rise/Uprising). They’ve
played with acts as diverse as Hatebreed, Strongarm, The Misfits, Earth
Crisis and Shai Hulud - winning over audiences with their no-frills approach
and open, friendly and charismatic demeanor. The release of Rituals Of
Life (which will also be available on vinyl through Ferret Records) will
be followed by and extensive tour with Nitro Recording artists Ensign.
For more info: www.solidstaterecords.com.
|
TILES
Pat DeLeon (drums/percussions), Chris Herin (guitar, mandolin, banjo,
keyboards), Paul Rarick (lead/backing vocals) and Jeff Whittle (bass guitar).
It only takes a quick crane around to realize that there are very few
bands out there plying their trade under the umbrella of progressive rock
that remember the original spirit of the term. Tiles is one such precious
act, kicking their heels down a pathway that has less to do with the over-processed,
over-populated, over-shredded progressive metal genre and more to do with
the organic, unpredictable process of creativity. Think Phish. Think crest-of-the-millennium
Rush. More on that later. Through three records, this Detroit-based act
has quietly molded themselves into a world entity, gaining a following
in both Europe and Japan through their “tiles” debut, their ‘Fence The
Clear’ follow-up and now poised to take over with ‘Presents Of Mind’.
Tiles guitarist and chief songwriter Chris Herin offers contrast through
this distinguished career. “I was actually putting the band together during
the first CD,” Chris offers with a laugh. “I don’t want to call it a solo
album, but I had the songs written, and as members joined the band, they
came in and did their parts. The second album was more of a band effort,
born of our growing live experience really. We tried not to do too many
overdubs, staying a little truer to our live instrumentation. But then
we fell out of favor with that concept, and adopted the idea that a CD
is virtually forever. There’s no reason not to fill out the arrangements.
So the third album is a combination of the live approach, getting all
the basic tracks down, and overdubbing keyboards and guitars until we
felt they had been arranged according to what is called for.” What results
is a stunning and electric display of guitar-charged oddity, not so much
metal but hard rock well outside the rules. The compositions on ‘Presents
Of Mind’ build on Herin’s love of latter-day song-based Rush, lost prog
like Kansas and, of all things, mid-’70s Elton John. “All of us have wildly
divergent tastes, lots of prog in there like Genesis and Queensryche,
some metal like Maiden and Priest but also jazz, classical, and this strong
current of people I would consider great songwriters.” So “Presents Of
Mind” is full of such evident, pleasurable songs, right from the opening
power chords and wide-open drums of ‘Static’, through the Spanish-tinged
‘Modification’ and the heads-down riffery of ‘Taking Control’ (look for
the banjo and mandolin!), choruses aflame, sent on the wings of Paul Rarick’s
clear and cutting lead vocals. In between, the band assembles then disassembles
for engaging experiments such as the guitar and percussion duet within
‘Crossing Swords’ and the Jethro Tull tomfoolery of ‘Sandtrap Jig.’ Chris
is particularly taken with closing 11-minute tour de force ‘Reasonable
Doubt’. “‘Reasonable Doubt’ is our production number. We knew we were
going to throw so much stuff into it, we weren’t possibly going to play
it live. It’s a song about a guy who has been accused of committing a
murder in a small town. Once he became a suspect, there was no possible
way he would be acquitted. It’s actually my favorite song on the album,
because it’s a very powerful mesh of the lyrical content with the music;
almost Pink Floyd-ish in an atmospheric, emotional way. I don’t think
it sounds like Floyd in any way, but it has an atmosphere like ‘Comfortably
Numb’. It kind of pulls you in.” Lyrically, Tiles have balanced their
presentation between the cryptic and the instructional, offering a barely
discernible thread throughout the record. Herin explains. “As a progressive
band, we hesitated in using any sort of mind concept, because to me, brains,
intellect, all of that is way played-out. Needless to say, we succumbed
to the temptation (laughs). But there are multiple meanings, including
presence of mind as in someone who is effective in emergencies, on the
ball, and by extension, the general idea within human nature that human
beings have an uncanny ability to adapt to their surroundings. And then
there is the idea that the mind is a present, that having a mind is truly
a gift.” The lyrical depth of the project so impressed top cover artist
Hugh Syme (Megadeth, Whitesnake, Bon Jovi, all the Rush albums since Caress
Of Steel), that Syme decided to take the project on. What emerged was
an elegant if somewhat shocking image of a realistic brain, tied with
a blue bow, hovering above a desert, with various mind imagery underscoring
the theme throughout the booklet. The look has been given a “cinema noir”
treatment for the record’s US release. Further into Rush connections,
Tiles secured the mixing acumen of legendary producer Terry Brown to give
“Presents Of Mind” that added magic. The end result is palpably fresh,
all of the band’s confident instrumentation leaping off the plastic as
if immersed in lively dance, despite the detail of intelligent layering.
