80s (and sometimes 20s) Music Rules ~ Criminally Underrated Artists/Bands ~ The Return of Boys’ Entrance/Tim Cain

Nearly 18 months ago, I had the sublime pleasure of interviewing Tim Cain from the band Boys’ Entrance. I had gotten to know Tim’s music through David Marsden’s internet stream, NYTheSpirit.com. The interview led to a fast friendship between Tim, his husband Bill, and me. Taking advantage of living just three hours apart in the fabulous state of Florida, we met up in Mt. Dora a month after the initial interview to view the Bowie/Sottsass Exhibit at the Modernism Museum in Mt. Dora FL and enjoyed each other’s company and the breathtaking exhibit to the max.

Recently, I had a nice phone chat with Tim and he filled me in on his latest efforts, including revisiting the Boys’ Entrance first album Exit or Entrance. Because the album turns 30 years old this year, Tim felt it was a time for a bit of a facelift. He carefully re-mastered the tracks, breathing new life into them. The result: He took something that was a stunning freshman effort to begin with and made it even more outstanding.

Tim Cain (1991)

Listening to Exit or Entrance, it’s impossible to discern that these timeless tracks are three decades old. The lyrics are relevant, the arrangements are gorgeous, and the music is just as fresh and engaging as if it was recorded last week. Tim’s voice is a lush alto that draws the listener in and captivates the soul. It’s no wonder that Boys’ Entrance has earned the accolades of the music industry, and very confusing (for me and for many others) as to why they haven’t earned the public recognition they deserve. But, that seems to be an all-too-common and sad theme for the artists I promote here on Rave and Roll.

In the meantime, here’s a chance to become either acquainted for the first time or perhaps reacquainted with Tim Cain and Boys’ Entrance. Definitely take the time to experience Exit or Entrance because I guarantee you’ll find this classic collection of tracks to be satisfying, riveting, and deftly ageless. Bravo and well done, Tim!

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Tim (left) and Casey Alexander

Missparker: The very beginning of this journey started with an AIDS benefit in San Francisco circa 1991. What happened next?

Tim Cain: It did. My dearly departed friend Casey Alexander was creating an AIDS benefit in City Hall in San Francisco and he needed help.  I had worked with him as a display artist in 1987 at Silvestri Importers. I was based in Chicago and flew to Merchandise Marts around the country to do display work and I met him in the San Francisco showroom. The moment we met, we looked at each other and KNEW we had known each other in earlier lifetimes. It happened twice to me while I was working at Silvestri—which is just bizarre—but Casey looked at me, and I at him, and we both thought, “Oh, it’s YOU!” We picked up our conversation where it had left off in another time. I left Silvestri, but when Casey called, I came running.

While I was in SF, I looked up my old friend from college, Jon Ginoli. We had a complicated friendship. He first met me when I was dating another DJ at the college radio station, WPGU in Urbana, IL. I was the first Out Gay musician he knew of. Jon was the Program Director at WPGU, and they featured some of my songs on the station.

Jon Ginoli

At one point I fell out with my boyfriend, and Jon and I went to see Ultravox in concert. Afterward, he came back to my place. We saw each other for a short time. But it didn’t end there. Jon and I both worked at record stores. Eventually we both worked at Discount Records as managers. He started spinning New Wave dance music at The Bar, a local gay bar, and I was the DJ and music programmer at the Moonlighter. Jon moved to SF, and I thought it would be nice to reconnect.

Jon had been in a notable band called the Outnumbered. But he had just recorded demos for a new band that he called Pansy Division. He played me the demos and sang songs, accompanying himself on acoustic guitar. I howled with laughter—which he took very well. The songs were in fact funny. He intended that. But it was the utter shock I experienced at hearing baldly QUEER lyrics, not shielded behind neutral pronouns. He wrote odes to cocks, sucking, f*cking! He had opened new territory. I came back to Chicago with a new mission.

Original inspiration for Boys’ Entrance

Then, one day I drove down Belmont in Chicago and passed a school.  Back in the day, they carved in stone, “Girls Entrance” and “BOYS ENTRANCE.” I almost wrecked my car. I knew that should be the name of my own Queer band.

Missparker: You were a music major in college, giving you an excellent and solid background. You also had a major set-back that would have discouraged anyone else from pursuing music. Can you talk a bit about that?

Tim Cain: In 1977, I had a car accident. I was driving my sister to school, and was T-boned by a semi, smashing my side of the car into the middle of the car. I sustained broken ribs and collar bone, and a concussion. I had amnesia for a year and a half. I was at the time a music major, and returned to piano class with no knowledge of what sheet music was. I dropped out. Forty years later, I was experiencing neuropathy and an MRI showed I have two areas of scarring in my brain. This I can only assume was from the car accident.

Ensoniq VFX

Missparker: What prompted you to buy your first synth and who were your influences?

Tim Cain: Well, Art Rock, and New Wave were my thing:  Beatles, Bowie, Stones, Devo, Cars, Eurythmics, Depeche Mode, Ramones—and now it was Nirvana and the Pixies that were in my sights. All of these are in the mix of the first Boys’ Entrance album. As for the synth, I was in a music store, and found the Ensoniq VFX—at the time, a sequencer with the most powerful computer in a synth available. It had onboard samples of other venerable synths, as well as acoustic instruments. It was not only the analog synth sounds, but the natural piano and bass that sold me on it.

 

Missparker: Tell us about the studio where the original recording and mixing took place.

Tom Mohbat (recent)

Tim Cain: I came upon Bad Dog Recording Studio in Chicago by accident. I don’t recall how. I was thrilled by the LIVE sound of the main room that was 30 feet tall, with plaster walls. The echo in that room was astounding, and I instantly saw the possibilities. Tom Mohbat was the studio owner and engineer.  He was very handsome, which didn’t hurt either. Sadly, he was married at the time and unavailable. He was straight, but very welcoming. He made me feel at ease. He understood somehow that I was doing something very personal and he nurtured it/me.

MissParker: Who were some of the key players on the tracks back then?

Tim Cain: It’s mostly me. I recorded the synth tracks at home and brought finished pieces to the studio to download. I added vocals, and piles of backing vocals—exploring the range of expression I had only dreamt of in earlier bands. I played rhythm guitar, and even a lead guitar part on one song. But I needed help on a few tracks. Tom brought in a fellow, whose name I don’t recall, to play a “blues” solo on “Light In The Darkness.” I met a guitarist named Glass, who loved the same bands as me, and who played using an Ebow to imitate Robert Fripp’s sound. And he played on “Yellow Sun,” and “Your Secret Fear.” A well-known jazz saxophonist, Pat Mallinger also played on “Yellow Sun.” And, a woman named Miriam played Gospel piano on “Your Secret Fear.” I don’t have a detailed list of credits, as they were lost over these 30 years. My apologies to the musicians.

Tim Cain recording (circa 1991)

Missparker: What was first and foremost in your mind as your goal while you were originally putting this great collection together?

Tim Cain: I had never played keyboard in my bands. I couldn’t recall how to play due to the accident.  I somehow channeled the music through my subconscious. I recall once being in a music store in my college years and standing at a Yamaha synth. I raised my hands and went into a trance, letting the music pour through me. It was as though the synth was playing me. When I finished, I looked up and everyone in the store was looking at me, and one woman yelled, “Don’t Stop!” The Ensoniq spoke through me, too. The songs played me. I recorded them on the sequencer-freed from my inability to replicate them. I layered sound as a painter layers pigment. The synth captured it all. I was only at the beginning of finding my Queer voice. The songs capture glimpses of my gay life at the time.

Original cassette artwork (1991)

Missparker: You shared with me what the actual first release of Exit or Entrance was like. Can you describe that experience for us?

Tim Cain: It was an art project, top to bottom. I had 100 cassettes duplicated. I then handmade each cover using photographs of me dressed in a black bag, à la Martha Graham. I then lifted the image using a decoupage technique which allowed me to stretch the image and distort the image to my liking. I applied the transparency to crinkling tin foil, and then applied a clear colored plastic to the image to preserve it. I don’t own any of these covers today.  I know one is with Tom Mohbat in his studio to this day, though.

Missparker: Did you promote Exit or Entrance with live shows? If so, what types of venues did you play and were you as glam then as you are now?

Tim and Tom recording (1991)

Tim Cain: I did not.  There was no band for three years. The cassettes were distributed and then I moved forward recording with Tom at Bad Dog. We recorded an EP called the “Ballad of Freddie Mercury” after Freddie passed. Then we started in on the second album, “In Through The Out Door,” during which time I started to solidify the first LIVE version of Boys’ Entrance with Cie Fletcher on lead guitar and Mike Ferro on Rhythm guitar. Our first live show was in Lincoln Park, 1993 I think, for Gay Pride.  I wore a polyester floral sundress, à la Kurt Cobain.

Missparker: Fast-forward 30 years later. How has technology changed the way you record and release your music?

Tim Cain: Oh my goodness! First of all, this record release would not have been possible were it not for the Internet. It allowed me to send the music to Tom Mohbat, who now lives in Hawaii and it also allows me to place it on Bandcamp, and other digital services to be heard the world over.

Missparker: Did COVID play a part in your decision to re-master and rerelease Exit or Entrance? Or was it strictly because of its anniversary?

Tim Cain: As you know, I got Covid at a Boys’ Entrance show on November 14th.  I literally got a fever after I left the stage.  It was very scary. I thought I was going to die because I had been having premonitions before the event.  I was convinced something bad was going to happen and I would never record again.  I posted an email to fans on Reverbnation.com/boysentrance that sounded pretty dire.  It alarmed Mike Ferro, and Tom Mohbat, whom I was unaware was a fan on Reverbnation.  They both reached out to me to support me.  I started chatting with Tom, reminiscing about recording together. We talked about me getting better and finding a way to record together again. Then I realized we were coming up on the 30th anniversary of our first record and asked him to re-master it.  The result is amazing. It’s also the beginning of our work re-mastering all the early Boys’ Entrance recordings. More music will follow.

Tim Cain recording (circa 1991)

Missparker: Prior to Boys’ Entrance, you shared with me that you were in a group called Talltrees. You also told a hair-raising story about a studio and an exorcism. Please dish the details!

Tim Cain: I asked Tom what he remembered most about recording the first album and he said it was my having an exorcist come into the studio to smudge the space with incense and bar “negative influence.” All true.  I had a dear friend who was a priest, and he was in the last class of priests to be trained as exorcists. I felt this extraordinary step was necessary due to the last experience I had prior to the Bad Dog sessions.

Original cassette artwork (1991)

I was recording a song called, “Read My Heart” under the band name Talltrees in Urbana, IL. I don’t recall the studio name. This would be about 1984. I had a guitarist named Keith Harden in to play, and he was recording an ostinato passage in the studio. I was in the control room with the engineer, Adam. Adam’s back was to me.  Keith played his part which was beautiful. We also heard a demonic choir—very operatic bass voices.  Keith ended his part and there was silence.  Keith asked, “Did you get that?”  I said, “Yes, hang on a second.” I said, “Adam, what did you hear?” Adam turned around slowly and was white as a sheet. “Voices.” I said to Keith, “Please come in and listen with us.”  Keith came in the control room, and the tape was played back and the voices were on the tape.  The three of us were freaked out. I then “heard” a voice that let me know that this was the deal…this was the “crossroads” moment for me. It was even more ironic given that the song is a plea to God for protection.  I began praying to God for protection. I had to make a decision.

We discussed what could be causing the voices—harmonics? Vibrations? We had no explanation except the obvious one. I asked if Adam thought the voices would remain if we recorded it again?  He had no idea. We only had the one track available to record on, so we didn’t have the luxury of keeping the first track.  I made my decision while praying, “God, if this is of you, let the voices stay. If it is not, make them go away.”  Keith re-recorded his part, and the voices left. This is why I began my Boys’ Entrance career with an exorcist.

Tim Cain (circa 1991)

Missparker: Since our last interview a year and a half ago, you’ve released a collection of David Bowie covers. We’ve talked about this, and I’m going to say it publicly—I was a little apprehensive about hearing your versions of Bowie songs because I’m a bit of a “Bowie covers snob,” to put it mildly. However, and you witnessed my sincere and spontaneous reaction firsthand, when you cued up the first cover, I was literally blown away, and remained so for the entire collection. How much courage did that take and how have your Bowie covers been received?

Tim Cain: Well, Boys’ Entrance was always a band that performed originals. As such, you are always facing audiences who are unfamiliar with your music. That is very difficult. I sang “Rebel, Rebel” and “Fashion” back in the 80’s in Talltrees. It was always a positive experience because people always told me I sounded like Bowie.

Tim Cain and Billy Ramsey in front of the Boys’ Entrance inspiration

After I met my husband Billy Ramsey, he would take me to a local restaurant that had karaoke.  I would sing China Girl and it always got an ovation.  So that was the beginning of me feeling like I could do it.  Billy is the bassist in Boys’ Entrance, as well. So, we started talking about incorporating more Bowie in our shows.  I had a realization that “Boys” sounded similar to “Bowie’s.”  So we created an alter-ego for the band called Bowie’s Entrance to perform Glam Rock classics.

These songs are songs that were influenced by Bowie’s world-view. I created synth treatments for the songs, and the band did the rest. Keith Otten is an amazing guitarist. He convinced me that I didn’t have to play guitar now. He would be able to handle the guitar, which allowed me to perform and entertain. So the Glam factor of our shows went way up.  Billy plays acoustic guitar and bass and our drummer is nationally known and loved—John Spinelli.  John has four patents on drums and owns his own drum company called Spinelli Drums.  He makes drums for national acts and they are amazing. I am essentially fronting a power trio.  Their sound is very powerful.

We recorded “Boys’ Entrance Presents Bowie’s Entrance Vol. 1 & 2,” 12 songs in 5 hours, LIVE in Blacktoe Studio. Nobody does that, but we did, and the record captures the energy of our stage shows and the sound of the band.

Missparker: COVID has forced musicians to be flexible and creative when delivering music to their fans. On that note, you’ve got something truly exciting and magical planned for the month of May. What can you share with us?

Tim Cain: We will be headlining at our home base, the VFW Post 39 in St. Petersburg, HOPEFEST—an outdoor COVID concert with 6 punk bands. It’s being put together by Jim Pacifico of the band Fear the Spider. We played our last show with them at the Post, and I love their “Iggy energy.”

Missparker: As always, it was such a pleasure to talk with you and get the inside scoop on what’s happening with you and Boys’ Entrance. I look forward to visiting with you and Bill up close and personal once restrictions have ended and there’s some semblance of “normal” life again.

Be sure to check out Boys’ Entrance and support their music:

www.boysentrance.com

www.reverbnation.com/boysentrance

https://boysentrance.bandcamp.com

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Boys’ Entrance ~ Ziggy Stardust

 

Boys’ Entrance ~ “Heroes”

 

80s (and sometimes 20s) Music Rules ~ Criminally Underrated Artists/Bands ~ Arin Ex (Scorbie)

Everyone who’s gotten to know me over the years recognizes the fact that I positively adore electronica. When it started to gain traction in the late 70s and 80s, I was hooked. The evolution over the past few decades and the vast pool of gifted electronic musicians has given a depth of life and breath to this genre of music that few would have dreamed of in the beginning.

I’ve known Arin Ex (formerly Scorbie and also Aaron Hannum) for over a decade, thanks to FaceBook and the wide world of Interwebs. Music is my lifeblood and I’m constantly rattling around looking for new and inspiring tracks. I’ve been a fan of just about everything that Arin Ex has laid down during the past decade+. His music is both varied and cutting edge, moody and stabilizing, an escape and an in-your-face challenge to grasp tighter onto reality. It can ground you or set you free. The possibilities are endless and he’s not afraid to explore the dark crevices and poke the potential monsters that lie within.

Arin Ex’s latest foray into electronic is a collection of tracks titled Elektropolis ’21. Even though he’s been creating and distributing incredible music for many years, this can be considered the debut of his “Arin Ex” persona. And what an entrance it is.

From the opening notes of the mind-bending “Any Time, Anywhere,” until the closing strains of “Hikaeme (Edo Mix),” the listener is given an epic and unforgettable journey. Many people in today’s messed-up world are looking for a ticket out of COVID-created depression and drudgery—Elektropolis ’21 is the perfect escape. It takes you anywhere you want to go. Your destination is limited only by your imagination.

Arin Ex has agreed to give us a look into his interpretation, expression, and creativity via the awe-inspiring world of computer-generated music.

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MissParker: I just made the comment in a recent interview that to me, electronica paints a picture without the use of lyrics. What do you have in mind when you sit down to create a song? Is it a scene, a theme, a story—all of the above?

Arin Ex: It’s nothing so ‘artistic’ really. I just turn everything on with a vibe in mind and see if it happens. If it does, great. If not, then I turn everything off and my night is ruined. I seriously get in a mood. (laughs)

It’s different with my synth rock/vocal stuff. I get a vocal melody in my head, or a bassline, a groove, whatever, and try to make it happen. With the techno stuff I just run with it, tweak it, and see what happens.

MissParker: Tell us a bit about the equipment you use.

Arin Ex: Ahhh, who cares?! It all does the same sh*t. I have the full arsenal of Native Instruments plug-ins on my Mac. It’s great. But I find more inspiration from hardware synths.

At the moment, I’m using Novation’s Ultranova and Bass Station 2, Arturia Matrixbrute, Yamaha MODX6, ARP Odyssey MK1 (’73 Whiteface), ARP2600, and I’ve recently picked up Behringher’s reissue/copies of Roland’s TR808 and TB303. They’re amazing for techno—really inspiring kit at a fraction of the corporate cost. 

MissParker: What musical training have you had? Did you have any formal training in using synths in particular, or are you basically self-taught?

Arin Ex: I’m 50 now and got my first Moog when I was 11. I was lucky enough to hear Bowie, Kraftwerk and Numan when I was very young, due to my mother’s DJ career in the 70s, and ended up with one for my birthday. I learned how to use it by ear.

I also love Frank Sinatra and briefly studied jazz piano in my late teens, only to learn how to play ‘All Of Me’ and ‘Summer Wind.’

MissParker: Who are your musical influences?

Arin Ex: David Bowie has always been number 1, followed closely by Gary Numan, up until about 10 years ago when he lost the plot.

A simple list goes like this: Bowie, Numan, Severed Heads, YMO, Brian Eno, Scott Walker, Skinny Puppy, Thomas Dolby, Kraftwerk, Orbital, Cluster, John Foxx, Ultravox (including Midge!), The Psychedelic Furs, DAF, Sinatra, Covenant, Japan/Sylvian, and so many others, usually from the 70s/80s.

MissParker: Is there anyone in particular that inspired the making of Elektropolis ’21?

Arin Ex: Band-wise? Obviously Orbital, Cluster, Music Von Harmonium, and Aphex Twin. Duh. (laughs)

MissParker: Tell us about some of the musicians you’ve had the opportunity to work with.

Arin Ex: Ha! Are you ready for this?

Billy Corgan of Smashing Pumpkins—an old friend. We haven’t talked in years but, yeah, we used to do Numan covers in my basement in Chicago in ’84. Then he went off and got famous.

Jay Younger from White Zombie. He taught me how to play guitar. He was in an old punk band in Chicago called Rights of the Accused. We hung out a lot. Legend.

I had an opportunity to work with one of the guys from Icicle Works here in the UK many years ago. Turned it down. Also had a chance to try out for keys with Peter Hook & The Light which I also turned down. A major regret, but family comes first. They tour too much!

I can’t claim to have ‘worked with,’ but certainly did two gigs with the legendary Steve Strange of Visage. This was due to being invited by my friends in the UK’s biggest electronic 80s tribute act ‘Electro 80s’ as support, while Steve was working with them. I not only had the distinct honor of applying make-up with him in the dressing room, which I pointed out (he wasn’t bothered), but also introducing him to the stage.

It was surreal. Here’s me: a mid-40s Ex-Pat yank in the UK, old New Romantic, introducing a legend to a huge crowd! I also played his tribute gig after his passing with original members of Ultravox, Visage, and Heaven 17. That was a big gig. Even had my oldest son, autistic and 12 at the time, on stage in front of 1000 people! Out of my depth to be honest, but it went down well. 

MissParker: Are there any collaborations with other musicians planned for the future, or are you pretty much planning to remain solo?

Arin Ex: I’ve recently been invited to join the UK’s ‘premiere 80s electronic’ cover band. Seems fitting that I never quite made it and I end up in a very popular UK act with none other than Ade Orange, a longtime Gary Numan collaborator and synth player. I’m pretty excited, actually.

The guy who leads the band ‘Blue Electro,’ aka Dave Hamilton, a Scottish legend, invited me to support them on many occasions throughout the UK over the last 8 years. He had a falling out with the other members and kicked them out. So Ade Orange and myself are in.

Apparently I’ve made an impact on a few unfortunate souls in the UK since I relocated here from Chicago many years ago! (laughs)

MissParker: Do you sample voices or other common “worldly” sounds to use in your compositions, or do you let the machines do it for you?

Arin Ex: No and uh, I dunno. If you mean do I program all of my own sounds? Sort of. A lot of ‘synth’ guys will say, ‘I hate presets! I make all of my own sounds!’ That’s not always true.

Just like guitar players, us synth guys have an arsenal of equipment at our disposal, presets or not. But we still use what’s been designed and put in front of us. It’s what we do with it that counts.

We hear a sound, tweak it a bit, and stick it in and see if it fits. I have synths with presets and I also use modular synths that I’ve actually physically built myself. So what? I didn’t invent it. It’s an oscillator and a filter. It makes sound and I use it. It all comes down to the song.

Is it any good? Not usually in my case. If you plug a guitar into an effects pedal, same thing, not as much effort maybe, but same thing! Is the song any good?

MissParker: In addition to creating some fabulous music, COVID was a time of visual creativity for you, as well. “Buddha’s Testicle” is a hilarious send-up of martial arts films that you and your children conspired—um, collaborated on together. What inspired “Buddha’s Testicle” and what was it like working with the kids?

Arin Ex: OMG. When I was a kid, say 10-14, I did Karate and Kung Fu. I also grew up on all the Chinese Kung Fu films from the Shaw Brothers and loved Bruce Lee. Then I had kids.

Guess what? Martial Arts time! After Ice hockey naturally. (laughs)

So, lockdown one arrives. I’ve got all this gear: Pro Tools and an iPhone with a great camera. ‘Hey boys! Let’s make a movie!’

We already had a dojo in our dining room, and I actually have a Japanese-style garden I built over four years and some 14 bonsai trees. Yes, Mr. Miyagi and all that sh*t, so we decided to make a movie for YouTube. Visual and audio effects, the lot.

I directed and edited everything. The music, sound effects, etc. My oldest son Chris, who’s 17 now, helped with the plot, script, and camera work. I directed my younger boys to do the scenes and say their lines, but I overdubbed their dialogue to make it as terrible, rude, and authentic as possible. We had a f*cking blast! Well, I did at least. 🙂

It was hard work editing, overdubbing, and creating music for it. I added it up one day. Every five minutes of footage took me about 12 hours of work! Either way, it was something to do during the first lockdown and everyone on Facebook told me how great a dad I am, so it must be true!  (laughs)

MissParker: Can we expect future family collaborations?

Arin Ex: The twins are almost 12 and approaching that age when anything ‘dad’ related might become very uncool. We shall see. Chris however, who is 17, is now studying film making in college, so that may very well lead to more bad Kung Fu movies with dad. Or maybe videos for me? Just thought of that! Hmmmmm….

MissParker:  I don’t want this to sound like a stupid question, but do you support the idea of your kids following you into music, film making, or both as their primary careers? The reason I ask is because I actually know of parents who have discouraged their kids from following a similar path due to the risks involved.

Arin Ex: They will do whatever the f*ck they want. I’m here to provide a supportive, loving environment.

It’s not up to me what they do.

MissParker:  Thanks so much for sharing some of your time with us. Please tell us how we can purchase your music and also be informed of any future releases.

Arin Ex: I’ve shut my website down due to downloads wiping me out. It’s all Bandcamp and SoundCloud these days.

https://scorbie.bandcamp.com/

Can I go now? 

Thanks!  🙂 xx

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It was genuinely a blast to work with Arin Ex and pick his brain for a look inside his creative process. Be sure to follow the links above to sample/purchase some of his incredible work. Oh, and by the way, he just IMd me (sorry Aaron–hard to keep a secret) that he misses Lethologica-type stuff…that it’s been too long and he’s getting an itch to go back to it… So, my best advice is, stay tuned!

Have a look at some of his visual creations/music videos:

Anytime, Anywhere ~ Arin Ex (Scorbie)

Buddha’s Testicle (pilot movie)

Scorbie – Traitor (from Lethologica)

Scorbie- DamnAge – Live – England March 2013

Electro 80s (w/ scorbie)- I Die: You Die, Manchester UK 01 July 2011

 

80s (and sometimes 20s) Music Rules ~ Criminally Underrated Artists/Bands ~ EDF and Colony Three Combined

What happens when you combine the masterful electronic creativity of two incredibly gifted musicians? An explosion of sound that rivals the force of a detonated H-bomb. Don’t believe me? Keep reading…

Last year (2020) brought out the innovative acuity of many as a sheer survival mechanism when confronted by COVID. People like me became the ultimate benefactors of music, visual art, and the written word that flowed forth freely like the Mississippi River as an endless balm for our collective suffering. COVID may have halted live mass performances, but it did NOT stifle the imagination, artistry, and ingenuity that continued to give birth to innovative expressionism beyond our wildest dreams.

One such venture that has yielded a wealth of fantastic digital music that defies adequate description is the pairing of musical geniuses Rob Stuart (Electronic Dream Factory and SLAVE to the SQUAREwave) and Brian Dickson (Colony Three). The result is a brilliant collection of electronica titled Boӧtes Void that’s a computer-generated music fan’s dream. Put me at the very top of that list.

Boӧtes Void consists of twelve tracks of moody, ecstatic, in-your-face music. Each track weaves a riveting story without words. It’s such a compelling collection that once the last song fades, it leaves one’s soul thirsting for more.

But enough of my humble opinion. It’s best to get insight on the thoughts and creative process that went into Boӧtes Void directly from the masterminds’ own mouths. I had the honor of posing a few questions to Rob and Brian to better understand how such a classic collection came to life and am happy to share the results with you.

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MissParker: First, I’ve got to say that you two creating music together is an incredible confluence of electronic mastery. I’ve interviewed you both in the past regarding your own musical accomplishments, but never dreamed you’d combine your efforts to produce such a wonderful album. What prompted you two to get together?

Rob Stuart: I honestly can’t remember how this project came about. I defer to Brian for this one.

Brian Dickson: I defer to Rob on this…oh never mind…(laughs).

When Rob and I met it was pretty clear we had a lot in common musically, and we often shared hilarious stories about our past attempts at collaborations. Born from that was this concept we both agreed to, which was a “no rules” approach, which has worked out really well for the both of us and I think for the music, as well.

MissParker: The burning question that has to be asked—where did the album title originate from and what does it mean?

Rob Stuart: The album title was very last minute. So much so, that Brian and I did not have time to actually discuss it.  I had read something or seen a video discussing something about The Boötes Void (or the Great Nothing) which is an enormous, approximately spherical region of space at nearly 330 million light years in diameter, containing very few galaxies. It is located in the vicinity of the constellation Boötes, hence its name. I thought it was something that fit our music perfectly.

Brian Dickson: Rob clearly put a lot of thought into the title, and I didn’t have the heart to tell him that I thought the title was about a lack of footwear (laughs). As it turns out, it was a very “fitting” title given our “style.”

MissParker: I have to admit—I was drawn in from the opening notes of Monolith, the first track on Boӧtes Void. I think I even smiled. It starts out so mellow and builds to an intoxicating crescendo. What inspired that track? Did it have anything to do with the monolith recently discovered in Utah?

Rob Stuart: I would love to say yes because that would be so cool but unfortunately not. The twelve tracks of the album were written month by month beginning in January 2020. Our only “rules” for this project were to compose, record, and produce a track with accompanying video each month resulting with a final album release at the end of the year.

Brian Dickson: Like Rob, I’d love to tell you that it was that thought out. This track started with a very short 8-second 4 track seed and grew into the final version after being passed back-and-forth a few times. As it was our first track, we were still working out the “how are we going to work together” on the songs and accompanying videos. I think my best memory of this song was that after it was completed, we both agreed that we were on to something.

MissParker: The overall mood of the album rises and falls from ecstatic highs to depressing lows. What sort of consideration goes into deciding the order of the tracks?

Rob Stuart: That’s an interesting question as that is something I usually agonize over when I release a SLAVE album. However, since this album was evolving from month to month we chose to sequence the songs in the order they were written.

Brian Dickson: Once the 12 tracks were completed, we did a few experimental changes on the track ordering, but we always ended-up back at the original. It wasn’t purposeful at the time, but now when I listen through the whole album, I’m glad we landed on keeping the order as it was created.

MissParker: I’ve maintained that lyrics are important to me. Obviously, lyrics don’t factor in at all with Boӧtes Void, yet it paints such vivid mental imagery. When writing electronic tracks, do you have a particular vision in mind that you’re transforming aurally?

Rob Stuart: I’ve always equated music with painting. The instruments are my choice of brush, the sounds are my colors, the canvas my bass and drums. When I write this type of music, the voice and words are replaced by color and tone. Even without someone singing lyrics I think the consideration for a human element is always there.

Brian Dickson: Like Rob I have also visualized music, but more so as a soundtrack to some imagery or a movie scene. A scene can be full of action, or sad, or contemplative, and that really helps drive a given sound and structure to a track.

MissParker: I’m so curious about the track “Ateoate’s Revenge.” I take it to be a play on “808.” If that’s so, and it’s not a trade secret, can you share what that means?

Rob Stuart: Bang on! That’s a track that Brian initially wrote and titled. It took me a while to figure out what the title meant. Duh!! In fact, I love the name so much I have convinced Brian and a couple of other synth friends to use this as the name of a new synth collaboration project we have started for this year. Stay tuned as there will be an “Ateoate’s Revenge” album release hopefully by the fall of 2021. BTW, it should be noted that Brian also put together the amazing video for this tune.

Brian Dickson: Yeah, I was trying to be clever with that name. The original track was something I created back in the mid-90s with an actual TR-808 (that I regretfully sold to pay the bills….sigh!)

I was so amazed with how Rob literally turned the original version inside-out and created this much better final track.

MissParker: It seems the overarching theme is space. Electronica naturally fits in with otherworldly motifs, and rightfully so. Do you see this genre of music defining more grounded concerns like love, life, loss, or even the political landscape?

Rob Stuart: Over time electronica has become more associated with space and otherworldly motifs but when I think back to the early days of Tangerine Dream, Vangelis, and many others, they were tackling politics with electronic soundtracks like The Sorcerer and Thief. Vangelis handled love, life, and loss masterfully in Bladerunner. I am still inspired by these great works today.

Brian Dickson: I’ve always viewed electronica as something that transcends history, race, and politics. I remember that when I was much younger, places like China, France, or Germany were so foreign to me. All of that changed when I listened to the fans cheering to the music of Jean-Michel Jarre’s Concerts in China or Tangerine Dream in Berlin and realized there were people all over the world with not only the same musical tastes, but also that deep-down we are all the same.

