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.

80s (and sometimes 00s) Music Rules ~ Criminally Underrated Artists/Bands ~ Ricky Humphrey and Nature Kills

Rick_HumphreyEvery now and again, I have the great fortune to bump into a contemporary musician or band who embodies the very essence of the 80s music I love. Recently, I was privileged to meet Ricky Humphrey online, currently recording as Nature Kills. The music I have heard him create has blown me away.

As Ricky, himself describes this phenomenon: “Nature Kills”—melody-driven, bass-thumping, guitar-wailing, synth-swirling music.

“Nature Kills” was born out of an idea in October 2010. The band “Rise” had ceased to exist and I was in a musical wasteland. I became driven obsessively to create music that I wanted to hear. I missed the music from the 80s and craved the textures and melodies that were created during this time. I needed a vehicle for this and that became “Nature Kills.” I want my music to sound fresh and new, but also have that contemporary feel; one foot in the 80s if you like.

Ricky Humphrey was kind enough to grant an interview to Rave and Roll. Read on to learn more about this super-talented man and his music.

What is your first musical memory?
Nazareth—Bad Bad Boy

What instruments do you play? RH3
Bass, guitar, and synth.

Which one do you favor and why?
Bass—it’s where I feel most at home and am most proficient.

Did you take lessons or are you self-taught?
Bass—self-taught, though I did have a few lessons with Nick Beggs (Kajagoogoo/Ellis,Beggs & Howard, and now touring with Steven Wilson), as I wanted to develop my slap/funk style. Guitar and synth—self-taught.

Who were your favorite musicians growing up?
Mick Karn (Japan)—he was my introduction to bass. I was just blown away by his unique style. Gary Numan for being so inspirational; a true awakening took place for me at this time. Talk Talk—just awesome!RH1a

Who are your current favorites?
Peter Murphy—he has such an amazing voice and I just love his lyrics. Depeche Mode—I was not a fan of their material when Vince Clarke was involved, but have grown to like them more and more with each passing album. Gary Numan still does it for me and he is still evolving, which is cool. Trent Reznor, NineInchNails, and How to Destroy Angels—again very inspirational in all that he does.

Have you ever played in a band?
Yes, my first band was Sirahn, then The Open Hand, followed by Rise.

Do you prefer recording alone or with other supporting band members?
Both have their advantages. I have more control over my current projects as I am working alone. In a band situation, there’s a lot of diplomacy and at times tension, which can be good but it can also hinder.

Rick_Humphrey3When you write, which comes first—melody or lyrics?
This one is difficult, I write lyrics as and when I’m inspired but generally don’t have a melody in mind; however, when I have an instrument at hand I create melody, rhythm etc., then seek out a lyric that feels suitable. I don’t have a vocal melody sorted until I have a musical backdrop to work with, and then try to enhance it with a vocal line.

Who or what has influenced your style of music?
Japan, Gary Numan, Peter Murphy, Depeche Mode, Trent Reznor, and Talk Talk.

Do you see a particular direction that your music is taking, and if so, where is it going?
I feel it becoming somewhat darker with a few hints of lightness here and there just to keep the balance. I like to move more toward the Dark Wave/Goth genre but for now I’ll stick with Alternative until I make the leap.

Nature Kills music is available live and online, with a CD available soon. Experience it for yourself:
soundcloud.com/naturekills
www.reverbnation.com/naturekills
www.myspace.com/naturekills
www.facebook.com/pages/NatureKills

80s (and sometimes 00s) Music Rules ~ Criminally Underrated Artists/Bands ~ Tim Langan

Time to meet a wonderful current artist who would have been vital in my favorite musical decade, as he is today. Tim Langan has a very full and impressive musical resume. He gave me the opportunity recently to get to know him and I’d like to share the experience with you. Be sure to take the time to check out Tim’s music on YouTube, as well as the various websites posted at the end of the interview.

Tim_bass_3Tell us about who or what (or both!) has influenced your music.

From the time I was very young, I have known that I wanted to be a musician. My very early experiences in grade 1 involved singing the National Anthem first thing in the morning.

My mother likes to recount a story of being called in to the school by the principle and being told that I had a very good voice and they were recommending that I be sent to a choir school, as they felt that I had a sense for music inside me. She and my father decided that I was a little bit too young to be travelling downtown on the subway every day for school, so they decided instead to get me involved in piano lessons.

What is your first significant musical memory?

The singing of the National Anthem was one of the very first things that I remember about my discoveries in music; however, there were a few other things that were to come that also stick out in my mind.