“It’s definitely a headphone album,” offers Chris. “There’s a lot going
on in there, although these are proving to be some of the most refreshing
songs to play live, especially ‘Static.’ How we work with Terry is basically
this. We record all the basic tracks here in Detroit. We usually have
24 tracks. We do a lot of keyboards on the hard drive and synch it up
to the two inch tape. So you could have up to 39 or 40 tracks of music,
and then it’s handed over to Terry to mix. He has a little project studio
that he operates out of Toronto, down on the waterfront. He has a lot
of input into the final product. We try to give him as much freedom as
possible on how to position the parts within the stereo spectrum.” One
final note of victory for North American buyers who have become so used
to being shortchanged in the bonus track department. The Magna Carta issue
of “Presents Of Mind” includes two bonus live tracks not found on the
European issue. “‘Patterns’, from our last album, is one of the two live
bonus tracks,” Chris explains. “It is important to note that these are
truly live. They couldn’t even be mixed. It’s a slightly abridged version
because we recorded it for a TV show here in Detroit and we only had so
much time. It’s live, you’ll hear a little feedback, the levels aren’t
quite what you would want, but it comes off good. Same thing with ‘Token
Pledge’, which is off the first album.” Looking back on the three records
Tiles has assembled, Chris tries to grasp where the band fits in all this.
A description of the Tiles sound? “Un-trendy with no chance of mass popularity
(laughs). Just kidding. I guess we’re progressive to the point of mixing
hybrid types of music, which is close to the original definition, which
was starting with hard rock music and taking liberties, meaning if the
song ends up longer, that’s cool. If it turns out complex and convoluted,
and if it makes sense to us and a few basic musical principles, we go
with that too. We’re extremely satisfied with the outcome of the whole
thing, because we’ve learned what could have been better on the first
two CDs, and tried to make it happen on the new one. So songwriting-wise
we have a naturally recurring variety of shorter, straight-ahead stuff,
but still packed with what we would consider a progressive tradition of
time signature and key changes.” Judging from fan response so far, the
recipe is an explosive one, sure to keep the prog-heads happy and hopping,
while containing within itself, the potential of radio play. So as a lesser
and louder outfit once remarked, Cum On Feel The Noize. Both head and
heart will thank you for it.
LOST
HORIZON
Sweden's Lost Horizon Guarantees To 'Awaken The World'
The earth will shake and mountains will crumble as KOCH Records releases
one of the most prestigious debut albums on June 12th, 2001; Lost Horizon's
'Awakening The World'! The most current in the line of domestic
releases spawned from KOCH's licensing deal with UK-based Music For Nations,
Lost Horizon is poised to up the ante for the world of melodic Metal.
The band's mission was to record the ultimate quality Metal album, and
through painstaking construction, they have delivered! 'Awakening The
World' is crammed with harmonious, melodic, passionate and powerful
true Metal masterpieces that are set to compete with the best. Sounding
simply huge, the epic guitarwork that underpins the astonishing vocal
talent of singer Daniel Heiman (who ascends the power metal throne on
his first performance) show that Metal lives stronger that ever.
It may seem that Lost Horizon had just crawled from the earth's crust
and are making boastful claims, however, through researching the band's
history, one can deduce that Lost Horizon are true warriors.