MissParker: The track “Machine Language” takes us through what sounds like a spirited conversation between members of non-human intelligence. Do your machines sometimes appear to have minds of their own?

Rob Stuart: Sometimes, yes! That’s usually because I don’t know what I’m doing. I’m a self-taught studio engineer and the way I’ve learned is by trial and error. So it’s no surprise I’ve hit the wrong button and the machine appeared to take on a mind of its own.  On the brighter side, sometimes it can turn into a pleasant surprise and something cool will come of it. That’s always a bonus!

Brian Dickson: As a huge fan of sci-fi, I’ve always been intrigued by the concept of AI, but more on the cautionary side. When my gear does something unexpected, I try and turn it into a “happy accident.” Most of the time though, as HAL famously said it best…“It has always been due to human error.”

MissParker: Did you collaborate on all of the tracks, or was it more of a merging of the minds—Rob wrote some and Brian wrote the others?

Rob Stuart: Even though we were never in the same room at the same time due to COVID-19, this was a collaboration in the truest sense. Both of us shared old music riffs, partial songs ideas, 8 bar loops, or came up with something new and if anything inspired one of us, we would get to work on it. Then we would ping pong the track back and forth until we felt that it was finished while having constant discussions. The process was always very respectful and free of ego.

Brian Dickson: Rob’s response captures it perfectly! I’ll add that we both remain pleasantly surprised at how it all went so smoothly, only because we are so used to having full autonomy and control over our own tracks. I think what really helped was that Rob and I decided early on that honesty was key. If that fails, we just default to blatant sarcasm.

MissParker: In a traditional group, some members play guitars, others play keyboards, still others may play brass, and of course, there’s a drummer or two. When you put two electronic masterminds together, how do you split up the music duties?

Rob Stuart: There was never really any discussion about those duties. The relationship between Brian and I was so respectful that we kind of knew what to do and what not to do with each track. It may sound corny but usually the music would dictate what was needed and we both respected that need intuitively.

Brian Dickson: Rob and I wear all the hats in our other music, so we didn’t really land on playing specific instruments. Instead, we’d just add what we thought a track needed, either in the addition of new instruments or the composure of the song.

MissParker: Is Boӧtes Void considered a soundtrack, in that when taken together, all of the tracks combine to tell a single, complex story? Or is it more of a short story collection?

Rob Stuart: I’d love to say that it’s some super, clever, complex story but I’m just not that well thought out.

Brian Dickson: It’s a super, clever, complex story.

MissParker: I’ve asked each of you separately at one time or another about your musical influences. This time, just focusing on making Boӧtes Void, who or what can you cite as your influences for this project?

Rob Stuart: My usual favorites such as Tangerine Dream, Jean Michel Jarre, Vangelis, Brian Eno, Underworld, Global Communication, The Future Sound of London, Carbon Based Lifeforms, Harold Budd (RIP), John Foxx, Biosphere, Synergy, etc.

Brian Dickson: Ditto on Rob’s list. I also watched a lot of Jean-Michel Jarre’s Electronica-related videos about his more recent collaborations with John Carpenter, Vincent Clarke, Yello, and others.

MissParker: We have the privilege of hearing Kim Stuart’s angelic voice on Slow Motion. It’s a beautiful, moving experience. Was the song made with her contribution in mind, or did you decide another layer was needed while in production and Kim provided it? Either way, it’s brilliant.

Rob Stuart: Brian had written this beautiful piece of music but didn’t know how to finish it. He sent it over to me and I instantly knew what to do with it as soon as I heard it. As I was working on it I was messing around with some voice samples when Kim came into the studio and said, “let me try something on it,” which I thought was a great idea. She did two or three improvised takes and I picked the bits that I thought fit best. It did turn out rather lovely!

Brian Dickson: I am totally amazed with Kim’s vocals on this track. I’ll never forget when I first heard the new version with Kim’s vocals, I exclaimed “It’s Perfect!” out loud; It reminded me of hearing Clare Torry on “The Great Gig in the Sky.” With Rob’s brilliant engineering of the vocals and final track it was the perfect match-up, and I’d say this track turned out to be one of my favorites.

MissParker: I hope to hear more from Kim in future releases. In fact, I hope to hear more from you both, Rob and Brian, whether individually, or collectively. Any plans in the works for upcoming collaborative or singular projects?

Rob Stuart: Since Kim is in the house while I’m working in the studio, she ends up being on a ton of different songs by default, sometimes not getting credit for her contribution; however, with the success of the “Feels Like Heaven” cover with E.D.F, we’ve decided to pair up and try doing a full album of similar songs. We are currently working on our next song and will hopefully have something to release by the end of the year.

Brian Dickson: Rob and I have talked about continuing with our collaboration, and we’re looking to feature other artists in upcoming tracks. As with what Rob is doing with E.D.F., I’m also continuing my journey with Colony Three, with this year being focused on the release of several singles that will culminate to an end-of-year album…not sure where I got that idea from (laughs).

MissParker: Thank you both for agreeing to talk with me and sharing your thoughts about working together to make Boӧtes Void.

Rob Stuart: Thank you so much for being a voice for independent music and for asking such intelligent and thoughtful questions about our music and process.

Brian Dickson: This interview was an amazing experience, Sandy. Thank you for everything that you do in supporting us and our music; it means so much and encourages us all to keep at it!

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Go to The Boӧtes Void Bandcamp page to preview the music and grab your copy now. Also, there’s a wonderfully creative video for each of the album’s songs on the Element115 Music YouTube page.

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Meanwhile, here are a few of the videos for your viewing/listening pleasure:

~Slow Motion (feat. Kim Stuart)~

~Ateoate’s Revenge~

~Machine Language~

~Lucid Dream~

80s (and sometimes 20s) Music Rules ~ Criminally Underrated Artists/Bands ~ Benjamin Russell/Balance

It has been a decade since Benjamin Russell and I first interviewed. I seriously can’t comprehend where all that time went. Back then, we had a chat just before his CD “Rockhill” dropped. I was so moved by the collection that I wrote an impromptu review soon after. I know that Benjamin has been busy creating and releasing since then, but somehow life got in the way, and here we are 10 years later.

I was given an exclusive first look at Benjamin’s latest CD “Balance,” an emotional and insightful journey scheduled to drop on February 26. The tracks speak to a rich life, a full life, a life filled with tales dying to be told. The overall tone and lyrics have me imagining the patriarch of a family gathering the members together in front of a fire crackling in the living room hearth and sharing stories in a way not to instill fear, but to endear, with lessons to share.

My impression is that the more we listen to “Balance,” the more the depths of Benjamin’s life are laid bare for all to see. It’s done not with melancholy, but with a sense of triumph and joy. The upbeat undercurrent tells us that whatever we might learn from the stories he spins, it’s to our advantage and to his great relief.

Benjamin and Elyce, his writing partner and soulmate, took some time out of their busy schedules to indulge a few questions from me. The upshot is that we all have an opportunity to enjoy this latest heartfelt creation from one of Canada’s most gifted musical story weavers. Remember: this creative and inspiring album drops on February 26, so mark your calendars!

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MissParker: So what have you been up to the past 10 years?

Benjamin Russell: After the release of ROCKHILL, I put a band together and played shows with Peter Marunzak (former drummer for one of Canada’s most popular 80s bands, LUBA), Peter Patrick (guitarist from Nova Scotia’s NAKED LUNCH), composer, Sandra Chechik on keyboards, and Jose Sierra on bass. It was great to be playing live again!

I was on a high, creating music like crazy, but all over the place. The muse kept jolting me with stuff ranging from acoustic folk to aggressive electronic dance as well my more 80s pop style. I decided to split myself in three. But then everything came to a screeching halt.

There’s a reason there’s such a gap in communication since ROCKHILL. After that, I made an album under my name, SUNDOG, and 2 EPs: BUY THE BOMB, under the name, Guru Groan, and ALL FOR YOU, under the name, River of Stone. These nearly didn’t see the light of day as, just when they were about to be released in 2013, Elyce (my music and life partner) was diagnosed with a slow moving but incurable cancer, a form of leukaemia called, CLL. I stopped making music and had no time to promote it, making the decision to just spend every quality moment together.

MissParker: I’ve seen Elyce listed in the songwriting and video credits. Has she always been so involved?

Benjamin Russell: We met when I had just turned 19 and have been together ever since. A year later, I typed out two copies of the lyrics of all the songs I had written and bound them together into books as gifts for my best friends. They were divided in two parts: Before Elyce and After Elyce. There were already more songs in the second half. She gave me lift and I flew. Since then everything has been a collaboration.

MissParker: Does Elyce write music or lyrics or both?

Benjamin Russell: She doesn’t write music but she’s influenced me incredibly. Elyce is one of the original Beatlemaniacs. Friends and family made fun of her for loving them before they were so big! She has eclectic taste and she turned me on to stuff I wouldn’t have listened to otherwise. As the son of two university professors, I grew up in a home where “commercial” and “popular” were dirty words. I was a musical snob when Elyce opened me up to more than rock, classical and male singer-songwriters.

Elyce: Yeah, he was a real chauvinist! (laughing) Not really, but he hadn’t listened to Barbra Streisand, Laura Nyro, Roberta Flack, or Buffy Saint Marie.

Benjamin Russell: The lyrics are collaborations. Mostly, I start writing something and ask her to tweak it but often I get ideas from something Elyce said or wrote. Some songs are all nearly all her, TRYING TOO HARD, on GENTLE MAN, for example. On that one, she talked while I rearranged the words into lyric form.

MissParker: I feel like I’m forever asking this same question, but it seems to add context to what we’re listening to. What inspired the creation of “Balance?”

Elyce: As I used to tell my high school students, my husband’s best and worst quality is that he’s very sensitive! The smallest thing can inspire him to create but sometimes to extremes. He has so many ideas and projects, and needs be grounded. Balance has not been easy for him to achieve.

Benjamin Russell: Yeah, Elyce has kept me tethered to the mother ship. There have been many times I could have rocketed off this planet entirely if not for her!

I gave up my job in August 2018 to be with Elyce. We began the best years of our life, and Elyce encouraged me to start recording again. We were well into BALANCE when we realized we were working on not one but two albums. Elyce started it – she said, “This should be a rock opera!”. We put BALANCE aside and quickly wrote and produced SHIKASTA SUITE, which came out in November 2019. It’s based on Nobel Prize winning author, Doris Lessing’s science fiction novel, Shikasta.

MissParker: Do you find that the more life you’ve lived, the more reflective your music tends to be?

Elyce: I think it’s always been a big part of his music. A song like BROKEN-HEARTED LOVERS, his first vinyl release back in 1981, was a punk/pop song, but I know the real story. The lyrics say, “Sat up late last night with the headphones on, listening to some music, crazy love songs…” Ben was actually listening to Beethoven’s 9th and Bach organ fugues while he decided whether to ask me to marry him after we’d been seeing each other for only 10 days. 

Benjamin Russell: Ha ha, that’s true. Reflection. It’s like hiking. You get IN THE ZONE, and just climb your mountains, but every once in a while you come to a break in the trees and can see for miles. That’s kind of where we are now.

MissParker: Do you have a specific audience in mind when you write your songs?

Benjamin Russell: As broad as possible!

Elyce: I tell him to be free as an artist and not pigeon hole himself.

Benjamin Russell: That being said… (laughs) I want this album to resonate with fans of my 80s music who’ve supported me and have been waiting a long time for a followup to my 1984 album. I had done remakes and videos for MIRACLE (on SUNDOG) and SHADOWS (on SHIKASTA SUITE), but this is fresh material with a vibe that’s being recognized. Some have compared BALANCE to Pet Shop Boys and New Order’s later stuff.

MissParker: How important are the lyrics?

Benjamin Russell: That’s a great question. When I started writing songs, they were always first but now it varies from song to song and music has become increasingly a focus. I’m always writing melodies in my head. Many of them have been lost over the years because I didn’t write them down. Now I do, and lyrics might come later.

Elyce: What we’re saying is important to us. There are fewer words now but they are carefully chosen.

MissParker: Did you perform all of the musical parts for “Balance” or did you have help in the studio?

Benjamin Russell: I did everything with the exception of some of background vocals. I had help from Oliver Russell and Erin Ilagan on WORD (YOU MAKE ME FEEL) and REFUGE, and that’s Elyce in the tag to I AM A STRANGER.

I played electric and acoustic guitar. I really enjoyed playing bass especially the solo on ALONE, as well as doing some parts in real time on my computer QWERTY keyboard (the solo on IN THE ZONE, for instance). I combined real playing with sampling on BENT OLD MAN AND MULE. I was going to call it a “landscape for voice and banjo” and wanted it to be just me plucking and singing live, but it grew into a full electronic, sampled and looped production.

I’ve come a long way from the days when everything was actually played on instruments. Now my main axe is the computer! When I made the album in 1984, I didn’t have one, but I had to be a programmer. Anybody who used a drum machine or sequencer back then had to bend themselves to the weird and conflicting operating systems, so most of what is on that album is actually played. Computers have made composing so much easier.

For me, everything changed radically in the last couple of years. I used to write out the words with chords, put together beats and build on top of that. Now, I almost always write out the melody first in actual music. I use a program called Notion. Some of the instruments are written straight in there. Then I’ll export it and continue in my main music program, Logic. REFUGE is a string quartet and was completely written in Notion before I sang on it.

MissParker: How much do current world events influence your music, or is it mainly personal experience?

Benjamin Russell: That’s a big question! How can you avoid current events without sticking your head in the sand? THIS SKIN is intensely personal, about being ready for an internal change, but on another level, it’s a statement of solidarity with everyone struggling to be seen for who they are, not their race, religion or gender.

I AM A STRANGER came from a dream. I was in a big crowd at some event, a conference or something. No one knew each other, but before it started, everyone stood up, faced their neighbours and sang a song together. I told Elyce about it and we wrote this song. She calls it an anthem. My waking dream is that that could happen one day, that everyone could sing it with me.

Elyce: This is where I step in and tell him not to get carried away! (laughs) I just know that it makes me feel positive and hopeful.

Benjamin Russell: We need to remember that the world is many individuals and each one is important, crucial even, in unique ways. IF asks and answers the question: “What if you were never here?” BLINDED BY NEED, shows how we get so caught up in our own pains and insecurities that we become blind to each other. Are these personal or are they issues everyone in the world has to deal with? I believe it all starts with each one of us if we want to heal our world.

MissParker: I know no one is really performing live at the moment, but prior to COVID, had you been performing at venues? When the COVID crisis is over, do you plan to take your music on the road?

Benjamin Russell: These days I’m strictly a studio artist due to our situation.

MissParker: Do you think the creative solutions that artists have come up with to circumvent COVID restrictions and get their music out to the fans—Zoom, YouTube, Streaming—will permanently change future live music performance?

Benjamin Russell: There’s nothing like a live concert. Whether in an intimate club or a huge stadium, the experience is so much more than just the artist and music. Everyone’s energy contributes. Fans and feedback generate something on a whole other level. That’s what’s so hard about not performing – it starves an artist’s need to connect.

That said, thank God for the internet! It’s helped me keep in touch with fans all over the world and allows me to release an album like BALANCE without touring. Videos on Youtube give a taste of what a performance might be like, but like everyone else, I can’t wait for live performances to come back!

MissParker: I’ve spoken to other artists who say the creative flow never stops—that even though this album is complete, there’s so much creativity waiting to get out that more songs are already writing themselves. Does that ever happen to you, or do you try to take a break between each completed collection?

Elyce: Try and stop him! Creating for Ben is like breathing. If he takes a break from music, then he’s doing photography, poetry or painting. Lately he’s even managed to combine them all in his Instagram posts which I think would make a great coffee table book. Knowing him, the next album could start with the cover design, a drawing which inspires us to write a song.

Benjamin Russell: I don’t know. If I never made another album after BALANCE, I’d be OK with that. It’s that important to me – a distillation of what we have learned.

I’ve already finished more songs which could have been on this album, but a lot of thought went into the flow and balance and they didn’t quite fit. I’m working on a remake of ONE LOVE from my 1984 album. People keep requesting the original, but I don’t have the rights to the recording and TGO Records, my label back then, is defunct.

Missparker: Where can people listen to and purchase your music?

Benjamin Russell: All my music is online (except for my 80s albums which are out of print but even they can only be found on Ebay, Discogs, or whatever). My vinyl and CDs are available on Bandcamp. I’m on Spotify, Apple Music, Amazon, Youtube, and anywhere else you get your music online. Streaming doesn’t pay much per play, but when people put you on their playlists, it adds up. And I know people are listening, which keeps me creating.

Missparker: This has been fun! Thank you so much for taking the time to share your music and your thoughts with us. Looking forward to future releases!

Benjamin Russell: Thanks for asking. You do so much to support independent music and spread the word. It has been a real pleasure and it is wonderful to reconnect with you!

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Show your support for these incredible artists:

Spotify: https://open.spotify.com/artist/2yw3ijBg4Tenp3Ul1zuoPg

Apple Music: https://music.apple.com/us/artist/benjamin-russell/47225251

Youtube: https://www.youtube.com/user/tcbemusic

Amazon: https://www.amazon.com/Benjamin-Russell/e/B003CHAZR6/digital/ref=ntt_mp3_rdr?_encoding=UTF8&sn=d

Bandcamp: https://benjaminrussell.bandcamp.com

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

Twitter: https://twitter.com/mtl_bar

Instagram: https://www.instagram.com/bar.mtl.poetry/

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Videos

From Shikasta Suite~THE LEAF 

SHADOWS 

From SUNDOG~BABYLON BABIES 

LOVER

From GURU GROAN~HOUSE OF THE RISING SUN

From ROCKHILL~DECEMBER

80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ SLAVE to the SQUAREwave Again!

Be forewarned—I’m going to drop the stuffy, professional interviewer persona and let my fan-gurrrrl flourish…

OMG—they’re back! And not a moment too soon! I’m excited beyond words!

This year has been the year that keeps on giving, and I’m not going to rehash that. It has been the year that will forever go down in history as sucking rancid canal water. So lately, whenever there’s a glimmer of hope, it tends to shine like a blinding beacon through the storms of hell.

That said, SLAVE to the SQUAREwave, the incredible duo of Rob Stuart and Colin Troy MacPhail, is back with an outstanding 90-minute collection of new music that, even if this year hadn’t been the epitome of everyone’s worst nightmare on steroids, would STILL rise like a phoenix above the ashes of contemporary music. These guys have been at it for 20 (count ‘em!) years, and the music is still as fresh as any debut album, let alone the latest in an already brilliant catalog. So what’s the album called? Why, “20/20” of course. Get it? Twenty extraordinary years of musical collaboration that just happens to coincide with the infamous calendar year 2020.

What makes S2TSW’s music really shine is that it always has something for everyone. Rob and Colin are not pigeonholed into one particular sound or style. They unabashedly experiment with sound, lyrics, instrumentation, orchestration—you name it, the sky’s the limit. This album is no exception. But lest you think it’s a hodgepodge of random notes forming a mishmash of unrelated songs under the guise of a collection, think again, honey. The progression is deliberate and logical and delightful to aurally behold.

And one last fan-gurrrrrl observation. I am a David Bowie fan, pure and simple. I’ve written in the past about my undying love for Bowie because he literally saved and validated my life over 40 years ago. And, that’s what makes S2TSW so important, so relevant, so vital a part of my life. In addition to the brilliant rhythm, melody, arrangement, and production that Rob brings to the table, there’s Colin’s voice. He has Bowie’s range, emotion, and creative delivery all wrapped up. This duo has filled an enormous void for me—both when Bowie retired and when he unfortunately passed on. Few musicians can make that claim. I’m making it for SLAVE to the SQUAREwave with deep-felt love and sincerity.

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MissParker: Well, here I am in the enviable position of asking my favorite duo questions about music I adore. Can it get any better than this? OK, before I absolutely embarrass myself in front of you guys, let’s get started.

It’s been 3 years since the last album release, “Jigsaw.” When did you first realize that it was time for another album?

Rob Stuart: It’s just natural for us to start working on a new album right after we’ve released one. It’s in our blood!

Colin Troy: It’s quite funny, I told Rob after we had finished the new album that I was a bit burnt out but of course 2 days later, I was jamming a new baseline for a new song. It’s a bit masochistic. (Laughs)

MissParker: The album’s name is just so perfect. When or how did it dawn on you that not only had you guys been doing this for 20 years, but that you’d have another album release in the year 2020?

Rob Stuart: Colin put that together. It was the perfect motivation to attempt to write 20 songs and meet a tight deadline. I can’t believe we did it!

Colin Troy: Actually, I believe we never intended to write 20 songs. However during the past seven months or so a lot of good and bad things occurred, so there was a lot of inspiration to continue writing. I agree with Rob, I can’t believe it either.

MissParker: David Marsden, God love him, has been teasing us by playing selected tracks during his live broadcasts for quite some time, now—maybe a year? So that tells me this album has been in the works for a while. Do you have a process that you follow for writing and recording songs? For example, I know that Colin generally writes the lyrics and Rob creates and arranges the music…is it usually lyrics first, then music? Or does Rob come up with a concept melody and add the lyrics later? Or a little of both?

Rob Stuart: It’s all of the above. I don’t write lyrics, only music. So, I’ll write a solid, structured music bed with a verse/chorus/bridge etc. and send it to Colin who will write a lyric and melody. In the past he would come over to my studio to record the vocals but during COVID he recorded most of the vocals in his own studio. Depending on the lyric Colin comes up with we will rearrange the song. Sometimes the intended chorus becomes the verse, the bridge becomes the chorus or the verse can become the bridge, or not. There are no rules. On other occasions, Colin will send me a fully realised track with music and lyrics already completed and then I’ll put on my producer hat and get to work by chopping it up or adding to the song to finish it off.

Colin Troy: I find writing the music the easier part of song writing. The lyrics are usually the last thing to put down because I find it is the most difficult part of song writing.

MissParker: I’m big on lyrics—it’s probably the frustrated poet in me. To me, the lyrics are just as important as the overall song. I feel the lyrical angst in some of 20/20’s tracks, which makes a whole lot of sense, given the state of the world. But, I also feel joy and hope in others, and I love the balance. It’s like you’re saying, “It’s been a shit year, but hang on, there’s something good around the corner.” Was that intentional? If so, how did it evolve?

Rob Stuart: I’ll defer to Colin.

Colin Troy: It’s funny—when I listen to the new album, I view it in two parts—the 2019 lyrics versus the 2020 lyrics. With the exception of a few songs written in 2020, most of the material became quite personal due to what was going on in my life these past 6 months. There was no intention other than writing in the moment. The only evolution I would say is letting mother nature take its course.

MissParker: I love movies that you watch over and over, only to discover something new each time. I gotta tell ya, I’ve been listening to 20/20 over and over again the past few days and it continues to sound fresh and new each time, hearing something different with each play. I truly believe that ability is deliberate and couldn’t possibly be accidental, and something I enjoy to this day with Bowie’s music. I don’t mean to put you on the spot, but what in the world is your secret?

Rob Stuart: We put a lot of work into our music, so I appreciate the question. Some things do happen by accident but a lot of thought is put into our music. A good example of a happy accident is the lead vocal cutting out in the last chorus of “Something’s Kind of Weird.” That was unplanned, but it added drama and suited the song, so we made the decision to leave it in. The other day our good friend, Scott MacLean, called up and said that he was just listening to our song “Supernatural” from our first album and had just noticed me whispering in the bass breakdown even though he had listened to the song many times before. That was something I had done deliberately. I think adding layers like that is fun for a producer and is also rewarding for the listener.

Colin Troy:  Accident or not, when it comes to producing music, no one does it better than Rob.

MissParker: Does Colin lay down all of the vocal tracks himself, or do you guys use other back-up singers?

Rob Stuart: Yes, Colin has such a versatile vocal range that he lays down all of the vocals himself although my wife, Kim sings backing vocals on two or three tracks on the album. A good example of them singing together is the opening of “Souvenirs.”

Colin Troy: We have used backup singers before on previous albums. A great singer named Liz Tilden, Coco Brown, and also a great singer, Penny Robillard,  who also used to join us for the live shows who now lives in Australia. The past couple of albums, Kim has stepped up to the plate which is great because she softens the belting back-up from me.

MissParker: OK, I have to admit it. For some reason, I’m always looking for influences in music. With that in mind—and I mean this as a huge compliment—if Kate Bush were male, don’t you think “Something’s Kinda Weird” would be her musical doppelganger?

Rob Stuart: That is a huge compliment. Colin and I have always equated Kate Bush as Peter Gabriel’s counterpart. Now that you mention it, I could see both of those artists taking on that track. Wouldn’t that be great!

Colin Troy: I absolutely love Kate Bush. She can sing any of our songs at any time.

MissParker: And the intro to “Hot Mess” made me sit up straight in my chair. It puts me in mind of Trio’s “Dah Dah Dah.” What a blast from the past and a breath of the 80s—am I right?

Rob Stuart: You’re bang on. That is the sample from Trio. Actually that track is loaded with sampled drum loops. There’s the DA, DA, DA Loop, Eminence Front Loop–The Who, Sound Of The Crowd Loop–The Human League, Crabs Loop–Jean Jaques Burnell, Dancing Fool Loop–Frank Zappa, in the bridge, Conversation Piece Loop–David Bowie, and throughout the song, Read My Mind Loop–The Killers. My goal with this song was to make it sound reminiscent of Devo.

Colin Troy: Again, Rob is a genius producer. I near s*** my pants with laughter when I heard the initial Trio sample.

“It was 20 years ago today…”

MissParker: And I have to mention “Model Citizen.” It’s a brilliant song all on its own, but the video totally takes it over the top. What was the inspiration for the screenplay? And, before you answer, let me just throw this out there—I didn’t think there was much left that would make me blush in my old age, but Colin—wow!

Rob Stuart: That video was all Colin. (Pardon the pun!)

Colin Troy: Ha, ha, ha! The inspiration for that song, and in particular the video, comes from working in the service industry for so long. I have seen a lot of “business suit facade.” I have seen a lot of skeletons come from those business suit closets. And, it ain’t pretty!

MissParker: Can we look forward to other music videos for tracks from 20/20?

Rob Stuart: Yes, a video to “Hot Mess” is on its way. Colin will explain.

Colin Troy: Yes, David Raetsen and I teamed up together again and shot a video last Monday. We are still in the editing process and the footage looks a lot of fun and will be released next Tuesday (Dec 22).

MissParker: Woo hoo! One of my favorite tracks on 20/20 (and coincidentally, there are about 20 of them) is “Bonnie and Clyde.” I’m intrigued by the lyrics and what inspired them. Oh, and I couldn’t help but hear the reference to “Station to Station”—very clever!

Rob Stuart: Colin!

Colin Troy: I have to confess that “Bonnie and Clyde”  is a kind of continuation of “Texan Thugs and Rock ‘N’ Roll.” It’s about two people being badasses. I’m not a badass, only on stage! (Laughs)

Of course I had to make a reference to Bowie because he was the ultimate on-stage badass, right?

MissParker: Absolutely! And speaking of badass, I’m completely gobsmacked by the various instruments in each of the songs, some sounding like you have a backing band of at least a dozen eclectic musicians. Does each instrument’s unique sound have to be layered in individually, and if so, about how long does it take to lay down so many tracks?

Rob Stuart: We work with a lot of loops but as we’ve aged we’ve had a harder time keeping up technology which has forced both of us to go back to basics by playing live. I’ve never had the patience to figure out technology beyond its use for my personal requirements, so rather than waste time figuring out how to make things work, I’ll just play by hand. My lack of technical ability has actually made me a better player. These days my main tool for sounds is my iPad Pro. You can literally take all of the beautiful, old synthesizers and analogue drum machines that I have in my studio, plus much more, and put it into an iOS device.

It does take a long time to lay down individual tracks, but depending on the song the time can vary greatly. Most of the time, we are working with 60+ tracks. Those tracks will usually be mixed into sub-mixes before the song is finally mixed down and mastered.

Colin Troy: Personally I believe that you should use every music tool that is available whether it be an acoustic guitar, a keyboard, a drum loop, or an electronic synth loop. The beauty of sound is endless. I tend to write a structure and I will let Rob flourish with all the details.

MissParker: I’m curious to know how you come up with the melodies. I know a lot of musicians will hammer out a rough draft on a piano or guitar. Do you guys have a favored method, or does the magic just happen?

Rob Stuart: Sometimes the melody can be obvious and I’ll know where to go with it, other times I’ll sit at the keyboard and hammer out a melody line over and over again until I find something that works. Then I’ll usually figure out a counter melody or harmony.

Colin Troy: Honestly, I find writing the melody the easiest part of the song. I may not have a structured lyric but I will still sing a gibberish melody that sometimes becomes an unconscious lyric. Kind of like speaking in tongues.

MissParker: Totally selfish question here—are there any songs currently under development for another SLAVE album in the near future? One can only hope the answer is “Yes,” and that we won’t have to wait another 3 years!

Rob Stuart: We have some songs left over that did not make the final album that need finishing but we did cut this one close. Colin wanted to add a last minute funk tune, so he wrote the song “20twenty” while I was actually uploading the tracks for final distribution. He played me the idea over the phone, so I knew it was going to be a great track. We got it done at the last minute, but that being said, I think we are all tapped out for songs at the moment. Knowing us, that never lasts long. As I said, it’s in the blood!

Colin Troy: Don’t get mad Rob, but I’ve already started working on a new tune. (Laughs) I really do think I’m a musical masochist!

MissParker: I want to sincerely thank you guys for the two decades of hard work and absolute listening pleasure you’ve given us. There’s nothing better than the gift of hope, and over the years, that’s what your music has been to me, and others I guarantee.

Rob Stuart: Thank you so much for supporting independent music and for your support of S2TSW.

Colin Troy: Awwww, thank you so, so, much for your support and love. AND to all the squareheads who love and dig our music! We can’t wait to see you guys at a live show soon. I know we’ll all be dancing and singing and having a great time together again!

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SLAVE to the SQUAREwave’s album 20/20 dropped on December 15, 2020. What on earth are you waiting for? To miss out on this fantastic collection of life-relevant songs really would put the year in the dumper. So, get over to wherever digital media is sold and grab your copy now. It’s the perfect antidote to a year the likes of which we’ve never seen before and hope to never see again. Consider it an aural vaccine.

Model Citizen ~ SLAVE to the SQUAREwave

Headphones ~ SLAVE to the SQUAREwave

Feet Don’t Fail Me Now ~ SLAVE to the SQUAREwave

 

 

80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ George Rondina/Imagination Machine

If I’ve said it once, I’ve said it a million times: One of the best things (and there are so many) about being introduced to David Marsden’s live radio show 14 years ago, and then more recently (2014) to his free-form stream NYTheSpirit.com, is getting to know some incredible music acts and artists that I never would have been exposed to otherwise.

George Rondina is part of this treasure trove of talent. Three of his songs recorded under the moniker Imagination Machine that David has played on his live weekend show have absolutely torn me up: A Northern Evening, Dancing on a Highwire, and True (May the Road Rise).  These hauntingly lovely songs are the perfect blend of an internal, aural, emotional journey highlighted by Rondina’s expressive and unique voice. Personally, music is an escape that makes the real world tolerable by pushing it aside and providing a safe haven in which to curl up and fantasize about what life should be. George Rondina’s music is that and so much more—it envelopes the listener within a protective bubble that promises salvation rather than mere isolation.

