Monday, January 29, 2024

Eighties techno-pop band Vivabeat gets the album reissue treatment

Eighties techno-pop band Vivabeat will release remastered reissues of much of their back catalog via '80s-centric label Rubellan Remasters on March 1. Founding members Marina Muhlfriedel (Marina del Rey) and Mick Muhlfriedel spearheaded the projects, showcasing a treasure trove of tape masters they found languishing in the depths of a closet.

Rubellan is releasing two separate projects simultaneously — a dramatically elevated edition of Vivabeat's debut album, Party in the War Zone, including ten bonus tracks gleaned from the years after the original release, and The House is Burning, a limited edition, purple and blue colored-vinyl, best-of package, which includes four previously unreleased songs.

“We never stopped believing in the music we made back then, and when a Vivabeat fan reached out on social media last year, urging us to connect with Rubellan Remasters’ founder Scott Davies, we did,” says Vivabeat keyboard player and vocalist Marina Muhlfriedel. “Scott was enthusiastic about working together, and seeing these projects get a second chance 40 years on is a remarkable gift.”

“After transferring the tapes to a digital format, I remixed two of the songs, one with the support of legendary producer Earle Mankey,” says bass player and lead songwriter Mick Muhlfriedel. “Then, Scott Davies' expert remastering really breathed new life into the tracks.”

Vivabeat was formed in L.A. in 1978 as a hybrid of Los Angeles and Boston musicians playing in local punk/new wave bands and was active until the mid-1980s. Marina Muhlfriedel founded the seminal LA punk/pop band Backstage Pass; drummer Doug Orilio was in Boston’s Reddy Teddy, and Mick Muhlfriedel and Alec Murphy played with various Boston bands. When he joined the band, lead singer Terrance Robay was fresh off playing James Dean on the London stage. Connie DiSilva was a prodigy synth player and radio DJ.

Their debut album, Party in the War Zone, included the group's most successful song, "Man from China" — a tune that first captured Peter Gabriel and Charisma Record's attention. Its haunting whistle hook is said to have inspired Gabriel's "Game Without Frontiers." "Man from China" quickly became an underground classic and a Top 20 80s dance hit in Europe, the U.S., and Asia.

The band continued to record, including an eponymously titled EP featuring Earle Mankey's production and former Japan/Gary Numan/Sinead O’Connor guitarist, Rob Dean. It featured the song "The House is Burning (But There's No One Home)," which appears in the movie Body Double and has recently been licensed for Amazon Prime’s new animated series, The Second Best Hospital in the Galaxy.

By 1982, Vivabeat found its footing alongside mainstream New Wave bands and spent a few years touring and playing shows with B-52s, Depeche Mode, Gang of Four, Human League, The Thompson Twins, R.E.M., Gary Numan, Wall of Voodoo, and others.

The CD and vinyl reissues serve as meaningful tributes to Terrance Robay, Connie DiSilva, and Alec Murphy, who died of AIDS, and to Doug Orilio, who succumbed to complications years after a motorcycle accident that left him as a paraplegic. Of the later members, guitarist Rob Dean, guitarist Jeff Gilbert (who also passed away), and drummer Chris Schendel figure most prominently in these recordings.

Marina is currently a writer living in Los Angeles. She occasionally performs with
a Backstage Pass reboot and hosts Our Lips Unsealed, a rock and roll storytelling show. Mick is the president of a large youth soccer non-profit, the Downtown L.A. Soccer Club, and is working on a second album with his experimental Buff Roshi project.

TRACK LISTINGS:

Party in the War Zone

1. Working for William
2. From The Bop
3. To The Heart
4. Not Dead Anymore
5. Popgirl
6. Man from China
7. Wild World
8. Enemy Fire
9. I Know Your Room
10. Jet Set
11. The House is Burning
(But There’s No One Home)
12. Tents
13. Angry Red Planet
(Previously Unreleased)
14. The Good Life
(Previously Unreleased)
15. What We Talk About
(When We Talk About Love)
(Previously Unreleased)
16. The Power of Love
(Previously Unreleased)
17. Man From China
(Alternate Version)
(Previously Unreleased)
18. On Patrol
19. Shine (Previously Unreleased)
20. Blue Guitars
(Previously Unreleased)

Vivabeat / The House is Burning: The Best of 1979-1986

Side One

1. Man From China
2. Working For William
3. The House if Burning
(But There’s No One Home)
4. Tents
5. From The Bop
6. Grey, Grey, Grey Side Two

Side Two

1. The Blue Guitars
(Previously Unreleased)
2. Angry Red planet
(Previously Unreleased)
3. What We Talk About
(When We Talk About Love)
(Previously Unreleased)
4. Henry James
5. Glisser le Rat
(Previously Unreleased)
6. The Last White Man
(Previously Unreleased)

ABOUT VIVABEAT:

Vivabeat was an LA-based techno-pop band that was active from 1978 into the mid-1980s. It is best known for being discovered and signed to its first record deal by Peter Gabriel as the initial American band on the British label Charisma Records. The band released one album on Charisma, Party in the War Zone," produced by Jeffrey Lesser. It included the band's most successful song, "Man from China." The song became a Top 20 dance hit in Europe, the US, and Asia. The band continued to record and spent several years touring and playing shows with iconic ‘80s groups like the B-52s, Depeche Mode, Gang of Four, Human League, R.E.M., The Thompson Twins, and Wall of Voodoo.

In 2001, Permanent Press Records released a best-of Vivabeat album titled The Good Life 1979 – 1986, which also featured tracks from See Jane Run, a Vivabeat spin-off band. In March 2024, Rubellan Remasters is re-releasing a remastered version of Party in the War Zone with bonus tracks and a limited-edition colored-vinyl LP, The House is Burning.

REO Speedwagon and Train team up for summer tour; both play LA's Whisky and Jimmy Kimmel Live this week

This is a cool bill; I've interviewed both bands in the past...

REO Speedwagon and 
Train will be joining forces for the Summer Road Trip 2024 Tour. It kicks off in July and runs through September. Yacht Rock Revue will support. Full tour routing can be found below.

To celebrate the tour, Train and REO Speedwagon will take the stage at LA’s famed Whisky a Go Go nightclub on the Sunset Strip this Thursday, February 1 for an intimate sneak preview concert that is not to be missed. Tickets for the show go on sale today at 12pm PT here.