I was the youngest in my family. My 3 older brothers liked music a lot. They were between 11 and 16 years older than me. I remember for my eleventh birthday getting 2 vinyl records. One was Elton John’s Greatest Hits and the other was Paul McCartney’s Band On The Run. I was hooked. I also enjoyed sports as a kid and used to spend hours hitting a tennis ball against our garage door. My brother had a Volkswagen beetle with an 8-track player in it and I remember specifically listening to Jeff Beck’s “Wired” over and over again while smashing the tennis ball off of the garage door. I must have listened to that album 1000 times as a kid and still enjoy giving it a listen today.

CD CollageHow soon after that did you decide that’s what you wanted to do?

I have almost always had a sense of wanting to be a musician from a very, very young age. It has always seemed like the natural and obvious thing for me to do.

In fact, I have tried to make it “go away” on several occasions, but it just won’t seem to leave me alone.

What was your first group/band and what part did you play?

My first performance with a band was in grade 8 when I performed with 2 friends at our grade school. We played 3 songs together. I believe we opened with Elton John’s “Rocket Man” with myself playing piano with drum and guitar accompaniment. Then I switched over to bass guitar duties and we performed Edgar Winter’s “Free Ride” and Led Zeppelin’s “Stairway To Heaven” – I don’t recall whether any of us wanted to actually sing these songs, so we may have played them as instrumentals. I find it amusing that this still seems to be a trend for me in my own writing, as the vast majority of the music that I am involved with, somehow seems to bypass the urge to add vocal to the song.

The name of this band was “Jupiter” and my next door neighbor, who was 4 years older than us wanted to be our manager and went out and bought us matching bracelets that had “Jupiter” engraved on them. We used to joke, what could be stupider than calling a band Jupiter?

The drummer in that first group was my lifelong friend Sascha Tukatsch, whom I have had the privilege to write and record with on so many projects over the years, including our high school band, which started as Reign, which would later be released on CD under the name “The Harrison Fjord”

Do you prefer to perform in the studio or live? Why?

Tim_bass_1

I love both. The studio offers the very unique experience of capturing your ideas and how you were feeling at that exact moment for the rest of time. That is very special indeed.

The live experience is also very special, because there is a nervous energy and adrenaline that is created from performing in front of people, with the pressure of wanting to perform perfectly and put on the best show possible for all of the people who have come out to see you play.

What inspires you to write your best music?

This is a difficult question to answer. Inspiration is taken from so many potential sources. Music is also very subjective, so who can really say what is “best?”

My own compositions are so varied in style from one to the next that I have a hard time trying to define what it is that grabs me or guides me in a certain direction. Usually, I am just a conduit that the music flows through. Most of the music that I write happens very quickly, indeed. People, places and events are most often secondary to the writing process. In peak writing times, I just sit down and compose and usually at the end of the day/night I have a finished piece of music, whether it is a short pop ditty or a full orchestral score.

Tim_bass_2What was the best concert you’ve ever attended and what made it so special?

Concerts are a wonderful experience for me. I usually do not attend massive venues, as most of the musicians that I tend to be inspired to watch, are lesser known, virtuoso types of players.

While I have been to may rock shows in large venues, like Supertramp, Fleetwood Mac, The Eagles, Queen, Aerosmith and Rush in the late 1970’s, it is the acts that perform in the smaller venues that I truly cherish.

Performances by Al DiMeola, John McLaughlin & Paco DeLucia with Steve Morse as the opening act, The Pat Metheny Group, Frank Zappa, Weather Report, Return To Forever, Yes, Uzeb, King Crimson, Joe Satriani, Youssou N’Dour, Level 42, Adrian Belew, Marillion, Hugh Marsh, Manteca, Bela Fleck & The Flecktones, Alain Caron, David Sanborn, Marcus Miller, Steve Vai, Victor Wooten, Dream Theater, King’s X, Michael Manring, Fishbone, UK, Zappa Plays Zappa, Tommy Emmanuel, and Porcupine Tree are stand outs in my mind over the years; but probably one of the greatest shows that I ever saw was Andreas Vollenweider and friends on Oct 16, 1989. My reasons for liking this show specifically over all of the others is musicality. The inspiration that I drew from all of these shows is incalculable, but this one Andreas Vollenweider show was indeed something very special.

If you had a “do-over,” what would you do differently?

While I do read and write music, perhaps I would have tried to go to a “music” school to acquire a piece of paper with my name on it, although, I guess it is never too late?

What’s coming up next?

I have been quite busy this year adding my musical voice to many different recording projects. I have recently finished playing bass for a guitarist, singer, songwriter, named John Jamieson. I am hopeful that this CD will be completed and ready for release by the fall.