"The old Millennium reaches its end. The year is 1998. A sudden mighty
gust of Metal fills up the hearts of three pure ones. Wojtek, Martin and
Christian are their names. That sacred call, that final cry, breeds a
spiritual aspiration, which leads to the great gathering of the three.
Under a prodigious influence of the same, shared flame, baptized in Metal
and the restored will, they interlace their faiths and conclude their
goals. Transcendental Protagonist, Cosmic Antagonist and Preternatural
Transmogrifier are born."
However, the power of pure will would mould and shape the history and
future of this birthplace and pedigree for these future Metal commanders.
Their original formation, Highlander (1990-1995), featured the likes of
Joacim Cans, Stefan Elmgren and Patrik Rafling of today's HammerFall.
"Over two years, the reunited companions consequently prepare a great
manifestation for the world - their first album of power. About a year
later, when the adjusting of the thoughts is almost finished, another
shape turns on the horizon. The singer Daniel Heiman joins the true ones,
embellishing the music with his divine voice. Listening to his deepest
ego, also he finds his true identity. Also he, listening to his deepest
ego, finds his real identity. The new, fourth warrior is born. The new,
fourth warrior is born. His name is Ethereal Magnanimus."
Two demo songs are recorded and in June 1999 these are sent out to several
record labels. By the end of the summer, the formation receives very positive
feedback and interest from most of them. Yet, only one of them proves
itself worthy enough. Signing a covenant with Music For Nations, the collaboration
begins and the four warriors enter the studio. Like a trance, with no
rest and no mercy, from late March to mid August, the album 'Awakening
The World' is created. Only the walls of the several involved studios
know the pain that has been experienced. But nothing could stop the enterprise.
Having already performed at the first ever NTS Festival in France on March
31 alongside such nobility as Rhapsody, Shaman (ex-Angra), Silent Force
and Mob Rules, Lost Horizon plans to tour vigorously to support the release
worldwide throughout 2001.
"And now the work is finished. The first ritual is over. The second begins.
And out of nowhere the fifth and the sixth warrior are on their way to
take their place at the round table, where two of the thrones that surround
it have been waiting to be ascended. The new dawn is born and is here
to stay. Once lost. Now brought back. The LOST HORIZON." www.oncelosthorizon.com
OPETH
Sweden's Opeth Prepare To Unleash 5th Opus 'Blackwater Park' Through
KOCH Records
Darkness descends upon the earth, and upon its wings is born a new Ice
Age…an era known as Opeth!
KOCH Records is pleased to unleash Opeth's 5th and most ambitious album
yet, under the name 'Blackwater Park'. On March 13th, North America
will be exposed to an incredible body of work by one of the most talented
bands in the hard rock/metal world! Throughout the album, as with the
band's career, Opeth once again refuses to be pigeonholed into mere genre,
combining somber serenades and aggressive outbursts within a singer/songwriter
sensibility. Opeth is more than a Metal band, it is an emotional experience.
Throughout each epic track on 'Blackwater Park', the listener becomes
transported to a cold, dark realm of imagination, which could only have
been spawned by the likes of Scandinavia's finest minstrels of bleak perception.
But look beyond the outer shell of depressive dissonance, and you will
find a band that performs straight from the heart, filling every song
with a Pandora's box of emotion! Each multi-faceted chord plucked, every
texturous note sung, and every harmonious passage in-between resonates
with the pure, unbridled passion of a band on a mission. Led by guitarist/vocalist
Mikael Åkerfeldt, Opeth have managed to harness an energy unheard in many
modern hard rock bands, that of sincerity and brutal honesty.
Thanks to the licensing deal with KOCH Records, Opeth's majestic vision
will permeate the minds & souls of the mass public, rather than resorting
to mail order & underground means of distribution. Coming off of their
extremely successful reception of performing 2000's Milwaukee Metalfest
(the band's first-ever North American appearance), look for Opeth to cross
the great pond for more impressive live performances in the near future!