Additionally, the bands will be stopping by Jimmy Kimmel Live! this Wednesday, January 31 for a very special collaboration, which marks their first-ever performance together on stage. Jimmy Kimmel Live! airs on ABC at 11:35p/10:35c, and is available next day on Hulu.

Of the tour, Train frontman Pat Monahan shared: “When I was younger I heard a band called REO Speedwagon and fell in love with their numerous, infectious hit songs. Years later I met Kevin Cronin, and thank goodness he’s as great a person as he is a songwriter. This tour won’t just be a great time with great people, but a tour that will have a ton of familiar songs to most generations. I will be wishing I was in the audience as much as I’ll love being on the stage.”

REO Speedwagon’s Kevin Cronin said: “Pat Monahan and I have done several benefit shows over the years, and now we get to take out our bands for a summer full of music and fun. I love the idea of bringing together people of all ages, who share a common love for well-crafted songs and high energy live performances. The REO boys are stoked about this tour.”

Citi is the official card of the Summer Road Trip 2024 Tour. As such, Citi cardmembers will have access to purchase presale tickets beginning Wednesday, January 31st at 10am local time through Citi Entertainment. For complete presale details visit citientertainment.com.

Fans can gain first access to the artist presales beginning Wednesday, January 31st at 10am local time until Thursday, February 1 at 10pm local time. Additional presales will run throughout the week ahead of the general onsale beginning Friday, February 2 at 10am local time at SaveMeSanFrancisco.com and REOSpeedwagon.com.

Tour dates:

Monday, July 8 Somerset, WI Somerset Amphitheater
Wednesday, July 10 Noblesville, IN Ruoff Music Center
Thursday, July 11 Pittsburgh, PA Stage AE ^*
Friday, July 12 Cincinnati, OH Riverbend Music Center
Saturday, July 13 Tinley Park, IL Credit Union 1 Amphitheatre
Monday, July 15 Cuyahoga Falls, OH Blossom Music Center
Tuesday, July 16 Maryland Heights, MO Hollywood Casino Amphitheatre
Wednesday, July 17 Kansas City, MO Starlight Theatre ^
Friday, July 19 Lewiston, NY Artpark ^
Saturday, July 20 Toronto, ON Budweiser Stage
Sunday, July 21 Clarkston, MI Pine Knob Music Theatre
Tuesday, July 23 Saratoga Springs, NY Broadview Stage at SPAC
Wednesday, July 24 Bethel, NY Bethel Woods Center for the Arts
Friday, July 26 Camden, NJ Freedom Mortgage Pavilion
Saturday, July 27 Wantagh, NY Northwell Health at Jones Beach Theater
Sunday, July 28 Gilford, NH BankNH Pavilion ^
Wednesday, July 31 Syracuse, NY Empower FCU Amphitheater at Lakeview
Thursday, August 1 Holmdel, NJ PNC Bank Arts Center
Saturday, August 3 Hartford, CT XFINITY Theatre
Sunday, August 4 Mansfield, MA The Xfinity Center
Tuesday, August 6 Bristow, VA Jiffy Lube Live
Wednesday, August 7 Virginia Beach, VA Veterans United Home Loans Amphitheater
Friday, August 9 Raleigh, NC Coastal Credit Union Music Park
Saturday, August 10 Charlotte, NC PNC Music Pavilion
Sunday, August 11 Wilmington, NC Live Oak Bank Pavilion ^
Friday, August 16 Pelham, AL Oak Mountain Amphitheatre ^
Saturday, August 17 Alpharetta, GA Ameris Bank Amphitheatre
Sunday, August 18 Franklin, TN FirstBank Amphitheater
Tuesday, August 20 Tampa, FL MIDFLORIDA Credit Union Amphitheatre
Wednesday, August 21 West Palm Beach, FL iTHINK Financial Amphitheatre
Thursday, August 22 Jacksonville, FL Daily’s Place ^
Friday, August 23 Orange Beach, AL The Wharf Amphitheater
Sunday, August 25 Houston, TX The Cynthia Woods Mitchell Pavilion
Monday, August 26 Dallas, TX Dos Equis Pavilion
Wednesday, August 28 Denver, CO Fiddler’s Green Amphitheatre*
Thursday, August 29 Salt Lake City, UT Utah First Credit Amphitheatre
Saturday, August 31 Auburn, WA White River Amphitheatre
Sunday, September 1 Bend, OR Hayden Homes Amphitheater
Wednesday, September 4 Ridgefield, WA RV Inn Style Resorts Amphitheater
Friday, September 6 Wheatland, CA Toyota Amphitheatre
Saturday, September 7 Mountain View, CA Shoreline Amphitheatre
Sunday, September 8 Inglewood, CA The Kia Forum
Tuesday, September 10 Chula Vista, CA North Island Credit Union Amphitheatre
Wednesday, September 11 Phoenix, AZ Talking Stick Resort Amphitheatre

^ No REO Speedwagon
* Not a Live Nation Date

The NAMM Show '24 news: Jon McLaughlin headlines Yamaga stage

While attending The NAMM Show, catching at least one of the three outdoors Yamaha Concerts on the Grand is always highly recommended. 

Jon McLaughlin performed there on Saturday evening. Noting that he'd done two previous stints there as a guest, the Indiana singer/pianist was thankful to be the headliner.

His impressive set lasted nearly 90 minutes and included earnest pop/rock tunes that often recalled Coldplay's Chris Martin. Highlights included McLaughlin's top 30 Adult Pop radio hit "Beautiful Disaster" (from 2007), his latest single "Why it Hurts" and some Police and Billy Joel covers.

McLaughlin brought along fellow singer/songwriters Matt Wertz and 2009 "American Idol" winner Kris Allen to perform a couple songs each. The latter did his platinum-selling single 'Live Like We're Dying." The finale found them all back again for a nice group singalong of The Beatles' "Hey Jude."

Saturday, January 27, 2024

The NAMM Show '24 news: Yamaha provides rare public display of Prince's customized piano

Thanks to Yamaha Corporation of America, a purple piano customized for Prince for his "Piano and a Microphone" solo tour is on public display for the first time during The NAMM Show, which runs through Sunday at the Anaheim Convention Center. 

Normally the piano is housed at Paisley Park in Minneapolis. This weekend, it is located upstairs in the Yamah booth lobby throughout NAMM.

