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.

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

Jazz Just Wants To Have Fun – Teaser

Beverley Beirne – Cruel Summer

Beverley Beirne – Too Shy

Advertisements

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

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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)!

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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.

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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!

 *~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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).

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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!

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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.

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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.

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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

____________________bowie_monday_5

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.

____________________bowie_monday_jimmy_king

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

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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?

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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.

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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.

*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

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

Gary Numan ~ The Amazing 80s Icon is Back Stronger Than Ever

From the “it doesn’t get much better than this” department….Gary Numan’s live set presented by KCRW in its total exquisiteness.

This was merely a warm-up for the mini-eastern US tour he was about to embark on, and the later more extensive UK tour.

Unfortunately, I missed Numan in Sunrise, FL when he opened for Trent Reznor and Nine Inch Nails on October 30. I had a ticket, but circumstances way beyond my control prevented me from attending.

Next time…and there WILL be a next time, so I hear. Perhaps in March 2014.

Until then, there are always quality videos such as this–and my dreams–to sustain me.

With thanks to Andrew Lister for calling my attention to this video.

“Dead Son Rising” CD by Gary Numan with Ade Fenton ~ A Review

Please do not copy any portion of this article without the express written consent of the original author. Requests for permission may be left in the form of a comment on https://raveandroll.wordpress.com.

“Dead Son Rising” CD by Gary Numan with Ade Fenton – released September 2011

(Photo credits: Ed Fielding Photography http://www.edfielding.co.uk/)

Long awaited, Dead Son Rising is a theme-driven collection of electronica only the way Gary Numan, along with Ade Fenton, can create. Pounding and wistful, demanding and longing, tender and brutal, it is a study in impossible contrasts that work together so seamlessly as to be other-worldly. Words can only inadequately describe the music on this brilliant CD. If you love electronica/dark wave/industrial/goth, this is a must-have addition to your collection.

Resurrection
The swell of the synthesizers backdropped with breathing sounds and static is a perfect indicator of what is to come on this epic CD. Something sinister yet magical is in the air, and we are about to be willingly drawn into its merciless grasp.

Big Noise Transmission
Static noise and a driving rhythm section catapult us into a staccato mind-puzzle fraught with urgent, whispered pleas. Fully Numan-esque and gripping, this industrial anthem is a rock-solid testament to a direction Numan has whole-heartedly embraced over the past sixteen years. He shows us he has this genre fully mastered and ready for our listening pleasure. The abrupt end leaves us aching for more.

Dead Sun Rising
Numan uses his signature vocals against a deeply satisfying electronic backdrop. There is no one on this planet that could pull off an electronic ballad as successfully as Gary Numan. It is the perfect melding of lyrics, vocals, and synthesizers that captures the soul and transports it to another dimension.

When the Sky Bleeds, He Will Come
Numan and company use everything but the kitchen sink to deliver this masterpiece. Left to the devices of mere mortals, this song would result in listening confusion; in Gary and Ade’s more than capable hands, it is an extraordinary testament to pushing music to its limits and successfully achieving perfection.

For the Rest Of My Life
Don’t let the title/lyrics fool you. This is no tender love song. It borders on an obsessiveness that is both scary yet oddly compelling. It is similar to approaching an accident scene on the highway, and not being able to avert your eyes. In fact, it makes the listener want to hit the “replay” button; not only to hear it again, but to validate the message.

Not the Love We Dream Of
The stark piano notes that open this song are gorgeous. Enter Gary Numan’s voice, and what we end up with is a slightly off-kilter and purposeful story woven of disappointment and sadness. Who can’t relate to the melancholic message delivered here? We have all made mistakes that have devastated us. Numan and company put context to those feelings so we can unleash the demons within.

The Fall
Gary advises us how to deal with being shattered, even telling us point blank that the world still goes on even if we cannot. This is a perfect song to play when things are falling apart in our lives, if only for the rhythm, which makes it impossible to sit still long enough to feel sorrow.

We Are the Lost
The powerful and driving drumbeat that opens this track and anchors it throughout is a welcome diversion from the keyboards that usually take the limelight. Coupled with a Middle Eastern flair that Numan has previously and successfully brought into his music, this song resonates down into the listener’s toes. The textures are rich and colorful, like an open market full of hand-woven cloth displays.

