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Tuesday, July 25, 2017

The Script band news

The Script have announced details of their album Freedom Child, available Sept. 1 via Columbia Records. The 14-track album will include lead single, “Rain,” see full tracklisting below. Freedom Child was recorded between London and Los Angeles, and is available to pre-order now: http://smarturl.it/FreedomChild.

To celebrate the release of Freedom Child, The Script will embark on a US headline tour this fall. The 14-date tour kicks off in September before wrapping up in October. 


Comprised of Danny O'Donoghue, Mark Sheehan, and Glen Plower, The Script has sold more than 29 million records, with x3 multi-platinum albums, all of which were #1 in the UK. 2014’s No Sound Without Silence featured the hit “Superheroes,” which reached Top 10 at Adult Pop and has nearly 100M views for the official video.


The Script have also picked up a huge following in the US where they have x4 platinum selling singles under their belt. They are also one of the biggest live bands, having sold over 1.4 million tickets across 203 headline shows and selling out the legendary Croke Park stadium in their hometown in a matter of minutes.

Track listing:


No Man Is An Island
Rain
Arms Open
Rock The World
Mad Love
Deliverance
Divided States of America
Wonders
Love Not Lovers
Eden
Makeup
Written In The Scars
Awakening
Freedom Child

Tour Dates:
 

09/28 Mashantucket, CT The Grand Theater at Foxwoods Resort Casino
09/29 New York, NY Radio City Music Hall
09/30 Boston, MA Orpheum Theatre
10/02 Washington, DC Lincoln Theatre
10/03 Charlotte, NC The Fillmore Charlotte
10/04 Philadelphia, PA The Electric Factory
10/06 Chicago, IL Riviera Theatre
10/07 Champaign, IL University of Illinois
10/08 Saint Paul, MN The Myth
10/10 Denver, CO Paramount Theatre
10/11 Salt Lake City, UT The Complex
10/13 Oakland, CA Fox Theatre
10/14 Los Angeles, CA The Wiltern
10/15 Las Vegas, NV The Chelsea at The Cosmopolitan of Las Vegas

A new career retrospective for prog-rock guitarist Steve Howe

Steve Howe was among my first interviews as a music journalist in the early '90s. Can't wait to hear this collection.

Legendary guitarist Steve Howe will add a second volume to his Anthology series this summer with an upcoming collection that highlights his key contributions to groups like Yes and Asia, while also rounding up his numerous collaborations with musicians like Paul Sutin and Oliver Wakeman.

On July 21, Rhino will release ANTHOLOGY 2: GROUPS AND COLLABORATIONS as a physical three-CD set designed by Roger Dean and digital equivalent. The collection spans more than 50 years of Howe's prolific career with 56 tracks that mix hits with a generous selection of unreleased recordings, including several with Keith West, who was Howe's bandmate in Tomorrow and The In Crowd.

Starting with his work in the mid-Sixties, the collection opens with songs that Howe recorded during brief tenures with bands like The Syndicats ("Maybellene," 1964), The In Crowd ("Blow Up," 1967), Tomorrow ("Revolution," 1968) and Bodast ("Nothing To Cry For," 1969).

As you would expect, ANTHOLOGY 2 is packed with many of Howe's memorable contributions to Yes and Asia, two of the world's most successful progressive-rock bands. Hits like Yes's "Roundabout" and Asia's "Heat Of The Moment" are featured along with rarities like "Montreux's Theme," a song Yes recorded during sessions for Going for the One (1977), and "Masquerade" a previously unreleased tune by Asia.

The collection also touches on Howe's stint in GTR, the supergroup he founded in 1986 with former Genesis guitarist Steve Hackett. Featured here is "When The Heart Rules The Mind," a song from GTR's only album to date. Also included is "Brother Of Mine," a song he recorded in 1989 with former Yes members: Jon Anderson, Bill Bruford and Rick Wakeman. The Steve Howe Trio, a jazz band he started with his son Dylan on drums, is represented by: "Kenny's Sound" and "Sweet Thunder."

The set's final disc explores some of Howe's many musical collaborations through the years, including songs he recorded with Fish of the band Marillion ("Time And A Word," 1993), keyboardist Oliver Wakeman ("The Forgotten King," 2001) and Paul Sutin ("Voyager," 1995). In addition, more than a dozen of Howe's unreleased collaborations will make their debut on ANTHOLOGY 2.

Archival '80s live set due from The Replacements

This is exciting news. I was glad to see the band's reunion tour a few years ago when it stopped at Coachella 2. Read more from the press release below...