Beside the piano is a mannequin display case with a special wardrobe piece from Prince’s personal collection. The purple 2-piece ensemble was custom-created by Arturo Padilla and features aspects of Prince’s band 3RDEYEGIRL. It is displayed with white light-up wedge sneakers that were custom-created by Andre #1.

Here's some background on how the piano was specially tailored for the late rock/R&B legend from Yamaha:

In early 2016, a call came in to Yamaha Entertainment Group in Nashville with an extraordinary request: “Prince wants you to make him a purple piano.” So began a whirlwind journey that ended up with Yamaha delivering a one-of-a-kind grand piano to Paisley Park.

Prince (born Prince Rogers Nelson) was well known throughout his lifetime for his singing, songwriting, guitar playing, recordings and live performances, but he was also a phenomenal keyboardist; in fact, piano was his first instrument. Prince’s father was a professional jazz pianist, and a great musical influence on Prince early in life.

Early in his career, Prince was not often seen playing a piano or keyboard in concert, but he often played them on his demo recordings. In 1983, he recorded a free-form performance at the piano, likely just a rehearsal capture of song ideas to be worked on more fully later on. This was eventually released in 2018, entitled Piano & A Microphone 1983. The title came from a limited series of concert performances Prince undertook in early 2016 to flesh out a concept he had for a solo tour that would feature him performing alone at the piano. These performances would also include him reminiscing about his life, his music, and his thoughts on a wide range of subjects.

It was during the early prep for what was planned to be a much larger-scale tour that Prince and his friend/confidante/sometime-drummer Kirk Johnson discussed the idea of using a custom-colored purple piano, and Johnson reached out to Yamaha to make it a reality. “We wanted a combination of a great acoustic piano that had an awesome look and had great sounds that could be manipulated,” recalls Johnson.

In previous live shows, Prince had often used one of the onboard faders of his Yamaha Motif synthesizer to fade up strings behind the grand piano sound he was playing. “He was doing that for sustain,” explains Scottie Baldwin, who served as Prince’s Front of House engineer during tour dates. “He was using it as a means of sustaining a chord so he could change keys and things like that. Sometimes he would do it during a song, but often he would use it at the end of a song, knowing that a grand piano only sustains for so long, but a string patch would carry on until he made his next move and decided what song he was going to play next.”

Once Yamaha vetted that the inquiry was genuine, Chris Gero, one of the company’s directors and Chief Artist Relations Executive, got involved. As he relates, “Our relationship with Prince goes back to the mid-’90s — he often contacted us to try out and buy products, ranging from digital mixers to synths, and he had bought six grand pianos for his studio. But he didn’t believe in endorsements, and so we helped him out but never did any type of promotion with him. I had met him a few times at Grammy® and other industry events, and I would say our relationship was friendly, but not close.”

But now that was changing, and Prince wanted Yamaha to make a custom-colored purple version of the C7X SH SILENT Piano™, which he had been using for the tour dates and at his studio.

Prince was very specific about the shade of purple he wanted. “He and I walked around the Paisley Park building and picked the couch color he liked best,” says Johnson, “and that’s the swatch he sent to Yamaha.”

Prince had seen some documentary films that Gero had created over the years and wanted him to produce the concert opener film sequence to play before his live shows. In essence, Prince was asking Yamaha to partner with him both technically and creatively to realize his vision for the planned full tour. This massive collaborative effort led to Prince greenlighting the first endorsement deal of his career. Per Prince’s request, papers were drawn up and sent over for sign-off on this historical partnership with Yamaha.
YAMAHA GOES INTO ACTION

Gero realized that exactly matching a custom color and painting the piano in a way that would hold up under the rigors of touring was a tall order, but he had the perfect partner for the job: Justin Elliott. In addition to being a master piano technician, Elliott and his wife have forged a unique career cosmetically modifying pianos to match décor, special needs and events. Needing to find a type of paint that would stand up to the wear and tear of touring and look good under stage lights, Elliott decided to use enamel car paint. After many experiments and communication back and forth with Prince directly, they finally got the color to his satisfaction. (“He loved it!” says Johnson.) The final color ended up being adopted by Pantone as a new addition to their portfolio, entitled Love Symbol #2.

With the color selected and the piano painted, it was shipped from Elliott’s studio in Florida up to Nashville so Gero and his team could shoot the first part of the film. Chris recalls: “Prince and I came up with the concept of showing the piano being prepared and painted, and he wanted it to be sexy, and to ‘represent me.’ So we put together the concept, and had only a day and a half to shoot it. But I think the film came out well, and Prince was very happy with it. The second part of the concept was to be filmed with him when the piano was delivered to his studio.”

Another aspect of the project had to do with the sound engine that was built into the piano. Each Yamaha SILENT Piano has a mechanism built in to stop the hammers from hitting the strings and instead trigger an internal sound engine via MIDI technology, for private practice or an expanded tone palette. As he had done with his Motif synthesizer, Prince wanted to be able to play piano layered with strings to provide a fuller, more sustaining sound for certain songs, but he had a very specific string sound he wanted. In a very short period of time, Yamaha sound designers in Japan were able to create this custom sound to load into the piano before it was shipped. “In order to get the effect of fading strings in, he’d manually switch between the Grand Piano sound and the Grand Piano / Strings patch,” explains Baldwin.

The last request was to put the symbol that Prince had taken to using to represent himself on the piano. After some discussion, everyone agreed to place the graphic on the fallboard of the piano, right above the keys, as shown in the tweet below.

When the piano arrived at Paisley Park, Prince took to it right away, often playing it for hours on end. 

After about a week with the piano, Prince decided to hold an event to showcase the new instrument. Chris Gero remembers it well. “On April 16, 2016, Prince invited a small crowd to a music party at Paisley Park,” he says. “The piano was covered with a purple cloth. Then he dramatically pulled the cloth off the purple piano. He played chopsticks first, then a few minutes of classical music without singing. He finished with the piano and did not play again publicly.”

Since that time, the piano has remained in Studio B at the Paisley Park complex in Chanhassen, Minnesota, near Minneapolis. This massive facility served as Prince’s creative playground for over 30 years, and now, as per Prince’s original vision, it has been opened to the public as a museum, a recording facility and an event venue. Makayla Elder, Museum Collection Manager, explains: “Studio B is a spot on the tour that is only for ticketed VIP and Ultimate Experience guests, so it’s an upper level part of the tour. While it’s blocked off by purple ropes, it’s the only area where visitors get that close-up and personal with an instrument. It’s also the only place they get their picture taken, and the piano is right behind them, with the now-iconic logo that Prince used clearly visible in the shot.” 