The Green Rain ProjectAlso, I have recently re-connected with a guitar player friend of mine that I worked with about 20 years ago. Her name is Irene MacKenzie and she is very talented indeed. Irene called me, asking if I would record with her and her son MacKenzie Coburn on a piece of music that she wrote for her Mother, who had passed away from pancreatic cancer 20 years ago, shortly before MacKenzie was born. I had always enjoyed working with Irene and given the music that she and her son were jamming on, I immediately agreed. We initially sent a bunch of ideas back and forth through the sky drive in a common email account over the internet and when we were ready, I drove out to their home studio to record my bass and keyboard parts on the CD.

We are currently in mixing and mastering for this debut CD and I am very anxious to get this one out. The CD will be released under the name “The Green Rain Project” and the disc will be entitled “ToRUTH” – Irene and I have talked a great length at working on many more CD’s together, as the music for this CD came together very quickly.

Another project that I have been recording and performing live with is “Lisa Smith’s Powerhaus” – I had been asked to join this band after Lisa Smith Powerhouse_4they had released their debut CD “Maze Of Souls” and we have been working to put the finishing touches on the band’s second CD – “612” – I am hopeful that this disc will be completed and released later this year. I am confident that this disc will be well received by fans and critics alike, as I feel the writing is very strong within the rock genre.

I have also been recording and performing with The David Bacha Band. This has been quite a long term project for me and I am hopeful that 2013 will be the year that we finally get this one to the market. We shall keep our fingers crossed.

David Bacha Band_2Lastly, I continue to write and record at my home studio, as this is just something that I have to do to maintain my sanity.

I have my entire musical catalog, (11 CD’s) which does not include the 5 CD’s that I was commissioned to do for a friend’s record company, that I am trying to get remastered and up for sale online. It would be a major achievement for me to get all of these up to CD Baby and iTunes this year, I remain vigilant in trying to complete this task.

What advice can you give to aspiring musicians?

Follow your dreams, work your butt off to be the very best you can be and don’t stop doing what you love for any reason.

Where can people listen to and purchase your music?

While some projects are currently available for purchase online (try Google to search out the band names) some are available through CD Baby or iTunes – (The Harrison Fjord – Machine Tree / Splub – Splub )

Most of my catalog is not currently available for purchase, although I am trying to rectify this problem.

Should you wish to check out a lot of my music and several of the bands that I have played with and currently am playing and recording with, I have over 100 videos, slideshows and music posted at my youtube channel, which can be found at:

http://www.youtube.com/TimsTunes/

Also, be sure to check out these related sites:

John Jamieson – http://www.johnjamieson.ca

The Green Rain Project website, which is still under development, but can be found here: http://www.greenrainproject.com

The David Bacha Band: http://www.davidbacharocks.com

Lisa Smith’s Powerhaus website: http://www.lisasmithspowerhaus.com

The Harrison Fjord website: http://www.theharrisonfjord.com

80s Music Rules ~ Criminally Underrated Artists/Bands ~ I Start Counting

I start countingIf you’re lucky, you’ll remember this short-lived electronic band from North London. If you’re like me, you haven’t a clue who they were, but after listening to them, you’ll know you missed out on something really good. Fortunately, a dear rare 80s blogging buddy featured them on his blog Mine for Life a few years ago, otherwise I may never have had the pleasure of experiencing them

Electronic, poppy, somewhat dark, somewhat trippy….all the major ingredients for 80s music success, right? Once again and in this case, something was definitely missing in the equation; like so many other talented artists, this band went totally under the radar.

I Start Counting was actually a duo made up of college friends David Baker and Simon Leonard, who, according to Wikipedia, shared a love of pop music. The Wikipedia article goes on to report:

Baker and Leonard had met at Middlesex University; both had affection for pop music. In 1982 they began to DJ together which led to them to form the I Start Counting project. Leonard specialised in the technology side and Baker was biased toward the musical side of the project. They approached Daniel Miller with some demos of their recorded material. These demos led to Mute Records signing the duo in 1984.

In 1986, I Start Counting recorded and released their debut album, My Translucent Hands. This accomplishment led to them becoming a I-Start-Counting-My-Translucent-Handssupport act for Erasure the following year. They released a second album in 1989, Fused, which included a new version of “Lose Him” comprised entirely of sampled voices.

The duo would morph into two more groups, Fortran 5 and Komputer, migrating to a different sound and experimenting with the dance/techno genre. Needless to stay, the enduring success they deserved eluded them, and they faded into 80s rarity oblivion.

Purchase I Start Counting music here.