In the meantime, introduce yourself to 'Blackwater Park'; an ambitious
album by an introspective band.
www.opeth.com
BLACKMORE'S
NIGHT
Steamhammer/SPV is proud to announce the addition of Blackmore's Night,
the acclaimed Renaissance-styled musical project from guitarist Ritchie
Blackmore and his companion, vocalist Candice Night, to the label’s rich
roster of musical legends.
Blackmore’s Night will release their third album, “Fires at Midnight,”
in July. “It’s very refreshing to work with a label that has the courage
and conviction to release eclectic music and is not just obsessed with
the ‘wriggling generation,’” said Blackmore. “We feel very honored to
work with (Managing Director of SPV) Manfred Schütz.” Added Night: “It’s
wonderful and rare to find a label that supports an artist with such enthusiasm
and allows us to be free with our music. Knowing that Manfred has such
high standards, it’s an honor that he chose us to be part of his close
family of musicians. We look forward to a long and fruitful relationship
with SPV.”
This sensational band is 25-year dream-come-true for the one of the mostimportant
and influential guitarists in the history of rock music. Blackmore’s resume
reads a career full of highlights as mastermind and main songwriter with
the British hard rock pioneers Deep Purple and his subsequent successful
venture with the international line-up of Rainbow. In January 1997, he
added Blackmore’s Night to the list and has gone on to devote himself
exclusively to a fascinating blend of rock, folk, and 16th century melodies
in homage to the music of the Renaissance era. With acoustic and electric
guitars, string sections, Renaissance instruments like the hurdy gurdy
and the bagpipe, and the delightful voice of Night, Blackmore translates
the diverse music of the Middle Ages - which combines elements of romanticism,
passion, mysticism, and enthusiasm - into a sound all his own.
“This music has been in me for over 500 years,” Blackmore said. “I’m going
back to my roots. When I was with Deep Purple, I was just smoking;now
I’m on fire – ‘Fires At Midnight.’”
The 1997 album “Shadow of the Moon” stayed on the German album charts
for 17 weeks and went Gold in Japan. The subsequent release, “Under a
Violet Moon,” came out in the spring of 1999 and entered the German charts
at #20 and the Japanese charts at #12. With the release of “Under a Violet
Moon,” the band embarked on another tour, playing in castles, churches,
opera houses, and theaters around the world.
The duo’s third offering, “Fires at Midnight,” is another excursion into
the mysterious world of the Renaissance. This new album features Blackmore's
guitar work more prominently. The songs tell many poetic tales, instantly
transporting the listener into another time and place, a place of fantasy
and chivalry. “I’m very excited about ‘Fires at
Midnight,’” said Night. “Each song is as different as the colors of the
rainbow. We delve into the mysteries of life and music. The songs reflect
a soul-searching depth and a luminous enlightenment that can only come
from being deeply moved and content in your chosen path.”
The arrival of “Fires at Midnight” will be followed by another string
of atmospheric concerts in mythical surroundings.