And now, for the first time since it was delivered to Prince, this one-of-a-kind instrument was moved from Paisley Park and brought to Winter NAMM 2024 and displayed in the Yamaha booth. 

“2024 is the 40th anniversary of Purple Rain,” states Charles F. Spicer Jr., a managing member of Prince Legacy LLC and longtime friend of Prince’s. “This event (is) a stepping stone to a year’s worth of celebration of Prince’s life, and the phenomena we know as Purple Rain, both the album and the film. It is only fitting that we recognize the partnership between Yamaha and Prince that created this instrument, so starting at NAMM we plan to turn the world purple again.”

The NAMM Show '24 - Day 1 Report From Anaheim, Calif.

photo: George A. Paul
On Thursday, NAMM (National Association of Music Merchants) kicked off Day 1 of The NAMM Show at Anaheim Convention Center in Southern California.

The world’s oldest and largest music trade show draws thousands of music business professionals and others from numerous countries.  

This week marks the first time the annual event returned to its traditional calendar spot since 2020. More than 1,600 exhibitors are representing 3,000 brands, with more than 200 educational sessions scheduled. Additionally, there are music industry award shows and dozens of concerts held on various stages inside and outside the ACC as well as the adjacent Marriott and Sheraton stages.

New NAMM President and CEO John Mlynczak - taking over from Joe Lamond, who spent 20 years in the position - presented an “Industry Insights” breakfast time address Thursday which revealed a newly commissioned study on AI innovation; a pledge to continue open communication and collaboration with music industry members; and NAMM NeXT, a summer education/networking summit for the music industry held in Nashville.

“We put on the world’s best products show,” Mlynczak said. “It’s a historic time for our industry” and “an opportunity to grow back stronger…we must work together.” He also reminded people how “NAMM exists to grow this industry.”

Special attention was paid to music influencers. Mlynczak heartily welcomed them to The NAMM Show. Then he brought Reverb.com CEO David Mandelbrot and Elderly Instruments President Lillian Werbin to discuss their successful businesses. Next was English singer/guitarist/music influencer Mary Spender who relayed how she built up her 720,000 YouTube channel subscribers over the years.

photo: George A. Paul
Mlynczak bestowed the 2024 NAMM “Music for Life” award to Mark Ronson. The London native is an esteemed producer, musician and DJ with an Oscar, a Golden Globe, several Grammys and other plaudits to his credit. Amy Winehouse, Bruno Mars, Lady Gaga, Miley Cyrus and Duran Duran are among those Ronson has worked with. 

His 2021 documentary series “Watch the Sound” is still airing on AppleTV+. More recently, Ronson has been nominated for an Oscar and Golden Globe for writing a song from the soundtrack to hit film “Barbie” with Andrew Wyatt.

At the Anaheim Convention Center, Ronson said he was excited to be at NAMM Show for the first time, admitted to being obsessed with music gear and spending much of his teen years in music stores. When Foreigner guitarist Mick Jones became Ronson’s stepfather, visiting fancy studios with “fabulous gear” became the norm. “I loved being around gear and teaching myself how (everything) worked.”

When Mlynczak asked about Ronson’s thought on Artificial Intelligence and its potential effect on the music industry, the artist affirmed his belief in the human power to tell stories like Stevie Wonder and Amy Winehouse have done.

Still, “in the studio, I’ll use any tool available…I have one foot in analog, one foot in digital” sound, Ronson said.

TEC Tracks talks – sessions for recording, live sound and music business professionals – are often insightful. Early Thursday afternoon, “The Art of Mixing” featured mixing engineers Matt Wallace (Faith No More, The Replacements, John Hiatt, Train, Susanna Hoffs) and Mark Everton Gray (The Killers, Katy Perry, Guns ‘N Roses, Joe Bonamassa) with moderator/journalist Steve Baltin.

Wallace said it was “important to be super tuned into what the artist says and read between the lines…people are putting their trust in you.”

He also stated that engineers “have to get out of own egos” and find out “what the artist wants to accomplish.” Gray added “I’m a vessel for the client.”

“It took me two decades to figure out ‘the art of planting seeds’” in the minds of musicians about what you think a song needs,” said Wallace. “It’s like a Jedi Mind Trick. You want to get the best out of the artist.”

Gray, a frequent user of Studio at The Palms in Las Vegas, said, “in the studio, an artist’s creative soul is naked.”

Wallace said he felt engineers should believe in their own instincts. One example cited was his co-production/mixing work on Maroon 5’s multi-platinum 2002 debut album “Songs About Jane.” While the band was away from the studio, Wallace thought some crowd noise would enliven a song and the musicians ended up liking what he did.

Elsewhere, they talked about what happens when engineers need to rescue an album that isn't going well and might not meet a deadline. Wallace also said he tries not to stick with the same genres consecutively because then it’s easy to fall into the pattern of doing things by rote.   

photo: Robert Kinsler
During the mid-afternoon, country singer/guitarist Hunter Hayes did a warm and inviting acoustic performance adjacent to the C.F. Martin & Co. guitars booth. 

Fortunately, it wasn’t noisy in that area of the convention center. Hayes prefaced the half-hour set by saying, “I’ve never played in this chaos before.” He tried to get to know some of the audience members by asking where they were from, and whether any musicians were present.

Hayes, 32, provided some career background – how he’d been writing songs since he was six and signed a recording contract at 19 – and then raved about the Martin “Inception” acoustic guitar and its sustainability (Hayes has worked with the guitar company for a decade).

Opening with the title track to 2019 album “Wild Blue,” he delivered passionate vocals for lyrics about independence and freedom, noting that the entire record touched upon those subjects. Before playing a laid back, John Mayer-esque “Somebody’s Heartbreak” complete with falsetto vocal, the artist explained how he knew it had the makings of being a hit (sure enough, the track went top 10 at country radio in 2012). A jaunty “Missing You,” from last year’s “Red Sky” album, was about nostalgia and California. Hayes talked about the album being inspired by the Topanga Canyon surroundings in L.A. while making it.