It’s my pleasure to share this interview with you and to hopefully pull more listeners into the ethereal world of Imagination Machine. Given the reality that we are forced to deal with every day, I believe this is an alternative that many will willingly embrace once its magic has touched the soul.

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MissParker: I’ve done some research about you online and am amazed at your accomplishments, most notably the Toronto recording studio known as Number 9 Audio Group.  Before I ask you to expand on that a bit, I also read that you were part of several bands back in the late 70s. What can you share about that experience?

George Rondina: I’d like to say, thank you for having me and for the very kind and generous introduction. I started out as a musician and was in a couple of different bands in high school. Once graduated, the musical journey really kicked in and the 3 bands I was in toured Ontario and Quebec.

It was fun for the first few years, but living out of a suitcase in some not-so-swank hotels took its toll after about 5 years and I started to think of something I could do that would garner a bit more of a normal life. After much thought, Number 9 Sound Studios ( Number 9 Audio Group ) was born.

MissParker: So, getting back to Number 9 Audio Group—the name is intriguing, by the way—where did the name come from (I have a guess) and what prompted you to switch from performing to producing?

George Rondina: Ah, so the name Number 9 of course was a culmination of things—John Lennon’s infatuation with the number 9 and numerology, as he was born on the 9th day of the month, and so was I. In 1981, for lack of a better name, Number 9 it was.

We ran the studio in tandem, with playing live on weekends, at first. When my first born came along, the rest of the band approached me about touring full time. I was happy playing weekends and running the studio through the week. It was a very hard decision, but I chose to keep the studio going, as I had no interest in going back on the road at the time and I knew it would have been very hard on my family. So that’s when the switch happened.

MissParker:  The “who’s who” list of artists you’ve worked with at the studio is impressive, to say the least. Of the people you’ve worked with, who left the biggest impression and why? 

George Rondina: Wow, that’s a tough one, as many of the bands like “The Barenaked Ladies” weren’t famous when we first recorded them. There are a few that I enjoyed meeting a lot, like David Clayton-Thomas of Blood, Sweat and Tears. David recorded 4 albums at Number 9 and we became quite good friends. Jim McCarty from the Yardbirds and Renaissance would be another. A real gentleman. The work we did with the Stones, Van Morrison, and Will Smith was either rental work or location recording—mostly arm’s length—never got to meet them directly. After almost 40 years there’ve been a lot of great experiences, that’s for sure.

MissParker: Who haven’t you worked with that would be high up on your wish list?

George Rondina: We could be here all night (laugh) . Of the living: Paul McCartney, Peter Gabriel, Pete Townshend and The Who (whom I have met but haven’t worked with), Pink Floyd, particularly David Gilmour, Genesis…The list is endless.  

MissParker: I’m curious about your connection with David Marsden. How did you first meet up with him and how long have you known him?

George Rondina: I’ve known David from his radio shows since the 70s, but he’s only known me since about 2017-18, when I released A Northern Evening and he was kind enough to add it to his playlist.

MissParker: I fantasize about having been a part of the music world, but life seems to have had other plans for me. So I’m always curious—what got you interested in music and which instruments were the first you learned to play? 

George Rondina: Feb. 9th 1964 The Beatles played the Ed Sullivan Show. That night, I decided that music is what I wanted to do. I was just a young kid. I tried guitar but just couldn’t get the hang of it, where piano came much more naturally for me. Then came the other keyboards and synthesizers, which I have a nice little collection of my favourites now. The only other thing for me was singing. I started in choirs at an early age.

MissParker: Who were your early musical influences?

George Rondina: Well of course, The Beatles, The Stones, The Who, and the whole late 60s-70s scene. Later: Genesis, Pink Floyd, King Crimson, ELP, David Bowie, Tom Petty—the list could go on almost forever.

MissParker: Even though you’re a musician first and foremost, what planted the Imagination Machine seed?

George Rondina: I’d been writing songs all my life but pushed aside recording them to focus on the studio, raising my kids, and making ends meet. Later in life, which started around 2016, I recorded a Christmas song for a charity to help kids with depression issues. The song was called Shine On. After I finished recording that song, I decided that it was time to start on an album.

MissParker: To me, you have the perfect blend of synths and instrumentation to enhance your vocals on the gorgeous  track “A Northern Evening.” The first time I heard David play it, I about fell out of my chair while grabbing my phone to Shazam this amazing song I was listening to. What inspired you to write that song?

George Rondina: It was a long time ago. I wrote the majority of A Northern Evening when I was in my 20s, and adding parts and lyrics in 2016-17 when I recorded it. By the way, I’m very encouraged and grateful by your kind words.

It was an experience I had while in Northern Ontario on a crisp, clear winter’s night while snowmobiling. We reached a peak and gazed into a sky full of stars with northern lights and shooting stars. It was an epiphany for me. I guess the belief that there is something more was confirmed that night and soon after came the lyrics and the song.

MissParker:  I absolutely adore “Dancing on a Highwire.” What’s the back story to that song?

George Rondina: That’s a little sad I guess. My father suddenly passed away at 56 when I was 21. Literally died in my arms. The only death I’d experienced before that of someone  that was close was my grandmother ( my Dad’s mother) the year before. I went into a bit of a dark place and was searching for something. Not to get too deep into the experience, Highwire is really just about the fragility of life and how we all have the courage to carry on even through the darkest of times.

MissParker:  Rooting around YouTube I’ve come across some other Imagination Machine gems that are both playful and lovely. Do you have any other songs in the works?

George Rondina: The other Imagination Machine Songs are Muskoka Trees, Blue Room, and I just recently finished a song called Still In The Silence. Going in the studio this week to start another new song.

MissParker:  Please share how we can purchase your music and also be informed of any future releases.

 George Rondina: It’s pretty well a one-man show right now. I don’t have a website or FaceBook page just yet for Imagination Machine. The other thing is since I started Imagination Machine there is a children’s group using the same name, so it may evolve into George Rondina and The Imagination Machine .

I think tuning into Dave Marsden’s NYtheSpirit.com is a good way to hear what is going on with Imagination Machine or my personal Facebook page. The songs are all available on iTunes, Apple Music, Spotify, Bandcamp, YouTube, and more. You can download from iTunes and Bandcamp, which is always preferred by the artist.

Here are a few links:

Muskoka Trees ~ Single ~ available on Apple Music

True (May the Road Rise) ~ Single ~ available on Apple Music

Blue Room ~ Single ~ available on Apple Music

Dancing on a Highwire ~ Single ~ available on Apple Music

Still in the Silence ~ Single ~ available on Apple Music

A Northern Evening ~ Single ~ available on Apple Music

And, before we end, I think it’s very important I acknowledge the musicians, engineers and studios that played a huge part in making our songs presentable 🙂. They are: George Koller, Vito Rezza, Graham Walker, Larry Bodner, Chase Sanborn, Reg Schwager, Ciceal Levy and Amoy Levy, Caroline Akwe, John Madill, Aaron Fund Salem, Arron Davis, Bridget Hunt, Carolyn Blackwell, Winona Zelenka, John Switzer, Samuel Bisson, Alex Toskov and Veronica Lee, Loretto Reid, Eric St-Laurent, Anne Lindsay, Bernie Cisternas, Brian Mcloughlin, Alex Lang, Number 9 Audio Group, Alex Gordon, Abbey Road Studios Mastering, Lacquer Channel Mastering, and Noah Mintz.

Thanks so much for taking the time to do this interview. It’s been a pleasure.

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It was truly a pleasure to learn more about this inspiring music maker and producer. Follow the links below to sample some of his incredible work. And, if you like what you hear, be sure to support George Rondina and Imagination Machine using the links he gave us above.

True (May the Road Rise)


A Northern Evening


Dancing on a Highwire


Blue Room

80s (and sometimes 20s) Music  Rules ~ Criminally Underrated Artists/Bands ~ Ward Band Album “Bring Me Low” Review

Photography by Warren DiFranco

Imagine being the first band on the planet—and quite possibly in the universe—to release an album for the 2020 decade.  An amazing feat, right? Well, there’s a band on the west coast of the US who achieved just that—I kid you not—and the name is Ward.

Initially I had the privilege to make the band’s acquaintance in June 2017, via an interview with the band’s vocalist, Ward himself. A gracious and interesting interviewee, it was such a pleasure to get to know him and his music in more depth.

Now, I’m excited to familiarize all of you with (the band) Ward’s latest release. As I said, the band purposefully released this creative effort on January 1, 2020 at exactly 12:00AM (UTC+14:00), the dawn of the new decade. In addition to being a collection of beautifully crafted and executed tracks, Ward has designated proceeds from the sales of the album “Bring Me Low” to go to NAMI, a well-respected organization that helps individuals cope with depression and other bouts of mental illness.

“Bring Me Low,” a compendium of songs carefully and concisely illustrating the struggles that creative people find themselves in when battling depression is available for download HERE.

So, here are my thoughts on this brilliant album. I’ve listed it out by title track, each title encapsulated by a few lines of streaming consciousness/impressions scribbled out as I listened. But, please don’t take my word for it. Preview and fall in love with “Bring Me Low” for yourself. And, when you make this album a part of your music collection, feel proud in knowing that you are playing a major part to help musicians, as well as all the rest of us, battle mental disease.

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Album Title: Bring Me Low 

Photography by Warren DiFranco


Artist/band: Ward
© January 2020
Drums: Ryan Dietzenbach
Bass: Chris Gongora
Guitar/vocals: Ward
Guitar: Mauricio Munguia
Photography by Warren DiFranco

All songs by Ward except Further From The Edge (Ward & Munguia), Leave It On (Ward, Gongora, Dietzenbach) and All The Things I Want (Ward, Gongora, Dietzenbach, Munguia)

All songs mixed by The Elk, except Swimming and Leave It On, mixed by Jason Haag and The Elk, and Whatever Takes You Home, recorded live in one take at the lovely Rev9 studio.

Leave It On—My first thought as the song opens is that the melody resembles a very welcome throwback to the post-punk era of the music that I adore. A seriously wild bass riff anchors driving guitars and a frenetic beat that eventually morphs into a slower pace. But, the vocals never quit/slow down. The frantic lyrics and passionate vocals make listeners feel as if the vocalist is taking us along an anxious journey to a destination unknown.

All The Things I Want—Even though the lyrics are dark and full of introspection, the melody/tempo of this track consists of uptempo rhythms and jangly guitars that perfectly complement the vocals. There’s a definite urgency that is clearly conveyed, and yet the listener is given the sense that perhaps the desires/results the singer longs for have been placed out of reach and ultimately abandoned.

Photography by Warren DiFranco

I Can’t Fake It Anymore—The vocals make no bones about the singer/subject being at the end of his rope. We’ve all experienced this state of mind in some form or another during our lives and this song encapsulates perfectly the anger, frustration, and disappointment that result.

Bring Me Low—An angelic anthem that tears at the soul. As a title song, it bears the burden of the entire collection, from introducing the theme to setting the mood. This beautifully haunting song is a success on both counts. Backing vocals harmonize over a bluesy and emotional melody, which then segues into a graphic description of a low point in one’s life and a plaintive plea for relief. It’s a song rife with the struggles and obstacles encountered on the journey to becoming clean and sober.

Photography by Warren DiFranco

Further From The Edge—Ward’s range on this track truly takes us to the edge, then draws us slowly back into our comfort/safety zone. It’s like a roller coaster ride that is both exciting and terrifying because we realize we are not in control. All of us, at one time or another, has felt as though life keeps us hurtling along at its own pace, not ours, and this song is a graphic picture of the emotional tumult.

Swimming—Aurally, we are caught in a whirlpool of emotions. If this is what confusion of thoughts and loss of control sounds like, this track facilitates what it’s like to walk in the shoes of someone in the throes of mental illness. It’s not a pretty place to be—this song eventually has an end, but for some who suffer from depression, it can seem like no end is in sight. The lyrics and Ward’s vocals take us to that place so that we can understand it more fully.

Unsettled Souls—This is an unapologetic explanation of why the singer is who he is. What you see is what you get, and we are advised to deal with it. Most of this album lays bare the essence of a person in the midst of mental illness, but this one track sums it up concisely.

Dirt—The message here seems to be that we all have the ability to choose the path our lives will take—up to a point. That path, once chosen, means there is no going backward, only forward to deal with it the best that we can.

Photography by Warren DiFranco

Whatever Takes You Home—The lyrics in this track tell us that it’s up to us and us alone to figure out how to maneuver our way through life. It’s difficult for each and every one of us, fraught with mistakes and bad decisions, and sometimes we have to fail before we can successfully reach our destination. This is an honest look at what we all face, and Ward’s vocals pull no punches.

There are three bonus tracks/add-ons that are included with the download: Helter Skelter, Don’t Be Scared, and Sober.

Whatever you do, don’t miss out on the opportunity to experience this incredible album, as well as contribute toward a wonderful and important cause. Again, the album Bring Me Low is just a click away and can be downloaded HERE.

And finally, Ward is pulling together a music compilation of peers and other international musicians to raise money for the Australian firefighting efforts. 100% of proceeds will benefit The Trustee for NSW Rural Fire Service & Brigades Donations Fund.  Do your part to support this important and heartbreaking cause. Download/listen HERE.

Ward ~ Swimming (Official)

 

Ward ~ Whatever Takes You Home (Live)

80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Boys’ Entrance/Tim Cain

One of the enormous perks of being a part of the David Marsden family of fans and musicians is the priceless opportunity to hear new music that David promotes. A simply fabulous band I first heard on David’s streaming show via NYTheSpirit.com is Boys’ Entrance. What makes Boys’ Entrance even more endearing is that they are based practically in my back yard.

Boys’ Entrance currently hails from the Tampa Bay region of FL. Front man Tim Cain has a timeless alto voice that draws the listener in to the music like a bee to honey. According to the intro on their website, they have been making wonderful music for 28 years—an amazing feat. BE has earned accolades from throughout the music industry—well-deserved and acquired through hard work and talent.

Even though we share a state, I’ve yet to have the pleasure of experiencing Tim Cain and Boys’ Entrance live. I know—sounds strange, doesn’t it? But I’m several hours away (Florida covers a LOT of territory!), and solo road travel is never a favorite adventure of mine. One of these days, though, I’ll find a road-trip buddy and drop in on a Boys’ Entrance show. It’s a bucket list goal I’ve got my sights set on.

In the meantime, Tim Cain has graciously accepted my invitation for a Rave and Roll interview. I’m excited to share his thoughts and opinions on the state of music, the world, and just about everything in between. I think you’ll find him just as real and as captivating as I…and the music…I believe it will be as irresistible for you as it is for me.

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Missparker: This is something I tend to ask most of the musicians I interview, because I’m very curious to uncover the “why” behind what you do: What made you decide to form a band and perform in front of people?

Tim Cain @ the original Boys’ Entrance, Chicago, IL

Tim Cain: First of all, Sandy, I want to thank you for your gracious invitation to speak with you. It is a privilege to speak with a fellow traveler in music. We are both devoted to music and I think it feeds our souls. So I feel comforted to know we share a friend, Mr. Marsden and music itself.

My father had a gift. He could play any song on the piano if he heard it. His right hand was where this gift resided. There was a direct channel between his “ear” and his right hand, and he amazed family and friends throughout my childhood.

His left hand was erratic and unguided by his ear. He would bounce back and forth between two or three notes—in time—but not necessarily in key. I suppose he had seen “stride” players play in honkytonks and wanted to emulate their style. But he had never been taught. So, it was a crazy thing to me to watch him, because I had the “ear” as well. I knew how amazing his right hand was, but his left hand drove me crazy.

Years later, I don’t know, maybe I was in my 20s, I callously said, “What are you doing with your left hand? The notes aren’t right.” I never heard him play again, and that is one of my biggest regrets in life. I wish I had just kept my mouth shut. But I opened my mouth and the toad leapt out and there was no taking it back. I know he has forgiven me though.

Missparker: It would be great to have a do-over—I think we all long for that ability at one time or another during our lives.

Tim Cain: I think my whole career—now 45 years—has sprung from my father’s ear. I was always a singer. That came naturally. My proudest moment was when I sang “The Lord’s Prayer” in rehearsals for my sister’s wedding. My mom and dad were sitting in a pew with their backs to me. I sang and the voice that sang through me was astounding. Everyone started to cry. They all turned to watch me, except my dad. When I was done, everyone applauded. My dad sat motionless, until he turned, and I could see he had been weeping. I felt a power I had never known, and I never wanted to stop using it.

My first actual band was called Flyht—our logo was a drawing of Icarus. (Strangely, my husband who is also the bassist in Boys’ Entrance was also in a band about the same time, and it was called Icarus!) So this was about 1975. We covered popular rock songs, and broke up after one show.

“The Wolf Is at The Door” single cover by Julie Perry

My second band was, Talltrees. This band was way more successful. We played around Central Illinois from 1979 – 1986. We appeared on a compilation album of bands from Champaign/Urbana. We had two major labels express interest, and even had a video play on Musicbox Television, (an MTV precursor, in Europe).

I moved to Chicago in 1987 and joined a prog-rock band called, Random Axis. I am still friends with two of the guys from that band to this day. In fact, the bassist, Tom Heslin plays on our “Tunnelvision” album! That band only lasted a couple of years, though.

That takes me to Boys’ Entrance. In 1991, I traveled to San Francisco and met up with my friend, Jon Ginoli. We had been rivals (as DJs), lovers, and co-workers (in record stores), during our college years.

He played me demos for his new project, Pansy Division. I was blown away by his audacity. The songs were the most blatantly QUEER songs I had ever heard. They were in-your-face and unapologetic. While I was the first queer musician Jon had ever known, my songs were always couched in universal pronouns. He schooled me and dared me to do more with my music. Twenty-eight years later, we are both still at it.

Missparker: What an amazing journey! What can you tell me about the current members of Boys’ Entrance, and have you always had the same line-up with them  throughout the years?

Tim Cain: Boys’ Entrance began as just me on keyboards, bass, & guitar. It was enabled by my Ensoniq VFX workstation. This keyboard is a sequencer, and it allowed me to record my musical ideas and store them on floppy discs. I am on my third VFX as of this interview. This keyboard allowed me to have a three- decade career with this band because, like my father, I have a great “ear” and “right hand.” I cannot play a song on a piano, using both my hands. But I can compose using this tool. My dad never had that option, but I did.

The first “live” Boys’ Entrance band was a trio—my keyboard sequences, and three guitars! We had no drummer, or bassist. All that came from the Ensoniq. It was I,  Cie Fletcher on lead guitar, and Mike Ferro on rhythm guitar. Later we added a percussionist, Amelia Soto.  The band broke up after a few years when Fletcher died of AIDS.

Mike and I continued and brought in a real drummer, Christine Anderson, and a Serbian lead guitarist named Vojo. That lasted a year or two. There was a punk trio version, with drummer Timmy Samuel, Mike, and I. There was a version of the band that incorporated my friends from Random Axis. You can see that version on our Jon-Henri Damski video.

All this took a toll on me. My personal life was always in turmoil. I was depressed and sometimes suicidal. I began preparing to die. I had written a lot of material over the years, so I went to my friend, Timmy Samuel and asked if he would record the songs, to document them. I don’t know if he knew why, but he recorded them all. These are the DEMOcrat records on iTunes. There are actually three—only the “Songs from Tunnelvision” is iTunes.  There is a record of instrumentals, and a record of covers, too. Once the recording was done, I was preparing myself to depart.

MissParker: I am so sorry to hear that—how awful. Obviously, I’m glad that you didn’t depart this lifetime. Is this how you ended up in Tampa?

Billy Ramsey and Tim Cain at David Bowie Is exhibit in Chicago

Tim Cain: Oddly, when my then-partner placed a gun in our home to facilitate my departure, I realized the problem was my life in Illinois. I fled to St. Petersburg, and have never been happier in my life. I met my husband, Billy Ramsey. I completed the Tunnelvision album with his help in 2016. When the rock opera was produced at Studio@620 in St. Pete in 2017, we were the “pit band” for 8 performances and were singled out by critics as being “amazing.” We were nominated that year in Creative Loafing’s “Best of the Bay” awards as Best Local Band.

The band has had a few guitarists since we began in Florida, but now has solidified into the current lineup: Billy and I, drummer John Spinelli, and lead guitarist Keith Otten.

Missparker: I think I know one of them, but who are your influences, and why?

Tim Cain: Yes, you and I share an avatar in David Bowie. He dominates my aesthetic, musically and artistically. As a songwriter, I emulate his atmospheres, but not his subject matter. I tend to bounce between the poetic and political—much more definitive than Mr. Bowie. But I would say I am filtered through the Beatles, Stones, Kinks, T Rex, Cars, Devo, Talking Heads, and more.

Missparker: Personally, I always find this type of question difficult to answer, and sort of stupid. But, I think it gives people some insight into what makes a person tick, so bear with me. If you were marooned on Mars and only had 5 albums with you, which ones would they be?

Tim Cain: Oh dear! Well here goes: Bowie’s “Aladdin Sane,” Beatles’ “The Beatles” (White Album), Prince’s “Sign of the Times,” Stevie Wonder’s “Songs In The Key of Life,” and Brian Eno’s “Another Green World.”

Missparker: I love the glam look you project onstage. You seem perfectly comfortable with it and well-suited for it. Who does your make-up and clothing?

Tim Cain: You are so sweet, Miss P. I am guilty of my costumes and make-up.

Missparker: Who writes your music? Is it a solo effort, or collaboration?

Tim Cain: I am the sole writer of Boys’ Entrance.

Missparker: What inspires your music? In other words, where do you gather the ideas that you translate into aural artistry?

Tim Cain: Sandy, I believe I am a conduit for music from elsewhere. I am also a filter—so I influence the outcome. When I am in a situation where I have a receptive band, and the ability to record, 7 songs pour into (or out of) me. Once the band learns those 7, seven more will come. It is not always 7, but this is frequently the case. I have experienced riding a bicycle and having a song hit me in the face as though I rode through a spider’s web—the music and words—all at once. Back in the day, I would carry a tape recorder with me and capture the songs as they came. Today it is easier with cell phones.

Frequently, when I am drawn to the Ensoniq, I go into a trance, and the whole song is completed without my remembering how it came to be. I think I am channeling—who knows who—maybe my Dad? Maybe Fletcher? I don’t know. If you listen to the song “Hush” on my “In Through The Out Door” record, that is a one-take trance song.

Missparker: That’s amazing. Additionally, does the current disarray so prevalent in our own world also fuel the creativity as a pressure-valve release, so to speak?

Tim Cain: I sometimes brood over a song or a theme for a very long time.  Case in point is a new song that took a decade or so to write. The song is called, “Chant For The Hauntlings” and is about the spirits of all the animals I pray for when I pass their lifeless bodies along our roads. I pray, “ God bless you sweet spirit. Return to the Mother. Return to the Light.” That is the chorus to the song. It will be on my next solo record, I think. So yes, I frequently write about ecology, politics, and spirituality. The songs help crystalize my feelings about life.

Missparker: You’ve shared that you’re working on a collection of David Bowie covers, along with covers of other well-known glam bands and singers. What led you to go in that direction?

Tim Cain: While we are rated the #1 Alternative Rock band in the region on Reverbnation—one of the most amazing reasons I love Florida—the music venues are not geared toward original music. I thought it might be easier if we did our own spin on Glam rock. So I came up with the term, 21st Century Glam Rock. We can play the “tribute band” circuit.

Boys’ Entrance LIVE, cover of China Girl

Missparker: How did you decide which songs and artists to cover?

Tim Cain: Our new project is called, Bowie’s Entrance, and it is all music inspired by Bowie from the 70s, 80’s 90’s and 2000’s.

Missparker: What can we expect to see from Boys’ Entrance over the next 5 years?

Tim Cain: First up, we have a new live album called, “Boys’ Entrance presents, Bowie’s Entrance.” We recorded it this month live in a studio—12 songs in 5 hours and the band is astoundingly good. This is the 42nd anniversary of the release of “Heroes”.  So you know we had to record it. The result is amazing. It sounds so alive. All of the songs do. That is what this is all about- keeping the music alive! It is so good to hear it as an audience hears it. Thereafter, who knows? I am sure we will continue recording original music—I have too many sitting around.

Boys’ Entrance LIVE 2015, cover, All The Young Dudes

Missparker: What advice would you give to aspiring singers and musicians? How would that advice differ for members of the LGBTQ community?

Tim Cain: PLEASE, do it if it is important to YOU! Don’t do it for external reasons. Make it MEAN something. Content is key. As for the LGBTQ audience, I wrote music for them for 30 years. They never wanted to hear any of it because it was rock. We have always been more popular with straight audiences because they like rock. Oddly enough, our most popular song with straight audiences is “Mr. Sissy.” I don’t know if it is the novelty of hearing someone say those words, or the defiance in the song. I don’t suppose it matters. For some reason they love it.

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I’m very grateful to Tim Cain for his time and his gracious insight. Please get acquainted with, and show your support for Tim, Boys’ Entrance, and this wonderful musical experience.

www.boysentrance.com

www.reverbnation.com/boysentrance

80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Colony Three/Brian Dickson

(c) Brian Dickson

I’ve had the enormous pleasure of being introduced to the delightful electronic music of Brian Dickson, a.k.a. Colony Three. I was asked to review a collection of 10 tracks titled ErgosphereWikipedia defines the word ergosphere as “…a region located outside a rotating black hole’s outer event horizon. Its name was proposed by Remo Ruffini and John Archibald Wheeler during the Les Houches lectures in 1971 and is derived from the Greek word ergon, which means ‘work.’”

This listening experience allowed me to take a remarkable journey that I look forward to revisiting time and time again; I know that I will hear more and experience different sensations with each opportunity.

The first five tracks lull us as listeners into a sense of peace and well-being—a journey that is both pleasant and without a hint of danger. Suddenly, with the opening strains of “Bad Gram,” the mood changes and we are thrust into a metropolis of sights and sounds that are both confusing and terrifying. As the music gathers steam, we are subjected to the aural awakening of the “fight or flight” instinct.

“Random Sparks” brings us back to a safe haven, giving us hope that there will be no other dangerous interludes until we reach the conclusion of our travels. But, just as suddenly as we feel that sense of calm, we are reminded by the dire melodies in “Collider” that the dangers we face are still all too real.

In the end, the pace of the excursion slows down, the dangers melt away, and again we begin to feel that perhaps this odyssey will have a positive completion after all. “Winds of Elysium Planitia” puts me in mind of The Man Who Fell To Earth when we are given glimpses of Thomas Jerome Newton’s suffering family back on his native planet. The final track, similar in scope by looking back on the previous tracks, evoke feelings of  both relief and sadness—relief that the trip is over and we are still breathing, and sadness, because of a nagging feeling that the world will somehow be forever different.

I am so pleased to have had a chance to interview Brian Dickson to provide some first-hand insight into the origins of this lush collection’s creation. I hope you will enjoy reading what I learned about this man and what he has to say about his exquisite music.

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MissParker: I can sit here and list all of the influences that I hear in this brilliant music—from Brian Eno to Gary Numan to Underworld to Jean-Michel Jarre…but my opinions would be irrelevant. Let’s hear it from you–who are your influences and why?
BD: I’d say my biggest influencers are Tangerine Dream and Jean-Michel Jarre. In the early 80s I lived in a very remote northern town so my exposure to music was mostly through the one local radio station that played top 40 pop and country music. One day, I was digging through my older brother’s stuff and came across a cassette of Force Majeure, and listening to it was a life-changing epiphany. I’d never had an emotional response to music until hearing this. It wasn’t the harsh “bleeps & bloops” synthesizers that I’d heard in so many b-movies and radio shows, but instead an incredible audio landscape that took me on a fantastical journey. I became obsessed with finding more music like this and pretty much anything that pushed boundaries.

Thanks to radio shows like CBC’s “Brave New Waves” with Brent Bambury and CFNY (under the tenure of David Marsden), a whole new world of musical influence was made possible. Listening to bootleg cassette copies of CFNY played a large part in me moving to Toronto.

MissParker: I’m terrified of flying, but I do it out of necessity. Listening to “Approach” made me smile because it actually reminds me of the airplane’s approach to the runway for a landing. What is the true meaning behind that song?
BD: First, I love hearing about how you interpreted this song as it was always a dream of mine to create something that sparks the listeners’ imagination.

Certain sounds or songs create a type of visualization for me.  When composing, I often start with a single sound and build on it, twisting and overlaying a few other sounds. At some point a scene forms in my mind and I often end up naming the track whatever was in this imaginary scene. In this case I had come up with the album name “Ergosphere” and thought it fitting that this song would be the approach into the Ergosphere and beyond.

MissParker: “Indifference Waves” has a lovely build-up to the brief spoken word segment. It puts me in mind of Gary Numan when he was

(c) Brian Dickson

experimenting with techno in the 90s and ended up keeping it as his signature sound. Then it takes off into a fabulous confluence of electronics and raw drumbeat. I love that combination. What inspired it?
BD: “Indifference Waves” was born of a sample from a 1964 episode of Danger Man in which John Drake (played by the outstanding Patrick McGoohan) finds himself in a surreal village called Colony Three. Many speculate that this episode was the precursor to the iconic science-fiction series The Prisoner which finds McGoohan imprisoned in a mysterious village where everyone is known only as a number.

“Indifference” describes my interpretation of The Prisoner, which is the importance of questioning the status quo. I’m finding that naming the songs is almost as much fun as making them!

MissParker: There seem to be very brief, if any, breaks between most of the tracks. Was this collection meant to flow like a single soundtrack, or are the songs meant to stand on their own?
BD: Some of Ergosphere was composed with no gaps between the tracks, but I’ve found that some streaming platforms or audio playback software inject small breaks between songs. Spotify seems to play the album “gapless” while others are hit and miss. I’ve noted that artists like Jean-Michel Jarre now release large single track “continuous play” version of their albums to avoid this issue. I personally love continuous play albums as they seem keep the listener’s imagination and mood flowing throughout.

MissParker: I played a lot of Jean-Michel Jarre in the late 90s early 00s when I was a corporate trainer. I used his music specifically to soothe my classes while they were testing on the stuff that I’d taught them. I hear some of his influence in “Flight to Tadoule.” What is your take on Jarre’s music? Did he inspire you to create your own version of electronica and how?
BD: Jean Michel-Jarre is influential on almost everything I produce. In my opinion, Jarre has found the precise balance of classical composure and technology. His bold approach to musical and performance experimentation is inspirational. I was fortunate enough to go to Jarre’s amazing 2017 performance in Toronto and it was better than I could’ve ever imagined.

Jarre inspired me to start simple and build on it. If I ever got the chance to speak with Jarre, I always imagine that his advice would be “There’s no wrong way to do it.” Sometimes when working on a track I will literally ask myself, “What would Jarre do at this point?” which always seems to get me past the block.

