Steel Panther’s LOWER THE BAR
is the Heavy Metal equivalent to
For over fifty years, Golden Earring has been Holland’s greatest Rock band, yet they have only scored two bona-fide hits in the U.S.: “Radar Love” (1973) and “Twilight Zone” (1982). While they’ve managed to maintain their popularity in other European countries, their unique brand of Rock ‘n’ Roll has largely been overlooked by American audiences. Their career trajectory closely followed that of the similarly-fated iconic UK rock band Status Quo: from flowery Psych Rock band in the ‘60s to Rock titans in the ‘70s (and beyond). However, the band has remained virtually intact throughout their entire career, in this way echoing the longevity of The Rolling Stones. These comparisons aside, Golden Earring has always done things their way. Staying largely out of the spotlight in the U.S. has allowed the band to travel their own path and create music without having to cater to the American market like so many other bands have been forced to do. Ironically enough, the music that these four gents create (Barry Hay, George Kooymans, Cesar Ziderwijk and Rinus Gerritsen) has always been exactly what America needs. Pure, honest Rock ‘n’ Roll that acknowledges but never gives in to current trends.
Those that are only familiar with their two American hits will be surprised to find out Golden Earring has released twenty-six studio albums alongside nearly a dozen live albums, as well as several compilations for those who only want to hear the hits. The four members of Golden Earring celebrate their huge catalog by playing all the favorites to their adoring fans, yet they seldom take the time to celebrate the many milestones that have paved their road to success. Although they are currently acknowledging their Silver Anniversary by hitting the road (again) this year, the band did not intend to put together yet another hit collection to commemorate the occasion. Instead, their record company worked behind the scenes and put together the ultimate tribute to the band: a twenty-nine CD box entitled THE COMPLETE STUDIO RECORDINGS, a glorious set that contains all twenty-six studio albums plus three CDs of non-album tracks. An absolutely astounding set, this release is an important part of Rock ‘n’ Roll history. Forget about biographies, Wikipedia entries or magazine articles. This box tells the real story of Golden Earring in the most honest and passionate way – through their music. Listen to it and weep, because it doesn’t get much better than this.
Stephen SPAZ Schnee was able to chat with Barry Hay, who graciously took time out of his busy schedule to discuss the release of the box and other things Golden Earring-related…
STEPHEN SPAZ SCHNEE: STITCH OF THE WORLD is just about to be released. How are you feeling about the album and the journey you took to make it?
TIFT MERRITT: I’m feeling really proud of this writing, these performances. I feel really, really lucky to have worked with this cast of characters. Marc Ribot is my favorite musician and one of my favorite human beings. He’s plugged into the sun. And I am forever grateful to Sam Beam for his input and generosity. To be in conversation with him about songwriting gave me a new eye on lyrics, on what to look for in third verses, on countermelody. But honestly, I don’t know that I ever truly have perspective on my work. I just have the sense of having had a creative experience that hopefully opened me more and will inform my next creative experience. I think that is what it is all about.
STEPHEN SPAZ SCHNEE: THIS CHRISTMAS TOO, the new holiday release by Matthew And Gunnar Nelson, is just about to be released. How are you feeling about the album and the journey it took to create it?
GUNNAR NELSON: I’m actually feeling fabulous about it — very accomplished and proud of the result. It’s been an incredible journey so far. Honestly it’s taken about four years to get to this point with this record. THIS CHRISTMAS TOO is a photo negative of the first release of last year. Allow me to explain: when we recorded this record we intentionally overcut by double. On last year’s release, half of the record had instrumental versions of these Christmas classics. The other half had vocal versions. This year, THIS CHRISTMAS TOO has the songs flipped. What was an instrumental track last year is now the vocal version and vice versa. Plus we’ve added two bonus tracks that were not on the first album, as well as the completely new take on our original Christmas hit single ‘This Christmas’ featuring Carnie and Wendy Wilson, who are driving the whole effort. The good news is, if you bought 2015’s THIS CHRISTMAS album, you’re not going to get a single duplicate on THIS CHRISTMAS TOO — they’re designed to complement each other perfectly.