After touching upon his Cajun influence as a Louisiana native, Hayes admitted to spending the money received from his initial publishing deal on a Martin guitar he’d long had his eye on. Then, the musician played the upbeat and fun “Storm Warning,” his first top 20 hit on country radio. Finally, Hayes closed with the strident “Sober,” off “Red Sky.” The tune, about “dating in the digital age,” gave the guitarist a chance to jam a bit. He dedicated it to people participating in “Dry January,” a challenge revolving around abstaining from alcohol for a month.

photo courtesy of NAMM
Late Thursday afternoon, 5x Grammy Award-winning producer, engineer, and mixer Chris Lord-Alge (Green Day, Bruce Springsteen, Muse, Cheap Trick, Brian Setzer, P!nk) presented a TEC Tracks Session on “Commanding Your Career.”

The large upstairs convention center room was packed; people even stood against the walls to listen. With a brash and frank talking style, Lord-Alge paced around the floor, and often asked whether attendees had encountered specific problems with past clients.

His dozen “CLA Rules” for being a successful mix engineer included: how to network, communicate professionalism, maintaining rules and defining boundaries, collecting payment, time management, understanding the artist’s vision and more.

Among the notable Lord Alge quotes from the session: 

“Whether you’re Harry Styles, Muse or P!nk, you’re gonna pay me.”

“The artist wants to be led – you’re the shepherd…and there to serve the artist.”

At one point, Lord-Alge’s equally successful music engineer brother Tom Lord-Alge appeared at the room entrance and gave him a boisterous shout out – likely typically of New Jersey siblings.

The NAMM Show continues through Sunday at the Anaheim Convention Center. For more information, visit namm.org.

Tuesday, January 23, 2024

Bonus interview with Herb Alpert


Herb Alpert & Lani Hall start the next leg of their tour o
n Saturday in Northridge, California, with other SoCal dates in Orange, Del Mar, Palm Springs and elsewhere.

Last September, Alpert released his 49th studio album "Wish Upon a Star."

Hall - the former vocalist for Sergio Mendes & Brasil '66, who sang on the group's Sixties hits "The Look of Love" and "The Fool on the Hill," as well as the solo title track to the 1983 film "Never Say Never Again" - guests on a pair of "Star" tunes. She put out a solo album, "Seasons of Love," in 2022. Alpert appears on it too. 

Below, Alpert discusses the album, tour and his celebrated music career, which dates back to the late 1950s. It was particularly fascinating to discover the background on the legend's No. 1 single "Rise," which I purchased on 7" vinyl when it came out in 1979. 

Q: Will the upcoming concerts be utilizing the same format as in the past, where you do a Q&A session with the audience?
A: Oh yeah. I’ve been doing that from the start. I think that’s fun; people are interested in what’s happening in my life or Lani’s life or just thoughts in general. I try to open it up to make it informal. I don’t like an uptight situation when I’m performing.

Q: You also project old images on a screen too, right?
A: Yeah. It’s a full-bodied show. It’s quite entertaining. The beauty part of it is I have fun doing it. The feedback has been fantastic. People love the show. It’s a win-win for me. I feel like I’ve been very fortunate in my life to be able to do what I love to do. I’m happy I’m able to pass it on and make a certain amount of people happy doing it.

Q: Do you still get as much enjoyment out of being onstage these days as you did decades ago?
A: I’m [still] waiting for [the] time when I don’t feel that excitement and I’ve been excited every time. It’s a good feeling. It’s the unknown. I’m basically a jazz musician and the music that I make night after night is spontaneous, even though I’m doing some of the oldies but goodies at times. I try to be in the moment of my life and create as I’m going along.

Q: Turning to the new album "Wish Upon a Star" - One of my favorite tunes on it is “Marie’s the Name) His Latest Flame.” Did you ever have any encounter with Elvis Presley while you toured and recorded with The Tijuana Brass?
A: No, but I knew the drummer that played with Elvis [likely either D.J. Fontana or Ron Tutt]. I know that Elvis had “The Lonely Bull” on his jukebox at Graceland.

Q: Another album standout for me is “And I Love Here,” the latest in an extensive line of Beatles covers throughout your career. How do go about making tunes from such a vaunted catalog your own and putting your own stamp on them?
A: Well, that’s the whole trick. I think if you’re going to recreate or do a song that people are familiar with, you try to do them in a way that hasn’t been done quite that way before. When I came up with this arrangement, it just felt like, ‘I don’t think people have heard that.’ It’s a beautiful melody. I wanted to present it in a way that’s a little bit different and makes me feel good doing it. Basically, I make music for myself. I love to record. I’ve been doing it since...I worked with Sam Cooke many moons ago…I try to make music that makes me feel good. If it rings honest for me, then I put it out as part of an album.

Q: You also tackle “On the Street Where You Live” on the album. Were you a fan of “My Fair Lady” on Broadway?
A: It has nothing to do with that. [My song choices were about] songs that touch me. Oddly enough, years ago, I played at Madison Square Garden with the Tijuana Brass and [did] “I’ve Grown Accustomed to Her Face.” Alan Jay Lerner [the song’s lyricist] happened to be in the audience. He called me at the hotel and invited me over for lunch. I had lunch with him the next day, and it was a unique experience for me.

Back to choosing songs: I choose songs that haunt me; songs that come up in my memory. I’ve played so many songs over the years. You listen to the radio and all the sudden you’ve got a melody that keeps coming back into [your] memory for whatever reason.

With “A Taste of Honey,” one of the breakthrough songs I did many years back, I sat down and said, ‘How many different ways can I play this particular melody?’ I remember distinctly doing that. I came up with a way of doing it that wasn’t done. Nobody else had recorded it or played it that way. It was a lucky stroke. That’s how I approach most melodies that are familiar to others. I try to see how many different ways I can play it that makes it fun to listen to. I try to make music that’s fun to listen to, not corny, not just trying to make something so I can attract attention, but something that touches me, and I feel if it touches me, it’s liable to touch other people as well.

Q: Like when you appeared on “The Tonight Show with Jimmy Fallon” and he exclaimed, “Your music makes me feel good!”
A: He was right. He heard that melody and jumped up and started dancing. He’s a good guy.

Q: Elsewhere on the new album you revisit “It’s All in the Game,” which you’d previously done on “Stepping Out.” Why?
A: I heard what I did and felt it could be expanded on. My wife [Lani Hall] always liked that song. I remember the hit record by Tommy Edwards. There’s something about that melody that’s quite beautiful.