In February 1986, The Replacements performed a classic live show at Maxwell's in Hoboken, NJ. That night, a 24-track mobile studio was on hand to record the quartet as they careened through a 29-song marathon that mixed tracks from all of the band's albums to date with B-sides and covers. Until now, that pristine recording of the legendary performance has only been available in low-quality bootleg form. Even so, Pitchfork has called the show "a fiery, focused set that would make a true believer out of any skeptic."

On Oct. 6, FOR SALE: LIVE AT MAXWELL'S 1986 will finally make its commercial debut as a two-disc set and a double-LP. The music will also be available on digital download and streaming services. This marks the first live album by the band to see an official release on any of these formats. Their infamous 1985 live release The Shit Hits The Fans, famously recorded with an audience of roughly 30 people, was only available on cassette. The set also includes new liner notes by Bob Mehr, author of the New York Times bestseller Trouble Boys: The True Story Of The Replacements, as well as never-before-seen photos from the Maxwell's show by noted music writer and photographer Caryn Rose.

Paul Westerberg, Bob Stinson, his brother Tommy Stinson, and Chris Mars made their major-label debut in October 1985 with the release of Tim on Sire/Warner Bros. When the acclaimed album reached the charts in January, the band was preparing to perform on "Saturday Night Live" - where they would later be banned for life for using profanity live on air - before launching a short East Coast tour that included the show in Hoboken.

The show at Maxwell's would prove to be one of the last great performances by the four original members of the Replacements, a much beloved line-up including Bob Stinson on guitar, before his departure from the band in 1986. The songs they played spanned the band's entire history while giving prominence to new material from Tim, including "Bastards Of Young," "Left Of The Dial" and "Kiss Me On The Bus." Mixed in were favorites like "I Will Dare" from Let It Be (1984) and "Color Me Impressed" from Hootenanny (1983). But it was songs from the band's first album - Sorry Ma, Forgot To Take Out The Trash (1981) - that seemed to summon their best on furious versions of "Takin' A Ride" and "I'm In Trouble."

The original 24-track master tapes of the show sat in the Warner Music vaults until being given a proper mix in 2007, but it would still be another decade before the concert would get its official release. Mehr writes in the album's liner notes: "Now, a decade later, and more than 30 years after the original concert, Replacements For Sale finally offers high-fidelity proof of the peculiar alchemy and unadulterated majesty of one of rock and roll's greatest bands."

Long awaited studio return from Starsailor

I can't wait to hear new material from one of my favorite Brit-rock bands of the 2000s.

British quartet Starsailor have announced their new album All This Life, set for both physical and digital release on Sept. 1 via Cooking Vinyl. The lead track "Listen To Your Heart" is now available to stream HERE.

‘Listen To Your Heart’ is the opening track from the album. Lead singer & guitarist James Walsh describes it as, “an energetic, emotional song. I think in doing what we do, you have to be emotion and instinct lead. If every decision was sensible, practical and mulled over, we'd never have done anything or got anywhere. It’s not always easy, so you have to keep reminding yourself.”

Of the album and recording process, Walsh says; “Recording the album was an intense and rewarding experience and we're excited to get it out there. There's a good mix of the aspects of the band people know and love, and a few changes in direction.”

Their fifth studio album – and first since 2009 – All This Life finds Starsailor re-energized and in outstanding form. They played to an ecstatic crowd in a packed Big Top Stage at this year’s Isle Of Wight Festival and debuted a new track from the forthcoming album.

Pre-order All This Life now and stream/download ‘Listen To Your Heart’ HERE.
 

Starsailor originally formed at Wigan & Leigh Music College by music students James Walsh (Vocals, Guitar), James Stelfox (Bass), and Ben Byrne (Drums). They were soon joined by keyboardist Barry Westhead who cemented the band’s sound.

Signing to EMI Records, they shot to fame with their debut album Love Is Here in 2001. Featuring the Top 10 single ‘Alcoholic’, the album was released to great critical acclaim and reached Number Two in the UK Album Charts going on to sell over half a million copies in the UK alone.

For the band’s second album Silence Is Easy in 2003, Starsailor worked with legendary producer Phil Spector, alongside Danton Supple (Elbow, Doves) and John Leckie (The Stone Roses, Radiohead). The album also reached Number Two in the UK and soon went Gold.

Further albums On The Outside (2005) and All The Plans (2009) followed, with the band chalking up ten Top 40 hits in total, before the band went on an extended hiatus to explore other projects.