WESTWORLD
Vocalist Tony Harnell,
guitarist Mark Reale, bassist Bruno Ravel and drummer John O’Reilly. When
Mark Reale decided to take control over his musical direction and started
producing the next Riot record Inishmore. Mark has no idea that this would
lead to a musical collaboration outside of Riot. When production of the
Inishmore album began, it was the first time that a Riot record was not
recorded at Green Street Studios. It was also the first time that Mark Reale
would work with Paul Orofino at Millbrook Studio. Paul Orofino has become
very well known in his own right and this working relationship would soon
find a new direction when Paul mentioned to Mark that he had a friendship
with Tony Harnell of TNT fame. It was not long after this that Mark and
Tony got together at Tony’s home and started writing songs together. Once
the songs had been composed it was now time to find the musicians. After
careful thought Tony and Mark decided that they wanted Bruno Ravel (Danger
Danger) and John O’Reilly (Rainbow) to join them in what has now become
Westworld. About The Players Tony Harnell: In a childhood filled with surfing
and skateboarding this California native was raised in a musical family
where singing was always a natural form of expression. Moving east in his
teens, by the age of twenty Tony was singing with an assortment of local
talent and found himself the darling of the New York City music scene. His
talent would soon take Tony across the Atlantic to record his first of seven
records with international recording artists TNT, recipients of The Player’s
Prize, Norway’s answer to the Grammy Awards. Tony Harnell and TNT have won
global recognition and sold a million plus albums. While TNT is an ongoing
endeaver, Tony spends his time state side and the Westworld project has
allowed Tony a way to express himself musically without compromising the
musical integrity that Tony has worked so hard to achieve. Mark Reale: Born
and raised in Brooklyn, Mark Reale has been a part of the heavy rock scene
since 1978. Mark was the founding member of the rock band Riot. Over the
years Riot has changed members but Mark has continued to keep Riot alive
because of the continued support the group has received from the fans. Mark’s
influences range from Judas Priest, Rainbow, Thin Lizzy to Cream and the
Beatles. Mark’s guitar playing has earned him the respect and admiration
of his many fans around the world. Mark has always maintained his credibility
and stayed true to his rock roots which can be heard in the Westworld album.
Bruno Ravel: Born in Paris, raised in New York, Bruno is a classically trained
cellist and attended the famous Julliard School of Music. His influences
include Kiss, Aerosmith, and Cheap Trick. Bruno has been performing with
hard rock bands for many years. In 1985, Bruno played with White Lion and
in 1986, he replaced Billy Sheehan in Talas. In 1987, Bruno co-founded Danger
Danger. The band signed to Epic and released 3 albums (Danger Danger, Screw
It and Cockroach). The last two albums were released on Low Dice Records
Dawn and 4 The Hard Way). John O’Reilly: A native of Queens, New York, John
began playing drums at 10 and turned pro at the age of 20. The first bands
John performed professionally with were New Cult Legends, J.F. Murphy and
Salt. Soon after this John began working with artists such as Richie Haven,
Yoko Ono and Al Pitrelli (CPR). In more recent times he has worked with
Ritchie Blackmore and Rainbow, Blue Oyster Cult and Blackmores Night. John
is currently touring as a drummer with Blackmores Night.
KEMESTRY
Formed in 1993, Montreal’s Kemestry features lead vocalist Randi
Zee, drummer J-F Preiss, bassist Gil Halo and new found guitarist Steve
Lionessa. Kemestry’s sound is reminiscent of early Metallica and Megadeth.
In fact, Kemestry has had positive reviews overseas in such countries
as Germany, Denmark and England. Kemestry’s self-financed and self-produced
debut CD, One Way Ticket, has sold well in those markets. Recently, Kemestry
has made major gains in the US market. Their debut cd can be found on
such notable internet sites such as Amazon.com and cactusjuice.com. They
have also been in contact with Slaughter, LA Guns, Union (featuring ex-Kiss
guitarist Bruce Kulick and ex-Motley Crue lead singer John Corabi) and
Firehouse about possible opening slots on those bands’ summer tours. They
are also planning a fall tour with Detroit band Devils Nite. Despite their
good fortunes abroad Kemestry are still searching for recognition and
acceptance in Canada. Their music is loud, brash and in your face, but
you’ll be glad you listened. To order One Way Ticket, send $10 plus $3.20
(shipping and handling) to: Stand Back Entertainment, P.O. Box 282, Massena,
NY 13662-282.