Q: Finally, you recorded new covers of songs by former acts like Cat Stevens and The Carpenters who were signed to your record label A&M. Were those song choices a way to give a nod to your favorite selections by them?
A: It actually was, yeah. Cat Stevens was a very unique artist on A&M. He had his own little magic and just him and the guitar could knock you out. He was so passionate about what he did and how he did it. He was a very special artist. 

Of course, I signed the Carpenters in 1969 and gave them “Close to You” to record. I have great memories of them. She was a doll; a great singer and she had no idea how great she was, unfortunately. She loved to play drums. She was a great drummer and had a voice that touched millions of people around the world and still [does so]. They’re still selling records after all these years. They’re not even selling CDs anymore, they’re selling streams.

Q: Thinking across your catalog, do you have an all-time favorite album?
A: “Whipped Cream and Other Delights” album has to be a classic. Somebody on TikTok picked up one of the songs on the album called “Ladyfingers” and I’ve had over 200 million streams of that song out of the blue. I didn’t solicit it…it’s turned into something I never imagined would happen.

Q: The considerable success of the pop and AC chart-topper “Rise” in 1979 continued a wave of hit instrumentals that found favor on top 40 radio well into the ‘80s. Were you pleased to see that happen at the time?
A: It’s still tough for instrumentalists [now] because with what little radio [play] there is, they’re very stingy in what they’re willing to play. You have to have a certain sound or instrumentation to attract attention.

“Rise” happened in a strange way. My nephew Randy “Badazz” Alpert wrote it with a partner who wanted to do it as a disco record. I went into the studio with that melody thinking that it didn’t sound right doing it at 120 beats per minute. It sounded a little forced. So, I said, ‘Let’s slow this baby down.’ So, we did it at 100 beats per minute and it had a funky good feel to it with a wonderful melody on top. It was recorded live at Studio D at A&M. It lives on. It’s one of the most popular songs I’ve ever recorded.

Q: And it’s been sampled often by rappers.
A: Oh boy, is it ever!

Q: When A&M signed The Police, what did you think of the burgeoning post-punk scene in England?
A: When I saw The Police for the first time, I said ‘Wow, those three guys sounded like eight guys were on the stage. Sting was jumping around the stage like he was on a pogo stick. He was fabulous. Obviously, he writes a great song which certainly doesn’t hurt.

(In the ‘90s, Alpert dropped out of the label side of things. When it came to Almo Sounds, he let Jerry Moss run things: ‘I was on my own flight, painting and sculpting and leaving that all behind.’)

Q: What did you think of the recent “Herb Alpert Is…” documentary and what kind of feedback have you received since it came out?
A: I made that documentary because I wanted my grandkids, and great grandkids, and great great grandkids [who we’ve helped get an education through the foundation] to know who this person was. That’s why I made it. I was very reluctant to do it at first. But when I met [the director] John, I felt like he was the right guy. I think it’s really good…I’ve had wonderful feedback from it and I’m proud of what I’ve done with my life musically.

Q: When it comes to your visual art, you had a retrospective showing in the Palm Springs area last spring. Are there any more planned for 2024?
A: Oh, bigtime! I’m building a warehouse in Palm Springs. I have over 1000 paintings and about 500 sculptures. People will be able to see them.

Q: Since you and wife Lani have done James Bond-related film songs, did you ever tease each other about which one was the best?
A: No, but it was an interesting time when Lani sang that title song. For the [film] opening, we flew to Monaco, and she met Sean Connery, and he was excited because she sang the song at the opening. He gave her a big hug and she was all aglow. A nice moment for her.

Upcoming Herb Alpert & Lani Hall tour dates: 

January 27 - The Soraya, Northridge, CA
January 28 - Musco Center for the Arts Chapman Univ., Orange, CA
January 30 - The Sound, Del Mar, CA
January 31 - Cal Poly Arts, San Louis Obispo, CA
February 24 - PS JazzFest, Annenberg Theatre, Palm Springs, CA
March 24 - Tobin Center, San Antonio, TX
March 25 - Paramount Theatre, Austin, TX
March 26 - Majestic Theatre, Dallas, TX
March 28 - Globe News Center for the Performing Arts, Amarillo, TX
March 29 - KiMo Theater, Albuquerque, NM
May 16 - The National, Richmond, VA
May 17 - Strathmore Music Center, North Bethesda, MD
May 18 - Kimmel Cultural Campus, Philadelphia, PA
May 20 - Nashua Center for the Arts, Nasua, NH
May 21 - 
Palmer Auditorium, New London, CT

Alpert photo by Dewey Nicks

Read my other interview with Herb Alpert at https://orangereview.com/article/627/herb-alpert

Friday, January 19, 2024

Long awaited studio album from Modern English slated for February

Modern English has set Feb. 23 for the release of 1 2 3 4, the legendary British new wave/post-punk band’s first album of new material in eight years. It was produced by Mario J. McNulty (David Bowie, Lou Reed, Nine Inch Nails) and mixed by Cenzo Townsend. 

With singles “Long in the Tooth” and “Crazy Lovers” released in advance of the announcement, the band offers “Not My Leader,” an observation on politics in both the U.S. and U.K.

“I remember first coming to America in the early-’80s,” frontman Robbie Grey recalls. “We had Margaret Thatcher and you had Ronald Reagan. And then fast forward to today to Donald Trump and all the politicians and corporate organizations that have followed — along with their corruption and greed. It’s the same thing 40 years later, really. It’s the same old shit that makes the ordinary person feel sick. ‘Not My Leader’ is a song against those people.”

Stream “Not My Leader” on YouTube HERE and on all platforms HERE.

Additionally, Modern English will do international dates in support of 1 2 3 4. Kicking off with a run of support dates with The Buzzcocks in the U.S., Mexico and Germany in March and April, the band will also be performing as part of the inaugural Totally Tubular Festival across North America throughout June and July.

Totally Tubular Festival will also feature Thomas Dolby, Thompson Twins’ Tom Bailey, Men Without Hats, The Romantics, Bow Wow Wow, Tommy Tutone (in select markets) and The Plimsouls across 17 dates, and a portion of proceeds from ticket sales will go towards local food banks in each market. A full listing of Modern English tour dates can be found below, and information on tickets can be found on the band’s website HERE.