Reconvening in 2014, Starsailor headed out on a Greatest Hits tour in 2015 following the release of Good Souls: The Greatest Hits. The band have supported the likes of The Rolling Stones, The Police, The Killers, and U2, during their career selling over 3 million albums worldwide.


Track listing:

1. Listen To Your Heart
2. All This Life
3. Take A Little Time
4. Caught In The Middle
5. Sunday Best
6. Blood
7. Best Of Me
8. Break The Cycle
9. Fallout
10. FIA (F**k It All)
11. No One Else

The B-52s concert review: Costa Mesa, Calif.

photo: Miguel Vasconcellos/OC Fair
The B-52s have been a mainstay at the Pacific Amphitheatre for years, so another appearance as part of the Orange County Fair’s Summer Concert Series initially seemed routine.

Yet this time the billing revealed a special addition - The Pacific Symphony.
 

Two years ago, the veteran Georgia new wave/post-punk band did a few songs backed by the Hollywood Bowl Orchestra and were apparently so pleased with the results that the concept was expanded.

Since then, the B-52s have also done it selectively elsewhere. Singer Kate Pierson recently told an interviewer she thought the group’s late 1970s and early ‘80s material worked especially well with the new treatment because the original recorded instrumentation was sparse.

But the big question leading up to the O.C. gig was whether it would come across like a train wreck. Fortunately, that wasn’t the case here. Pierson and co-vocalist Cindy Wilson’s trademark wails easily towered above it all.

Before show time on Thursday night, I spotted a smattering of fans who obviously decked themselves out just for the occasion: one woman in the front row had a beehive hairstyle, while other people wore glittery or electric shirts and pants.

Playing to a large crowd comprised of many LGBT couples, the B-52s opened their 95-minute show in Costa Mesa with the frenetic title track to 1989’s “Cosmic Thing.” Fans immediately stood up and danced right along. Then politically astute singer Fred Schneider voiced his approval of somebody’s Planned Parenthood t-shirt.

An exciting take on “Whammy Kiss” was an early highlight, while the delightful “Summer of Love” was a rare concert treat (until now, the song - taken from 1986’s “Bouncing Off the Satellites” - hasn’t been played regularly in 18 years. Later, the humorous “Wig,” another semi-obscure song from the same underrated album, caused one guy near me to exclaim, “I think I can die now.”

Pierson and Wilson (the latter sporting a blonde beehive, sunglasses, a Geisha-type dress and waving a fan around) gave their high vocal ranges a good workout during the eerie “52 Girls.” The band closed the first segment with the frantic exuberance of “Strobe Light.”

Following an intermission, the B-52s returned for another 45-minute segment with the Pacific Symphony conducted by Roger Kalia. First came “Planet Claire.” The orchestra’s brass and string sections paired well with the song’s sci-fi, synth-dominated sound and built to a fine crescendo.

Sweeping violins added intensity and dramatic heft to the usual sonic maelstrom of “Private Idaho,” while “Roam” suddenly had a grander texture. The orchestra’s sprightly accents amid “Love in the Year 3000 were welcome; the string section’s dominance during a vibrant “Love Shack” was a pleasant surprise (one female violinist seemed to be having the most fun among her fellow musicians by mouthing along to the lyrics).


Finally, the full classical version of typical concert closer “Rock Lobster” brought the tune’s anxious tension to dizzying heights.

Next: 8 p.m. Aug. 12, Pershing Square, Downtown Stage, 532 S. Olive St., Los Angeles, free, www.laparks.org

A version of my review originally appeared at www.ocregister.com.

An interview with Colin Hay


photo: Sebastian Smith
Back in the Eighties, when Colin Hay led Men at Work, the Australian band’s music videos for chart topping pop singles like “Down Under” and “Who Can It Be Now” were filled with humorous antics.

That sensibility still infuses Hay’s modern-day concerts, which tend to open with a comedic banter with the crowd.

The practice began after the Scottish-born singer/guitarist first played solo gigs and discovered the old fan base had disappeared.

“Hardly anybody was there and they seemed to be a little embarrassed for me,” said Hay, 64, in a recent phone interview. “So I would start talking to the audience because it was like they were just in this room with me. The divide between performer and audience seemed to be broken down.”

Following a move to LA’s Topanga Canyon in the early ‘90s, the intimate club Largo helped Hay regain career momentum.

“Without a stretch of the imagination, it really saved my life and sanity,” he admitted. “Everything was falling away. I didn’t have a record deal, a booking agent or management - none of the industry trappings I’d had for over a decade. Largo was a stabilizing thing. It gave me focus and a place to try out new ideas and songs. Then people started to come.”