PAUL
SHORTINO
Rich, soulful, smokey .... just three words often used to describe the
amazing vocal talents of Paul Shortino. Ever since Los Angeles act Rough
Cutt unleashed Shortino to the world in 1985 he has been recognized as
one of the world’s premiere frontmen and vocalists. After releasing two
albums for Warner Bros. Rough Cutt called it a day. Two years later, Paul
found himself fronting Quiet Riot, appearing on the ‘QR” album. After
leaving Quiet Riot, Paul put together Badd Boyz. One album was recorded
before the band split and Shortino went on to record his debut solo album,
Back On Track with guitarist, Jeff Northrup. The album was met with critical
acclaim from all points of the globe and Paul began working on the debut
album from German-American band, Shortino. In 1995 the fruits of Shortino’s
labor were finally seen with the release of It’s About Time throughout
Europe and Japan. Touring Germany throughout winter 1998, Shortino recorded
the live album, Booked, Toured, Released ,an album scheduled for release
in Autumn 1999. In the interim, Paul recorded his second solo album, Stand
Or Fall, an album that takes him back to his first love - the blues. Rooted
deep in the blues tradition of the mid South, Stand Or Fall delivers a
side of him that he had never completely displayed to the public. Other
projects Shortino has been involved with include the charity events, “Hear
N’ Aid”, “Japan Aid” and “Children Of The Night.” He was also cast as
“Duke Fame” in the movie “Spinal Tap.” Paul is currently working on a
video and will be taking the Rhythm Junkies on the road this year throughout
the States and Europe. For more info. write to: MusicWorks, 9800 Topanga
Cyn. Blvd. #315, Chatsworth, CA 91311, or visit their site at: www.musicworks1.com.
OVERMARS
Joel Spivey (vocals/guitar), Chris Taylor (bass), and John Williamson
(drums).
Overmars was formed in Atlanta, GA in the Spring of 1998. Their unique
sound of hard rock combined with catchy melodies make this band one that
leaves a lasting impression after just one listen. The band draws their
inspiration from a wide variety of influences that make their sound original,
new, and fresh. The band is currently playing clubs in the Atlanta area,
and have released a new 3 song demo. For more information E-mail OVRMARS@aol.com
or visit their website at: http://member.aol.com/overmars/Index.html.
P.O.D.
Sonny (vocals), Marcos (guitar), Traa (bass) and Wuv (drums)
Since forming in 1992, P.O.D. have developed an enormous National following
through relentless touring and performances with many well-known bands
like Green Day, Mighty Mighty Bostones. Bad Brains, Kid Rock and Cypress
Hill. All of this, along with selling over 30,000 units independently
of their Brown CD, caught the attention of numerous Major Labels and ultimately
landed them a deal with Atlantic Records in August of ‘98. The details
of the deal were not disclosed publicly, although P.O.D.’s manager Tim
Cook stated, “It is a lucrative, long-term agreement for the band.” When
asked about the deal, P.O.D. member Sonny Sandoval simply had this to
say, “We are blessed.” P.O.D. is a multi-ethnic/culturally diverse group
whose members are all in their mid 20’s; Sonny, Marcos, Traa, and Wuv.
The music of the band is comparable to that of Rage Against The Machine,
Korn, and Deftones. Lately the group has been experimenting with samples,
loops and industrial influences which fall somewhere between Beastie Boys
(License To Ill) and the band Orgy. But what is most distinctive about
P.O.D. is the group’s unique style of incorporating Latin, R&B, and Reggae
influences into their take on this style of Rock. P.O.D.’s mission is
characterized by passion, dedication and hard work. They are deeply committed
to delivering ground breaking music with a message for the people. P.O.D.
is currently in the studio in Los Angeles with producer, Howard Benson,
and Chris Lord-Alge will be mixing. Their Atlantic Records debut will
be in stores worldwide on August 24. P.O.D. has recently been sponsored
by the prestigious, Movado Watch Group, as well as Paul Reed Smith Guitars,
Warwick basses, Eden Electronics, Dr Strings, SIT Strings, and Mesa Boogie.
Check out their site at: www.toothand nail.com.
 JESTER
Joe Kori (vocals), Doug Arms (guitar/keyboard), Rob Ellis (bass) and
Fred Antonelli (drums).
Jester began when the music world had seen a dramatic change in its' identity.
Alternative became popular, pop became an alternative to what the industry
seemed to be pushing on the public, and rock seemed to fall by the wayside.