Founding members Robbie Grey (vocals/guitar) and Mick Conroy (bass) started coming up with the music for 1 2 3 4 during the spring 2020 COVID-19 pandemic lockdown, swapping ideas back and forth remotely. Conroy set up a temporary home studio in Suffolk, England, with gear arranged in a tiny kitchen area (“Once I'd set up, that meant you couldn't open the fridge door,” he says) and found himself inspired by the first Siouxsie and the Banshees album and the David Bowie records featuring Mick Ronson.

After having amassed a batch of fresh songs, restrictions loosened enough so Modern English could gather together and go over this new music. The band deliberately went for a “raw-sounding affair” that was “more energetic,” Conroy says, and recorded the album in just a few takes with minimal overdubs in a residential studio in upstate New York. “We wanted some edge to it,” Grey says. “Live drums and getting the feel of moving from verse to chorus with everyone playing. It sounds like a live album.”

Grey also says his lyrics on 1 2 3 4 are thematically in line with other Modern English albums. “For me, as a lyricist, it's always about personal journeys, or the journey of the band, or just getting pissed off with governments and politicians,” he says. As an example, he cites “Not My Leader,” inspired by the fact that “it seemed that everybody in charge of the world was completely incompetent,” as he puts it. Elsewhere is “Not Fake” (“I like quoting all the things I don't like,” he says with a laugh) and “Long In the Tooth,” a song about getting older. “It says what it needs to and it gets its message across. For a lyricist, that's a very important thing.”

The album-closing “Voices” has Doppler-like sound effects with Grey’s vocals. “With Modern English, we start off with an idea and then we go off on slight tangents,” says Conroy. “But there's always one or two songs that don't sound anything like punk rock. They sound like Modern English.”

Modern English co-produced their sophomore effort, 1982’s After the Snow, with Hugh Jones (The Sound, Echo & The Bunnymen), pairing trademark moodiness with spiky guitars and shimmering keyboards. In addition to the UK top 40 hit “Life in the Gladhouse," the LP became known for “I Melt With You,” which became a top 10 hit at U.S. rock radio and crossed over to the Billboard Hot 100 pop chart.

With sold-out tours performing their early albums and a main stage appearance at the 2023 Cruel World Festival in Pasadena in front of more than 25,000 people, "It’s been a big journey for everybody, and our early days are really important to us,” Grey summarizes. “We haven't changed that much. We're still the same people inside. And the original members are the sound of the band — Stephen [Walker] on the keyboards, making lots of noises with all his analog synths, and then the sounds made by guitarist Gary [McDowell] or bassist Mick [Conroy]. If you take some of those components away, you won't have the Modern English sound.”

Modern English will be making the following appearances in 2024. Dates below with more to be added soon.

MARCH
09 — Mexico City, MX — Foro Puebla *
12 — Tucson, AZ — Rialto Theatre *
13 — Los Angeles, CA — Teragram Ballroom *

APRIL
11 — Dortmund, DE — Musiktheater Piano *
12 — Frankfurt, DE — Batschkapp *
13 — Berlin, DE — Huxleys *
14 — Hamburg, DE — Knust *
22 — Copenhagen, DK — Little Vega #
24 — Oberhausen, DE — Kulttemple #
25 — Hague, NL — Paard #
26 — Amsterdam, NL — Paradiso #
27 — London UK — Dingwalls #

MAY
02 — Paris, FR — Le Petit Bain #

JUNE
28 — Santa Barbara, CA – Santa Barbara Bowl ^
29 — Los Angeles, CA – YouTube Theatre ^
30 — Oakland, CA – Fox Theatre ^

JULY
03 — Phoenix, AZ — Arizona Financial Theatre ^
06 — Englewood, CO — Fiddler’s Green Amphitheatre ^
09 — Irving, TX — Pavilion at Toyota Music Factory ^
10 — Houston, TX — 713 Music Hall ^
13 — Raleigh, NC — Red Hat Amphitheatre ^
16 — Bridgeport, CT — Hartford Healthcare Amphitheatre ^
17 — Boston, MA — MGM Music Hall at Fenway ^
18 — New York, NY — Pier 17 ^
19 — Atlantic City, NJ — Hard Rock Live at Etess Arena ^
20 — Bushkill, PA — Poconos Park Amphitheatre ^
23 — Laval, QC — Place Bell ^
24 — Mississauga, ON — The Theater at Great Canadian Casino Resort ^
26 — Detroit, MI — Meadowbrook Amphitheatre ^
27 — Cincinnati, OH — Riverbend Music Center Amphitheatre ^
28 — Cleveland, OH — Blossom Amphitheatre ^

* — supporting The Buzzcocks
# — headline appearance
^ — Totally Tubular Festival (feat. Thomas Dolby, Thompson Twins’ Tom Bailey, Men Without Hats, The Romantics, Bow Wow Wow, Tommy Tutone, The Plimsouls)

Track listing:

Long In The Tooth
Not My Leader
Not Fake
Exploding
Plastic
Crazy Lovers
I Know Your Soul
Genius
Out To Lunch
Voices

Out now: Chase Bryant's 'Summerville' EP

Chase Bryant shares his Summerville EP, which was named after his wife's hometown of Summerville, SC. He produced and played every instrument on the EP. The lead single is “I Still Do”. 


Since releasing his debut album Upbringing in 2021, Bryant has been working on five EPs that he will release over the course of the next year, each one named after the town where it was conceived. From his favorite childhood TX vacation spot (Cayo del Grullo) to a rural Alabama cabin (Clio), each project boasts a unique sound to represent a different chapter in his life to showcase his evolution as a prolific creator. See his full upcoming release schedule below.

Born and raised in rural Orange Grove, Texas, Bryant found success at an early age with his Top 10 singles “Take It On Back” and “Little Bit of You” and toured with the likes of Brad Paisley, Brantley Gilbert and Tim McGraw.

Track Listing: 

I Still Do (Chase Bryant, Ryan Beaver, Joe Clemmons)
Over You By Now (Bryant, Neil Medley)
Don’t Forget About Me (Bryant, Tommy Lee James)
She’s Just Like That (Bryant, Medley, Paul Sikes)
Used To Be (Bryant, Luke Preston)
I Hope You Do (Bryant, Nate Miles, Andrew Stoelzing)

EP RELEASE SCHEDULE:

Summerville - January 19th
Ashland City - April 12th
Cayo del Grullo - July 19th
Clio - October 11th
Avery Park - January 10th, 2025

Riverside, Calif. band Alien Ant Farm returns with first album in nine years this spring

Alien Ant Farm have released the new song “So Cold,” the first taste of upcoming album ~mAntras~ to be released on April 26. 