MissParker: “Clearwater” has a remarkable intro that flows seamlessly from the close of “Flight to Tadoule.” It reminds me of a DJ making the perfect segue between songs during a radio broadcast. Were the two songs created in tandem purposely?
BD: Unbeknownst to everyone (until now) “Clearwater” and “Flight to Tadoule” were composed in memory of my mother and father. My mother lived her final years in Clearwater, a scenic town in the interior of British Columbia, Canada. Her last years there were the happiest of her life and it was always a pleasure to see her so happy there. One of my fondest memories of my father was when he took me on a flight in a Cessna to a very remote northern community called Tadoule Lake. I felt it fitting to have these songs sound very different on their own but also be somewhat connected.

MissParker: Up until “Bad Gram,” the songs seem to have a laid back and dreamy quality to them. Then all of a sudden we’re thrown into a random foot chase with pursuers hot on our heels. The urgency carries over into “Influence,” although not as intense. What brings on this change of mood?
BD: I really enjoy your interpretation of “Bad Gram,” and I think I hit the mark on this one! As the song was being composed, I started imagining a scene from a Michael Mann movie, like some of the amazing instrumentals that Jan Hammer had done for Miami Vice. After the lulling jazz-bar sounds of “Daydream on Pacific Avenue” I wanted to create an unexpected spike of adrenaline for the listener to snap them back to the rest of the album.

MissParker: I mentioned in the introduction how some of this collection reminded me of David Bowie in “The Man Who Fell To Earth.” My only complaint about the film is that 45 years later, the soundtrack (which Bowie did NOT compose) presents as a bit “cheesy.” Your music on Ergosphere, however, is as timeless as space itself. That said, did you have a “movie” playing in your head when you created these tracks?
BD: That is another really big compliment on many levels! I didn’t set out with a movie in mind for the overall album, and I think the timeless aspect is a result of a personal preference I have for simplicity in both the composure and instruments being used. My good friend Rob Stuart (of SLAVE to the SQUAREwave) and I discuss this philosophy at length, that so many of the timeless classics were created using equipment that was greatly limited by today’s standards. I believe these limits are what ultimately demanded the most creativity and best performances from the artists at the time. I used to think that because I had a 16-track recorder, I needed to make use of them all. (Maybe to get my money’s worth?) Now, my studio has the ability to mix and record over 1,000 tracks, but I generally use 10 tracks for most songs, which encourages me to focus on melody and dynamics.

(c) Brian Dickson

MissParker: Is all of the writing and production solely yours, or do you have people that you collaborate with?
BD: For my first album, I made a conscious decision to go it alone as I ultimately wanted to own the outcome and find my own groove, so to speak. I did the writing and recording over the course of a few months. While the composing and recording was the fun and easy part, I was really struggling when it came time to master the album. Mastering is the final step in the process where the entire album is stitched-together and balanced for harmonics and volume levels. I’m thankful for being able to lean on Rob Stuart for advice during this journey as he has decades of experience in music composure and production. These great conversations turned have led to Rob and I collaborating on some new tracks.

It’s early days but we are both really excited about the outcomes and are looking forward to sharing them.

MissParker: Do you perform live? If so, where can people have the pleasure of being enveloped by your music in a live performance?
BD: I haven’t spent the time yet to research live performance in this genre…I’ve simply been having too much fun creating the music! I think my gateway into live performance would be through that previously mentioned collaboration. It would be the experience of a lifetime no matter what the venue.

Missparker: Where can people sample and ultimately purchase your music?
BD: For the latest information about Colony Three and to sample new music in the making, visit:

Instagram (@colony_three)
Facebook page (https://www.facebook.com/ColonyThree/ )

Colony Three music is available on all of the major streaming and download services including Amazon, Spotify, Apple Music, Google Play, and YouTube:

Missparker: Thank you so much for taking the time to share your music and your thoughts with us.
BD: Thank you for your support and for such a thought-provoking and fun interview experience!

I love your site and what you’re doing for all artists both new and established!

Experiencing David Bowie Through His Friends and Former Bandmates

On Friday night March 15, 2019, my friend Sharon and I had the great pleasure of attending “A Bowie Celebration” at the Ponte Vedra Concert Hall in Ponte Vedra, FL. This was actually our second time in attendance, with the first exactly a year ago at the Plaza Live in Orlando.

I am so grateful that we decided to attend the event once again. Something felt a bit “off” last year–in fact, after comparing notes with fans who attended in Ft. Lauderdale a year ago, it seems the Orlando show was abruptly cut off, making it about 30 minutes shorter than the South Florida performance. It still rated very highly with me, and the line-up of musicians was brilliant.

The same can be said for this year’s performance. March 15’s show featured Mike Garson, Carmine Rojas, Lee John, Charlie Sexton, Earl Slick, Bernard Fowler, Corey Glover, and 2 wonderful back-up vocalists/percussionists Naia Kete and Imani Elijah.

Sharon and I arrived an hour early for the meet and greet, but instead of being bored, we met some wonderful new friends (Jana, Kiera, and a fashionable, very cool couple who drove up from Vero Beach), and Carmine Rojas came outside just to chat. He was warm and friendly and made us feel so welcome after a LONG (nearly 3 hours in traffic) drive.

When the time finally came, the VIP group (about 8 of us) were invited in for special swag (T-shirt, tote, pins, laminate badge and signed poster) and to witness the sound check. It’s hard to find the right words to describe the elation at seeing the band honing their craft onstage. These were people who had actually performed with David Bowie, or were super fans themselves who wanted to honor his music. We were allowed to watch the rehearsal/soundcheck for about 30 minutes. Then, Mike Garson and Carmine remained onstage as the others retired to their dressing rooms. I have to admit I was a bit disappointed, because I really wanted to meet Slick, Sexton, Fowler, Glover, et al. But the warm welcome we received up onstage with Mike and Carmine soon alleviated any feelings of disappointment.

After we had a chance to meet these two great musicians and have our pictures taken with them, we were ushered to the swag area where we were given a bonus gift–a limited edition numbered poster especially created for the concert in Ponte Vedra. It features a reproduction of the famous, iconic “Bowie Mugshot” from his arrest in Rochester, NY in 1976. I had it framed within hours of returning home and will treasure it always.

The show–here’s where it becomes REALLY difficult to find the words. Trying not to sound cliched by utilizing tired, over-used adjectives, and failing miserably– the performance was outstanding, fantastic, awe-inspiring, emotional, energizing, breathtaking, magnificent…it was everything the 300 or so in attendance could ever hope for it to be. I loved the fact that the venue was small and intimate. Because there were only a few seats placed along the walls, most of the group was up on their feet and dancing in front of the stage the entire time. I know I was–days later I can still feel the soreness–but it was so well worth it.

I have blogged before about how David Bowie saved my life. As trite and banal as that sounds, it’s the truth. To hear Garson, Rojas, Slick, Sexton, Fowler, et al perform the music that shaped my world over 40 years ago, and that still helps me to get through each day, was absolutely exhilarating. Bernard Fowler and Corey Glover did extreme justice to the songs they sang by making them their own and not trying to copy/imitate Bowie. Charlie Sexton and Earl Slick absolutely killed the guitar solos with Sexton’s added bonus of his beautiful and impassioned singing on several of the night’s songs. Lee John and Carmine Rojas were phenomenal in bringing their rhythm and bass expertise into each and every piece, along with Naia and Imani (and a guest percussionist who joined later in the performance).

And Mike Garson…what can be adequately stated about his obvious love of Bowie, his poignant anecdotes, his killer piano performances? I mean, seriously, this is the man who gave us the masterpiece piano solo in 1974’s “Aladdin Sane” that blew even Bowie away. Because of Mike’s genuine love of his friend, mentor, fellow musician, and maestro, we have the privilege of hearing Bowie’s music performed live in a way that I know is making Mr. Bowie himself smile, laugh, and dance up in heaven.

Thank you Mike Garson, and all of the accompanying musicians, for something I will cherish for the rest of my life.

 

80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Beverley Beirne

This is the epitome of stepping out of a comfort zone to do an interview about a genre of music of which I have nearly zero knowledge. But it is so worth it, I found, as I was sucked into a maze of woven sounds that seemed familiar, yet not quite….

(c) Stephanie De Leng

An interesting comment on my “About” page brought me to a website where I could listen to snippets of jazz-infused covers of 80s New Wave tunes. At once astounded by the prospect, as I thought about it further, I realized that there are very few “pure” music genres. Everything that we know to be a specific music style, e.g. Rock&Roll, New Wave, R&B, Hip Hop, Funk, Punk, Post-Punk, Industrial, Grunge, etc., has been built upon a foundation of musical DNA that has existed since the first cave man banged some rocks and sticks together.

There are many, many extraordinary artists out there who successfully infuse different sounds into their craft and the outcome is outstanding. Beverley Beirne is one who has taken quite a unique route by capturing a nearly pure jazz inflection and melding it flawlessly with styles inherent to the 80s, a very eclectic period to begin with.

Beverley has graciously indulged my wide-eyed interview questions about her style and her forthcoming collection titled “Jazz Just Wants To Have Fun” (or “JJWTHF” for short), scheduled for release on June 15. Please read on for an in-depth glimpse into a ground-shaking, axis-tilting artist’s craft.

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MissParker: What initially piqued your interest in Jazz?
Beverley Beirne: I was brought up with jazz in the house as my Dad was a huge jazz fan.  So it wasn’t unusual to hear Erroll Garner, Sarah Vaughn,or Ella Fitzgerald.  But my Mum was into Abba and 80s music, so I guess that explains this album a little!

MissParker: Who can you cite as your influences?
Beverley Beirne: All the beautiful singers I have ever heard I’m inspired by.  Coming from a classical background, I really appreciate the stamina of classical singers.  But, having said that, listening to Sarah Vaughn you hear that but with so much expression.  There are also so many amazing pop voices–Kate Bush, Kirsty McColl, Eddie Reader–these ladies have beautiful voices, but tell a real story too.

MissParker: Are you professionally trained, or does this beautiful gift come naturally?

(c) Stephanie De Leng


Beverley Beirne:  Yes, I trained classically when I was in my late teens and I did really love it.  It’s something I’ll always be grateful for this early time in my singing career, as I learned so much technically about the voice.  My only issue, for me personally, is that it’s really hard to be individual within the classical constraints, which is, in the end, what drew me into jazz and being able to really express my own individuality. Over the years, I’d say my voice has become more authentically me.

MissParker: You mentioned your mum was into 80s music. Is this why the 80s have a special meaning for you?
Beverley Beirne: This was the era when I was listening to Top of The Pops and heading into town to party at the clubs.  Definitely my party era! They were a lot of fun, these songs.  But you know when you really listen to them, there’s some great melodies and a lot of the lyrics are really fantastic. And, the singers back then–they were really great.

MissParker: What does your core audience look like?
Beverley Beirne: It’s mixed, depending on the venue.  Jazz does tend to attract an older audience, but saying that I get a lot of the younger generation turning up and this album especially is attracting a younger crowd.  It’s been a real education to me that kids in their teens and early 20s are really into this music–they actually know all these tracks really well!

MissParker: Who are your backing musicians?
Beverley Beirne: I’m incredibly fortunate to work with some fantastic musicians.  On this album, I have some of London’s leading dynamic young musicians; we have the hugely talented Sam Watts who is also my co-arranger on this project, Flo Moore on double bass, Ben Brown on drums and percussion, and Rob Hughes on sax, bari, and flute–all of whom I have the greatest respect for.

(c) Goat Noise Photography

MissParker: Are the interpretations collaborative with your musicians, or does someone take the lead and the rest follow?
Beverley Beirne: This album was in the making two years before I went to the studio.  I had a lot of fun choosing the tracks and trying to make them work. I then created lead sheets for them and figured out how I wanted to do them–I then went to London to work on the arrangements with pianist and co-arranger Sam Watts.  We both really felt we had something special after the first morning.  Sam then worked on the final parts/harmonies.  But saying that, even when we went into rehearsal prior to recording, we’re not a dictatorship, so we were both really open to what the band had to throw into the mix.

MissParker: Do you do original material, as well?
Beverley Beirne: This is something I do for my own pleasure, at the moment.  I’m working on developing my piano playing, which I’m really enjoying and this really helps with this.  I have a project I’m tinkering with and enjoying, but it won’t be out there for some time yet.

MissParker: How would you say that Jazz has influenced contemporary music (rock, new wave, post-punk, industrial, etc.)?
Beverley Beirne: Well, the blues influenced everything, especially jazz which started from the blues.  But it is really interesting to look at the flow of this into rock and pop and R&B. Contemporary jazz now is often a fusion of a variety of different styles, all informing each other, so it’s always great listening to the new vibes in London and in the North of England.  We’re really fortunate with so many creative jazz folks creating beautiful original music.

MissParker: Do you ever get any feedback from the original artists about your interpretation?
Beverley Beirne: I’ve been really lucky to have some feedback from Noddy Holder, Limahl, and Robin Scott from M, all of whom have been really supportive of the project. Noddy and Limahl have given me a couple of fantastic quotes to use, and Robin was really interested in how we managed to create his track, which is a real hip track on the album.  You have to remember that I’m a real fan of these guys–this is why I chose their songs, so to have their approval means the absolute world to me.

(c) Goat Noise Photography

MissParker: Do you have a favorite track on the forthcoming collection? What makes it so?
Beverley Beirne: This is like choosing your favourite child! I love Prince Charming ( I love the vibe with the hand claps); Bette Davis Eyes and the 5/4 vibe which is really great to sing against; Cruel Summer is a fantastic track and has always been a favourite; Waiting for a Man Like You, as I sing in a more gospel style voice I don’t always use; and I have to say Come On Feel The Noize, as this was the first interpretation that I did and had been singing at a Christmas Gig for four years. Because of the huge audience response to it, it was the seed that started me down creating a whole album of these pop interpretations.

There you have it—Beverley’s gift/my challenge to you: new musical territory to explore. Don’t miss this once-in-a-lifetime opportunity.

Visit: JJWTHF/Beverley Beirne website

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Jazz Just Wants To Have Fun – Teaser

Beverley Beirne – Cruel Summer

Beverley Beirne – Too Shy

80s Music Rules ~ Criminally Underrated Artists/Bands ~ Timothy P. Green

The Interwebs is a wonderful place—well, most of the time. What makes it wonderful is the world that opens up so easily that includes new knowledge, new music, new friendships, and so on.

I stumbled upon Timothy P. Green on Twitter. Through his daily tweets, he comes across as a likeable, funny, upbeat man, who also happens to be a passionate musician. You can’t help but follow his urging to sample his work, if only to see what makes this interesting guy tick.

Rather than take his music in little bits and pieces, I decided to look him up on YouTube where I found a comprehensive playlist. It’s a delightful package of tracks that seem to sum up Green’s array of music-making talent, complete with engaging lyrics that weave short stories the listener can relate to.

The joy that Timothy has for his craft is so evident in his music. It’s infectious and draws the listener in, even though it may not be of a preferred genre. If you feel you’re stuck in a comfortable groove and are looking to expand your musical horizons, Timothy P. Green’s creative streak is a great place to start.

Timothy P. Green

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Missparker: On your website, it says that you have been writing most of your life. What finally prompted you to put your music all together, record it, and market it?

Timothy: Time is movin’, keeps us groovin’ (laughs)!   I wasn’t getting any younger and Bradford Rogers my friend, producer, arranger, believes in me, so when I said I wanted to do an EP, he said “Let’s do a whole CD, and market it.” The rest, as they say is, Birds in your Belfry.

Missparker: You’re primarily a drummer, right? What got you started with drums?

Timothy: That is correct. I really can’t say why, though? My mother did tell me that I was always tapping on things as a baby and I assembled kitchen pots and pans into small kits, using wooden spoons as drumsticks. Somehow a drumset landed in my hands on my fifth birthday and I have played ever since. No one in my immediate family is musical. I just fell in love with drums and asked for new sets until I received my first professional drumset around 12 years old. That’s when I started playing in bands at parties, get-togethers, teen halls, etc.

Missparker: Have you supported other bands, or have you always been a “lone wolf?”

Timothy: Yes, and I still do. I started performing on drums as my livelihood around 18 yrs. I started out in traveling lounge/dance bands, then moved on to larger show bands, some with top names. This whole time while I was playing in clubs across the nation, I was writing my own songs on cassette tapes and then just tossing them in a shoebox and forgetting about them! I had no intention of being a singer/songwriter; it was just something I did for fun. I was content making my money just playing drums.

Missparker: Your current music is published as an album Birds Had Flown under your name, but you have other musicians who work with you. Who are they and what are their roles?

Timothy: Well, basically, the band is comprised of some of the best studio and live players based here in Atlanta. Several I have done performances with, others not. They are all awesome musicians and are all usually available for live gigs, when needed. The biggest credit goes to my longtime friend, producer, arranger, musician—Mr. Bradford Rogers. He and I work intrinsically well together. He has never offered up a bad idea, as we think musically alike for the most part. It was Bradford’s job as producer to get the best possible performances out of the various members that still conveyed the mood, feel, and intention of my songs. He also mixed much of the album in conjunction with Mr. Thom Kidd of Silent Sound Studio here in Atlanta. Thom is a gold and platinum engineer and a kind, talented soul. Between these two gentlemen and the smoking players, I couldn’t have asked for a better team and I am very well pleased with the results. 

Missparker: I hear so many different inflections in your music, from funk, to rap, to rock, to jazz…for me, it’s like trying to determine where a person comes from by their accent. Who are some of the major artists that have influenced your music?

Timothy: I grew up on classic 70s rock and pop music. Later I delved into jazz, funk and Indian Classical music. My first major influence was The Doobie Brother’s music. As I grew as a drummer, I started listening to Genesis, Rush, Supertramp, Bowie, more prog rock stuff. Then as prog rock started to fade out, I went to jazz music for my inspiration. I love Thelonious Monk, Sun-Ra—all of the old masters and inventors. I should also mention that I grew up half an hour from Montreal, Canada in New York State, so I always heard the best from the Canadian air waves, too, which included groups from Canada, France, Germany, Britain—the world basically. It’s funny, but many of the artists only sang in French or French Canadian, but it was killer music.

Other major inspirations come from my readings, and Eastern religious teachings. I had a long hiatus in which I studied the differences between soul, mind, and body. In some of my lyrics you will hear those concepts—OSHO, Gita, Joseph Cambell, Ayn Rand, Aristotle, to name a few. I’m surprised how many musicians fail to mention literature, poetry, and art as part of their influences when asked.

Missparker: Some of the tracks I listened to have female back-up singers, which adds another dimension to your already multi-dimensional music. Who are they and how did your musical paths cross?

Timothy: To be honest, they were recommended by Mr. Thom Kidd and Bradford. Those songs just screamed for background vocals, so we did it; same with the horn sections. Bradford would say to me, “I think you were hearing horns there?” Having similar musical minds, it was just, “So it is written, so it shall be done (laughs).”  All of the musicians are listed in the credits on the CD.

Missparker: I think you can tell that as a non-musician, I am fascinated with the nuts-and-bolts of music creation. When I think of a drummer, I think of the rhythm of a song (obviously), but I’m curious how you create a melody. Do you play other instruments, use a digital application, or do you hum a few bars and have someone else translate it?

Timothy: All of the above! I play very basic keyboard.  Melodies come out of the ether to me, usually as background music in dreams while I’m asleep, or in quiet states. I record those melodies singing the melody, then later make adjustments and form them into structured songs with either a real drum or drum machine. Lyrical ideas come last, in most cases, and are based upon my own life experiences, concepts, or sometimes they are just total fabrications, like you have seen in my Tweets (laughs).

Missparker:  You mentioned that you’re based in Georgia. I lived outside of Atlanta for about 6 years spanning the turn of the century (ouch, that sounds so old), and I remember the city as a hotbed of creative talent. Do you play live?

Timothy: Yes, I do both as TPG (Timothy P. Green) and as a drummer with different bands. I also record with different artists—anything that pays the bills and makes the muffins.

Missparker:  Something I don’t hear very often in contemporary music is flute. You use it very well in “Dreaming, #1.” In fact, it reminds me of a long-lost favorite, Jethro Tull. It’s such a great fit, I wonder if you wrote that particular song with that instrumentation in mind?

Timothy: I was up for anything, really. Bradford is the flautist on that and the song had a slight eastern flavor to it so…? If I recall, that was probably Bradford’s idea and yes, I like Jethro Tull—so why not?

Missparker: “Mommy’s Little Darlings” has a rap riff that’s so reminiscent of Beastie Boys in a light-hearted, hilarious way. Where did that come from?

Timothy: “Mommy’s Little Darlings” is a true story! You know—single musician, divorced girl, and several rather lively little children!  The rap-type riff was an attempt to make the song sound a bit more recent, as that was written around 1990! 

Missparker: I really had a blast listening to the tracks from your album Birds Had Flown. There is so much variety in styles, lyrics, melodies, instruments, that I think it’s a fair statement to say that the collection has something for every taste. What can we expect from you in the future?

Timothy: It’s hard to say—more of the same variety, or perhaps a concept album on one particular style and go with that? I have entertained the idea of a world beat album and an instrumental jazzy pop album, but probably will go with “Monkey Brain Stew” world beat, jazzy, punk, pop with a twist of lime (laughs)!

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Much appreciation to Timothy for his time and participation in this interview. Here are some links to sample his music, and support an artist that has a lot of talent to share with the world. Don’t just give this music a cursory listen; I have found that the more I listen, the more I hear, making it a really enjoyable journey of discovery.

The Official Timothy P. Green Website
https://www.timothypgreen.com/

Contact Bradford Rogers
https://www.themultimedianinja.com/

Cross That Bridge (Video)

Top Tracks – Timothy P. Green Playlist (YouTube)
https://www.youtube.com/watch?v=rlmbwnKillg&list=PLwz2a2nBdPG3ntdXbCTt47VvOtVTGy5yw

 

 

 

Happy Birthday Starman – 2018

(c) Mick Rock

I tend to measure my life in milestones–when Dan passed away, the subsequent annual memorial, and his birthday–and since that awful day in January two years ago, I’ve added David Bowie’s birthday and the day of his passing. Today marks what would have been David Bowie’s 71st birthday. Wednesday will mark the second anniversary of his death.

Today is a celebration. Wednesday will be a day of deep mourning and reflection. David Bowie did, after all, save my life. To many people, that’s a source of irritation–how can you mourn someone that you never knew? But Bowie’s fans did indeed know him. He was whatever we needed him to be–a mentor, a trail-blazer, a validator–he fit many, many roles for many, many people. That was the appeal that made him seem to be our own personal friend, family member, and yes, even lifesaver. He easily infiltrated our lives and we gladly accepted him, because he gave our wretched existences value.

Bowie fans understand. They do not judge. They accept every other fan’s reasons for loving a man that formed an important and necessary part of our lives. We don’t ask–we just nod with sage wisdom when another fan shares a Bowie story. It is the special brotherhood that bonds us. And we are blessed to be a part of this massive network.

(c) Sukita

Because we do not celebrate, mourn, or reminisce alone. We are a community that supports one another. This is an enormously important part of David Bowie’s legacy. Something that would have probably made him scratch his head in wonder, but something he would absolutely embrace and endorse, because he loved and respected us all. It was that unconditional flow of love back and forth that kept him in his creative game and kept us putting one foot in front of the other, even when we thought we wouldn’t make it through another day. He felt the strength and love that we freely gave back to him and it allowed him to complete two massive projects–a musical and an award-winning album–just weeks/days before his death. The “Lazarus” musical and “Blackstar” album were his parting gifts to us–the strength and love we collectively channeled to him was our gift back to him.

Happy birthday, Starman. There are no words to describe the love and loss, but please know that the love will be all-enduring even if the loss is nearly suffocating. One very important lesson we’ve learned from your own journey is that we can survive whatever life throws at us–even if it means living in a world that you no longer inhabit. And, we are comforted by the images and music that you left behind–until we meet again beyond the stars.

80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Robert Swipe

I’ve had the pleasure of “meeting” Robert Swipe on Facebook. I’m not sure what I did to merit the honor of an invitation to be friends, but I’m very glad he took a chance on me. He has a cutting sense of humor and a way of drawing in his followers to discussion threads by asking some very cool and offbeat questions.

Robert is a very gifted musician who encompasses many different styles throughout his music. His latest offering, an album of songs titled “The Most Beautiful Man In The World,” crosses many genres and brings me to the obvious question, “Who are your influences?”

I managed to ask a few more questions beyond the typical (and obvious) “influential” ones. Robert has graciously provided us with some very candid and insightful answers. Take a few moments to get to know this artist and treat yourself to his latest compilation of deftly woven and music-driven tales.

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Missparker: Mania has a decidedly 80s vibe/feel to it, with a bit of Beatles change-up thrown in for good measure. Can you share your influences for this song?

Robert Swipe: It’s an absolute pleasure to be here Sandy, and thank you for that wonderful build up. This one just came to me while I was doing the washing up and thinking about what a contemporary version of Beatlemania might be like–as you do! The tune for the chorus and the words came to me pretty much as one–which is a very pleasant rarity–so any influence is probably buried very deep in the psyche. But yes, I wanted it to be quite “Beatley” and I’d started listening a lot to T-Rex and realized how much of a Beatles influence there had been on Marc. I used my incredibly cheap (and bad) Rickenbacker copy on this one, hoping it would sound like George on A Hard Day’s Night but, as usual, I got more of a Paul Weller/Jam sound from it. So there’s an odd mix of 60s, 70s and 8os in the guitars. The verses I wanted to sound like sort of 80s post-punk/Rockabilly, so I’m pleased you picked up on that! This was one of the first songs written for the album, so I hadn’t that clear an idea of how the whole album would sound. But initially I’d wanted a sort of grungey, glammy, garage band sound…anything beginning with G, basically, would be an influence.

Lyrically, I was thinking of poor Amy Winehouse, who I guess was a victim of a very modern form of mania. I think her haunted figure was captured quite well on this. I think the Beatles were under a massive amount of pressure during the height of their “mania,” and they coped with it in very similar ways to Amy. But, I guess, crucially they had one another, whereas she was on her own. So for me, it was an interesting idea to look at how someone similarly talented as the Beatles could undergo a similar experience that was the context for such joyful and upbeat music in the 60s, but that ended so sourly and sadly for Amy. Where they were able to channel all that weird energy that surrounded them, she was ultimately destroyed by it. So I guess I wanted to examine how things have changed and how people similarly driven to be creative and make beautiful things could be treated so differently by such similar forces. And to do so in an upbeat, “Beatley” tune, gave it quite an effective dark irony, hopefully.

Missparker: Love the jangly guitars and overall feel on Deborah. Is that someone special?

Robert Swipe: Thank you! Yes, it’s very specifically about Deborah Harry. It’s probably the most autobiographical song I’ve written, actually. Many moons ago, when I was a teenager, Ms. Harry was not only the current but arguably *the* ultimate pop pin up. So this song is a fairly subtle account of that most intimate of relationships between idol and worshipper! I had propped my mattress up on a wardrobe or something, aping a friend of mine who had a mezzanine bed–hence the “elevated bed.” So, about 4 or 5 inches above my head was a massive poster of Deborah with which I had a brief but torrid teenage affair! There’s also a gentle foreshadowing of the theme of the ephemeral nature, not just of pop stardom but of existence itself that’s elaborated upon a bit more seriously in the next song–I like the idea of the poster aging in the same way we do, so she’s “all torn and creased” in poster and human form.

A strange footnote: the song ends with some “Frere Jacques” style singing in the round and the phrase “see her falling down” popped into my head as I was, I thought, just roughing out the end section. “I’ll do that properly with the real words later…” I thought. But it slowly dawned on me that I’d seen Deborah performing in London in the 90s. She was wearing the most colossal high-heeled shoes and at one point she evidently lost her balance and toppled over! So obviously my subconscious mind is a far better songwriter than I am! I had to keep it in after that, but what a great illustration of the way the creative part of us is often buried very deep inside us, and who on earth knows how and why it bubbles to the surface as it does?

Missparker: The track from the album title, The Most Beautiful Man in the World is a stunning, heartfelt tune. It begins as an ambient song and morphs slowly and deliberately into a beautifully orchestrated song.  Can you give us some insight on the origins of this tune?

Robert Swipe: Thank you, Sandy. My producer Doug Chay and I are very proud of this one. I think it’s the key song, really, which is why we decided to make it the title track. This is another one that I was very lucky with, really. I’d been thinking a lot about Marc Bolan and he’d been featuring very prominently in a lot of the Facebook posts I was seeing at the time; and, one or more of these might even have described him as “the most beautiful man in the world.” So I’d had that title in mind as something I could use, and the idea of Marc having survived the crash and living into old age just popped into my head one day when I was walking across the village green. It was, happily for me, accompanied by the tune once more.

So, it wasn’t so much written, as it fell out of the sky and into my grateful lap. Those are the nicest songs. Keith Richards describes that moment when they arrive as “incoming…” I think that describes it perfectly. This one really owes a huge debt to Douglas who somehow managed to carve a beautifully elegant likeness of Marc from the tangled mess of tracks I sent him. We were both also thinking a lot about Tony Visconti and his early work with both Marc and David Bowie, and I think this song is the fullest example of that. With masters like that, the apprentices can’t really go wrong.

Missparker: Speaking of Marc Bolan, Revolution brings me back in time (in a great way) to T.Rex…so, they have been a major influence in your music?

Robert Swipe: It’s really strange but before this project I would have called myself a T-Rex fan, and yet I realize now that I thought of them as being pretty much a singles band. It’s only really as part of this project that I’ve more fully explored Marc Bolan and his work. Even now, I think I only really managed to get up to about 1974, so incredibly prolific were they back in the 1960s–they were weighing in with a couple of albums a year, each with 13 or so tracks, barely any filler…astonishing to us now, in an era when people can spend several years producing…not much! So, to answer your question, no, probably not until now! This song is, as most fans of Marc will tell you, heavily indebted to a song called Beltane Walk. In fact, it’s a direct steal! But I figured, Marc was cool enough about his own songs to steal the lick from The Walk by Jimmy McCracklin for his song, so I can keep that fine tradition going a little longer and give it another spin on the karmic wheel.

With the very early T-Rex music, much as I love it, I must say that culturally it feels very far removed from my own musical roots. I got seriously into music at the tail end of the punk era and that was a very different scene! I have an aunt who used to go to watch the early Tyrannosaurus Rex and I have visions of a lot of people like her sitting cross-legged on the floor nodding into their Afghan coats. So, the key for my understanding the early, underground T-Rex music was really how much it owed to the music Marc grew up listening to which was, by the sounds of it, very early American rock ‘n’ roll, with which I myself was also more comfortable and familiar with. So, my fascination, I guess, is how Marc made something so ethereal, strangely beautiful and, I would say, very English out of such earthy US sounds. So Hot Rod Mama, the first track on the first LP, sounds in places like it was recorded at Sun Studios,but it’s a cosmos away from all that, too.

Missparker: Having lived in Georgia for a time around the turn of the 21st century, I have to say I’m amused/intrigued by the title of Georgia Peach. Have you ever been there and what prompted the title to the song?