For The Rest Of My Life (Reprise)
Like a path winding its way through a dark forest, we are gently guided to a clearing where Gary awaits us to remind us of the lost love he introduced us to earlier in our journey.

Into Battle
This track is a cacophony of sounds that starts out somewhat reminiscent of wind chimes in a stormy summer garden. But don’t be lulled into submission. The seemingly harmless wind chimes morph into the cadence and timber of something destructive and sinister. Even if you are on your guard, you are not going to be ready for the abrupt end. Signifying eternity, perhaps?

Not the Love We Dream Of (Piano Version)
Again, we are treated to the stark piano notes winding through the introduction to this song. Slowed down and purposeful, almost funereal, we are reminded of mortality, mistakes, and failed missions. It is definitely a song of introspection, but with the change-up in tone and tempo midway through, Numan informs us musically that there is definitely light at the end of the tunnel.

Dead Sun Rising (Early Version)
This version feels like it is played at a slower speed. Numan’s vocals are the focus with the lush accompaniment of electronica there merely to support the master as he works his craft. It is a delightfully welcome version of the title track, and the perfect close to a perfect CD.

Well done, Gary. You are a perfectionist, and our lives are enriched because of it.

Visit Gary Numan’s website: http://www.numan.co.uk/

“The Fall” official full-length promotional video via YouTube user GaryNumanOfficial:

“The Fall” live by Gary Numan – via YouTube user GaryNumanOfficial:

Marsbar Playlist ~ 10-20-2018

October 20, 2018

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 is the list until 10 PM. Check back again sometime tomorrow for the complete list.

999 – Homicide
69 Eyes – Wasting The Dawn (remix)
Blancmange – Living On The Ceiling
Blue Peter – Don’t Walk Past
David Gilmour – Rattle That Lock
Depeche Mode – Never Let Me Down Again (Digitalism mix)
Farm – All Together Now
Feargal Sharkey – A Good Heart
Fraternity Of Man – Don’t Bogart Me (a.k.a. Don’t Bogart That Joint)
It’s Immaterial – Driving Away From Home (Jim’s Tune)
Lighthouse Family – High
Pansy Division – Cowboys Are Frequently Secretly Fond Of Each Other
Peter Murphy – Cuts You Up
Pop Will Eat Itself – Def Con One (Doomsday Power Mix)
Project Pitchfork – Timekiller (And One Remix)
Pukka Orchestra – Might As Well Be On Mars
Queen/AC-DC – We Will Rock You/Dirty Deeds (mash-up)
Rammstein – Du Hast
Rob Stuart – A Beautiful Thing
Rockets – On The Road Again
Supertramp/Gnarls Barkley – The Logical Song/Crazy (mash-up)

 

Marsbar Playlist ~ 10-14-2018

October 14, 2018

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 is the complete list, thanks to the greatly appreciated late night efforts of JerusalemSlim:

Adriano Celentano – Don’t Play That Song (You Lied)
Blackmore’s Night – Ocean Gypsy
Colin Blunstone & Dave Stewart – What Becomes of The Broken Hearted
Conjure One feat. Sinead O’Connor – Tears From The Moon
Cure – Pictures Of You (extended remix)
Dee Long – Good Night Universe
Echo & The Bunnymen – The Killing Moon (All Night Version)
Elvis Costello – Alison
Etta James – I’d Rather Go Blind
Flaming Lips – Do You Realize?
Ford Blues Band – The 59th Bridge Street Song (Feelin’ Groovy)
Frank Zappa – Peaches En Regalia
Freddie Mercury – Living On My Own (No More Brothers Mix)
Gary Moore – Blues For Narada
Gladys Knight & The Pips – Midnight Train To Georgia
Gowan – A Criminal Mind
Harlem Gospel Choir – Walking In Memphis
Harry Nilsson – Without You
Imagination Machine – A Northern Evening
Isaac Hayes – Walk On By (Live At The Hope And Anchor)
Jefferson Starship – Miracles
Jimi Hendrix Experience – The Wind Cries Mary
Juluka – Scatterlings Of Africa
Kevin Ayers – Dr. Dream Theme
Kinks – Misfits
Love & Rockets – Haunted When The Minutes Drag
Mick Jagger – Memo From Turner
Morrissey – All The Lazy Dykes
Mose Allison – Seventh Son
Norah Jones – No Easy Way Down
Patti Smith – Dancing Barefoot
Pearls Before Swine – Seasons In The Sun
Pink Floyd – One Slip
Procol Harum – In Held ‘Twas In I
Rob Stuart – A Beautiful Thing
Rod Stewart – The Killing Of Georgie (Part I & II)
Rough Trade – Grade B Movie
Shawn Phillips – Ballad Of Casey Deiss
Simple Minds – Someone Somewhere In Summertime (12″ mix)
SLAVE To The SQUAREwave – Starrs (Ambient Vocal Mix)
Timmy Jay – Dread Not
Ultravox – Vienna (Goodnight Vienna) Mash-Up
Van Morrison – Philosopher’s Stone
War On Drugs – Holding On