Stream “So Cold” here: https://orcd.co/aafsocold
Pre-order and Pre-save ~mAntras~ here: https://orcd.co/mantras

~mAntras~ comes after a lengthy hiatus and the Southern California says in a statement, “the new album might not be for the faint of heart, but it might be for the heart broken.

"If you're an Alien Ant Farm fan true and true, you won’t be disappointed, and if you’re just a visitor from another planet, we hope you enjoyed your extra terrestrial visit.”

Alien Ant Farm is confirmed to perform at Welcome To Rockville 2024 with Foo Fighters, Evanescence, Disturbed, Slipknot, FLYLEAF and more. The band will also perform in Ashland, KY on June 8 at Paramount Arts Center. Tickets are available at https://alienantfarm.com/

The SoCal alt-metal foursome Alien Ant Farm formed in 1996 with singer/songwriter Dryden Mitchell, guitarist Terry Corso, bassist Tye Zamora, and drummer Mike Cosgrove. They independently released the debut, Greatest Hits, toward the end of the '90s and the group won the award for Best Independent Album at the 1999 L.A. Music Awards. Two years later, they made their major-label introduction with ANThology, issued in March 2001. Debut single "Smooth Criminal" was a cover of Michael Jackson's song. It hit number one on the modern rock charts, and the album eventually went platinum. The song was recently profiled with the Los Angeles Times as it went viral again in 2022. "Movies" and "These Days" also went top 30 at modern rock radio in the 2000s.

Alien Ant Farm is vocalist Dryden Mitchell, guitarist Terry M. Corso, drummer Mike Cosgrove and bassist Timmy Pee. They have released five studio albums, and have sold over 5 million units worldwide.

Track listing:

1. The Wrong Things
2. Last dAntz
3. Fade
4. No. 1
5. Storms Over
6. So Cold
7. What Am I Doing
8. Prosperous Futures
9. Glasses
10. Everything She wAnts
11. ~mAntras~

Thursday, January 18, 2024

Long awaited new album from High Llamas arrives in March

High Llamas' new single “Toriafan,” previews their upcoming 11th studio album, Hey Panda, set to arrive on LP/CD/Digital, March 29 via Drag City.

Watch + share the visualizer for “Toriafan” via YouTube. Pre-order/save Hey Panda here.

Discussing “Toriafan,” leader Sean O’Hagan notes, "The song is about learning through action and not through the page. It speaks to those with dyslexia. I did not learn well in the classroom. I was a slow reader and to this day learn as a listener and conversationalist. I failed all my exams and worked on construction sites and car factories from 15 to 23. It features vocals from my daughter Livvy, Rae Morris and Fryars, plus a really confusing chord journey that could be Connie Converse but then falls away like Dorothy Ashby."

There are two songs co-written with Bonnie “Prince” Billy (who bonded with Sean over a shared love of gospel soul during writing sessions). With Hey Panda, Sean’s production procedural has evolved past the upgrades heard on his 2019 solo effort, Radum Calls, Radum Calls, and his 2021 cover of Billie Eilish’s “wish you were gay” (featuring Bill Callahan and Bonnie “Prince” Billy). Sean’s drawn from working with artists like King Krule, Pearl and The Oysters, while also soaking up the work of Tierra Whack and Chicago’s Pivot Gang, and being cheered on from a distance by long-time admirer Tyler, The Creator.

Soul music inspirations fed High Llamas' 2007 album Can Cladders; similarly, electronic dance music was in the mix of 1998's Cold and Bouncy. The new sound shares the impulse of late-period Miles Davis and Quincy Jones (with further inspiration from Steve Lacy, SZA, Sault, Noname and Ezra Collective).

Tracklist:

01. Hey Panda
02. Fall Off The Mountain
03. Bade Amey
04. Sisters Friends
05. How The Best Was Won
06. The Grade
07. Yoga Goat
08. Stone Cold Slow
09. Toriafan
10. Hungriest Man
11. The Water Moves
12. La Masse

Irish alt-rock band Ash have expanded version of latest album 'Race The Night' coming next month

British 
alt-rock trio Ash have announced the release of an expanded version of their acclaimed UK Top 20 album Race The Night, achieving their highest chart placing (#14) in twenty years.

The album includes acoustic versions of album tracks 'Race The Night', 'Usual Places', 'Reward In Mind' and 'Peanut Brain' as well as an extended version of 'Like A God', while the CD version also includes a cover of touring mates The Subways' 'Oh Yeah (Teenage Years)' and 'Race The Night (Antosh v Ash Remix).

Race The Night Expanded is released via Fierce Panda Records on Ash Wednesday (February 14 - Pre-order link here), and is preceded by the digital single release of the acoustic version of the title track, which can be heard on streaming services here.

Listen to 'Race The Night (Acoustic)' On YouTube

The Irish band, which racked up multiple UK top 20 singles in the late '90s/early '00s, have also announced small venue show at the Oh Yeah Music Centre in Belfast on January 29. The hometown bash will preceded by an interview and live session on Steve Lamacq's 6music show, all of which kicks off the 2024 edition of Independent Venue Week. The band will also play London's 100 Club as part of BRITs Week. Limited tickets are available here.

The IVW appearance follows much touring activity for the Race The Night album, which was released last September. 

Live dates:

Jan. 29 - Oh Yeah Centre, Belfast, NI
Feb. 21 - 100 Club, London, UK (Brit Awards Week Show)
July 27 - Kirkstall Abbey, Leeds, UK

US Tour dates to be announced soon.

Tracklisting (CD version):

1. Race The Night
2. Usual Places
3. Reward In Mind
4. Oslo (feat. Démira)
5. Like A God
6. Peanut Brain
7. Crashed Out Wasted
8. Braindead
9. Double Dare
10. Over & Out
11. Like A God (Reprise)
12. Race The Night (Acoustic)
13. Usual Places (Acoustic)
14. Reward In Mind (Acoustic)
15. Peanut Brain (Acoustic)
16. Oh Yeah (Teenage Years) [The Subways Cover]
17. Like A God (Extended Version)
18.Race The Night (Antosh v Ash Remix)