Robert Swipe: (Laughs) Sadly not. I have some wonderful Facebook friends from Georgia, though and they’re always telling me how lovely it is. One day, hopefully, I’ll get to find out for myself. No, I was actually thinking about Little Richard, who I believe was referred to as the Georgia Peach. This song started out as an outright Bay City Rollers number that was going to be called ‘ILUVULUVMELUV’ (or similarly archaic spellings!), but Doug initially felt it was a little *too* Rollersesque, even though he’s a massive fan. So, I tried slowing it down and doing it more like Brian Wilson did California Girls, but it still wasn’t really right, so we left it on the shelf for a bit. At some point, bizarrely, I think I was doing the washing up again (you can see where the ley lines are in our house….near the kitchen sink), and I started thinking about the Ronettes and, at about the same time, Little Richard. I may even have been wondering if he was still alive! And for whatever unfathomable reason, I started singing ‘ILUVULUVMELUV’ the way Ronnie Spector would have, only I had to change the tune a bit to make it sound right for her. Then, I thought, “I have to get a tribute to Little Richard in here too, he’s brilliant,” and so, the Georgia Peach image came to me and that was the song complete.

I suppose what I was grasping for was to convey in musical style just how central an artist Little Richard was to a whole strand of theatrical and transgressive pop. He wore makeup, looked like he could be a drag artist, but could bawl like the furies and was, along with another favorite of mine, Jerry Lee Lewis, just the real deal as an artist and a person. I suppose if you think about it, you can’t imagine artists like Bowie and Prince doing what they did without Little Richard Penniman having broken the hard ground up a bit for them first. And I guess it’s my celebration of him still being here and guiding our way when so many others who’ve lit the path for us have now gone.

Missparker: Again, we have a song with a woman’s name as a title. Nancy is a heartfelt track about promises made and (presumably) love lost. Is this from personal experience? Where do you find the inspiration to write such deeply meaningful and personal songs?

Robert Swipe: Again, this is another vignette of the downside of fame and I had in mind Sid Vicious and Nancy Spungen. It sort of rounds off a suite of songs that look somewhat askance at the whole business of fame and celebrity. We’ve had songs about Amy, Deborah, Marc, and Little Richard, so it felt right to string them together when we were sequencing them. The only way I felt I could write about two ultimately quite tragic figures was through the kind of style that Bryan Ferry perfected around the time of Avalon. I felt that sort of clash between the quite stylized performance and the quite gritty subject matter might be interesting and I’m really pleased that you felt some real emotion came through it all. I think I’m quite detached as a writer, but I sing and play with quite a lot of emotion, so I’m never sure which aspect comes through most fully. I’m pleased it’s the emotion in this case. They were a sad pair, I think. Both in their own ways lived to be famous–at least, that’s the impression I got. And having got it, it killed them. Very sad.

Missparker: I love the 90s shoegaze feel of Twenty5. The bass is pronounced and a wonderful foundation for this song. Do you feel that the shoegaze era was a particularly influential era to some of your music?

Robert Swipe: I kind of missed out on the shoegaze thing, really. I can hear stuff from that period now and it sounds a lot better than I remember it being at the time. Are you thinking of bands like Ride and Lush?

Missparker: Yes, and Catherine Wheel, and so on…

Robert Swipe: I feel more akin as a writer to bands like Blur, who began probably on the fringes of shoegaze and I felt gave themselves a bit more room to spread out artistically, rather than being part of a short-lived movement. I’m not trying to do down the bands in that era, but I personally was zoning out a bit on contemporary music at that time, just a time of life thing where you start exploring earlier music a bit more as you have a bit of a “seen that, done that” feeling about contemporary music. What you start realizing is that it’s always cyclical and that everything always comes around again. So I might start telling people “there’s always been a shoegaze element to my music…” very soon!

I think I had Led Zep more in mind on this one. I had a drum loop that sounded like the kind of thing John Bonham might have played and just started riffing around that. The lyric concerns an imaginary South American girl who sits in her room getting drunk and stoned imagining she’ll set the world on fire then die before she’s twenty-five. There are worse ways to live, I guess. I’m sure she wouldn’t be the first person to take the lyrics to All the Young Dudes a tad too literally. But that’s been a real discovery–South America. Some very cool and lovely people down there who really know their rock and pop and what’s more they know how to treat a female impersonator (that last bit’s from Monty Python, if anyone else is old enough to remember them).

Missparker:  I do (laughs)! I love the orchestration of The World Will End. That brings me to the question…do you work with other musicians, or are the tracks solely laid down by you alone? If it’s a sole venture, I’m very curious to find out how you would take your music out on the road, if given the opportunity?

Robert Swipe: Sadly, I’m completely solo in terms of the playing, at the moment. Working with Doug, though was a big change and a completely beneficial one, so hopefully I can keep expanding and maybe one day end up with a real band…who knows? This one really was radically reshaped by Doug and showed me why it is so great to have a producer. It started out very much aping the song Five Years musically, as well as lyrically. But, Doug stripped it down completely to just the weird vibe part and a drum loop, and after scratching my head for a bit, I suddenly saw a new way of doing it.

My inspiration for the remake was very much Strawberry Fields Forever, with maybe a bit of Blue Jay Way in there, too. Again, there’s a clash between the subject matter and the style that hopefully opens things up in an interesting way. Again, I threw tons of parts at Doug, but he did a really great job as surrogate George Martin on this one, just letting each idea have its moment in the sun and making it a much richer and structured piece than it would have been if I’d been left to my own devices. But yes, I’d really love to put together a band and a show. I think between this album and Glam! there’s the makings of a really good rock show. Anyone out there play the bass….?

Missparker:  Hot Gossip and Beautiful Lie seem to give us intimate glimpses into your soul. Does songwriting provide a sort of catharsis for any major events that may be occurring in your life?

Robert Swipe: It’s odd, I do see myself as a very detached writer–a novelist, rather than a diarist, to use literary equivalents. There are a few autobiographical things in there, but they tend to just be used as accurate detail, the way a novelist might consult a notebook if they wanted to convey something vividly. But ultimately, I see my songs as imaginative explorations, rather than soul-baring autobiography. So, with Hot Gossip, the bit about the glockenspiel is something we did in a music lesson at school, performing a very ramshackle version of Revolution #9–quite! The black walls belonged to a friend of mine. I don’t, sadly, own a swastika garter myself, but there’s always time I suppose! There are oblique parallels with Pandora in the song, and the way I’ve chosen to present the music in a very glam and gender-bending style, I guess.

It probably is tough for people who know me to see all that as the charade I know it is, so I suppose they might be represented by the outraged parents in the song. I’m an orphan now, so a lot of my musings about my relationships with my parents probably comes out in these narratives, but it’s not something I consciously try to write about. I guess it’s the same in terms of the lyrics. You aim to paint a convincing portrait of the person or ideas that you’re trying to give voice to in the song–so I guess one should take it as a high compliment when people mistake what you’re doing for autobiography. But, to say all that makes it sound rather cold and calculating and I certainly don’t feel that way about my work; I am completely transported when I play and sing–well, when it is going well–and I put so much passion and emotion into the music and the writing. But, I think I express my inner being through the whole piece rather than just lyrically, if that makes sense?

Missparker: It does. I have to admit that I thought Glitterball (by its name) would be a disco-based track. Thankfully, it’s not. What does the glitter ball stand for metaphorically in this song?

Robert Swipe: (Laughs) What’s wrong with disco? But seriously, this is very much a composite song that started out in different form quite a few years ago, so it’s quite hard to pin down exact meanings. I guess with the glitter ball I was just thinking of that very late 70s, Debbie Harry singing Heart of Glass at Studio 54 sort of pop glamour. It’s something that has always been very alluring to me, I suppose, in part because it’s gone and is out of my reach now. Nothing is more alluring than what you can’t have. So, it’s the idea of someone being absolutely themselves in one brief glorious transcendent moment.

That’s contrasted with the quite desperate figure that’s painted in the verses; someone who’s very lost spiritually in a very dark and unforgiving world. That seemed to make a lot of emotional sense to me, and I hoped it would speak to other people’s feelings about the way the world is right now. I had in mind a very beautiful North African woman cast into a very dark and gothic Europe. But strangely, when I listen now, I have somewhere like Los Angeles in mind when I picture it all. Go figure. I also liked the way Marc Bolan would take very materialistic or rock ‘n’ roll imagery, and couple them with spiritual or esoteric concepts like Metal Guru, Cosmic Dancer. I figured it might be fun to explore that a bit more bluntly. So, the character in this song is looking for God in back street sex, etc. As you can see, I’m no Marc Bolan!

Missparker: The Spirit of Rock and Roll is a moody song. It also clocks in as the longest on this album. And, I love that you end the song with several declarations of love. What was the inspiration for this song? What do you mean by having the spirit of rock and roll?

Robert Swipe: Well, I think the spirit of rock ‘n’ roll is something I’ve noticed a lot across our Facebook groups and friends. People–some of my age group, some older, some younger–who were pretty much knocked for six when David Bowie died. I guess a lot of us have found out quite graphically, through the loss, how much someone like him and what he did when he was alive meant to us. So, I started wondering if that would be a good platform to try and build up a small community of people who’d all been inspired by that brave, questing, experimental music and visual style and to try and force myself to live up as much as I could to what I thought people who liked such music might expect from new music nowadays. As I was recording, I kept wondering whether it was still possible to use that style of music to do “big things” like bring people together and change the world. So, I suppose this album is my attempt to test the promises that 60s and 70s music made to me–and so many of us–and to see if new songs could ever achieve some of the cultural power pop songs once had.

One of the most exciting things for me from the Facebook groups was that there were a lot of young people who had sought that very music out and were experiencing it with the same force it once had for us. So, I guess this song is the most explicit example of that experiment–to see if you could write something as anthemic and generation-defining as, say, All the Young Dudes and whether it could have anything like the same meaning such a song might once have had for its audience. I can imagine precisely how ridiculous and over-reaching that sounds to everyone reading this, but I was genuinely curious! And, following on from that, I did definitely want to send out a message of love directly to the people I describe above–to say thank you for being there as an audience for me. It’s the first time I’ve been even remotely aware that I had one–and to suggest that, even if it’s only for the duration of this song, we can live out some of those old glories. And, of course, it had to be slightly tongue-in-cheek, otherwise everyone out there would think I really meant it!

Thank you, Sandy, for asking such interesting and thought-provoking questions. I hope I haven’t bored you too horribly with my rambling responses!

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It was absolutely my pleasure, and not boring, at all.

To experience Robert Swipe’s music for yourself, check out his music on the following sites:

Robert Swipe’s YouTube channel:
https://www.youtube.com/user/bobswipe/

To purchase his music:
https://www.robertswipe.com/

 

80s Music Rules ~ Criminally Underrated Artists/Bands ~ SLAVE to the SQUAREwave (interview with Colin Troy McPhail)

About 10 years ago, I was a novice listener of David Marsden’s live broadcast over the internet from a station out of Oshawa, ON Canada. His style and selection of music (mostly alternative 80s and current off-the-beaten-track tunes) had grabbed me from the first show I tuned into (thanks to a recommendation from fellow music blogger RalphD). One night, I distinctly remember being stopped dead in my tracks when a song came up that I had never heard before. I quickly shot off an email to Ralph asking, “WHO is that?” Ralph’s answer came back with an oddly-named group—SLAVE to the SQUAREwave—and a brief history of who, what, when…

The song at the time was “Sinners of Saint Avenue,” and from that moment on, I became a die-hard “Squarehead.” The melody, the lyrics, the singing…up until that point I had firmly believed that there wasn’t a singer out there that even came close to my longtime idol David Bowie. Well, holy cow, was I wrong! Here was Colin Troy McPhail, backed by the incredible musical talent of Rob Stuart, delivering the range, the pitch, the drop-dead gorgeous passion of Bowie, but with his own distinctive and personal flair. Thank goodness for me that RalphD was himself a huge “Squarehead” and happily pointed me in the direction of finding out more about S2TSW.

Since then, I’ve had the pleasure and good fortune to feature SLAVE to the SQUAREwave (Colin and Rob Stuart) several times here on Rave and Roll blog. Rob even interviewed me last March for his “The Mixtape Show” DJ slot on NYTheSpirit.com. This, however, is my first opportunity to interview Colin, the angelic and passionate vocal genius of S2TSW. If you’ve never had the privilege of listening to SLAVE, please give yourself that treat. They release their new album Jigsaw on November 10, 2017. It will be available worldwide on all streaming and music websites with an album release party in the works.

Maybe, just maybe, you’ll fall under their indomitable spell and become a Squarehead, too.

(NOTE: At the end of this interview, Colin and Rob have provided a free download of the ambient remix of “Starrs,” a beautiful and moving track. This particular mix is not available on the album Jigsaw that releases on November 10, 2017).

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Missparker: SLAVE to the SQUAREwave’s core musicians are you and Rob Stuart. How did you guys meet up and how long have you been making music together?

Colin: Rob and I met nearly 20 years ago at a rave in Oakville Ontario. He was playing his EDF (Electronic Dream Factory) music, and I was performing a project called Smokin Jehovah. We got talking and discovered that we lived close by to one another. We met up and jammed out some of our own music ideas and began a lifelong friendship through music.

Missparker: As someone who can’t hold a tune in a bucket (me), but is blessed with good ears, I am in awe of your tremendous gift of singing. I’ve mentioned to anyone who’ll listen that you remind me so much of David Bowie in style, range, and expression. Do you consider him an influence? Is there anyone else who has inspired you vocally?

Colin: Of course, Bowie is God (laughs). He is by far the greatest artist that has lived. But musically I’ve been influenced by what I call the Davids—Bowie, Byrne, Gahan, Sylvian, and Lee Roth—all my Davids have been musical influences lyrically, musically, and of course, showmanship.

Missparker: I have to say, after viewing a number of SLAVE videos on YouTube, I feel like I’ve missed out big time on your live performances. You seem to morph into all kinds of different and interesting personas. Are they inner characters that you allow to escape onstage? Do they have names?

Colin: (laughs) HAHA, good question…hmmm…The Characters are mostly influenced by the songs themselves. So performing live, the characters just add to the ability to make the songs visual, as well as lyrical. Live, it’s so much fun—hmmm…I’ve never thought of names—maybe I should (laughs)!

Missparker: I have to say I’ve thoroughly enjoyed my preview of Jigsaw. I’m full of questions, but I’ll try to contain myself and keep it to a bearable number! First, where did the name Jigsaw come from? And the delightfully fun intro “Debauchery”—does it have a particular significance?

Colin: This past year and a half has been a personal nightmare—from losing a job and getting transferred to a different job, which has been frustrating—to having my car stolen—to losing a great relationship (at least I thought was)—to losing my dear sister to cancer this past summer. Jigsaw is about the pieces I’ve lost and trying to put some kind of puzzle back in order.

Debauchery is an ode to musical theatre like Cabaret or Chicago. Just a fun sexy, sassy little number to introduce your ears with.

Missparker: No pun intended, but “The Coldest Night of the Year,” along with “Starrs,” absolutely give me chills. They are gorgeous: instrumentally, lyrically, and stylistically thanks in large part to your poignant delivery. What can you share about the source of the emotion behind the lyrics?

Colin: “The Coldest Night” was written around New Year’s Eve of this past year.  I was in a long distance relationship and because of the lack of physical intimacy, I just was overwhelmed with feelings of loneliness. Eventually we ended it a few months later.

“Starrs” is about my dear sister who died of cancer in August. Her middle name was Starr. We knew she was beginning to fade and her time was coming soon. Rob came up with this beautiful track—I was floored by its musicality—probably the toughest song lyrics to write. We finished the song before she passed away. It’s about seeing her again beyond death’s door. I never played it to her. She never got to hear that song. It was too painful for me to have her hear what I wrote—because it was about the inevitable.

Missparker: I’m so sorry for your loss. The pain that you went through is so evident in the music and lyrics. David Marsden has been playing “Starrs” as a teaser of sorts over the past few weeks. I remember thinking, “If the rest of the album is half as good as this, it’s going to be brilliant.” Well…it’s MUCH more than half as good, so “brilliant” is an understatement. Do you have a favorite track, and what makes it that?

Colin:  “Here Comes My Man.” It’s a hilarious true story of a grindr hookup gone bad.

Missparker: “Honest” has an earnest rhythm driving it from behind, almost reminiscent of island music. It’s not the first time I’ve heard this influence in S2TSW’s music. Is there a specific source that it comes from?

Colin: I love drop beats. Both Rob and I love ska music. Rob had a much more musical influence on that track. I had the acoustic melodies and rhythm, but he brought in the drop beats. It’s his genius not mine (laughs).

Missparker:  My ears perked up at the opening seconds of “Something That I Said.” Did I catch a sample of the sample (twice removed) from Eno and Byrne’s “Mea Culpa?” What’s the story behind this song?

Colin: I think you did. My God, good set of ears, my dear! The song is about offending and being offended by people’s stupidity (laughs). It’s such a simple Talking Heads-like rhythm. Gonna be so much fun to perform live!

Missparker:  And speaking of funk, “Something I Said” is one of several funk-laden songs on this (“Fink Fank Fonk,” “White Kids on Funkk,” etc.) that sound like you and Rob had a blast composing. Are there any musicians/bands that you can point to as funk-influential?

Colin: To me FUNK is the best music. It always lifts me up, and great to dance to. I think Nile Rogers is an absolute genius.  It’s about James Brown, George Clinton, Prince…I don’t know where to start. Funk is the biggest musical influence of my life.

Missparker: “Ascension” is a powerful song. It hints at a deep hurt and a request for a prayer that is both haunting and scary…almost as if you’re asking for help to avoid doing something you’ll regret. It’s well-known that music is a creative way to tame the demons plaguing one’s inner self. Personally, writing and photography are my avenues of sorting out what I can’t adequately express. David Bowie once said that his music was his way of avoiding madness. Do you find a similar comfort writing and singing lyrics—a catharsis of sorts?

Colin: Oh wow. You hit the nail on the head. It’s about knowing you’re about to do something wrong, but do it anyway—kind of masochistic.  If you listen specifically to one lyric it’s very, very masochistic. Music has been and always will be my therapist. I think every writer has demons and the best way to deal with is through writing about it.

Missparker: “Get Out Of My House” is a fun, beat-driven, chair-dancing tune. It’s another teaser that David Marsden has been sticking in our ears over the past few months. I love the whimsical video Rob put together for it. The story goes that you guys created this song from opposite ends of Canada, which is phenomenal. How important a part does technology play in music-making these days, and how has it changed the landscape of creating and producing music over the years?

Colin: Actually, 3 or 4 songs were written while I was in Vancouver with a now ex-partner. Rob and I bounced a whack of musical ideas from Toronto to Vancouver at the time. We share the same software, so I would record and send him the track. He would make his adjustments and inputs and return them to me. Back and forth.

Technology is amazing these days. It allows a lot of freedom, if you use it properly (laughs). It has totally changed music production, both in a good way and a bad way. Good in the sense that it doesn’t have to cost a mortgage to record anymore. Bad in the sense that today’s music sounds thin to me, at times. There is a lack of warmth in today’s sound because of over compression. But, that may be because my ears are getting old!

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As a special gift to all listeners, Rob and Colin have provided a free download of the full ambient mix version of “Starrs.” This version is not available on the album that will release on November 10. Press the graphic below to download your copy. 

Many thanks to Colin for his candid and heartfelt answers. To learn more about SLAVE to the SQUAREwave and listen to the fabulous music described here, be sure to check out the following sites:

Get Out Of My House (Video edit)–SLAVE to the SQUAREwave

David Marsden/NYTheSpirit.com Interview with Colin and Rob

Big Change (extended mix 2017)–SLAVE to the SQUAREwave

Sinners of Saint Avenue–SLAVE to the SQUAREwave

Hopeless Believers–SLAVE to the SQUAREwave

London Baby–SLAVE to the SQUAREwave

80s Music Rules ~ Criminally Underrated Artists/Bands ~ Glamatron (Rude van Steenes and Kurt LaPorte)

Timeless music doesn’t fade away. Fueled by the passion of its creators, sometimes it rises from the ashes to feed ears that are tired of listless, formulaic tunes and hungry for solid, genuine, and soul-thumping Music-with-a-capital-M.

Glamatron! was originally formed in 1981 by Canadian musicians Rude van Steenes and Kurt LaPorte.  Together they produced one Glamatron! album called Only the Heart Beats … Inside the Silence. There was one other album to follow that never, unfortunately, saw the light of day: Chrome Horizons. After Glamatron! was dissolved, van Steenes and LaPorte then formed Vis-A-Vis in 1984, which was nominated for two awards and won the 1987 CASBY Award for Best Independent Artist.

Prior to Glamatron!, Rude van Steenes was the front man for Canadian punk band ARSON, formed with guitarist Marcel La Fleur and highly visible in the Canadian and American punk scenes during the late 70s and into the 80s. Fast forward to 2013 when Van Steenes and guitarist Marcel La Fleur resurrected ARSON and released a blistering, well-received album called not always about you.

Now, it’s time for van Steenes and LaPorte to reintroduce Glamatron!. And what makes the reemergence of this album doubly exciting is, well, that it’s a double album. Not only is Only the Heart Beats … Inside the Silence back, the previously unreleased Chrome Horizons is now available as part of the package.  Add to this the influences that its creators point to: Bowie, Roxy Music, Lou Reed, Marc Bolan & T-Rex, as well as early Ultravox, Wire, and Magazine, and you’ve got a collection of music that will absolutely wow fans of early New Wave. DJ David Marsden has been giving solid airplay to various tracks from Glamatron! on his Internet streaming radio station NYTheSpirit.com, and they have been met with keen interest.

Rude has graciously agreed to be interviewed, and I am proud and pleased to re-introduce you to this wildly gifted musician and his music. I have enjoyed…and will continue to enjoy…Glamatron!’s recently reissued Only the Heart Beats and Chrome Horizons. I know New Wave/post punk fans will, too.

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Missparker: Thanks so much for taking the time to talk with us about Glamatron!. I think an obvious first question is, what inspired you to reissue Only the Heart Beats … Inside the Silence and Chrome Horizons? And, who were your partners in crime (other band members)?

Rude van Steenes: Thank you for the opportunity and for all the great work you’ve done in supporting and bringing new life to one of the most creative eras in music! It truly is a pleasure to see this music thriving so many years later while continuing to garner new interest through the great articles you’ve written on the bands and artists and your ongoing support.

So, the question was, ‘What inspired me to reissue these albums and who else was involved?’ Well, the reissue was something I had been dabbling with in my mind for some time. I always thought the initial recording, Inside The Silence, was a diamond in the rough in that it was recorded on an 8 track reel-to-reel deck in a basement studio with little-to -none of the studio enhancements available today. The songs were roughly fleshed out by Kurt (Laporte) on guitar and myself on synthesizers and drums; then, Rick (Krausminc) came in on additional keyboards.

We worked with several players including Max Hutchison on drums and Marky Haughton on bass. Although Max and Marky played together on the same tracks, both left together before the recording was complete. This led to Kurt playing both guitars and bass, Rick on keyboards, and myself on vocals, synthesizers, and percussion while Max played drums on 3 tracks, Ben Elfassey on one, and I played on 2 tracks for the finished product. I think we recorded it over two weekends, mixed it, and borrowed the money for a pressing of 950 copies and that was it!

The cover was designed by Anne Marie Carlson and the striking woman featured is a portrait of her mother. The layout was bold for the time; most akin to the European releases of that era which had appealed to us.

Although critically acclaimed, North American labels in general were not interested as it lacked, in their opinion, “commercial appeal” and was considered “ahead of its time” for their audiences. Remember, the Canadian industry was tethered to their American parent companies and, at the time of release, the popular markets played Eye of The Tiger by Survivor, Physical by Olivia Newton John and Ebony and Ivory by McCartney and Jackson, as well as artists John Cougar, Chicago, Foreigner, and Toto topping the charts in North America, so no one here could or would do anything for us. Although the European scene was much more in tune with our sound, we lacked the management and resources to market ourselves over there.

And that brings us to Chrome Horizons, the previously unreleased, three-quarters completed, follow-up to Inside The Silence. At this time, Kurt, Rick, and I were working on some ideas and were joined by Scott Matthews on bass and Rob Greenway (a.k.a. Brilliant Fish) on drums. At some point, Kurt dropped out, leaving the project guitar-less. This was, of course, a challenge I wasn’t anticipating, and it took a while to adjust ,too as Kurt, for the most part, was my song-writing partner; however, as I had the bulk of the lyrics and part of the music written, it was then up to all of us to complete the pieces in the studio.

We took on the song Call written by Rob and, after a few runs, it started taking shape. Scott’s fluid bass lines combined with the keyboard melodies and stylized vocals, gave the finished song its character. The rest (Intrigue, Photographs, Death In September, Art of Seduction, And We Who Dare) followed suit; however, this was another self-produced indie project and we were again in a financial crunch unable to continue. In fact, one track didn’t make it on the studio version (And We Who Dare), as it wasn’t ready. It is, however, included on the live version of the CD and Bandcamp download. What was salvaged from those sessions remained on master cassette tapes for better than 30 years before being re-mastered by Scott in his studio this year.

Finally, what brought this all to light this year was a message I received from my friend Jacek who has a label called Artoffact/Storming The Base. He was interested in Glamatron! and asked if he could do a re-issue of the original first record. I then told him about the unreleased 2nd album and live tracks and a deal was struck to put the whole package together. They did a wonderful job, packaged the vinyl in optional pink along with a great poster, and the CD has a beautiful little booklet and bonus live tracks, as does the download. Really impressive—their label also has an incredible roster of artists that I’m proud to be amongst—such great influences and talents. (Please see the links at the bottom of this article for more information).

Missparker: To me, it’s quite a shift from ARSON’s pure punk to Glamatron!’s New Wave. What was the reason for switching genres, and did you find it to be a natural progression?

Rude van Steenes: Well, for starters, I think musician, author, publisher Jaimie Vernon probably nailed it best in his description of ARSON:

“Though ARSON was shuffled into the First Generation Toronto Punk deck of cards, one listen to tunes like “Love On A Leash,” “Art School Fool,” “Social Eyes,” “Not Always About You,” and “Motor City Suicide” and 20/20 hindsight reveals that ARSON were/are actually a true-blue American Rock ‘n Roll band owing nothing to The Ramones and everything to Iggy & The Stooges, The MC5, and The New York Dolls” –  Jaimie Vernon, Musician, author, publisher (Canadian Pop Music Encyclopedia Vol 1 & 2, etc.).

So, ARSON was always kind of on the outskirts of the scene. For example, our third show was opening for The Dead Boys at the height of their initial popularity and that pissed off a lot of local bands who had wanted to do that show; however, it was the promoters’ decision, and although it worked out well for us, the resentment from other bands was never completely resolved.

Our shows were also more rock ’n’ roll than punk; being fairly agile performers, we would utilize stage lights, fog machines and experiment with different outfits and even characters. I took on every show as an adventure; however, towards the end of 1979, while playing some dates in New York City including Max’s Kansas City, I began to feel restless—restless to do something more creative, a different trip that would incorporate more diverse influences and, I think, we all saw that coming. Things were becoming strained between all of us, the road had taken its toll, the original scene was dying, and we were still broke and in debt. I needed to move on; ‘transition, transmission’ was my state of mind.

We came back home, recorded The Animals’ We Gotta Get Out Of This Place for the No Pedestrians compilation album, and all went our separate ways. Marcel and I were obligated to play a couple of gigs in 1980, so we picked up a few former players for those shows, and after two years of working closely together, we took a break for some 30 years!

At first, I began experimenting with different ideas under the ARSON banner. I found a guitarist I had known, recruited a bassist from another band, advertised for a keyboard/synth player and a drummer and put it all together. We did some of the old material, but focused on new songs and ideas; and at first, things went well. We played a few shows and started recording some demos. I brought guitarist Kurt Laporte into the band, but tensions began regarding direction and I began to sense potential problems that I didn’t want to deal with. So, I walked away from my creation, Kurt followed, and the remains went on to become Boys Brigade.

Immediately after, I started writing new material with Kurt and I came up with the name GLAMATRON!, which was the complete antithesis of ARSON. We wrote all new material and never once referenced the recent past. We were going to be new and different using our musical influences inspired by the UK and European music scenes. Transformation came quite easily, as I had already introduced characters into the previous band; however, this time everything changed dramatically from the music to the staging to the overall presentation. It was going to be more ‘theatrical,’ if you will, more along the lines of a hybrid Roxy/Bowie/Reed/’77 Ultravox-come-Stranglers affair. I wanted to change back from the stripped-down punky stage setting to creating a more engaging environment that rocked; and, the transition was so complete, that only close friends knew what was happening.

Having always written lyrics and vocals driven by a rhythmic feel from my drumming days and being influenced by a wide variety of jazz, blues, rock, and soul pioneers like Muddy Waters and John Lee Hooker, Elvis Presley, Frank Sinatra, Johnny Cash, Wilson Pickett, Otis Redding, the Walker Brothers, not forgetting  Bob Dylan, Van Morrison,  Joe Cocker, Jim Morrison & The Doors, Todd Rundgren, Peter Murphy, David Bowie, Iggy Pop, etc., etc., at the time, I felt the limitations of the genre that ARSON had become was somehow preventing me from exploring other areas. As much as I loved doing what I did, I wanted to do more.

Writing was always important to me; it was an outlet to express myself whilst defining the moments of my interactions with life and all of its trappings. I grew up with books; I’m still an avid reader with a couple of books-in-progress left throughout the house. Great writers and poets have always fascinated me, particularly when their stories have the power to hold you as if a spell had been cast and you can’t leave until that spell is broken or the story ends.

Writers such as Thomas Pynchon, Edgar Allen Poe, Philip K. Dick, Kurt Vonnegut, Harlan Ellison, Anthony Burgess, Christopher Isherwood, Rod Serling, and Martin Amis, amongst others, could transport you right into their scenes with such vivid descriptors that if you closed your eyes, you could almost feel your senses open to the experience you just read about. So many other wonderful writers—each one has its influences while the best ones leave their mark.

When I came into the music scene, the last of the Beat poets were rolling up their influences in the old coffee houses of Montreal. Allen Ginsberg, Tuli Kupferberg and The Fugs, Jack Kerouac, Lou Reed and The Velvets, etc., had all drifted through and left their mark. It was all good and hung over with hints of old-world/Beat romanticism lingering in the air, giving it a sense of creative freedom. Switching genres was not really difficult, but more of a natural progression.

Missparker: You mention some fabulous influences in the release notes. Can you expand a bit on the elements of some of these artists that gave helped life to Glamatron!? Was it appearance, musical style, a bit of both?

Rude van Steenes: Well, I’ve been musically inclined for as long as I’ve known; my first instrument was drums and I was self-taught. Within two years of practicing, I was playing high schools, parties, and special events. Life at home wasn’t great, and in 1967, I left home and went to the west coast, finding myself in San Francisco for part of the summer of love. That experience opened up so many different avenues in music, poetry, art, and film that it easily became the creative extension of the Beat generation.

While many of my then contemporary influences included The Beach Boys, Jan & Dean, Dylan, and Frank Zappa to Paul Butterfield to John Coltrane, the Velvet Underground to Motown to Miles Davis and on the British side, John Mayall, the Stones, Animals, Who, Troggs, Them, etc., they were now joined by The Doors, Hendrix, Janis Joplin, Pink Floyd, Traffic, Small Faces, Moody Blues, Cream, etc., and styles from American garage to psychedelia to glam incorporating Bowie, Bolan, Roxy, Todd Rundgren, et al. All of these influences impacted throughout the seventies and into the eighties, constantly regenerating and further exploiting the boundaries of creativity, which at that point, showed no limits. Rock and Punk had bred New Wave, Goth, Hair Metal, Nu-Metal, Industrial, and Grunge—all variations on a theme!