As the leader of British outfit The Pack, singer, songwriter and guitarist Kirk Brandon’s unique musical vision was far too adventurous to be constrained by the limits of Punk Rock so he folded that band and moved forward with new ideas. By 1980, he had formed Theatre Of Hate, which included bassist Stan Stammers, saxophonist John Lennard, guitarist Steve Guthrie and drummer Luke Rendle. During their first two years of existence, the band released a few studio singles as well as a live album, HE WHO DARES WINS. By the time the band entered the studio to work on their debut full length, Guthrie had departed and Brandon took over all guitar duties. With The Clash’s Mick Jones in the producer’s chair, TOH began work on what would become a milestone in Post Punk history – WESTWORLD! With a mix of tribal rhythms, Spaghetti Western riffs, Post Punk guitar slashing and Brandon’s passionate wailing, Theatre Of Hate was a band unlike any other. While the band was known for their live performances, they took on a different form in the studio. Pre-dating his Big Audio Dynamite recordings, Mick Jones brought a lot of his experimental ideas to the sessions, which worked extremely well with Brandon’s vision. The end result is still being talked about today…
While TOH folded in 1983 – making way for Kirk’s next project, Spear Of Destiny – their musical legacy lives on. The band has reformed with various line-ups over the years and are now making waves again with both a new album (KINSHI) and a deluxe three CD edition of WESTWORLD. This excellent reissue on Cherry Red includes a remastered version of the album alongside non-album singles, Peel Sessions, alternate mixes and a live concert taped during the WESTWORLD tour. Still sounding fresh and invigorating, this expanded edition is the definitive version of an album that helped pioneer Post Punk in the UK.
Stephen SPAZ Schnee sent off a few questions to Kirk Brandon, who was gracious enough to take the time to respond…
While The Beatles, The Rolling Stones, The Who and The Kinks may have received more press coverage over the years, there is no denying that The Moody Blues are one of the greatest British Rock bands of all time. From their rough and raw R&B roots in the mid ‘60s to their Symphonic Rock masterpieces in the latter part of that decade, The Moody Blues reinvented themselves while also inventing Progressive Rock. Their continued success throughout the ‘70s, ‘80s, and beyond has ensured that new generations of fans have been able to experience their well-crafted Rock and Pop first hand. The simple fact that they are not in the Rock & Roll Hall Of Fame is an embarrassment to Rock Music itself.
One of the band’s driving forces, Justin Hayward, composed and sang the band’s biggest commercial hits (“Nights In White Satin,” “Your Wildest Dreams,” “Tuesday Afternoon,” etc.) and has managed to balance a solo career in between his Moody Blues commitments. Hayward remains an exceptional songwriter nearly 50 years after he scored his first Moodies milestone (“Nights In White Satin”) and is arguably one of the finest vocalists in British Rock/Pop history. Though not a prolific artist these days, Hayward’s solo material is just as emotionally powerful as anything he has released with The Moody Blues. Under-appreciated by mainstream press for too long, Justin Hayward certainly deserves to be mentioned in the same breath as Ray Davies and Pete Townshend if not Jagger/Richards or Lennon/McCartney.
Released just weeks apart, there are two Justin Hayward titles that focus on his solo material… with just a pinch of The Moody Blues to entice you. The first, ALL THE WAY, is a CD that collects fifteen solo recordings and offers a great introduction into his non-Moodies catalog. The second release is a most excellent DVD, LIVE IN CONCERT AT THE CAPITOL THEATRE. Filmed in 2014 during Justin’s tour for his SPIRITS OF THE WESTERN SKY album, the DVD finds Justin in great form performing solo and Moodies hits with equal amounts of love and passion. Aided by guitarist Mike Dawes and keyboardist/backing vocalist Julie Ragins, this trio breathes new life into Hayward’s back catalog including some of his biggest and best-known tracks. To see an artist perform a fifty year old song with as much conviction as a new composition is inspiring.