During the 2000s, TV producer Bill Lawrence and actor Zach Braff saw Hay perform at the venue. Both were so impressed that the musician/occasional actor was given a few cameos on their NBC series “Scrubs.” Braff later placed “I Just Don’t Think I’ll Ever Get Over You” in his feature film “Garden State,” whose Grammy-winning soundtrack went platinum.

“Waiting for My Real Life” – the insightful, award-winning documentary named after a 1994 Hay song and released earlier this year on DVD, download and streaming platforms - recounts Hay’s professional highs and lows. Sia, System of a Down’s Serj Tankian, Mick Fleetwood, Hugh Jackman, Guy Pearce and others provide observations.

Hay felt the “Waiting” directors did a good job and really appreciated Fleetwood’s comments because Men at Work’s stint as Fleetwood Mac tour opener in ‘82 “was a very important period and really helpful for us at the time.”


Soon the veteran musician will embark on his biggest SoCal tour in many years to support excellent 13th studio album “Fierce Mercy.” Unlike 2015’s spare, folk-leaning “Next Year People,” Hay took a more expansive approach by utilizing a live string section, guest rappers (“I’m Walking Here,” inspired by the Trayvon Martin killing) and then delving into Americana (“Come Tumblin’ Down,” “Blue Bay Moon”), sophisticated rock a la Crowded House (“The Last to Know,” “The Best in Me,” “I’m Inside Outside In”) and dramatic 1960s-styled pop (“Secret Love”).

The latter standout tune is a rare opportunity to hear Hay belt out a vocal.

“I was watching [The Late Show with] David Letterman one night. I had a melodic idea and structure that reminded me of Roy Orbison’s operatic approach. When I grew up in Scotland in the music shop my mother and father ran, you’d listen to a Gene Pitney or Righteous Brothers song and there was always this dramatic element to the production and melody. For me, especially if you lived a long way [from America], it had a real magical, otherworldly quality to it. Which never really leaves you.

“It’s mysterious and exciting, like hearing a Fender amp with reverb played in a ballroom. That sound is like the first time you heard the Beatles, [The Beach Boys’] “Good Vibrations” or “(Oh) Pretty Woman.” You just think, ‘Wow, that’s a world I want to belong to.’”

Speaking of the Beatles, Hay performed with one as a two-time touring member of Ringo Starr’s All Starr Band. And with the 50th Anniversary reissue of “Sgt. Pepper’s Lonely Hearts Club Band” last month, Hay relayed what the landmark LP meant to him as a teenager.

“Two things happened to me in 1967 that were monumental: “Sgt. Pepper’s” came out and I moved from Scotland to Australia. I always associate that album from when I first arrived. Where you are geographically can really have an effect on how you listen to music.

“I remember listening to “A Day in the Life” and getting it straight away,” he continued. “The way John and Paul would interact was intriguing. They definitely brought out the best in each other.”

Hay also revisits that pivotal year in the new whimsical ballad “I’m Going to Get You Stoned,” inspired by young hippies who’d ask him about living in the Sixties (the musician has admitted to writing Men at Work songs on marijuana). 

In concert with his band today, Hay does reworked versions of the hits off Men at Work’s multi-platinum, No. 1 album “Business as Usual,” which came out 25 years ago in America. Since the Grammy-winning quintet didn’t succumb to many of the era’s sonic trappings, it doesn’t sound dated. Hay agreed.

“I listened to the record again [recently] for the first time in years,” he said. “As a whole, it’s all strong and not just the hits. It was spare and the whole thing has a very organic quality which stands the test of time so well.”


Upcoming shows: 

6 p.m. July 28, Wiens Family Cellars, 35055 Via Del Ponte, Temecula, $55-$99, www.wienscellars.com; 7 p.m. July 29 at ‘80s Weekend #4, with OMD, Belinda Carlisle, Psychedelic Furs, The Fixx and Berlin, Microsoft Theater at L.A. Live, 777 Chick Hearn Court, Los Angeles, $62-$500, www.axs.com.

Latest Colin Hay music video “Secret Love”
https://www.youtube.com/watch?v=BIiI1ix_HIE

Trailer for Colin Hay documentary “Waiting for My Real Life”
https://www.youtube.com/watch?v=o7z1OLb8kiU

Classic Men at Work music video “Down Under”
https://www.youtube.com/watch?v=XfR9iY5y94s

Men at Work’s “I Can See it in Your Eyes” (US Festival 1983)
https://www.youtube.com/watch?v=nRFXKg2cHX8

A version of my feature originally ran in Southern California News Group publications.