My personal tastes have always leaned more to the other side of the pond with exceptions, of course; but in general, there appears to be a greater appreciation for music and the varieties and styles seem to co-habit in more of a non-competitive environment in comparison to the North American artists. I’d love to go over there and play some dates—we’ll have to look into that!

So as a direct answer to “was it appearance, musical style, or a bit of both?” The answer would have to be a lot of both!

Missparker: I have to say, when I put the CD in my player, you had me at Passport. I love the marriage of guitar and synths. What made you include an instrumental, and particularly as the opening track? Were you making a statement?

Rude van Steenes: Passport represented a number of things to us as it starts the adventure. First, the sound—a joyous, up-tempo instrumental that signals a new direction. It starts with the synth drone and church bell that opens into a bass sequence before the guitar and drums kick in. The song evolves around Kurt’s guitar lead and builds with momentum as it progresses; timbales kick in, the tempo remains strong, focused as the guitar counter plays against itself until the final stanza when the drums double up to punch out the last notes followed by the synth drone from the opening coming back and leading into Facial Saviour. Second, as the title implies, this is your ‘passport’ to the rest of the record. And, you’ll notice that just as in the beginning of Passport, the pealing bell is repeated at the end of the closing track Porcelain Doll, after the shattering sound of the doll breaking, to signify the end of your adventure.

The record was planned that way in my mind, albeit subconsciously. It emulates the cycle of birth, life, death, and reincarnation while incorporating all the trials and tribulations, joys and sorrows that we encounter on our journey. In the end, we’re reborn; hopefully wiser, stronger, and better individuals as a result of our experiences and encounters. A passport is always a beginning to something, it never ends.

Missparker: Even though “a little birdie” had given me a heads up that Glamatron! was coming to David Marsden’s live stream, I sat straight up in my chair when I first heard Porcelain Doll on his show. My initial reaction was, “Wow—who’s this?” Is this the reaction that you were hoping for from other New Wave fans?

Rude van Steenes: Of course, but it always comes as a surprise that the song still has that kind of impact. Porcelain Doll was a song that was very carefully arranged from the opening strains of the toy piano to the ‘Gregorian-style’ chorus and the off-kilter guitar that drunkenly wanders throughout the song right down to the child’s voice in the song’s midst. The fact that we were able to incorporate all these tracks with multiple bounces and not lose too much clarity on an 8-track reel-to-reel deck was a bit of a miracle onto itself! As it was also the last track we recorded, there were glitches to overcome. For example, we were going to have a drummer for the session, but he cancelled at the last minute. So, I ended up playing drums. Time was also tight, so we had to scramble to lay down all the tracks and, of course, things never go as planned when you’re jammed. We had to level the toy piano samples as they recorded too “hot,” the guitar parts had tracking issues, finding the right “shattering” sound for the ending, etc., etc.; but, in the final hour, it came together. The first time I heard it 35 years ago, it took my breath away and I hoped it would do that for everyone who heard it.

Missparker: Death in September has such wonderful overtones of Bowie’s Berlin Trilogy days. Is that era of his music something that you found valuable to your own work? The reason I ask is because he took a trouncing in the press for his music during that period, but Glamatron! seems to embrace it fearlessly, without regard for critical backlash.

Rude van Steenes: Well, in all honesty, I’ve never written to appease critics and I’ve always admired and respected artistic individuality and integrity as part of the creative process. Lyrics, poetry, prose etc., are an extension of your soul, a diary, if you will, of experiences, encounters, and interpretations that you have witnessed and composed creatively into words. Every artist has their own ‘vision’ and license to explore and interpret in their own way, as to how they perceive the intricacies of life.

David, as we know, was a master of that process not only during the Berlin trilogy but before and long after as well. His poetry and lyrics from early on and throughout his career are, for the most part, shining examples of life experiences woven into a variety of musical fabrics representing every era, so many of which he himself helped create.

The song Death In September was originally titled The Word from the first record and yes, the dark influence was definitely intoned throughout that first album; however, I felt the original version could be improved upon, so we re-recorded it focusing on contrasting the lyrics with a pronounced dance rhythm and a heavier synthesizer track and it pumps so much better now!

Missparker: Personally, I’m drawn to the 80s for the very style that Glamatron! emotes. I think it’s safe to say this collection is very appealing to that generation of listeners. Do you think you have a market with the current generation of music consumers?

Rude van Steenes: I’ve always believed that markets are created and not necessarily by the talent alone, but by a number of factors that include radio airplay, video play, label support, a strong promotional team, and motivated management. With those initiatives in place, I firmly believe that audiences can be created for any genre of music.

Unfortunately, the North American industry has always been “trend” focused in that they would hold back and follow trends rather than set them. Once a trend was established, everything else was put on hold and that’s where the indie labels had some clout. With savvy marketing campaigns, smaller labels could pick up acts, record and distribute them accordingly, and achieve success.

Of course, the majors didn’t like that and started buying out a lot of the smaller labels and either taking them over or gutting them depending on the individual success of each. This totally backfired as the smaller labels had a better understanding of their unique artists and often had chosen talent over profit, something the majors couldn’t understand.

In the early nineties, the industry began suffering major setbacks affecting artists, labels, and consumers and their markets continued to shrink throughout the next two decades. Once upon a time, there was a thriving industry that was able to invest and nurture and grow talent and although it wasn’t perfect, it certainly helped a lot of artists throughout the sixties, seventies, and eighties. Money for investing and promoting, recording and support for musicians was available, and it was, for some, a great community to be a part of.

By the mid-2000s, we saw the decline of the rock star and the rise of the reality TV star, which implies it is basically only about the image. Music took a back seat. When people don’t buy music anymore, the record industry responds by promoting stars with a marketable image. That created image has to then fulfill an objective with commercial potential, thereby stripping out any artistic quality for the sake of sales revenue. In essence, many of today’s songs are not reflective of the artist, but rather carefully written lyrics and hooks assembled by multiple writers with the subject matter designed to appeal to the reality show culture. In other words, today’s pop hits are usually manufactured.

The industry today is almost non-existent, and why bother? With shows like American Idol, hundreds of people can “sing” and they all want to be stars. Why would an industry develop an artist when they have access to clones of today’s stars for nothing?

Do I think that there’s a market for the 80s sound with the current generation of music consumers?  Yes, because good music withstands the test of time and because audiences still seek out good dance music and the 80s had that in droves! We just have to have a solid fan base that can help sustain us in order to continue producing and recording our music.

Missparker: I love, love, love (did I say, “love?”) Call and Art of Seduction from the Chrome Horizons collection. The fretless Mick Karn-ish bass riffs and the Sylvian-esque off-kilter singing absolutely slay me. Was that a nod to the group Japan, or just a coincidental and fabulous collision of incredible sounds?

Rude van Steenes: Well, I would have to say both in this case! We’re all fans of Japan and I would be remiss in denying that there was some influence; however, Call was written by Rob (Greenway) and when we were laying out the track before recording it. Scott (Matthews) was experimenting with his fretless bass while Rob and I experimented with vocal stylings as a progression of the overall “GLAMATRON! sound.” The rest fell into place and we recorded it.

When it came to Art of Seduction, this was a little trickier as the song flowed around the vocal, which had actually started out as a poem I was writing influenced by a series of books I had been reading by Christopher Isherwood called “The Berlin Diaries.” Once we started playing around with some ideas, the lyric developed a flow. Scott again incorporated the fretless bass and the nucleus started taking form. I wanted to keep the background somewhat dark to contrast the bass and vocals and that’s where the notorious Prophet 5 synthesizer came in. I was able to layer several ghostly ‘creeper’ tracks that wove in, out, and between the vocal, bass, and percussion layers. There were other pads that I wanted to add to flesh it out a bit more, but time was a factor.

Missparker: There seems to be a distinct difference in sound between Heart and Chrome. The tracks on Heart are a bit more upbeat, where those on Chrome are a bit darker (and actually appeal to the Goth tendencies in me). What type of evolution had the band gone through to bring about that difference in style? Did that have something to do with not releasing Chrome when it was first made?

Rude van Steenes: Yes, there definitely is a distinct difference in sound between the two which was brought about by a number of mitigating factors. Following the recording and release of Heart, Scott came on board and we did our first live show at a place called The Domino Klub. It was a well promoted showcase; however, nobody, save a few close friends, knew who we were. There were no clues to the past (i.e. ARSON, etc.), and we decided that the less we say, the more intrigue got to play and it worked! The ‘intrigue’ portion played out on national television as a segment of The New Music show where reporters were filmed chasing the band to the dressing room without getting an interview—all in good fun!

It was shortly after that show, when drummer/percussionist Rob came into the picture joining Kurt, Rick, Scott, and I and we started thinking about recording a follow-up record. In addition, we were offered a television taping for a future broadcast. Once the taping was done, it was time to get back to writing.

I think that one of the primary differences in our evolution was that with the first album, Kurt and I wrote the songs and parts and the guitar was always there. Now, with two new fulltime members also contributing, somewhere in the process, Kurt seemed to sense a directional change that he may not have been comfortable with and took a break from the project. As some of the tracks had been written with Kurt’s parts, we had to change those with alternate parts and that was tricky at times. Everything was revamped and all told, Rick, Scott, and Rob did an incredible job breathing new life into the songs.

Other factors include the variety of influences we were affected by in the process of developing the GLAMATRON! sound. As an avid reader and observer, I’m always armed with pens and paper and usually end up with all sorts of scraps of paper with partial lyrics, ideas, etc., in my pockets. At home, I have at least 5 scratch books in different rooms for the same purpose. Scott, Rob and Rick would also gather ideas and throw them on the table; some worked and some didn’t, all parts of the puzzle.

As for not releasing Chrome sooner, there were still tracks to be recorded and mixed, final touches that we weren’t able to finish and like most indie bands, the money is always an issue. Although we were in a slightly better studio with a bit more money, it really wasn’t nearly enough to finish the album. As such, the project was shelved for almost 35 years. What you’re hearing was culled from cassette masters and carefully re-mastered by Scott in his studio.

Of note, one of the incomplete tracks, And We Who Dare was never fully finished although there is a live version on the CD and Bandcamp versions.

Missparker: Only the Heart Beats … Inside the Silence and Chrome Horizons is such a nostalgic trip for me. I just want to put on my dancing shoes, spray my hair up high, and go clubbing. Will there be more—in other words, would you be open to creating more music in the traditional New Wave style?

Rude van Steenes: Well, with the support I’ve been getting from fans, old and new, and of course from David Marsden and his nythespirit.com radio programs, as well as opportunities such as this wonderful interview with you, I’m encouraged and delighted that after all these years, the music and the sounds of that era are still very much alive.

Personally, I’ve never really stopped writing and I do have at least two albums worth of lyrics that easily would fit into that, shall we say, timeless style. Also, let’s not forget, GLAMATRON!’s “successor,” thrice nominated CASBY Award nominees and 1986 winners for Best Independent Artist, Vis-A-Vis!

Vis-A-Vis was actually the continuation of where GLAMATRON!’s founding members, Kurt LaPorte and I, were reunited. Bolstered by our mutual friend and current nythespirit.com host Rob Stuart on synths, along with Gene Burda on keyboards, Gord Baker on drums and Gene D’Onofrio on bass, you had the first version of that band! More on that for another occasion as there may be a CD release in the future.

So, back to your original question, I would have to say yes, there is material there and I’m working on it as well as scripting a video for Porcelain Doll. The hard part is finding like-minded people to collaborate with as many people involved with these projects have moved on and had families, careers, and other projects and pursuits. For example, on my end, I got together with Marcel and some old friends and reignited the band that preceded GLAMATRON!, ARSON. I’ve known these guys since the late 70s and we decided to have some fun and get together, do some shows, and release a CD.

Former GLAMATRON! bassist Scott Matthews works in theatre now in Stratford while former drummer Rob Greenway records under the name Brilliant Fish and plays in various bands. As for Kurt LaPorte, I understand that he gave up playing professionally years ago to focus on career and family. Rob Stuart went on to create EDF following Vis-A-Vis and I was quite honored to be part of his band as a vocalist and percussionist and a contributing writer to tracks on their first CD. Rick Krausminc survived both versions of GLAMATRON! and was a significant contributor to the GLAMATRON! sound. A very talented piano and keyboard player with a great sense of humour, Rick could easily defuse any tense moments. When GLAMATRON! left the room with Elvis, Rick went back to his DJing at clubs and built a successful career.

I should also like to thank Greg Baker, who in the beginning stages of the band, was there and really believed in the project and helped out with all the managing chores and contributed his energy and experience. Also a special thanks to Brian Masters for his contributions to the second album, Chrome Horizons. Playing with all these amazing musicians has been a privilege and something I would love to do again, as so much good has come out of those collaborations, so many creative ideas spilling over and birthing other ideas that flow like paint on blank canvases breathing life into a cascade of colorful notes and leaving something that spurs memories and good times, tears and laughter, love and loss, but always a time that sparks would fly and live dangerously in love with the creative muse.

Be sure to check out Glamatron!’s music and legacy music on the following sites:
https://www.facebook.com/Glamatron/
https://www.facebook.com/VisAVismusic/
http://www.facebook.com/arson.music
https://twitter.com/ARSONBAND
http://www.reverbnation.com/arsonmusic

80s (and Sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ WARD

(All photographs copyright (c) Elk Road)

Once again, it has been my good fortune to be contacted by a musician who is promoting his band’s music. I say “good fortune,” because when I pulled up Christopher Ward’s music to preview, the band had me at the opening bars of “Liars.” These hungry ears were fed a heaping helping of lyrical, melodic nourishment that makes them want to go back for seconds, thirds…heck, how about just plain binge-listening.

Christopher Ward

Everything that I’ve heard so far from the Los Angeles-based band WARD embodies the absolute best of pre-grunge, pre-shoegaze, post-punk power pop 80s. What a combination! It’s a more-than-welcome trip down memory lane, and a testament to the fact that great music genres never die—they just get re-purposed. Some artists are gifted to do that more successfully than others, and WARD is one of the best.

Christopher Ward was gracious enough to be interviewed for this article. Take a few minutes to get to know him and his supremely talented band, and put your support behind them to give them a much-deserved push into the spotlight.

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MissParker:  How long have you been making music in the L.A. area?

Christopher Ward: It’s been a whirlwind. I think it’s been six months, max…yeah, we’ve been a band only since Dec 1 (2016). A short time; we’ve played 14 shows for almost 1000 people.

MissParker:  Who exactly is the band and what brought you together?

Christopher Ward: Up until about a year ago (Summer 2016) I was a corporate vice-president for a global technology company working in the Empire State Building in New York City. I had played in many bands in the long-ago past, but had hung up on my dreams perhaps 10 years ago. For many reasons, I did what many people do, what they think they should, what will be safe, what will be secure. My life was increasingly successful, but also increasingly unsatisfying. One day I plopped down at my desk and flipped on my music player. The Joshua Tree came on Pandora and I just started crying. Bawling. Nostalgia is a greek word meaning, ‘the pain of a homesickness.’ In that moment, I knew surely that I wasn’t home, where I needed to be. I had forgotten for many years, until that moment, how much I wanted to play rock music, was meant to play music, and how much my heart yearned to be back home: writing music, singing, and performing on stage.

I left New York last summer and got a place in Culver City, CA. I wrote most of our songs in a couple of weeks over the summer…they all poured out quite fast. In late fall, I started putting ads out on Craigslist and a few other places. It was tough sifting through the respondents, but I ended up with a great band that has come to be WARD: Darren Edwards on drums, Karim Elghobashi on bass, and Mauricio Munguia playing guitar, along with me signing and playing guitar. WARD played our first show Nov. 30, 2016 and haven’t stopped since.

WARD @ Lexington Bar (Feb 2017)

MissParker:  You mention in your promo that Echo & The Bunnymen, The Smiths, and The Stone Roses are all influences. I think that’s just the tip of the iceberg, so to speak. I actually hear a bit of early U2 and the British band Ride, among others. Who else do you feel has influenced your music?

Christopher Ward: It’s so funny, everyone seems to have a different take on who we sound like; everyone from The Ramones to Ryan Adams. The early 80s (80-85) has been a target for me, simply because that’s where I’m starting and it’s where I have been harkening back to for a more raw, earnest and live rock sound that I feel is missing from L.A. stages. Tom Petty was the first artist I adored, and always will: His defiance of the establishment and the music industry itself. His songwriting, melodies, and chords are very apparent to me in my music, even if the ‘sound’ is quite different. I love the swagger of The Doors and Echo and the Bunnymen. But more than any other band, I will always adore the ambitious hopefulness U2 continues to dare to bring to music. No band is cooler at being uncool; and yes, their sound is certainly a thread through everything I do.

MissParker: I’m really curious as to what makes a contemporary band go “retro.” Not that it’s a bad thing—on the contrary, I love the trip back to what I feel is the world’s best era/genres of music. But you have veteran musicians like the late, great David Bowie who made it a point to keep pushing forward, pointedly avoiding the past. And another favorite of mine, Gary Numan, has been very vocal about his dislike of being funneled into “nostalgia acts,” preferring to evolve instead of looking back. Yet, as a contemporary band, you do it very well. Why?

Christopher Ward: I adore David Bowie. And in fact, he described himself as a “tasteful thief,” and admitted he would steal happily from other genres, artists and histories. Bowie would be the first to tell us we should readily take ideas from other places, as long we create something unique with that material. The live and raw ‘sound’ from early 80s music, the idealism and arena ambition is incredibly inspiring to me right now, amidst a quite polished and subdued indie rock climate, especially in L.A. I aim to create something new from the known. While WARD is starting with these sounds, I know we will end up someplace else. Our best music is yet to come, and I have no idea what that will sound like. I admit that I started this band on a note of nostalgia, and am happy giving overt nods to the bands that started me down this road. That said, I’ll definitely keep borrowing to make it my own.

WARD @ TRIP (DEC 2016)

MissParker: Who writes the lyrics? Do they deal with a central theme, or are they born of a current state of mind?

Christopher Ward: I write all the lyrics. Love, drugs, and sex cover the themes of many of my favorite songs. Right now, I’m more inspired by introspection about our life choices. Many of the songs have a ‘carpe diem’ sentiment: why we so readily choose safety over the love of our souls, why we are lulled into thinking we have time to waste. I suppose in that way my lyrics obtain more to the introspection of 90s grunge: apathy, confinement, and freedom.

MissParker: I always have to ask this, as trite as it sounds; but as a writer, I’m naturally curious: which typically comes first, the lyrics or the music?

Christopher Ward: Music comes first. Always. I work better as a sketcher than a planner. I think the tone of the songs write the lyrics. I have a book of words I am always looking to insert into great melodies. I’m always trying new things, so that may change some day.

WARD @ Silverlake Lounge (Jan 2017)

MissParker: I know traveling is a huge expense, especially when you have to drag equipment along with you. I am of the (possibly mistaken) impression that cross-country bus trips are turning into a thing of the past.  Do you play anywhere outside of the L.A. area, or do you solely rely on the Internet to get your music out worldwide?

Christopher Ward: We have over 30k fans online, who watch videos, purchase music and give us great feedback. But while the Internet is a powerful thing, nothing will replace live show experience. Live videos can work well to reach more people, but still, the reality is that videos are a sad replacement for the real live show. I think that’s because there’s a very real aspect of theater that goes along with live music: what is special is the moment and space shared between artist and audience. This can’t really be replaced with video. We are still quite new, but very hungry for festivals and live tours outside the L.A. area. And I’m very thankful for your interview with me today. Hopefully, press and interviews like this will help us to connect with the right professionals and start playing outside of L.A. very soon.

MissParker: Your site mentions that you’ve recorded an EP and that the full album is coming soon. When do you expect that to happen?

Christopher Ward: Oh, well good news! Since we first chatted, the EP is now live and available! You can download for free or pay any price you want for it here: http://ward.band/ep. Enjoy!

MissParker: I have come to know a lot of musicians who spend every waking moment trying to get their music played and heard by others. It takes a certain amount of bravery to throw all that you have behind your craft, to the exclusion of everything else. What motivates you to do that?

Christopher Ward: After too many years of my life spent trying to do anything else, giving it my all doesn’t really seem like a gamble anymore.

MissParker: I’m sure we haven’t covered nearly enough territory in this brief interview to give a full picture of the creative force behind WARD, and its ongoing journey. What else would you like to add?

Christopher Ward: Simply to say, that the world needs more people to live the life meant for them and to be who they are, instead of the lives others want them to be. I can certainly thank Bowie for that sentiment, and finally, I feel I am doing my best to live that life. Right now, I think all of us in this band are that, more than anything. It was truly a pleasure to connect with you. Thank you.

~Resources~

Website

Get the EP

Facebook

Instagram

Velvet Walls: Official Featured Video

Live Concert Video Footage

Link to more Videos 

Life Without David Bowie

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Photograph (c) Mick Rock

It’s hard to believe that it will soon be a year since David Bowie passed from this world into the next–nearly as difficult as imagining, back on that darkest of days in January 2016, what the world would be like without him. Well, we’ve all since gotten a taste of life without Bowie over these past 11+ months, and it hasn’t been pretty. In fact, the whole of 2016 was very much like a poorly behaved child who acts out when he doesn’t get what he wants.

Oh, 2016 you’ve gotten way more than you deserved.

print_bob_masse_resized_2

Bob Masse limited edition giclee

For me, the past year was spent stuffing the recesses of my empty life with music and memorabilia; a futile search for something to make me feel all warm and fuzzy inside–for the psychological spackle that would fill the huge gaping holes in my soul. I busied myself replacing original Bowie vinyl with CDs, building a humongous digital playlist to play over and over, day and night, in an effort to soothe the inner pain and immense feeling of loss. While that helped a tiny bit to take the edge off of the all-consuming grief, I continued my quest for peace by acquiring (somewhat) affordable artwork to display throughout the house, and am currently toying with dedicating a room (my home office) to all things Bowie.

I’m obsessed, much like I was several decades ago when I first discovered this incredible being who made such an impression upon me that it led to the life-altering decision to clean up my act and become a productive part of the human race. A small cog in a big machine, perhaps, but I didn’t end up killing myself, which is what my abusive habits would have surely yielded. And the ultimate prize was being smacked upside the head with the fact that it was OK to be “different.” Not only OK, it was downright cathartic. All because of one impossibly talented and other-worldly creature named David Bowie who flounced into my life on red patent leather platform boots, dressed in the finest of glam, and adorned with the most exquisite make-up palette ever. Even when he eventually eschewed the glam accoutrements, and let his inner Bowie shine brightly, he was always a vision of beauty, peace, and artistry untouched by any other.

tattoo_finishedI’ve spent hundreds of hours poring through YouTube videos, watching classic David Bowie performances, interviews, and cameos and collecting photographs from the Internet. I’ve invested in limited-edition artwork heralding Bowie’s physical beauty, in an effort to always remember him in a perfect light, frozen in time. My first-ever tattoo, inked last May, is a Ziggy caricature along with Blackstar, signifying the “beginning” to the “end.” I even brought Ziggy Stardust photographs to the nearby hair salon and asked for a Ziggy-esque shag. I’ve not yielded quite yet to the ginger color, but that may be achieved in the not-too-distant future.

Even though I continually strive to acquire Bowie-related “things,” something is obviously missing–because I still feel like shit. I felt much the same way when my husband Dan died over 4 years ago, and I should have known from experience that it never does get better, no matter what the “cure” appears to be. But, I honestly thought that with Bowie the hurt would ease up much faster because, after all, I didn’t know him personally. Or perhaps I did–more than I could ever have imagined.

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Photograph (C) Jimmy King

David Bowie laid himself open, raw and uncensored, physically and spiritually, for all to see and to share. He let us glimpse into the darkest reaches of his soul through his music, his numerous interviews, his recollections, his personal relationships, his vast collections of books and art, his collaborations, his frustrations, his passion, and his unequaled genius. We all knew him intimately, because he allowed us into his life. It was a bit of a shock when he backed away from the spotlight for nearly a decade, but we also understood, because he made us privy to how much he loved his family and wanted more time with them. The only thing he decided not to share with us was that he was dying. Why? Only David Bowie knows for sure, but I think he wanted to spare us, and him, the worry and despair that such news would bring. Instead, he decided to throw himself into everything he had the strength to tackle, and allowed us to go along blindly and naively with our own lives, without the burden of opening the news each day to see if the end had come.

So, when it came, it hit us hard. We weren’t prepared. But even if we had known, it still would not have prevented that huge, sucking hole that opened up in the universe and swallowed our Starman, catapulting him out of our lives and into a dimension that we, the living, can never fully comprehend. He may be physically gone, but his legacy lives on–through his vast music catalog, his images, both video and still, his band mates, his friends, his family, and of course, through us, his devoted fans.

And, I’ll continue to build my own personal collection of Bowie memorabilia, knowing fully that it will never make me feel completely whole again; but also understanding that if I can’t have the flesh and blood Bowie in my little corner of the universe, the tangible mementos of his brilliant life will just have to do.

80s (and Sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Neurotic Wreck

Anyone who has followed this blog over the years knows that I have a huge soft spot for 80s alternative music, synthesizers, musicians who think outside of the box, and sultry British voices. When Marilyn Roxie (founder/creator of net music label Vulpiano Records) asked me to review Neurotic Wreck’s latest compilation, I must say I hit the lottery on all counts.

Dan Shea (small)

Dan Wreck

Neurotic Wreck is the wildly successful cumulative and solo efforts of musician Dan Wreck. He is a one-man battering ram of musical and lyrical genius. The variety of styles ranging from electric-folk to synthesized electro could be a holy train wreck (pun intended) in the wrong hands—but it works flawlessly on his superb album called “Glow Ghosts.”

This wonderful collection of tracks transported me back to such tremendous musician favorites as Underworld, Jesus & Mary Chain, Depeche Mode, Kraftwerk, and a short-lived but fantastic group called Ashengrace.  There’s even a covert reference to a well-known Gary Numan song, but I am not going to spoil the experience by disclosing which one. The tracks are relatively short, extremely captivating, and arranged in such a brilliant way that the segue from one to another keeps the listener glued to the playlist. And, the fun part is, the artists I’ve named here are by no means the complete list of influences that the listener will identify.

Marilyn

Marilyn Roxie

The best way to introduce you to the up-and-coming artist Dan Wreck (a.k.a. Neurotic Wreck), along with Marilyn Roxie, the backbone of his label Vulpiano Records, is to share some questions that I asked both of them. As this post goes to press, the intended release date for “Glow Ghosts” is July 14. This is a must-have for any 80s or even contemporary alternative enthusiast, and may be purchased via pay-what-you-want here:
http://neuroticwreck.bandcamp.com/album/glow-ghosts

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Sandy Missparker (SM): I’m going to show my hand up front and admit I was blown away from my first listen. You had me at “The Wakeup Call” which was, indeed, a wake-up call for me. Typically, I’m a bit skeptical when first asked to listen to a new (to me) artist’s work, but that all went out the window pretty quickly, once the playlist got rolling. So, I’m curious: how long has Neurotic Wreck been making music?

DAN WRECK: As Neurotic Wreck, I’ve been doing this since 2011; steadily putting out collections of songs compulsively to a deafening silence, a name known to literally fives of people. I’ve been in bands from an early age, though (as most artists worth anything have been, I know). There’re other projects I’m involved with, but it’s not fair to elaborate on those, (because) if I do that people’ll go “Oh Dan obviously came up with this bit” if they like what I’ve done here, and quite often the things people pick out as me having contributed–I haven’t!

SM: I clearly hear some of my favorite 80s artists influencing your music. I’d love to hear from you specifically who it is that influences the direction of your music, and what attracts you to theirs?

DAN WREurope's Missing SonsECK: Here’s where I get to be tedious and nerdy!

You already picked out the Numan thing, and like recognizes like there: one autistic monomaniac has to recognize another. I first heard Numan as a teenager and went on about how great he was to very disinterested friends. Prince is another big influence on me, another case of like recognizing like; not that I’m as technically gifted as him, but like me he was an androgynous, sexually ambiguous weirdo and artistic control freak. Also from the 80’s there’s New Order, as you’ve likely picked up from the tracks where I’ve shamelessly stolen Peter Hook’s style of playing bass. On the subject of bass, there’s also Barry Adamson: stuff like Speak In My Voice and After The Quiet sort of bear his imprint. As well as having played with many of my favorites at some point, his solo stuff manages to be soul and jazz influenced while still being very North West English; and let’s not forget the North Will Rise Again.

Then outside of all the obvious synth-pop stuff, loads of 60’s girl group records like I Never Dreamed by The Cookies, immortal solid gold pop; the drama and the melody in them is what sticks with me. Scott Walker for similar reasons. Rowland S Howard, undoubtedly, lingers over everything I do, but I could drone on about him forever (and in an article on Dennis Cooper’s excellent blog which Google have in their infinite wisdom taken down for no reason, I do). Coil is another one; I’m not sure it’s apparent from Glow Ghosts, but Jhonn Balance is a similar spectre pacing through things I’ve written. Maybe it’s apparent from Rune Cloud and some of the more esoteric lyrics.

Mixtape

MARILYN ROXIE: Here’s where I have to chime in, because it is Dan’s influences that I shared as favorite artists, both literary and musical, that caused me to pay more attention to his music submission, which was from an email he’d sent to my old music blog A Future in Noise back in December of 2012 with his Leave Tonight – Mixtape Side 2. Not only that, but the way that he is able to integrate it all together with his own personal style instead of the hopelessly derivative way that some artists do–that’s what really impresses me. Our mutual love of Coil and Dennis Cooper were initial conversation topics and I immediately invited him to also release material on my netlabel Vulpiano Records, which I don’t ask everyone. Vulpiano is really my own little curated paradise of independent and unsigned artists who I really love; and now Dan and I are together actually as a couple, as well, so it is very exciting to be able to work together more closely on what is happening musically.

SM: I have a deep fascination for single artist “bands” (and even duo-artist such as Underworld) who create such intricate orchestrated melodies. What does your studio look like and what types of instruments/devices do you use to develop your music?

DAN WRECK: My studio is basically wherever I’ve plugged in my digital 8 track recorder: it’s a Boss BR-600, and basically all I do is record on that, then export the tracks onto an old Window XP desktop with the Reaper Workstation installed on it. There I mix, add effects, and sometimes add software synths into it; but most of the sounds come from an electric guitar with 4 strings, a bass with 3 strings, a Novation synth with a key missing, and an old drum machine. Most of my equipment is at least cosmetically broken. Being able to afford more expensive equipment would be great personally, but wasted on me because I’d just dither around with it trying to make cool sounds rather than writing songs. I have to work within limits.

SM: In order to take your music out on the road, would you be willing to train other musicians to play various parts, or is it something that you could reproduce live as a solo act? Is live performance even something that you would consider doing?