Discography

As “I Start Counting”

1986 – My Translucent Hands (Mute Records)
1989 – Fused (Mute Records)

As “Fortran 5”

1991 – Blues (Mute Records)
1993 – Bad Head Park (Mute Records)
1995 – Avocado Suite (Mute Records)

As “Komputer”

1998 – The World of Tomorrow (Mute Records)
2002 – Market Led (Mute Records)
2007 – Synthetik (Mute Records)
2007 – Intercom (Self-released)

I Start Counting ~ Letters to a Friend ~ via YouTube user GeneLovesBowdie:

I Start Counting ~ My Translucent Hands ~ via YouTube user The Jesbel:

I Start Counting ~ Modern Sunbathing ~ via YouTube user MilesFiles2008:

80s Music Rules ~ Criminally Underrated Artists/Bands ~ Hoodoo Gurus

hoodoosOnce again, I am at a loss to explain what could have possibly happened that this gifted band from Australia was not a huge hit in the states. From what I understand, Hoodoo Gurus got massive airplay on college radio stateside, but that’s about it. Thank goodness college/alternative radio had some good sense back then, otherwise so many of these criminally underrated bands would have suffered from complete US airway indifference.

I know I sound like a broken record, but I am so glad to have the chance to go back and revisit what I’ve missed thanks to the annoyingly misguided and downright stupid decisions made by clueless suits in boardrooms as to what got airplay and what didn’t during the most vital musical decade ever. (Huge intake of breath.) But I digress….hoodoos2

Hoodoo Gurus formed in Sydney Australia circa 1981, and was initially comprised of Dave Faulkner, (songwriter, lead singer and guitarist), Kimble Rendall (bass, guitar, backing vocals), Roddy Radalj (guitar, backing vocals), James Baker (drums), and Clyde Bramley (bass guitar, backing vocals). Shortly after, the band reformed into its more well-known lineup of Faulkner (original), Richard Grossman (bass), Mark Kingsmill (drums), and Brad Shepherd (guitar, vocals, harmonica).

They had a string of hits throughout the decade in their homeland of Oz and a strong, enduring popularity on US college radio. Refusing to ascribe to a single sound, the Gurus’ music spanned many genres including power pop, psychedelic rock, and punk. They recorded 7 albums from 1984 until 1996, then came back with two more albums in 2004 and 2010.

hoodoos3

But, you say, you’ve never heard of them? Frustrating, isn’t it? Well, now you have.

Check out their music (some of which is posted below via YouTube), then expand the horizons of your 80s collection (and your mind) by making your purchase here. Be forewarned: if you’re looking for heavy, industrial music, you won’t find it with the Gurus. But, if you’re looking for a musical lift, you’ve definitely come to the right place.

Discography

1984: Stoneage Romeos
1985: Mars Needs Guitars!
1987: Blow Your Cool!
1989: Magnum Cum Louder
1991: Kinky
1994: Crank
1996: Blue Cave
2004: Mach Schau
2010: Purity of Essence

Hoodoo Gurus website.

Hoodoo Gurus ~ Bittersweet ~ via Youtube user nzoz1985:

Hoodoo Gurus ~ What’s My Scene ~ via YouTube user jazztronic:

Hoodoo Gurus ~ Come Anytime ~ via YouTube user amlimabr:

Hoodoo Gurus ~ A Place In The Sun ~ via YouTube user miketheblueeagle:

80s Music Rules ~ Criminally Underrated Artists/Bands ~ Abecedarians are Back!

AbecedariansI can hardly contain my excitement. There have been rumblings over the past couple of years of a re-release of Abecedarians music. The moment has finally come!

Bassist John Blake contacted me a couple of months ago to let me know this long-awaited treat was on the verge of becoming a reality. It was hard to keep quiet about this news, but I didn’t want to spoil the delicious anticipation that fans all over the world have been experiencing.

Ashirt

I received my copies of both Eureka on vinyl and CD and the Eureka “Bonus” CD this past week. Also available from the Pylon Records site are Eureka color vinyl, an Abecedarians leather iPad cover, and T-shirts in both tan and dark blue.

Track listings are as follows:

Eureka double vinyl or single CD

GhostsAE
Soil
Beneath the City of the Hedonistic Bohemians
I Glide
Mice & Coconut Tree
Misery of Cities
Smiling Monarchs
Benways Carnival
Switch
Other Side of the Fence
They Said Tomorrow
Wildflower
John’s Pop
Spaghetti Western

Bonus CD (included in select packages only)

AEsleeve

Ghosts
Soil
Come Out
Where’s Karen
Classic
Beneath the City of the Hedonistic Bohemians

Get yourselves over to Pylon Records and order your Abecedarians merchandise and music now. Or, if someone you know is struggling with what to get you for a gift this holiday season (or for any occasion whatsoever), drop a big hint that they should indulge your Abecedarians music cravings.

Abecedarians ~ I Glide ~ via YouTube user missparker0106

Not included in the re-release, but one of my favorites.

Abecedarians ~ Dinner ~ via YouTube user missparker0106