Thursday, July 20, 2017

Retro Futura 2017 (Howard Jones, English Beat, Modern English, etc.) concert review: Costa Mesa, Calif.


The Retro Futura tour arrived at the Pacific Amphitheatre on Wednesday night and proved that many artists who came to fame during the 1980s still sound strong today.

Case in point: Howard Jones, who headlined the Costa Mesa event (part of the Orange County Fair Summer Concert Series).

Backed by a three-piece band, the congenial Englishman frequently worked both sides of the stage and switched from keyboards to keytar.

The 50-minute set kicked off with “Like to Get to Know You Well.” It was followed by a frenetic “You Know I Love You…Don’t You” (a top 20 U.S. hit in 1986) – an early standout.

Before Jones performed “The Human Touch,” an ethereal, EDM-minded tune from 2015 concept album “Engage,” concertgoers were urged to take their phones out. Fans sang along loudly and swayed to “No One is to Blame,” Jones’ biggest Stateside single, also from ’86). Other highlights included the vibrant “Everlasting Love,” whose rhythm was modernized, an infectious “Life in One Day” and encore “Things Can Only Get Better.” That lyrical sentiment was a perfect summation of Jones’ positive outlook. 

As in other multi-act concerts elsewhere, the order and lopsided duration of sets at Retro Futura was often baffling.

Men Without Hats, featuring singer and lone original member Ivan Doroschuk, was probably the most New Wave act in the lineup. Sonically driven by three synths and an electric guitar, “Pop Goes the World,” “Where Do the Boys Go” and of course, “The Safety Dance” were all mindless fun. The front man, clad in a silver jacket and shades, spun around and did some jigs throughout.

Dave Wakeling’s English Beat, sporting an expanded eight-piece lineup, turned in one of evening’s best and well-received performances. While the band leader was all smiles and in decent voice during their 40-minutes onstage, ace sax man Matt Morrish and toaster King Schascha often stole the limelight.

Opening with “Mirror in the Bathroom,” they immediately instilled a party vibe through the venue.

It continued amid the jaunty Smokey Robinson & the Miracles cover “The Tears of a Clown” and final number, “Save it for Later.” Wakeling – readying a long-awaited studio album – had the most interesting between-song banter. He mentioned raising his kids in Dana Point before General Public’s “Tenderness” and said the latter band’s joyful hit cover of The Staples Singers’ “I’ll Take You There” was used by two past U.S. presidents in their campaigns.

Modern English recently put out the impressive “Take Me to the Trees,” their first new studio album in six years. Still featuring four original members, the Brits were all clad in white attire and turned in a solid, way-too-short 20 minutes in O.C.

Fortunately, guitarist Gary McDowell was right up there with them (his emergency surgery last spring cause some tour dates to be cancelled). A darkly-hued “Someone’s Calling” was hypnotic, while the new “Moonbeam” – elevated by vocalist Robbie Grey’s expressive delivery – as quite enticing and got an enthusiastic response. Finally, Grey’s plea for audience participation was gleefully met during their best-known single “I Melt with You.”

In an extremely rare and way-too-short U.S. appearance, Paul Young gave it his best, despite vocal problems and a ticking clock. Still twirling the microphone stand like back in the old days, he did a serviceable rendition of “I’m Gonna Tear Your Playhouse Down.” Most concertgoers didn’t seem to recognize “Senza una donna” (not the best song choice), Young’s minor U.S. hit duet with male Italian singer Zucchero from 1987 and chatted away. 

At the start of his chart-topping cover of Daryl Hall & John Oates’ “Everytime You Go Away,” Young briefly sang directly to a woman in the front row on bended knee and the audience handled a bulk of the chorus. 

Interesting note: former Hall guitarist Paul Pesco was part of the band that backed Young and Katrina. 

Katrina Leskanich of Katrina and the Waves valiantly sped through three of that band’s best-known pop/rock tunes – “Rock ‘n’ Roll Girl,” “Going Down to Liverpool” (famously covered by The Bangles)” and “Walking on Sunshine” - and played electric guitar with verve. 

All photos by George A. Paul

Upcoming July dates:

7/21 Saratoga, CA
7/22 Las Vegas, NV
7/23 Salt Lake City, UT
7/24 Denver, CO
7/26 Dallas, TX
7/28 Atlanta, GA
7/29 Charlotte, NC
7/30 Baltimore, MD

The tour runs through August with Annabella of Bow Wow Wow replacing Young on select dates. For more info, go to www.retrofuturatour.com.