DAN WRECK: Live performance is something I’ve done with other projects and will continue to do so because I love doing it. But as Neurotic Wreck, it’s quite unlikely, frankly, for the time being. Never say never, but for now it’s not on the menu. I don’t see the point of getting other talented people in and then getting them to just play what I ask them to when they may well have better ideas than me. So, if it does happen, then it’ll most likely be me doing it solo. That said, who knows? It’s under the name “Neurotic Wreck” not “Dan Shea:” it could, down the line, become more of a band. It has been, briefly, in the past.

SM: What got you started making music initially? Did you wake up one day and say, “I’m going to be a musician,” or did a specific person or event set you on that path?

DAN WRECK: Well, I’ve been around music from a very early age: my dad is a very talented songwriter, so it’s probably in my blood. I didn’t set out to be a musician or a songwriter; in fact, sometimes, to be quite honest, I wish I wasn’t. I wish I could be one of these people who’s happy just to be a consumer, rather than a producer. Ignorance is bliss, after all, but that’s not the way it worked out. In fact, for quite a long time I thought everyone could do what I do: being autistic, as I’ve mentioned, I just assume everyone can write songs or play an instrument, because if I can do it, it must be easy! Then I’ve spoke to people about it and they’ve looked back at me like a dog being taught a card trick, so it’s only recently sunk in that I may actually be quite good at all this.

SM: How would you classify your music? In other words, does it fit neatly into one genre, or does it span several different types?

coverDAN WRECK: I’ll give you a short and a long answer

Short answer: Just call it post-punk; no one knows what it actually means, but it’s an accepted bit of terminology. And if you say “post-punk,” people just nod and assume you know what you’re talking about.

Long answer: I don’t think it fits neatly into one genre, but I don’t think a lot of music does. There’re so many genres out there and they exist more as a marketing thing than as any remotely helpful guide to what you’re actually getting from the music. I’d say genre is more the domain of the gate-keepers, if you will: journalists (who I like) and publicists (spits over shoulder and crosses self). It spills over a bit but I’d say mood is a more useful way of categorizing music than genre tags. It is for me, anyway. To each their own.

MARILYN ROXIE: Post-punk makes a lot of sense as a descriptor…also, experimental synth, a dash of neo-folk that goes counter to people’s expectations around that genre as it can be overly anti-fascist. I do agree that it isn’t necessary to think of genre when he can do so many different styles with ease.

SM: It’s not unusual for artists to evolve their musical direction over time, but there is an evolution of sorts that happens in the span of the 13 tracks of this one dynamic compilation, a la David Bowie. Was that intentional?

backcover

DAN WRECK: It may have been intentional, but it wasn’t my intention. I got Marilyn to order the tracks because I think if you’re looking at something as an album rather than purely a collection of songs (important distinction even if it is an irrelevant one for many people these days), then the order is incredibly important. You’ve just mentioned Bowie, so a case in point would be 1.Outside: at the end of what is a fairly heavy-going album, especially from a multi-platinum megastar, there’s “Strangers When We Meet,” which is one of his most moving songs and even more effective because of what it’s come after. If it had been in the middle, as an individual song it’d still be wonderful; but the right sequence of tracks, as someone who still believes in the album as a viable format, is utterly crucial.

MARILYN ROXIE: I’m obsessive about playlists so I spent a lot of time working with Dan’s tracks to get the order just right. I always knew that I wanted “The Wakeup Call” to be the first track and “Tell Me What to Swallow” to be last, but finding the right ebb and flow of the softer and punchier songs was a challenge and I’m glad the flow came through in the end. Many of these tracks are from totally different recording periods.

SM: What is the hierarchy of lyrics and music—for example, do you write lyrics and then formulate the music to enhance them, or is it the music that gives birth to the lyrics?

DAN WRECK: It changes from song to song, really. If the song has a definite purpose, then it’s usually the lyrics come first: “One Skin Too Few” is something very personal about my feelings on gender and also the treatment of the mentally ill, and “Speak In My Voice” is about these same themes. They both started from lyrics. “After The Quiet” became something very personal, but that started from the descending melody line after the lyrics are sung in the choruses and expanded outwards.

SM: The label behind the promotion of “Glow Ghosts” is Vulpiano Records. I’ve had the pleasure of knowing its founder, Marilyn Roxie, for about 7 years now, thanks to the magic of the Interwebs. Marilyn, you are an extremely gifted keyboard artist in your own rights, but you seem to get a lot of satisfaction promoting others. Can you give us a little background on what makes Vulpiano Records (and Marilyn Roxie) tick?

Vulpiano RecordsMARILYN ROXIE: Vulpiano started off just as my idea of having a place to host exclusive content from independent and unsigned artists that had submitted to my old music blog (A Future in Noise, now on a bit of a hiatus). It isn’t always easy promoting yourself and throwing your content out there and hoping for the best; in the past few years, a lot of blogs have ceased to exist and only the super-popular remain, so the whole landscape is really different than it was in the late 2000s as well. Creative Commons and places to host free and legal music like Internet Archive and Free Music Archive have persisted, however, and there are a lot of exciting online radio and podcast platforms. I’m always searching for ways to share all of the great music I have gathered up.

Vulpiano is really representative my personal taste and artists I have become friends with that I think are really interesting across genres and want to show to other people, though experimental, electronic, and folk tend to predominate a bit. I do have plans to do another album of my own, which I’ve not put out since 2009 with New Limerent Object, but it’s taken me awhile to really figure out where I want to go with my own music. I am gravitating towards drone and shoegaze a lot lately, but I don’t want to just copy my favorites. I am a little too hard on myself, like many musicians. I enjoy seeking out new and exciting material so much sometimes it is hard to stop and actually go back to doing my own music! I am also involved in video art now and thinking about ways to combine that with my own music. I’ve been making videos for other people, including Dan, so I may want to make an album that has a music video for every song, or something like that. I am really interested in doing something multimedia, at any rate, but I’m not entirely sure of the final form just yet. I hope to do this late this year or early next.

SM: What can we expect in the future from Neurotic Wreck (and please don’t say it was a one-off—that would be SO disappointing!).

Dan Wreck

DAN WRECK: Well, after the huge stream of free releases over the last five years, I’m finally charging for something: Sandalphon, which will be out on Small Bear Records on the 22nd of September, the Autumn Equinox. Sandalphon is something of a genre exercise; two years ago when I recorded the bulk of those songs, I started investigating the genre of neofolk. Again, as I said earlier, this genre tag is just a convenient way of linking things with a similar ethos together; but that influenced Sandalphon an awful lot. Although, not to worry, there’re no banjos on it, the guitars are still plugged in, there’s still lots of synth, and the drums are still as mechanized as God intended. So that’s what’s coming up next. After that, who knows?

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So, there you have it. I can’t emphasize enough the brilliance of this album, “Glow Ghosts,”, and urge you to add it to your music collection. The beauty of creative genius is that it keeps our lives interesting, gives us a positive outlet as listeners, and promises us always something exciting to look forward to.

Further information at Vulpiano Records and alternative stream and download options as Internet Archive, Free Music Archive, and Mediafire are here: http://vulpianorecords.com/post/147400571616

Other relevant links:

Vulpiano Records
http://vulpianorecords.com/
https://www.facebook.com/VulpianoRecords
https://twitter.com/vulpianorecords
http://neuroticwreck.bandcamp.com/

Neurotic Wreck – Funeral of Roses
Music video by Marilyn Roxie; premiered at Artists’ Television Access in San Francisco:

Marilyn Roxie and Neurotic Wreck – Obsidian Offerings
Tribute video for Jhonn Balance for CHAOSTROPHY exhibition at LUDWIG in Berlin:

80s Music Rules ~ Criminally Underrated Artists/Bands ~ Nu Shooz

(I’m so excited to share my interview with the 80s funk group Nu Shooz. John and Valerie are funny, warm, interesting, and downright amiable–an interviewer’s dream. Sit back and enjoy their journey that began nearly 40 years ago, and promises to continue on for many more rollicking years to come.)

nushooz+80s

Valerie and John circa 1980s
Photo Credit: Nancy Bundt

New Wave music of the late 70s and early 80s consisted of many sub-genres. The influences were abundant and varied, and creative experimentation ran high. I firmly believe that’s what made 80s music so unique—the fearless attitude of its trailblazers (David Bowie, Gary Numan, Kraftwerk, OMD, Blondie, and Roxy Music, to name just a few), which ultimately opened up endless opportunities for others to carve a niche in one of the most exciting and downright brilliant music periods.

One such sub-genre is a retro funk sound, brought to light by artists such as Yellow Magic Orchestra (fronted by Ryuichi Sakamoto), Scritti Politti, and P-Funk master George Clinton. New Wave funk was born of a unique marriage of jazz, soul, urban, and synthesizers, and was a successful antidote for those tired of, or (in my case) resistant to the emergence of disco.

In the midst of heady experimentation, a group of 12 creative artists from Portland OR formed a band called Nu Shooz in 1979. They released their first album, Can’t Turn it Off in 1982. Subsequently, they scaled back to a group of 7, and worked hard performing and traveling for several more years before signing with Atlantic Records, finally landing on both the R&B and Billboard Hot 100 charts in 1986. The single that cemented their success is “I Can’t Wait.”

“I Can’t Wait” – Nu Shooz official video:

Jump ahead to 2016. The husband and wife team of Valerie Day and John Smith, founding members of Nu Shooz, are taking their group (consisting of previous, original members) back on tour to promote their latest offering, “Bagtown.” They have graciously agreed to an interview, which unfolds below.

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Sandy Missparker (SM): Of course I have to ask the question that you’ve most likely answered about a bazillion times: Where did the moniker “Nu Shooz” come from?

JOHN: “The Beatles” was already taken.

SM: Who first inspired you back in the late 70s?

JOHN: I was lucky to grow up during the Motown era. First became aware of Soul Music around 1965. It was an exciting time in music, with every next record outdoing the last. But it wasn’t until 1970 when I first heard Hendrix that I decided to become a musician. After that, I got a guitar as soon as I could. Hendrix turned out to be the gateway drug that led me to Jazz. After Hendrix came John McLaughlin, and that led to Coltrane, and that led to Charlie Parker.

VALERIE: I was barely out of high school where, in the art room, we listened to a steady stream of ‘Tapestry’ by Carol King and ‘Blue’ by Joni Mitchell – still two of my favorite songwriters. Then it was on to learning how to play latin percussion instruments – which meant I was listening to Puerto Rico Allstars, The Escovidos (which included Sheila before she became Sheila E.) and Celia Cruz. But it really felt like I’d come ‘home’ when I picked up a Sarah Vaughn/Count Basie big band recording. Her voice and the arrangements just knocked me out. Turns out jazz was my gateway drug to Motown and R&B. My love of dance and the amazing voices – Aretha, Gladys Knight, Chaka Kahn – pulled me in and have never let me go.

SM: How did you become interested in a music career?

JOHN: At first you’re just trying to learn to play. It wasn’t till the mid-70s that it started to look like a career. I moved from L.A. to Portland Oregon and fell in with the Latin Jazz community. There was a band called Felicidades, and they had Horns! Got bit by the arranging bug, and that band let me write horn charts before I really even knew how. After that, I was pretty much hooked.

VALERIE: I always knew I wanted to become an artist of some kind. I studied dance for 10 years – from age 5 to 15. But the practical side of my teenage mind told me I’d probably have a longer lasting career in music than in dance. My mother was a world class opera and classical singer, so I NEVER thought I would become a singer too. In 1982, when the lead singer in Nu Shooz started missing gigs, I came out from behind the congas and became the lead singer for the band.

SM: How many people were in the original version of Nu Shooz and where did you find them?

Nu Shooz 2015 Photo Credit: Mike Hipple

Nu Shooz 2015 ~ Photo Credit: Mike Hipple

JOHN: In ’79 we started out with four people. I wanted to do Temptations and stuff like that. A year later we added four horns and three backup singers. Then we were on our way. The horn players came from a Sunday night rehearsal band that played at the musicians union hall; the Walter Bridges Big Band.

SM: How did you find your way into the “funk” side of 80s music?

JOHN: Well, before it was 80s music, it was called 70s music. It was a natural progression out of 60s soul, through Latin horn bands to Tower of Power. In the 80s I loved Rick James. That’s what we wanted to sound like, Rick James with horns by the Puerto Rico All Stars!

VALERIE: Right!

SM: What transpired throughout all of the years that Nu Shooz went “silent?”

JOHN: We raised a son. His name is Malcolm. Best thing we ever did. Valerie sang jazz with Big Bands and small groups, played sessions as a percussionist, and taught voice lessons for 20 years. I fell into a great gig writing music for commercials. It was all hard work but lovely too. Something different every day. After all those years just writing for the Shooz, I was ready to write some string quartets and do some heavy metal shredding.

SM: What was your motivation to craft a new collection of songs for release?

JOHN: We put the live band back together. By the end of the summer, we were getting real tight. And we needed new songs to play. So,

Original cover artwok by Malcolm Smith

Original album cover artwork by Malcolm Smith

on October 27th 2014, we went into the studio and started the record that would become Bagtown. We’re gonna spend exactly a year-and-a-half on this. That means we’re gonna be shrink-wrapped on April 25th 2016. AND WE MADE IT! With a deadline like that, you come in focused, decisive. We were determined to have fun too.

SM: Tell us how you came up with the new title for your latest creative effort?

VALERIE: When John went out to our studio to start writing for the record, he began by writing a classical piece. Nope! That’s not quite it! Then out came a couple of psychedelic songs. Hmmmm….that’s not it either! Undeterred, the next time he went out to the studio he found himself making a bag puppet out of a leftover paper sandwich bag. Soon there were more ‘bag people’, and buildings, and cardboard signs and trees. The studio was taken over by a town full of paper bags! I’d say to him, “Hey – how’s the songwriting going?” “Pretty good.” he’d say. “I made a few bag puppets today.” The bags became his buddies in the studio. They were having a party and the party needed some music. So he wrote 33 song sketches. Nine of those ended up being on the record.

“The Making of Bagtown”

SM: What main genre of music can we expect from the new album? Does it deviate much from where you left off?

VALERIE: “Bagtown” goes back to the earlier days of the band before synthesizers and drum machines, emulators and remixes. It’s an homage to the late 70s, early 80s soul, funk, vocal harmony heavy music we were listening to and in love with. Earth, Wind, and Fire meets Steely Dan and have a love child with the Tom Tom Club.

SM: How do you anticipate touring and promotion of your new album to differ from the way it was done “way back when?”

VALERIE: On the one hand, without a label and an army of people to get your music on radio, distributed in record stores, and pitched to magazines, TV and newspapers, it’s tough to get noticed – especially with the tsunami of new music being released every day. On the other hand, we have a stronger connection to the people who love our music the most; it’s a direct relationship that we weren’t able to have with our fans back in the day. We just finished doing a crowdfunding campaign through Pledgemusic that was a blast. Being able to take our audience along for the ride was super fun. As writer/artist Austin Kleon says “Show your work…” as it’s being made. “Way back when” we felt isolated and like we were creating in a vacuum. That is definitely not the case today.

SM: What challenges (if any) do you face transforming what you’ve created in a studio into a live performance?

JOHN: I wish we could afford fifteen people. Then we could make this music as big and as free as it could be.

VALERIE: The good news is that all the musicians who contributed to the recording are in our live band, so they know these tunes inside and out now. It’s so refreshing for all of us to have new material to play. Playing live and studio recording are two COMPLETELY different animals. It’s been really fun for us to bring these songs to life visually for the stage.

SM: I know it’s probably too soon to tell, but do you think there will be future Nu Shooz releases and tours?

VALERIE: John and I continue to tour with 80s shows like The Super Freestyle Explosion, Lost 80’s and more, plus we play with our full 8 piece band whenever it pencils out financially (which at this point means shows close to home in the Pacific NW.) We never imagined that we’d be performing and recording as Nu Shooz again. This feels like it’s one of the best time periods in our creative lives – so who knows? We’ve learned to never say “never.” As long as people are interested and want to hear more, we’ll keep creating and performing.

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In closing, I’d like to express my sincere thanks to Valerie and John for candidly sharing their thoughts on originally forming back in the late 70s, taking a “break” from the music world, and making the decision to dive back into the limelight with panache and gusto. Their enthusiasm is highly contagious.

For an informative bio of the band’s history, check out this highly entertaining article. In addition, do yourself a huge favor and explore these additional resources to learn more about this unique and creative band:

Website:  www.NuShoozMusic.com
Facebook:  https://www.facebook.com/nushoozmusic/
Twitter:  https://twitter.com/NuShoozMusic
Instagram:  https://www.instagram.com/nushoozmusic/

Bagtown is a family production. John Smith wrote the music, Valerie Day performed, and their son Malcolm ( www.malcolmsmithartist.com) provided cover artwork for the city of anthropomorphic brown paper sacks.

“Point of No Return” – Nu Shooz official video: 

“Should I Say Yes” – Nu Shooz official video: 

 

How a Starman (David Bowie) and a Hero (DanBH) Validated My Life

David-Bowie-1974Nearly four months on, and I am still trying to grasp the concept of a world without the physically comforting cosmic genius of David Bowie. But, that’s nothing new for me. It has been 3 years, 8 1/2 months since my late husband Dan passed, and I’ve not really moved on from that. Sure, I’ve changed jobs (and subsequently returned to my original company), moved residence, resumed most of my creative interests…but the grieving process seems to be stuck. It must be the stuff I’m made of.

One thing I’m usually very good at is blocking the bits of my past life that are dark, desolate, and decidedly depressing. David Bowie’s death dredged that stinking muck back up and forced me to confront it head on. That wasn’t necessarily a bad thing, because now I’ve been able to let go of a lot of repressed anxiety born of stuffing ungodly visions deep down the memory hole. But, it was a thousand times more painful than satisfying.

Thirty-five+ years ago (a lifetime for many), the lifelong feelings of being a misfit in an un-accepting world reached a head. I found an artificial way to cope, which involved ingesting large amounts of illicit substances. The chemical cocktails made me perceive the world to be a place where I actually fit in, felt productive, and gave me a sense of purpose. Little did I know (or want to believe) that the sense of purpose would end up being a daily visceral drive to find new heights of chemically-induced bliss. The miracle in all of this is that I lived through it. That’s where Mr. Bowie comes in.

With no Internet at my disposal back then, I received music news in bits and pieces from magazines and Bowie_smile_3television (MTV was in its infancy stages). I “discovered” David Bowie late-70s and just prior to sinking to my lowest point. I remember reading a story about how he had been in a similar mess, but had the stones to walk away from it and clean up his life. Not only was he creating and delivering superior music, he was having a ball finding himself, a quest that would end up being a lifelong journey. I so admired his strength and his ability to slip seemingly effortlessly through the world; not as a knock-off wanna-be clone, but as himself. Decidedly misfit, but happy in his own skin.

I started sleeping in front of the stereo, Bowie vinyl platters piled high, listening through huge headphones, lulled to sleep by endless stories of struggle, (at times) defeat, and redemption. His poetic verses described cold, unfriendly worlds, damning events, uncaring accomplices, herculean trials–but they always had a glimmer of hope, a glimpse of light at the end of the tunnel, and a sense of purpose in a chaotic world unsympathetic to those who refuse to walk lockstep to the boringly predictable drumbeat.

Bowie_Serious_1Eventually, I, too found the stones to walk away from certain self-destruction, and into the light of the satisfaction of knowing that yes, I’m “different,” but it doesn’t matter what the world thinks of me, as long as I somehow make the world a better place for others. That’s really what it’s all about, isn’t it?

I had a setback a decade later, following a divorce and entering into an abusive relationship. Bowie’s music was forbidden in the new household, lauded as “fag crap,” and only the Rolling Stones (I wonder if Mr. Sensitive knew that Mick and David had had a dalliance) and ZZ Top were allowed. Thank God I had the presence of mind to hide away and hang onto my Bowie vinyl. I remained in that nightmare of a relationship for 5 very long years (queue up Bowie’s “Five Years” here) until I met the second hero of this maudlin story, my late husband Dan. But sadly, I had lost touch with Bowie’s world. I knew he had gotten married, and was still making music, but not much more beyond that. I had been too busy trying to survive by not poking the hornet’s nest.

Dan_Christmas_1999With Dan, another of life’s misfits and a kindred spirit, came a sense of renewal. Not only had I been given a second chance, but now a third, and I was not going to muck it up. He was truly my soul mate, the one that my bad choices put me on the right path to meet. He, too, was a Bowie fan, but we both were bogged down with work and trying to stay afloat financially. We moved from FL to GA and then back to FL, all in the span of 6 years. Life was busy, and something was wrong with Dan’s health, so it became challenging and a balancing act that consumed most of our free time. David Bowie suffered a heart attack in 2004, and Dan had his in 2005. Along with Dan’s attack came the grim news that he also had a rare and incurable vasculitis disease called Churg Strauss Syndrome. The two heroes in my life were forced to make life-altering decisions at almost the same time.

I made it my quest to ensure the remainder of Dan’s life had a note of quality and dignity. He died August 21, 2012 after a courageous struggle. Part of me died with him, but I am convinced his spirit walks with me, overseeing many of my decisions and helping me through the rough spots. David Bowie started releasing music a year later (2013) after a long hiatus to be with his beloved family. The floodgates opened for him and remained open until January 10 of this year, right up to the end. He and Dan shared something very special. They refused to accept death as a possibility, and especially not an end,  and for that reason both of their spirits shine brightly among the stars, still very much a part of this life and those who loved them.

Shortly after Bowie’s death, which was incredibly and personally devastating, I started replacing my vinyl, and ripping the CDs to my computer (which has a decent speaker system). I also filled in a few of the missing pieces and put together one helluva playlist. I have been sleeping to it every night (and playing it every day while working) for the past 3 months, and that has been what keeps the decades-old demons at bay.

During those moments when I can see clearly through the haze of grief, I consider myself very lucky, indeed, to have 2 such incredibly gifted and “different” angels watching over me for whatever time I have left on this world. After that, I will make it my eternal mission to follow them both to the ends of the universe.

When Heroes Die ~ David Bowie (January 8, 1947 – January 10, 2016)

Admittedly, I am adding my voice a bit late to the millions of others expressing shock and grief over the death of David Bowie (nee David Robert Jones) on January 10. My reasons include the inability to come to grips with my emotions and to make sense of the flood of confusion and depression that has washed over me, the likes of which I haven’t felt since losing Daniel, my beloved husband, over 3 years ago.david-bowie-174

There have been sad, hateful people who have belittled those of us in the throes of grief, not understanding the powerful hold this man held over us, and the positive influence he brought to lives wracked with hopelessness and despair. I feel sorry for those wastes of space and oxygen, for they will never know the joy that a lyric, the bend of a note, the croon of a voice, the sight of magnificent oddity can bring, when all a lost soul is looking for is some light toward which to travel with hopeful anticipation.

400full-david-bowieMy own story involves musical salvation from the darkest period of my life that included an inexplicable and debilitating addiction born of self-loathing. Something in Bowie’s music hit me at a time (late 70s/early 80s) when I could very easily have checked out on life in a drug-induced haze of oblivion. It spoke volumes to a lost soul who felt very different in an uncaring world. Suddenly, “different” was OK–acceptable and cool, even–and the earth shifted back on its axis, instead of tumbling haphazardly toward reckless destruction.

David Bowie taught me to have the courage to face down my demons, much as he had accomplished with his move to Berlin. He held my fragile psyche in his arms night after night, as I fell asleep in huge headphones, plugged into the stereo piled high with his vinyl platters, lulling me into fitful sleep and the healing needed to get back on track. His words lifted me, his music inspired me, and his lion-like courage was the model that I used to find my own way back to a world that no longer seemed as cold and full of rejection as I had once perceived it to be. I felt validated, renewed, and determined.

Mr. Bowie gave me back my life. And Daniel, when I met him years later, continued to anchor me and gently guide me along all the right paths. How can one damaged-yet-renewed soul thank another soul for a second chance? I’ve never felt that I adequately thanked either one of these brave and brilliant men during this physical phase of existence, but I hope to have another chance when I, too, begin life among the stars.david-bowie-2013-superpride

Rest in peace, David Robert Jones Bowie (and Daniel, my true love). You’ve both earned your wings and the opportunity to shine your love radiantly, beautifully, and eternally upon us all as we somehow attempt to navigate the rough seas of life without your physical presence. Every tear we cry waters the tree of your memory. Long may it grow tall and strong, sheltering us all with branches made of the endless beauty and joy you gave to the world.

When life interferes with good intentions…

December_21_2014-Sunrise_4It has been a painfully long time since I’ve written anything about “criminally underrated 80s music.” When I started this blog 10 years ago (3 years on Blogspot and 7 years here on WordPress), it was with the intention of showcasing at least one underrated 80s group/artist per week.

Then Dan got sick and passed away.

In all honesty, the same music I tried to systematically memorialize in words has gotten me through the past almost 3 years post-death, plus the several years prior spent being a caregiver. For that, I am deeply grateful. I am also so very grateful for DJs David MarsdenEd Cooke, musician/DJ Rob Stuart, and musician Bobbi Style. These cherished friends waved their collective magical wand of music to help keep me from being suffocated by my grief.

Music, to me, is as essential as food and water. For that reason alone, I know I have to try to get back in the saddle and write once more about 80s musicians and bands that were tragically overlooked when they deserved to be catapulted to success. I make no promises however, because I despise breaking them, but I will do my best to shake off the cobwebs and start writing again.

In the meantime, another way that I’m dealing with my grief is to dedicate a photoblog to Dan called “URSA Photography.” Photography has been another outlet of mine for many years. Since Dan helped me to hone my skills as an amateur photographer, I thought it made sense to dedicate my photography to him.

Thanks for your understanding and patience as I figure out my way through the maze of grief that has surrounded my entire life.

80s Music Rules ~ Criminally Underrated Artists/ Bands ~ Rob Stuart is Back with Electronic Dream Factory (EDF)

Excellent music never dies; sometimes it just goes away for a while. And, like a treasured loved one, its return evokes strong emotions of joy, relief, and a reconnection with the universe. That’s what’s happening here, folks. And, I am delighted to be the bearer of the fantastic news.

Rob Stuart first graced Rave and Roll’s pages exclusively as a featured artist back in November 2009. Earlier that year, I had published an article about his Toronto-based band SLAVE to the SQUAREwave, followed by a review of their then-latest smashing release, The Money Shot. Earlier this year (Feb. 2014, to be exact), I was privileged to announce Slave’s return with a jaw-dropping, in-your-face collection of tunes called Asphalt, Sex & Rock ‘N’ Roll. Now, I am thrilled to deliver the trifecta: Rob Stuart’s long-awaited re-emergence featuring an entire catalog of synthesizer-driven musical goodness from his band, Electronic Dream Factory (E.D.F).

Rob agreed to be interviewed so that I can share with you all a little bit about the beginnings of E.D.F., its evolution, the inspiration for the music, and the reason for the decision to re-release the catalog.

When did E.D.F. make its debut in the world?

EDF studios circa 1983

EDF studios circa 1983

Originally E.D.F was and still is the name of my home recording studio. I stole the name from a small British synthesizer company called Electronic Dream Plant which built a very cool monophonic synthesizer called “The Wasp.” My earliest recollection of my first home studio was back in 1981. I decided very early on in my “music career” that rather than pay other people to record in their studios, that I would just build my own and teach myself how to record, engineer and mix.

I was only sixteen back then and gear was incredibly expensive, so my first studio was nothing fancy. I would work three summer jobs to save up enough money to buy studio gear. I still remember purchasing the first real synth I ever owned, a Korg MS-20 for $595.00 at Steve’s Music Store in Toronto. I was so proud walking home with that synth tucked under my arm that day. It was once I started writing original music when I decided Electronic Dream Factory would also serve as a good band name.

Who were the original band members?

Greg Fraser, Rob Stuart, Rob Tennant (1992)

Greg Fraser, Rob Stuart, Rob Tennant (1992)

There have been many incarnations of the “band”version of E.D.F. Version 1.0 is me alone as a solo artist . Long time friend/musician/ artist, Greg Fraser was the first person to become an official member. Our first full-length self-titled album was just Greg and myself. Version 2.0 included Rob Tennant, who was the live drummer.

We soon added Maxx on guitar. Version 3.0 included Emerich Donath on stick bass and Rude Van Steenes on electronic percussion and vocals. I knew Rude back from the Vis-A-Vis days as I was an original member of that band .

EDF Version 3.0

EDF Version 3.0

Why synthesizers and electronica vs. guitars and…?

I’ve always been a synthesizer nut. Ever since I first heard early synth-based music like Tangerine Dream, Kraftwerk, Pink Floyd, Jean Michel Jarre, Vangelis, Throbbing Gristle, David Bowie, Brian Eno, Gary Numan, John Foxx, and early Human League, I knew I wanted to get into synthesizers.

First of all, they looked so cool and they could make sounds that you’d never heard before. That was really the appeal to me. I would spend hours messing around with my MS-20, plugging in cables, twiddling all the knobs, to come up with unique and different sounds. I’ve never been a person who is comfortable jamming in a rehearsal studio or in a band situation, which is why I don’t really consider myself a musician. I still don’t play that well, but writing, recording, and producing came fairly naturally to me. Writing music always was and still is a personal journey for me, so when MIDI came along it allowed me to create all parts of the music by myself, which I thrived on.

Having said that, I’ve always been a guitar fan, so when I couldn’t fake a guitar part by myself or find the right guitar sample I’d have to bring in a guitar player. Of course nothing can replace the thundering sound and look of a live guitar player on stage. That’s where Maxx came in. He was a cool-looking dude with a great head of hair and a killer guitar sound which added to the live element and gave the studio recordings a little extra grit.

Was E.D.F. mainly a studio band, stage band, or both?

I’ve always been a studio guy, but you have no choice but to play live if you want to promote your product seriously. It’s a great feeling playing your own music live with 3 or 4 other people on stage with the lights, smoke, and (hopefully) crowds of people in the audience grooving to your tunes; however, I also derive immense pleasure spending hours in my studio just writing or playing music by myself.

That’s were the “other” side of E.D.F comes from, as I also record and release ambient, chill out, new age music which I never intend to play live. Our finest moment was playing at Pine Knob in Detroit, Michigan in front of 10, 000 people for a big end-of-summer music festival.

What or who inspired the music?

The “who” is endless. See all the bands named earlier. Inspiration can come from anything, really. It could be a unique industrial sample, synth patch, drum and bass groove or simply a nice chord progression. It’s piecing all of those elements together that makes it fun and challenging.

Did E.D.F. originally get the airplay it deserved, and if so, by whom?

The first E.D.F release was actually a cassette-only; but, believe it or not, we used to get airplay on the radio. CFNY 102.1 in Toronto was the first station to play our music. That station was a huge supporter of local independent music, led of course by the one and only David Marsden who still plays my music to this day on his new station http://www.nythespirit.com. With open-minded people like David and the good folk at CFNY, the song “So, What of Tomorrow” ended up being a winner on a CFNY talent search contest and was released on a compilation CD, which to us at the time was unbelievable.

Other places that would play our music would be University radio stations like CIUT (University of Toronto), CKMS-FM in Waterloo, and CKLN (Ryerson University) who were always great supporters of ours. Local DJs like Ronno Box and Craig Beesack would play us at clubs like Catch 22 and local promoter Billy X was also an early supporter of E.D.F

What’s it like to translate a concept in your head into music that you share with the rest of the world?