 

Marsbar Playlist ~ 10-13-2018

October 13, 2018

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 is the complete list, with many thanks to TheBarron for post-10PM coverage:

54-40 – Dream We Spoke Of
Brian Eno/John Cale – Spinning Away
David Bowie – Love Is Lost (Hello Steve Reich Mix By James Murphy For The DFA)
Dear Rouge – Black To Gold
Dee Long – Good Night Universe
Divas – A Natural Woman
DJ Kodi – Purple Rain
Elliott Murphy feat. Bruce Springsteen – Everything I Do (Leads Me Back To You)
Essential Dr. Trance – An Excerpt
Front 242 – Masterhit (Part I & II)
Front Line Assembly – Civilization
Gang Of Four – To Hell With Poverty
Genesis – Selling England By The Pound
Grandmaster Flash & The Furious Five – The Message (Cutting Edge mix)
Holly Johnson – Love Train
James Brown – Get Up I Feel Like Being A Sex Machine
John Martyn – I’d Rather Be The Devil (Devil Got My Woman)
Long John Baldry/Kathi McDonald – You’ve Lost That Lovin’ Feeling
Madness – Our House (extended remix)
Martha And The Muffins – Black Stations / White Stations
Members – Radio Dub
Molly Johnson – Inner City Blues
Moody Blues – Are You Sitting Comfortably?
My Morning Jacket – Touch Me I’m Going To Scream Pt.2
Neo – The Pink Panther Theme (Radio version)
New Order – Plastic
Oingo Boingo – You Really Got Me
Parliament – Give Up The Funk (Tear The Roof Off…)
Peter Murphy – A Strange Kind Of Love (Version One)
Phil Lynott – Solo In Soho
Pink Floyd – Talkin’ Hawkin’
Porcupine Tree – Radioactive Toy
Prodigy feat. Pop Will Eat Itself – Their Law
Propaganda – A Dream Within A Dream
Rob Stuart – A Beautiful Thing
Scissor Sisters – Invisible Light
Sisters Of Mercy – Lucretia My Reflection
Sly & The Family Stone – Dance To The Music
Strange Advance – We Run (Advance Mix)
Underworld – Nylon Strung
Verve – Bitter Sweet Symphony
Xprime – Closer

Marsbar Playlist ~ 10-7-2018

October 7, 2018

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 broadcast an extra hour for the Canadian Thanksgiving holiday. He also included songs and spoken word selections at 10PM to commemorate the holiday. In addition he played, for the first time in North America, a brand new track from Nu-San, who is an electronica musician and personal friend of mine from Scotland. Here is the complete list, thanks to an extra-long post-10PM shift by JerusalemSlim:

Adriano Celentano – Don’t Play That Song (You Lied)
Alphaville – Forever Young
Band feat. Bob Dylan – I Shall Be Released (live at Last Waltz)
Beth Hart – Baddest Blues
Bob Geldof – This Is The World Calling
Bobby Bazini – Summer Is Gone
Brandon Flowers – I Can Change
City Boy – 5.7.0.5.
Clash – Jimmy Jazz
Colin James – Hearts On Fire
Conjure One – Center Of The Sun (Chilled Out Remix)
David Bowie – Blue Jean
David Gilmour – A Pocketful Of Stones
David Marsden – Reading: “Over the river and through the woods…”
Dee Long – Good Night Universe
Elliott Murphy – Anastasia
Elsaine – Prosiac
Elton John – Someone Saved My Life Tonight
Elton John & Charles Aznavour – Yesterday When I Was Young
Emerson, Lake and Palmer – Lucky Man
Era – Don’t You Forget About Me
Eric Church – The Snake
Garfield – Private Affair
Genesis – I Know What I Like (In Your Wardrobe)
Ian Hunter – Ships (live)
Iggy Pop – Play It Safe
Japan – Rhodesia
Jeff Wayne feat. Justin Hayward and Richard Burton – Forever Autumn
Jimi Hendrix Experience – Little Wing
Joe Cocker – You Are So Beautiful
Jools Holland And His Rhythm & Blues Orchestra – When Did You Get Down From Heaven
Julian Troiano – Try
Ladysmith Black Mombazo feat. Desree – Ain’t No Sunshine
Leon Russell, Willie Nelson, Ray Charles – A Song For You (live)
Long John Baldry – Mr. Rubin
Lorraine Segato – Times Like This
Louis Armstrong – What A Wonderful World
Luciano Pavarotti/Eric Clapton – Holy Mother (For War Child)
Magna Carta – Lord Of The Ages
Mannish Boys – Blues for Michael Bloomfield
Midnight Oil – Beds Are Burning
Moist – Silver
Neil Young – Harvest Moon
Nu-San – Come With Me
Propellerheads feat. Shirley Bassey – History Repeating
Rob Stuart – A Beautiful Thing
Rocky Horror Picture Show feat. Tim Curry – I’m Going Home
Roger Waters – The Tide Is Turning (After Live Aid)
Roger Waters – Who Needs Information
Santana – ????
Santana feat. Everlast – Put Your Lights On
Savoy Brown – Stay While The Night Is Young
Slave To The Squarewave – Starrs (Ambient Vocal Mix)
Spirit – Nature’s Way
Staple Singers – Respect Yourself
Strawbs – Autumn
Strawbs – You and I (When We Were Young)
Streets – Dry Your Eyes
Tears For Fears – Ready To Start
Tom Robinson – Atmospherics: Listen To The Radio
Tom Waits – Romeo Is Bleeding
Van Morrison – When The Leaves Come Falling Down

 

Marsbar Playlist ~ 10-6-2018

October 6, 2018

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 is the complete list, thanks to after-10PM assistance from TheBarron:

54-40 – Keep On Walking
B-52s – Planet Claire
Book Of Love – Boy (Peter Rauhofer Club Mix)
Boy George – The Crying Game
Christians/Holly Johnson/Paul McCartney/Gerry Marsden/Aitken Watermann – Ferry Cross The Mersey
Clash – Charlie Don’t Surf
Comsat Angels – You Move Me
Cottage Industry – Point On The Hill
Cut Copy – Hearts On Fire
Dee Long – Good Night Universe
Depeche Mode – Route 66 (Nile Rodgers mix)
Diodes – Photographs From Mars
Dire Straits – Brothers In Arms (Live From On The Night)
Elliott Murphy – Thirty Was A Long Time Ago
Frankie Goes To Hollywood – War (Hidden)
Gene Loves Jezebel – Desire
Goldfrapp/Norman Greenbaum/ZZ Top – Ooh La Grange In The Sky (mash-up)
Icehouse – Electric Blue (12″)
Imagination Machine – A Northern Evening
Japan – Life In Tpkyo
M/A/R/R/S/Michael Jackson – Pump Up The Volume/Bad (mash-up)
Molly Johnson – Inner City Blues
New Order – True Faith
No Doubt – Easy
Peter Murphy – Final Solution
Public Service Broadcasting – Everest
Queen – These Are The Days Of Our Lives
Rob Stuart – A Beautiful Thing
Roger Waters – Towers Of Faith
Scissor Sisters – Return To Oz
Simple Minds – Don’t You (Forget About Me)
Simply Red – Money’s Too Tight (To Mention) (the Cutback Mix)
SLAVE to the SQUAREwave – Get Out of my House
SLAVE to the SQUAREwave – Sacrifice
Sparks – Kiss Me Quick (extended version/new mix)
Spoons – Nova Heart (Dark Before Dawn Mix)
The The – Armageddon Days (Are Here Again)
Twenty One Pilots – My Blood
Ultravox – White China (special mix)
War On Drugs – Thinking Of A Place
Yello – Desire (remix)

 

Marsbar Playlist ~ 9-30-2018

September 30, 2018

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 is the complete list, with thanks to JerusalemSlim who covered the entire show while I was in Toronto:

Al Stewart – Roads To Moscow
B.B. King & Albert Collins – Stormy Monday Blues (live)
Barclay James Harvest – She Said (live)
Beth Hart & Joe Bonamassa – I Love You More Than You’ll Ever Know
Blackmore’s Night – Rainbow Eyes
Blood Sweat & Tears – I Can’t Quit Her
Cars – Moving In Stereo
City Boy – The Violin
Colin James – Why’d You Lie
Common Cause Collective – Rise Up Redux
Craig Robertson – Box Full Of Motel Keys
Dee Long – Good Night Universe
Dire Straits – Les Boys
Dr. Draw – Danny Boy
Elton John – Can You Feel The Love Tonight?
Elvis Costello – Alison
Garland Jeffreys – 96 Tears
Gary Moore – One Day
Hooverphonic – Anger Never Dies
Jeff Buckley – Bird On A Wire
Jordan John – George & Sylvester (The Funky Nation)
Juluka – Scatterlings Of Africa
Long John Baldry – A Thrill’s A Thrill
Lou Rawls – World Of Trouble
Molly Johnson – Boogie Street
Mythos – Eros
Peter Gabriel – Big Time (12″ mix)
Peter Gabriel & Kate Bush – Don’t Give Up
Pink Floyd – Shine On You Crazy Diamond (Parts VI-IX)
Righteous Brothers – Unchained Melody
Rob Stuart – A Beautiful Thing
Sal Solo – San Damiano
Simply Red – The Air That I Breathe
SLAVE To The SQUAREwave – Debauchery
SLAVE To The SQUAREwave – Running
SLAVE To The SQUAREwave – Worlds Away
Snowy White – Burning Love
Status Quo – In The Army Now
Steve Hillage – Radio
This Mortal Coil – Song To The Siren
Van Morrison – Crazy Love
Van Morrison – Madame George
War On Drugs – Holding On
Willie Nelson – You Were Always On My Mind
Willy DeVille – I Call Your Name

Marsbar Playlist ~ 9-29-2018

September 29, 2018

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 is the complete list, thanks to TheBarron, as I was visiting the beautiful city of Toronto:

54/40 – How’s Your Day Going
69 Eyes – Beneath The Blue
Culture Club – Do You Really Want To Hurt Me (2017 DMC Dancehall)
Dave Stewart feat. Colin Blunstone – What Becomes of The Broken Hearted
David Bowie – Rebel Rebel (Soulwax Club Remix)
Dear Rouge – Black To Gold
Dee Long – Good Night Universe
Frank Zappa – Flakes
Frankie Goes To Hollywood – Relax (Greatest Bits)
Front 242 – Headhunter V1.0
Gary Numan – Cars (Dave Clarke Remix)
Iggy Pop – The Passenger
Imagination Machine – Dancing On A Highwire
Intaferon – Get Out Of London
Jefferson Airplane – White Rabbit
Joywave – Rumors
King Harvest – Dancing In The Moonlight
Kinks – Catch Me Now I’m Falling
Mark Knopfler – We Can Get Wild
Ministry – Work For Love
New Order – Bizarre Love Triangle (Shep Pettibone 12” Remix)
Passenger – Let Her Go (Acoustic)
Peter Murphy – All Night Long
Phil Manzanera – Rosemullion Head
Pink Floyd – Louder Than Words
Prince – Little Red Corvette (Dance Mix)
Project Pitchfork – Timekiller (And One Remix)
Rammstein – Stripped – (Heavy Mental Mix)
Rob Stuart – A Beautiful Thing
Ronnie Hawkins – Mary Lou
Roy Orbison/k.d. lang – Crying
Scissor Sisters – Invisible Light
Sigue Sigue Sputnik – Bullet With Butterfly Wings
Simply Red – Holding Back The Years (DMC Remix)
SLAVE to the SQUAREwave – Get Out Of My House
SLAVE to the SQUAREwave – Starrs
TBA – Love Across The Nation
Toni Childs – The Dead Are Dancing
Traffic – The Low Spark Of High Heeled Boys
Twenty One Pilots – My Blood
Ultravox – Dancing With Tears In My Eyes
Unheilig – Unter deiner Flagge
Visage – The Damned Don’t Cry
Was (Not Was) – Walk The Dinosaur