It has been 33 years since Bronski Beat arrived on the music scene with their remarkably emotional debut single “Smalltown Boy.” Jimmy Somerville’s soaring falsetto was quite a wonder to behold but the music performed by Steve Bronski and Larry Steinbachek was equally enthralling. Equally enchanting, the band’s debut album THE AGE OF CONSENT was Synthpop at it’s finest. Inspired by classic Disco and the Electronic Music scene that was sweeping the UK, the trio blended their influences into a wondrous brew. Add in their thought-provoking lyrics that focused on gay-related issues and you had a band that not only made you dance but also made you think. Surprisingly, in 1985, at the height of the band’s popularity, Somerville abruptly quit, leaving Bronski and Steinbachek to carry on without him. The following year, the band returned with new vocalist John Foster and released the Pop-errific sophomore album TRUTHDARE DOUBLEDARE. Although “Hit That Perfect Beat” and “C’mon! C’mon!” were hits, the album didn’t fare as well as their debut and the band left their label (London Records). Foster left the fold and Bronski and Steinbachek’s continued to work together throughout the rest of the ‘80s and into the ‘90s. They released their third album, RAINBOW NATION, with new vocalist Jonathan Hellyer and additional musical assistance from Ian Donaldson. However, the band quietly split in 1995 shortly after that album’s release.
For half a century, Charley Pride has been one of Country Music’s hardest working and most beloved entertainers. Ever since his 1966 debut single on RCA, “The Snakes Crawl At Night,” he has forged a path that has been consistent and rewarding to his fans and those that love traditional Country Music. With over 50 Top Ten Country singles to his credit – 29 of those reaching #1 – Charley is one of the most successful Country vocalists of all time. Against all odds, he has outlasted nearly all his contemporaries from the ‘60s, ‘70s, ‘80s and ‘90s and he shows no signs of slowing down any time soon. MUSIC IN MY HEART, his first album in six years, is an album steeped in Country tradition yet still sounds fresh and invigorating. With this album, Charley has delivered one of the most consistently excellent albums of his career. Now, if only Country radio still celebrated the traditional sounds of artists like Charley Pride…
Produced by Billy Yates and featuring songs written by Merle Haggard (“The Way It Was In ‘51”), Bill Anderson (“You Lied To Me”) Ben Peters & Justin Peters (“Natural Feeling For You”) and many others, MUSIC IN MY HEART is an essential listen for those that love Charley’s classic recordings as well as his more recent output on the Music City Records label. Tracks like “It Wasn’t’ That Funny,” “New Patches,” “I Just Can’t Stop Missing You” and the previously mentioned titles will remind you of the days when Country Music was about life, love and loss and less about glamor and gloss. MUSIC IN MY HEART is an instantly lovable and timeless collection of songs that will no doubt be considered a classic in Charley’s catalog.
Stephen SPAZ Schnee was able to catch up with Charley Pride and spend a few minutes chatting about the album and more.
Pursuit Of Happiness), John Boutte and others – brings their own personality to the party, making each track feel different from the last. While Rundgren may be the name on the album cover, he allows every collaborator to make their presence known. Totally modern and relevant, WHITE KNIGHT still features Todd’s distinct musical thumbprint and is a pleasure from start to finish.
comprised of Miles Zuniga (vocals/guitar), Tony Scalzo (vocals/bass) and Joey Shuffeld (drums), Fastball has nothing left to prove. They’ve achieved everything that all bands strive for when they first get together – a record deal, tours, hits (1998’s “The Way” is their biggest so far) and respect. Now that they’ve been able to step away from the spotlight for eight years, they sound refreshed, focused and re-energized. But please don’t call STEP INTO LIGHT a comeback album. Comebacks are often desperate attempts at replenishing the bank
accounts by taking advantage of fans’ fond memories. Fastball is merely picking up the bat, taking a swing and knocking another one out of the park. STEP INTO LIGHT is a fantastic album that reminds people just how good this band has always been. In fact, it may be their most consistent full-length platter to date. The boys have a home run on their hands and they’ve left their contemporaries – new and old – in the dust. Again.
STEPHEN SPAZ SCHNEE: Your self-titled album is about to be released. How are you feeling about the journey to make this album and the reaction to it so far?
ROBYN HITCHCOCK: Well, the people that normally like my records like this one, so far. And that’s it really – if you like this one, you’ll probably like the others. If not, I’m not your flavor. That’s why the record is simply my name. The journey? Well it was the lucky coincidence of my moving to Nashville at the same point that Brendan Benson was getting in touch, asking if I’d like to come and record with him there.
SINCERELY, FUTURE POLLUTION
STEPHEN SPAZ SCHNEE: SINCERELY, FUTURE POLLUTION is about to be released. How are you feeling about the album and the reaction you’ve had to it so far?
TAYLOR KIRK: I’m extremely proud of the recording. I feel it’s without a doubt the best effort yet. Reactions are encouraging.
Like any genre, Punk was never about just one ‘thing’ – it was a movement made up of many moving parts. Behind the torn jeans, mohawks, leather jackets and missing teeth (thanks, mosh pits), Punk was first and foremost about the music. Initially, a reaction against the overblown pomp of Progressive Rock and Disco (and any other musical movement that the Punk kids deemed pretentious and worthy of a kick in the gonads), Punk became the most influential movement in Rock history since Elvis had his crown stolen by The Beatles in 1964. In 1976, Punk Rock scared people. However, it wasn’t meant to destroy and move on – Punk was about taking Rock back to ground zero and rebuilding it from the ground up. Punk stole the blueprint from Chuck Berry’s safe and brought Rock ‘n’ Roll back to its basic foundation. Sex Pistols was the first band to gain international notoriety, but the whole of England was soon swarming with equally important bands like The Clash, Buzzcocks, The Jam, The Damned, et al. It was a beautiful thing. These bands knew how to write a cracking tune and that is why they are still remembered 40 years after Punk broke wide open.
Judy Collins is an American treasure. From her early Folk recordings – her debut album was released in 1961 – up through her brush with the Pop charts in the latter half of the ‘60s and into the ‘70s, she has possessed one of the most beautiful voices in Pop music. With hits like “Both Sides Now,” “Chelsea Morning” (both penned by Joni Mitchell) and Stephen Sondheim’s “Send In The Clowns,” Collins has built up a catalog of remarkably timeless recordings that never seem to age – much like the singer herself. Her gentle, moving performances have inspired generations of performers spanning all genres. Whether she is performing a song she composed or interpreting someone else’s musical creation, the song becomes Judy and Judy becomes the song. And fifty-six years after she made her recorded debut, Judy’s voice sounds better than ever. If you have ever fallen under the spell of Judy Collins, I’m fairly certain you are still hypnotized by her talent.