It’s fun at first, but it can quickly become frustrating when the business aspect kicks in. I won’t even talk about the music business these days as no one has a clue what’s going on; but back in the early 90s there were still labels you could shop your product around to. For our first album we had some interest from TVT Records which had just signed Nine Inch Nails. For the second album, “Drama Dream” we signed a deal with a label in Montreal, which went bad. For the album “Number 3” I had a distribution deal with Toronto’s The Record Peddler. Financially that was probably the most success I had with an EDF album as they managed to get distribution deals in quite a few different territories worldwide.

What made you decide to resurrect EDF?

One word: “Tunecore.”

Tunecore is a great service that distributes your music around the world to digital music stores and streaming stations. It’s really cheap and allows you to keep 100% of the earnings. They really do get the music out all over the world! E.D.F had a pretty strong following in its heyday, especially in Europe.

As I mentioned above, the album “Number 3” was released and distributed internationally by The Record Peddler. I used to get royalty cheques from airplay I received from places like Germany, Belgium, Sweden, Norway and many other countries. Over the past few years I decided to post some old E.D.F videos on YouTube and found that people were actually looking for the old releases. It seemed like a perfect opportunity to re-master and re-release the whole collection in a new package.

Hence “Industrial Catalogue:” All four E.D.F albums in one, 64 songs in total, reasonably priced at $8.99. I did the same with my ambient/chillout/down-tempo E.D.F music, as well. Four albums in one package under the title ˜Noise Control” with 60 Songs in total.

Are there plans for live shows, and if so, where?

At this point, definitely not. SLAVE to the SQUAREwave takes up all of my spare time with live performances and recording. The last time E.D.F played live was at a rave in the middle of a farmer’s field in Oakville, a suburb of Toronto. This was actually where I met Colin Troy from S2TSW, as we were both playing at the rave that night. I was performing my more “techno” E.D.F material while Colin was doing his Smokin’ Jehovah project, which was a mix of middle eastern music and house. Really cool stuff. We chatted through the night about our love for Bowie, Roxy Music, and electronic dance music. We became instant friends and SLAVE to the SQUAREwave was born.

Do you have any examples of E.D.F. music online that people can preview?

Here’s some of my ambient/chill-out music taken from “Noise Control”:

Will the entire catalog be available for purchase? Where?

“Industrial Catalogue” is available via Amazonmp3.

Picture-#-4.-EDF-Industrial

 

 

 

 

 

“Noise Control (Vols 1 to 4)” is available via Amazonmp3.

Picture-#-5.-EDF-Noise-Cont

 

 

 

 

 

Both albums are also on Spotify, Rdio, Shazam, iTunes, Google play, Wimp, Deezer, beats music and many, many more on-line stores.

Can folks buy single tracks?

Yup! Single tracks are the standard 99 cents.

Will this inspire you to go back into the studio and create new E.D.F. tracks?

E.D.F has never really stopped. It’s just come in many different shapes and forms over the past 32 years and will continue to evolve. I’m getting more and more into the chill-out/ambient stuff as I get older, so you can most likely expect some more music in that vein.

What’s next?

I’m considering releasing some music by a duo group I was in back in the mid 80s called “silent GREEN.” It was an ambient project where the music was ad-libbed and recorded live. I played synthesizer while Bruce Bentley played “ambient” guitar. Bruce and I also had a synthpop band called “Ear Candy,” which was another CFNY-supported band. Tragically, Bruce passed away last year, so I’m thinking of releasing it in his memory. Some of that music is pretty magical.

Thanks so much!

Thanks for your support. I love what you do. You don’t know how important things like this are to a band/artist. You’re really doing a great thing here and it is most appreciated. XOXO

80s Music (and sometimes 10s) Rules—Slave To The SQUAREwave Returns!

ASRR---CARAfter a long hiatus full of whispered rumors hinting at disbanding, retirement, everything Slave to the SQUAREwave fans absolutely did NOT want to hear, something very exciting has happened—a new album release and a hot party at the Hard Rock in Toronto on February 28, 2014 hosted by David Marsden. That sound you hear is the collective thud of gob-smacked jaws hitting the floor—hallelujah and praise the music gods!

The album—Asphalt, Sex and Rock ‘n’Roll—where to start? These Slave-starved ears were ecstatic with the long-awaited product of a flawless, long-standing, and highly successful collaboration between Rob Stuart and Colin Troy. If ever a duo were destined to create beautiful music together, this is it, folks. The result of long hours in the studio is a perfect, fun-filled collection of music that will both kick your ass and caress your soul.

What should you expect? Here’s my humble attempt to describe the pleasure trip this album delivers to its listeners. Strap yourself in, slide your headset on, and prepare to rumble—this is way better than the best road trip you’ve ever had in the mightiest muscle car.

If asked to describe the opening track Middle Finger in one word, “funkalicious” is the closest adjective that does it any justice.  It’s a combination of Max Headroom (without the stutter) meets the Funkateers that is the perfect warm-up for what’s in store along this welcome journey. Alive and Electric (Dedicated to Jodi) presents swelling synths and superb harmonies; it’s a truly pleasing blend of keys and strings that picks up speed and takes on a life of its own.S2TSW-Poster-01

Next up is Texan Thugs and Rock ‘n’ Roll, a play on words rife with fast cars, a thrumming beat, and tough-guy lyrics. Who could ask for anything more? Then, wafting through the headset is a slightly off-kilter intro to The Big South that lures the listener into a poetic bop-fest of beat-driven goodness.

Not for the faint of heart, Zombie charges off the starting line in a sheer frenzy. Anyone who can sit still while listening to the exceptional synths and snarling vocals of this party-in-your-ear track needs to check for a pulse because they just may well be a zombie. Then, when you think you have a handle on what’s feeding into your brain, the Dr. Who-esque intro of Poor Man’s Fight draws you smack-dab into the middle of the fray, while trippy, fun lyrics bind you up and hold you captive.

Who wouldn’t wish for a Seven Day Saturday Night? Here it is handed to you on a silver platter—the penultimate weekend escape, complete with kick-ass strings that transport you straight into the party-hearty environment that you crave. From there, the bass-heavy opening of Bump promises—and delivers—heart-stopping percussive goodness.

Early Stone Roses anyone? Montreal is another foray into trippy melodies, sexy organ, and seductive piano. After the shameless seduction has left you breathless, you are thrown in front of a revving engine like a beast out of control. Amazing Grace threatens to spin out wildly; miraculously, traction holds you firmly to the road and catapults you along the autobahn of life and love.

SLAVE-to-the-SQUAREwaveThe next track begs for Peace of Mind, but the direct and driven message is that it’s truly an elusive goal. To emphasize that point, Time is Running Out presents a frantic and breathless illustration that time for us is, indeed, running out. Perhaps we should stop and smell the roses?

Casino is a perfectly crafted analogy of love won and lost the hard way. Better luck the next time, baby. You see, everybody gets a little lucky sometimes. Destined to be a favorite, Alive and Electric (Rob’s Analog Electromix) would be ideally at home on any Ultravox collection. The vocals form a faultless partnership with synths that reach down into the soul and infuse a shot of divine life-sustaining energy.

Zombie (Sonix Mix) is a less-frenetic reprise of the un-dead anthem; a different spin on a great, rollicking song. Likewise, Texan Thugs and Rock ‘n’ Roll (Mad Flowers Mix) gives one last and different listen to what makes this collection a no-holds-barred masterpiece.

Slave to the SQUAREwave delivers raw, unbridled musical joy with each and every collaborative piece that they create. Don’t miss out on a chance to experience truly artistic genius at its very best, while Rob and Colin still have the passion to make it happen. And, if you are lucky enough to be in the greater Toronto area whenever the sun, moon and stars align in perfect combination, be sure to see the dynamic duo Rob Stuart and Colin Troy, along with supporting band members Doug Lea and Craig Moffitt, for a live performance.  It’s definitely on my bucket list.ASRR---Reel-to-Reel

A very limited supply of 200 Asphalt, Sex and Rock ‘n’Roll CDs will be available at the release gig at the Hard Rock Café (279 Yonge St, Toronto ON) gig on Feb 28, 2014. After that, an “Expanded Edition” will be added, which includes these outstanding bonus tracks: “India”, “Stereo Orthophonic High Fidelity Victrolis (SOHFV),” and “Alive & Electric (Kernel Chiptune Mix).” Also, for the first time, S2TSW are making The Money Shot (another absolute personal fave) available with all bonus tracks. Both albums are for sale starting Feb. 28, 2014 at the locations shown below.

Tunecore-Release-Availabili

Marsbar Playlist ~ 4-18-2021

April 18, 2021

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list thanks to the late shift efforts of JerusalemSlim, whose much appreciated attention to detail keeps me honest:
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Aim – Cold Water Music
Alabama feat. N’Sync – God Must Have Spent A Little More Time On You
Alabama 3 – Woke Up This Morning
Aretha Franklin – Somewhere Over The Rainbow
Beth Hart & Joe Bonamassa – Close To My Fire
Bobby Bland – Stormy Monday Blues
Boy George – The Crying Game
Cars – Moving In Stereo
Charles Azanour & Elton John – Yesterday When I Was Young
Colin James – Why’d You Lie
Cowboy Junkies – Sweet Jane
Crowded House – Don’t Dream It’s Over
David Bowie – China Girl
David Usher – Black Black Heart
David Vaters – Brothers Of Mine
Dee Long – Good Night Universe
Drastic Measures – The Teddy Bears’ Picnic
Etta James & Dr. John – I’d Rather Go Blind (live)
Frank Marino – I’ll Play The Blues For You
Gary Moore – Midnight Blues (live)
George Rondina & Imagination Machine – Dancing On A Highwire (Rob Stuart’s Highly Wired remix)
Japan – The Tenant
Jerry Lee Lewis – I Wish I Was Eighteen Again
J.J. Cale – These Blues
Jo Boxers – Just Got Lucky
John Foxx – Europe After The Rain
Ladysmith Black Mambazo feat. Phoebe Snow – People Get Ready
Leon Russell – Me And Baby Jane
Lloyd Cole – Like Lovers Do (Stephen Street mix)
Marillion – Kayleigh
Mark Knopfler – The Long Road
Molly Johnson – Miss Celie’s Blues
Pet Shop Boys – Suburbia (extended)
Pink Floyd – One Of These Days
Pink Floyd – Shine On You Crazy Diamond (Parts 6-9)
Pink Floyd – Shine On You Crazy Diamond (Parts 1-4)
Propellerheads feat. Shirley Bassey – History Repeating (Hip Length Mix)
Richard Wright & Dave Harris – Confusion (12″)
Rob Stuart – A Beautiful Thing
Sam Cooke – You Send Me
Simply Red – Positively 4th Street
Small Faces – Itchycoo Park
Timi Yuro – Smoke Gets In Your Eyes
Ultravox – Dancing With Tears In My Eyes (extended remix)
Vladymir Rogov – Bring On The Dancing Girls
Vladymir Rogov – Mistakes Are Beautiful
War On Drugs – Thinking Of A Place
Willie Nelson – Georgia On My Mind
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Marsbar Playlist ~ 4-17-2021

April 17, 2021

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list, thanks to back-in-the-saddle (including backwards chaps) TheBarron 🙂
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Arcade Fire – We Exist
Ben Liebrand feat. Richard Burton- The Eve Of The War (Ben Liebrand Remix)
Blackmore’s Night – I Still Remember
Blackmore’s Night – Wish You Were Here (Trance Atmosfear Mix)
Bronski Beat – Smalltown Boy
Cars – Drive
Chris Isaac – Wicked Games
Church Of Trees feat. Dee Dee Butters – Like Gary Numan
Cure – Lullaby
Dee Long – Good Night Universe
Endgames – First Last For Everything (Club Version)
Frank Zappa – Joe’s Garage
Gary Numan – I Am Screaming
James Brown – Get Up Offa That Thing/Release The Pressure
Jordan John – Girl
Kevin Ayers & 747 – The Confessions Of Doctor Dream: Doctor Dream Theme
Killers feat. k.d.lang – Lightning Fields
Matchstick Afro – Stereo Orthophonic High Fidelity Victrola
Mick Jagger – Memo From Turner (Mick Jagger Version)
Moist – End Of The Ocean
Moloko – Fun For Me
Moody Blues – Evening
Morrissey – Everyday Is Like Sunday
Mountain – Nantucket Sleighride (To Owen Coffin)
Nick Cave – Cosmic Dancer
No Angels feat. Donovan – Atlantis
Pet Shop Boys – Heart (Disco Mix)
Peter Gabriel – Here Comes The Flood
Pink Floyd – Fearless
Rammstein – Stripped
Rob Stuart – A Beautiful Thing
Rod Stewart – Only A Hobo
Scissor Sisters – Mary
Simply Red – Money’s Too Tight (To Mention) (The Cutback Mix)
Simply Red – The Air That I Breathe
Sisters Of Mercy – Lucretia My Reflection
SLAVE To The SQUAREwave – Blue Monday
Sly & The Family Stone – Everyday People
Specials – Black Skin Blue Eyed Boys
Tim Curry/Rocky Horror Picture Show Cast – Sweet Transvestite
Tuff Darts – (Your Love Is Like) Nuclear Waste
Underworld – Bird 1
Vital Sines – Collage
Wall Of Voodoo – Mexican Radio
Wallflowers – One Headlight
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Marsbar Playlist ~ 4-11-2021

April 11, 2021

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

David gifted us with an extra hour–unfortunately, I wasn’t able to hang in for the duration. But, the good news is, LCBO Dan let me “mine” his FB page for the tunes played after midnight; so, thanks to his help, here’s the complete list:
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Adventures In Babysitting – Babysitting Blues
Al Kooper & Mike Bloom – Dear Mr. Fantasy/Hey Jude (segment)
Al Stewart – Roads To Moscow (live)
Band – I Shall Be Released
Barclay James Harvest – Cold War
Beth Hart – Caught Out In The Rain
Blackmore’s Night – Der Letzte Musketier
Blood, Sweat & Tears – I Can’t Quit Her
Bobby “Blue” Bland – Ain’t No Sunshine When She’s Gone
Brian Ferry – Slave To Love
Bruce Springsteen – Mission On The Hill
Buddy Guy – Cheaper To Keep Her/Blues In The Night
Carmen Twillie & Lebo M. – Circle Of Life
Church Of Trees – Let Me Out (Rob Preuss Night Mix)
Church Of Trees feat. Carole Pope – World’s A Bitch (Rob Preuss mix)
Cocteau Twins – Lazy Calm
Crosby, Stills & Nash – Wooden Ships
David Gray – Sail Away
David Vaters – Brothers Of Mine
Dee Long – Good Night Universe
Delerium – Myth
Delerium feat. Matthew Sweet – Daylight
Dr. John & Odetta – Brother, Can You Spare A Dime?
Eurythmics – Here Comes The Rain Again
Flying Pickets – Only You
Frank Zappa – Flakes
Frankie Goes To Hollywood – Relax (New York mix)
Genesis – Carpet Crawlers (The Lamb Lies Down On Broadway)
Ian Hunter – Ships
James Horner – The Portrait
Jon Mark/Johnny Almond – New York State Of Mind/Return To The City
Leonard Cohen – Waiting For The Miracle
Lightning Seeds – Marvellous
Mark Knopfler – Wanderlust
Matthew’s Southern Comfort – Woodstock
Moby feat. Patti LaBelle – Lie Down In Darkness
Monjes Del Monasterio De San Benito – Titanic
Moody Blues – I Know You’re Out There Somewhere
Moody Blues – New Horizons
Peter Frampton – Lines On My Face
Pink Floyd – Atom Heart Mother Suite
Pogues – Summer In Siam
Ray Charles – Georgia On My Mind
Rob Stuart – A Beautiful Thing
Simon & Garfunkel – America
Sonny Terry & Brownie McGhee – Sail Away
Stevie Ray Vaughn – Texas Flood
Strange Advance – Worlds Away
Ten Years After – Slow Blues In C (live)
Thinkman – The Formula
Underworld – Dune
War On Drugs – Pain
Yello – Lost Again (remix)
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Marsbar Playlist ~ 4-10-2021

April 10, 2021

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list, thanks to late night assistance from JerusalemSlim and his knack for detail:
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After The Fire – Der Kommissar
Alphaville – New Horizons
Beat Farmers – Happy Boy
Belouis Some – Some People (Extended Version)
Bill Nelson – Contemplation
Blue Peter – Chinese Graffiti
Blue Peter – Don’t Walk Past
Blue Peter – Falling
Blue Peter – Radio Silence
Blue Peter – Take Me To War
Church of Trees feat. Carole Pope – World’s A Bitch (Variant Club Mix)
City Boy – The Violin
David Bowie – Golden Years (Harry Maslin mix)
David Gilmour/David Bowie – Arnold Layne
Dee Long – Good Night Universe
Dr. Draw – Danny Boy
Electronic Dream Factory feat. Kim Stuart – (Feels Like) Heaven
Fatboy Slim feat. Bootsy Collins – The Joker
Gazebo – Masterpiece
George Rondina & Imagination Machine – Dancing On A Highwire (Rob Stuart’s Highly Wired remix)
John Jordan – Make Way For The Funk Parade
Lou Reed – Ride Sally Ride
M/A/R/R/S & Michael Jackson – Pump Up The Volume/Bad (Ben Liebrand/DMC mash-up)
Monkees – Daydream Believer
Motors – Forget About You
New Order – Blue Monday
New Order – Plastic
Pet Shop Boys – Opportunities (Let’s Make Lots Of Money) (extended)
Pink Project – Disco Project (Mammagamma/Sirius/Another Brick In The Wall, Part II)
Pretty Lights – Finally Moving
Primal Scream & Kate Moss – Some Velvet Morning
Psychedelic Furs – Heartbreak Beat
Rammstein – Deutschland
Rob Stuart – A Beautiful Thing
Shocking Blue – Venus
Simply Red – Sunrise (Love To Infinity Classic mix) x2
Smiths – Unloveable
Stranglers – Always The Sun (Hot mix)
Talk Talk – Such A Shame (12″ mix)
The The – Armageddon Days Are Here (Again)
Ultravox – Brilliant
Wallflowers – Reboot The Mission
Who – Eminence Front
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~

Marsbar Playlist ~ 4-4-2021

April 4, 2021

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list thanks to incomparable post-10PM assistance from JerusalemSlim:
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
A Man Called Adam with Eddie Parker – Easter Song
Amy Winehouse – You Know I’m No Good
B.B. King – The Blues Come Over Me
Beth Hart – Your Heart Is As Black As Night
Bill Medley – He Ain’t Heavy, He’s My Brother
Bill WIthers – Ain’t No Sunshine
Blood, Sweat & Tears – I Can’t Quit Her
Chieftains feat. Diana Krall – Danny Boy
Conjure One feat. Poe – Center Of The Sun (Chilled Out Remix)
Dee Long – Good Night Universe
E.D.F. feat. Kim Stuart – Sense
Far Corporation – Stairway To Heaven (remix ’94)
Frank Zappa – Watermelon In Easter Hay
Fred Neil – The Dolphins
Gary Moore – Still Got The Blues
Gowan – A Criminal Mind
Grover Washington, Jr. feat. Bill Withers – Just The Two Of Us
Harry Nilsson – Everybody’s Talkin’
Klaatu – Calling Occupants Of Interplanetary Craft
Lou Reed, David Bowie, Elton John, et al (for BBC/Children in Need) – Perfect Day
Marillion – Easter (12″ edit)
Molly Johnson – Lady Sings The Blues
Patti Smith Group – Easter
Pavarotti & Friends – We Are The World
Pink Floyd – Comfortably Numb
Pink Floyd – High Hopes
Pogues – Summer In Siam
Propellerheads feat. Shirley Bassey – History Repeating
Robbie Robertson – Somewhere Down The Crazy River
Rob Stuart – A Beautiful Thing
Rӧyksopp – Sparks
Samuel E. Wright – They Live In You
Shawn Phillips – She Was Waiting for Her Mother at the Station in Torino and You Know I Love You Baby but It’s Getting Too Heavy to Laugh
Shawn Phillips – Keep On
Shawn Phillips – Sleepwalker
Shawn Phillips – Song For Mr C
Simple Minds – East At Easter
Slave To The Squarewave – Starrs (Ambient Vocal Mix)
Steven Wilson – The Raven That Refused To Sing
Strawbs – The Man Who Called Himself Jesus
Sweet – Love Is Like Oxygen
Taj Mahal – Take A Giant Step
Tracy Chapman – Before Easter
Underworld – Nylon Strung
Willie Nelson – Stormy Weather
Zucchero feat. Eric Clapton – A Wonderful World
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Marsbar Playlist ~ 4-3-2021

April 3, 2021

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the list until 10PM. Be sure to check back sometime tomorrow for the complete list.
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
Book Of Love – Boy (Peter Rauhofer Club mix)
Church Of Trees – Powerful Love (Rob Preuss Hypnotize mix)
Cure – A Forest
David Bowie – DJ
Deborah Harry & Iggy Pop – Well Did You Evah!
Eurythmics – Sweet Dreams (Are Made Of This)
Farm – Very Emotional
Gary Numan – We Are Glass
Heaven 17 – Let Me Go (12″ extended version)
Horslips – The Man Who Built America
Jim Lowe – The Green Door
Jive Bunny & The Mastermixers – Swing The Mood
Jona Lewie – You’ll Always Find Me In The Kitchen At Parties
Killing Joke – Love Like Blood
Love & Rockets – Haunted When The Minutes Drag
Motors – Airport
New Order – True Faith (extended)
New Order/Depeche Mode – Bizarre Love Triangle (extended dance mix)/Strangelove (Blind mix) (mash-up)
Rob Stuart – A Beautiful Thing
Roxy Music – Do The Strand
Simple Minds – Don’t You (Forget About Me)
SLAVE To The SQUAREwave – Souvenirs
Status Quo – Rockin’ All Over The World
Wallflowers feat. Mick Jones – Reboot The Mission
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~

Marsbar Playlist ~ 3-28-2021

March 28, 2021

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list, thanks to late night assistance from the perfectly-tuned ears of JerusalemSlim:
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
Aaron Neville – Crazy Love
Al Stewart – Roads To Moscow
Al Stewart – Year Of The Cat
Annie Haslam – Wishing On A Star
Blackmore’s Night – Diamonds and Rust
Chris Farlowe, Spencer Davis et al. – Stormy Monday (live)
Dave Brubeck Quartet feat. Jimmy Rushing – Blues In The Dark
David Marsden – Hindsight’s 20/20–“Sometimes you’ve got to get sick before you can get better” (Music: Pachelbel’s Canon)
Diana Krall – Just The Way You Are
Dee Long – Good Night Universe
E.D.F. feat. Kim Stuart – Sense
Eels- Love Of The Loveless
Etta James – Misty (live)
Etta James & Dr. John – I’d Rather Go Blind (live)
Fleece – Riverside
Freddie Mercury – Time
George Rondina & Imagination Machine – True (May The Road Rise)
Herbie Hancock feat. Joni Mitchell – Summertime
Isley Brothers – Caravan Of Love
Jefferson Airplane – White Rabbit
Kirsty MacColl – Walking Down Madison (6am Ambient mix)
Koko Taylor – I’m A Woman (live)
Leon Russell – This Masquerade
Leonard Cohen – A Thousand Kisses Deep (fragment)
London Symphony Orchestra – Drive
Long John Baldry & Kathi MacDonald – You’ve Lost That Lovin’ Feelin’
Louis Armstrong – What A Wonderful World (with spoken intro)
Madness – Yesterday’s Men (extended)
Mavis Staples – Hard Times Come Again No More
Moody Blues – Melancholy Man
Nitty Gritty Dirt Band – Mr. Bojangles
Norah Jones – Come Away With Me
Peter Gabriel – Here Comes The Flood
Pink Floyd – Pigs (Three Different Ones)
Rob Stuart – A Beautiful Thing
Roy Orbison/k.d. lang – Crying
Rush – The Trees
Scary Thieves – The Waiting Game (extended)
Shawn Phillips – Bright White
Slick – Space Bass
Specials – We Sell Hope
Steve Goodman – City Of New Orleans
Talking Heads – Once In A Lifetime (DMC Remix By Paul Dekeyne)
Tight Fit – The Lion Sleeps Tonight
Tommy Edwards – It’s All In The Game
Underworld – Dune
Visage – The Damned Don’t Cry
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~

Marsbar Playlist ~ 3-27-2021

March 27, 2021

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list, thanks to much appreciated late night listening assistance from TheBarron:
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~

Alabama 3 – Sad Eyed Lady Of The Lowlife
Alarm – Rain In The Summertime (Thunder mix)
Art of Noise feat. Max Headroom – Paranoimia (12″ mix)
Beck – Diamond Dogs
Big Supreme – Don’t Walk
Blues Image – Ride Captain Ride
Box – Live On T.V . (You Can Watch Them Die)
Bryan Ferry – Don’t Stop The Dance (Special 12″ remix)
Cake – The Distance
Cocteau Twins – Lazy Calm
Dandy Warhols – We Used To Be Friends
Daniel Lanois – Power
David Bowie – China Girl
Dee Long – Good Night Universe
Dire Straits – Brothers In Arms (Live)
E.D.F. feat. Kim Stuart – Sense
Garland Jeffreys – 96 Tears
Gina X Performance – Nice Mover
Golden Earring – The Vanilla Queen
Grace Jones – Slave To The Rhythm (Hot Blooded version)
Holly Johnson – Ascension
Imagination Machine – Dancing On A Highwire (Rob Stewart Remix)
Jam – The Butterfly Collector
Japan – Transmission
Jimi Hendrix – Rainy Day Dream Away
Killers – Caution
Kim Mitchell/Barenaked Ladies – Diamonds, Diamonds
Morrissey – Knockabout World
New Order – Blue Monday (DMC Remix By Paul Dekeyne)
Paul Young – Come Back And Stay (extended version)
Peter Murphy – Deep Ocean Vast Sea
Phil Lynott – Yellow Pearl (First 7” Remix)
Prodigy feat. Pop Will Eat Itself – Their Law
Rob Stuart – A Beautiful Thing
Sigue Sigue Sputnik – Love Missile F1-11 (Ultraviolence Mix)
Simply Red – Sunrise (Love To Infinity Classic mix)
SLAVE To The SQUAREwave – Politics Of Dancing
Spoons – Life On Demand
Wall Of Voodoo – Ring Of Fire
Wombats – Let’s Dance To Joy Division
Yello – Desire (Club Mix)
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~

Marsbar Playlist ~ 3-21-2021

March 21, 2021

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list, thanks to the ever-energetic post-10PM efforts of the effervescent JerusalemSlim:
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
10CC – I’m Not In Love
Alan Parsons Project – Sirius/Eye In The Sky
Barclay James Harvest – Child Of The Universe
Billy Porter – For What It’s Worth
Bonaparte – Melody X
Brian Blain – Water Song
Church Of Trees feat. Carole Pope – World’s A Bitch (Rob Preuss mix)
Daft Punk – The Game Of Love
Dee Long – Good Night Universe
Dr. John & Odetta – Brother, Can You Spare A Dime?
Elton John – Can You Feel The Love Tonight
Elton John/Leon Russell – In The Hands Of Angels
Etta James – Life, Love & The Blues
Farm – Very Emotional
Fleetwood Mac – Albatross
Goddo – Under My Hat (Eddie Kramer Remix)
Hooters – All You Zombies
Ian Hunter – Just Another Night
Isaac Hayes – Theme From Shaft
John Martyn – Solid Air
Joseph Herbst Sextet Feat. Dasan Ahanu – Momma Nature
Kinks – Come Dancing
Mark Knopfler – Millionaire Blues
Mike Bloomfield/Al Kooper – Albert’s Shuffle
Molly Johnson – Lady Sings The Blues
Moody Blues – Forever Afternoon (Tuesday?)/(Evening) Time To Get Away
Nick Cave – I’m Your Man
Pet Shop Boys – Love Comes Quickly (Blank And Jones Mix)
Peter Gabriel – Games Without Frontiers (Massive/DB mix)
Re-Flex – The Politics Of Dancing (extended)
Rob Stuart – A Beautiful Thing
Roxy Music – Love Is The Drug
Santana – El Farol
Simply Red – You Make Me Feel Brand New
SLAVE To The SQUAREwave – Let’s Get To Bed
SLAVE To The SQUAREwave – Loss For Words
SLAVE To The SQUAREwave – Stereo Orthophonic High Fidelity Victrolis
Sly & The Family Stone – Family Affair
Spencer Davis Group – Nobody Knows You When You’re Down And Out
Stranglers – Always The Sun (Hot mix)
Strawbs – Strange Times
Taj Mahal – You Don’t Miss Your Water
Terence Trent D’Arby – Wonderful World
The The feat. Sinead O’Connor – Kingdom Of Rain
Tom Waits – Tom Traubert’s Blues (Four Sheets to the Wind in Copenhagen)
War On Drugs – Pain
Youngbloods – Get Together
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~

Marsbar Playlist ~ 3-20-2021

March 20, 2021

bigmars1David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.

Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.

Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he’ll pop in during the week.

Here’s the complete list, thanks to apres-10PM intel mined from LCBO Guy’s (Dan H.) FB page and TheBarron:
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
69 Eyes – Betty Blue
Arcade Fire – Rebellion (Lies)
Autograph – Turn Up The Radio
B-52s – Meet The Flinstones
Box Tops – The Letter
Brian Eno – Baby’s On Fire
Church Of Trees – Heartbeat
Comsat Angels – You Move Me
Daft Punk feat. Pharrell Williams – Get Lucky
Daniel Lanois feat. Rocco DeLuca – (Under The) Heavy Sun
Dee Long – Good Night Universe
Echo & The Bunnymen – Lips Like Sugar
Eric Clapton – Wonderful Tonight (live from The Kennedy Centre)
FM – Phasors On Stun
Frank Zappa – Disco Boy
Frankie Goes To Hollywood – Welcome To The Pleasuredome
George Rondina & Imagination Machine – Dancing On A Highwire
George Rondina & Imagination Machine – Dancing On A Highwire (Rob Stuart’s Highly Wired remix)
Heart – Stairway To Heaven
Images In Vogue – Just Like You (single remix version)
Jethro Tull – Bouree
Living Colour – Glamour Boys
Malcolm McLaren – Madame Butterfly (Un Bel Di Vedremo)
Manchester United F.C. & Status Quo – Come On You Reds
Matthew Sweet – Dark Secret
Orchestral Manoeuvres In The Dark – Souvenir (extended remix)
Pet Shop Boys – West End Girls (12″ mix)
Peter Gabriel & Kate Bush – Don’t Give Up
Pink Floyd – Comfortably Numb
Pop Will Eat Itself – Bulletproof
Portishead – Glory Box
Rob Stuart – A Beautiful Thing
Scissor Sisters – Invisible Light
Simple Minds – Don’t You (Forget About Me) (extended remix)
SLAVE To The SQUAREwave – Model Citizen
Strange Advance – We Run (Advance Mix)
Talking Heads – Once In A Lifetime (DMC Remix By Paul Dekeyne)
Thermodynamics – Future Noise (Tomorrowland Cut)
Vladymir Rogov – Dancing Girls
Wang Chung – Dance Hall Days (remix)
War On Drugs – Thinking Of A Place
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~