From performing their own brand of music which went unjaded by the bandwagon
trends, Jester realized that rock was as strong as ever. Unfortunately,
the fans were stripped of their choices. As stated by the managing editor
of Metal Edge Magazine in the January 1998 issue, “Simply put, rock music
does not get much better than Jester. Period.” Jester was formed in 1995
when vocalist Joe Kori and guitarist, Doug Arms joined forces with drummer,
Fred Antonelli. While the three honed their sound, bassist, Rob Ellis
moved to New Jersey from across the river in Pennsylvania to complete
the current lineup. Although they hail from different areas, they call
the Jersey shore home. The rock-rooted quartet stress some common elements
in their philosophy. Great songs with the ever present rock and roll edge,
played with conviction and energy. This is evident through their recordings
and high energy stage show. As for dues, Jester has certainly paid them.
They have funded every aspect of their music through the highly competitive
world of the New Jersey band scene, staying true to a style and not chasing
the ever changing “flavor of the week” bands. Playing the premier venues
in the region, Jester has performed over 250 live shows since their formation,
become the top drawing original rock act in the state. They have provided
tour support for an impressive assortment of touring national recording
artists such as Warrant, Ratt, Skid Row, Quiet Riot, Great White, Deep
Purple, Trixter, Lita Ford, Tyketto, Dokken and others, in addition to
headlining their own shows. Jester has also been named to the endorsement
list of several top music equipment manufacturers. Jester’s debut CD Tales
from the Boogieman, was self produced and released in 1997 under their
own label, “GBI Records” and was quickly recognized in glowing reviews
from national and international music publications while selling thousands
of copies worldwide. Both Jester and the Boogieman album were quickly
picked up by “Pulse Records” to not only further the debut albums distribution,
but fund and release Jester’s second full length CD entitled Digitalia.
Variety, hook and a ton of good time rock and roll edge give the listeners
and industry a much needed break from the garage vibe of the 90’s and
make Jester’s sound and attitude that much more unique. In a musical world
that can’t make up its mind, Jester just may be the Last American Rock
Band.
Guitarist
Doug Arms answers some questions...
Do
you feel your music (great Rock n’ Roll) is making a comeback? Well
I sure hope so. If not we are in big trouble. It seems that music works
in cycles and rock and roll is the safety net. I think people are tired
of the alternative scene and bands have gotten progressively worse as
the years go on. Then bands like Matchbox 20 and Pearl Jam come out and
pretend to be alternative when they are really a pop act. Bottom line
is that Pearl Jams Vs. album was released the same week as Michael
Jackson’s History album. Pearl Jam blew it out of the water. If
you overthrow the king of pop - I hate to tell you guys....you are a top
40 band. Most of the rock radio stations are playing 60% cool rock or
“retro” as they call it (Metallica, Megadeth, VH, Kiss, Aerosmith, Ozzy,
Zep, AC/DC). They also throw in the occasional Motley, Whitesnake and
Scorps. What the industry has not had the balls to do yet is sign a NEW
act with the old rock sound. Hopefully it will be us. People still dig
it, that’s for sure.
When will Digitalia be released? Hopefully in January. We hit a
few snags in the recording/writing process but things are being ironed
out.
Will the songs be in the same vein as your last album? Yup. It’s
who we are and we will continue to be true to ourselves. The songs are
a bit more “intense” and more uniform. Boogieman really had some
variety - Digitalia is more focused. But man it totally rocks!
Will fans be able to find “Digitalia” in stores? Certain retailers
will carry it. It's hard to get national distribution because you need
to print the copies, but if you don’t sell em, you have to eat em. Camelot
Music, HMV, Sam Goody, CD World and some mom and pops should have ‘em.
Our mail order company has ‘em (Impulse Music) and we will sell them through
the website (www.wix.com/jester).
In your opinion, what makes Jester a great band? For the record
- I never said that we were, but since you bring it up, I will thank you,
humbly agree and answer the question - I have seen a lot of bands trying
to “get over on the world” for a long time. It is so fake. I cant stand
it. On the local and national level, bands continually chase the band
wagon trends of what’s hot in music today instead of sticking to their
guns and riding out the storm. OK, rock is not in fashion right now. So
what. No one will take rock bands seriously if they try alternative and
the rock fans won’t accept them back once they sell out. It is just so
obvious when their hearts are not in it. They run out and get haircuts,
dress like they are going bowling or a mechanic or something. And to top
it all off, really good players and bands start to suck on purpose. I
don’t get it. What the hell was George Lynch thinking with that “I Feel”
song Dokken came out with. No solo? Bruce Kulick and Union? Warrant? These
guys kick ass and they came out to intentionally suck to “fit in.” Hey,
I’m all for paying the bills, but come on guys. Thank god for Psycho
Circus and Ozzy. To answer your question, Jester is real. We don’t
pretend to be something we are not. We take the punishment for staying
true to our beliefs. We are 4 individuals that think as a unit and are
focused on the music that we like. We are self sufficient, writing/recording/performing/engineering
and producing our own material. We put the songs first and egos second.
A great guitar riff without a great song to back it up will never be heard.
With us the music comes first and it is 100% USDA choice American, pissed
off, won’t go away, blow off work, put the top down, crank it up, sweaty,
show us your t*ts, kick ass rock and roll.
And what can one expect to experience at a Jester show? Overcrowding,
warm beer, the usual. Actually, the ”experience” goes something like this....remember
back in the day when you went to a rock show, and felt like you actually
got your money’s worth? When the girls dressed up in their best “metal
wear”. Guys have long hair and/or are not too cool to help out the band
and rock with them. When they did not need to slam into each other and
get hurt to have a good time....when the whole room including the band
can do a shot together. The band does not put on that phony “so happy
to be playing crap.” No dark stage and watch me stare at my shoes for
45 minutes. The band comes out and kicks ass. We sweat, sing, play solos,
take out the lighters for the ballad, party up with the people, make everyone
feel at home and when you get home, your ears ring for 3 days. That about
covers it.
And where can one write for more information if they are not online?
The site: www.wix.com/jester. Email: arms@superlink.net or by mail at:
Jester, c/o GBI Productions, 8 Horizon Drive, Edison, NJ 08817. CD’s -
$12 + $3 USPS priority mail shipping (check or money order made payable
to Jester). Hotline number: 732-287-1548
RADIOBAGHDAD
We all know how punks enjoy their success stories and South Florida based
Radiobaghdad (all one word, please) are no different. True, they’re not
on the cover of Rolling Stones, nor are they an MTV staple, but after
ten long years, they can take stock in the fact that they’ve outlasted
most and continued to do what they enjoy...create powerful and aggressive
music. For most of those years, Radiobaghdad went unnoticed until the
band toured Europe back in 1995 and caught the attention of Friendly Cow
Records. The relationship led to the band’s debut release 120 Years Of
Bakin’ and sold a modest 10,000 units throughout Europe. Then, a year
later saw their sophomore release Hooked On Ebonics (again on Friendly
Cow) exceed their debut and things began to take off for the band. Unfortunately
however, the success was limited to Europe and not on their own shores.
The record’s never really made it to the U.S. and for an American band...nothing’s
more important than savoring success on your own home turf. Delay’s would
be brief however. It wasn’t long that the band caught the attention of
Long Beach, California based label Onefoot Records and a new record would
finally be released worldwide. 665: Neighbor Of The Beast sees the band’s
growth and maturity with a more stripped down, aggressive release. On
the heals of the band’s new release, Radiobaghdad will be hitting the
road worldwide. Late Summer will see the band back in Europe supporting
Digger for two months then to the States for a full national tour with
A.A.A., All and Voodoo Glowskulls through 1999. Then, it will be back
into the studio to finish their forth release. Let’s face it, success
is defined by the individual and Radiobaghdad have no regrets. It’s been
a long, tough road, but the band wouldn’t dare change a thing. How many
of us can say that we enjoy what we do and make a living at it? Not many...but
Radiobaghdad can and that’s enough for us. However, expect to see a lot
more of this band. With that kind of drive, ambition and patience...the
pay off is just around the corner. For more information contact: Onefoot
Records, P.O. Box 30666, Long Beach, CA 90853.
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