Expertly captured by director/film-maker/composer David Minasian, LIVE IN CONCERT AT THE CAPITOL THEATRE is a warm and wonderful experience to behold. As an added bonus, the DVD features the video to the brand new song “The Wind Of Heaven,” which is also featured on the ALL THE WAY CD collection. The beautifully photographed “Wind of Heaven” music video, co-directed by David Minasian and Trinity Houston, is a prelude to an upcoming major motion picture by the same producing duo. The song itself is a rare collaboration for Justin who co-wrote the epic piece with David. Justin, who readily admits he’s never really been successful writing with other people, believes “The Wind of Heaven” to be one of the nicest things he’s ever done.
Stephen SPAZ Schnee was able to spend some time chatting with Justin Hayward about the new DVD, The Moody Blues and more…
STEPHEN SPAZ SCHNEE: PEACEFUL GHOSTS is just about to be released. How are you feeling about the journey to make the album and the way it turned out?
MATTHEW CAWS: It feels like a wonderful gift. An orchestral album is something we never would have imagined doing. When the offer came, we were right in the middle of finishing our most recent studio album, YOU KNOW WHO YOU ARE, and didn’t have the bandwidth to focus on it. We learned that Calexico had been asked the year before, which led us immediately to asking our friend Martin Wenk – one of Calexico’s two trumpetists and a Nada Surf collaborator who has played on some of our songs and joined us on many tours – to produce the album for us. That entailed choosing the songs, choosing a composer/arranger and supervising the project’s development. It felt like a distant concept and then, all of a sudden, there we were in Vienna playing these songs for the conductor. Hours later the orchestra arrived. Two rehearsals after that the audience walked in!
STEPHEN SPAZ SCHNEE: The self-titled Aziza album is just about to be released. How are you feeling about the journey to make this album and the reaction to it so far?
DAVE HOLLAND: The whole process of putting together the music on this recording with these three great musicians has been a pleasure and truly inspiring. We’ve received an enthusiastic response from the audiences at our concerts and a very positive reaction from people who have heard the album.
“All rap music sounds the same.”
That is a statement uttered by the non-believers – those who don’t connect with the music and the messages found on the plethora of rap and hip hop releases that hit the streets throughout any given year. However, one listen to Danny Brown’s fourth album, ATROCITY EXHIBITION, will obliterate any notion that all rap/hip hop “sounds the same.” Released on the legendary Warp Records label and featuring guest appearances by Kendrick Lamar, Earl Sweatshirt, Petite Noir and B-Real (amongst others), this is one of the most original full-lengths of the year. While it may not sound like albums by acts like De La Soul and A Tribe Called Quest, ATROCITY EXHIBITION is just as groundbreaking – an album that will appeal to all music lovers who like to live on the edge. On the surface, it will intrigue the listener but as they dig a little deeper, the depths of this album will lead to amazement. Peel away the layers and you’ll discover a cornucopia of musical ideas fighting for a chance to be noticed. This is an album to explore. It is a listening adventure. This is emotion in motion. It is hard-hitting yet loving and embracing at the same time. ATROCITY EXHIBITION – named after a Joy Division song! – is art for art’s sake.
Stephen SPAZ Schnee was able to gather a few questions together and send them Danny Brown’s way. Danny was gracious enough to take time out of his busy schedule to answer them…
From Post-Punk to Dub to Jazz and back to Dub again, there are very few musical genres that have not been touched by the genius that is Jah Wobble. Born John Wardle – and christened with his stage name by none other than Sid Vicious – Wobble has defied the odds and has remained one of the most innovative and forward-thinking musicians of the Rock era. He first came to prominence in John “Johnny Rotten” Lydon’s post-Sex Pistols outfit, Public Image Ltd. After a few years of knocking about and causing musical mayhem with Lydon & Co., Wobble struck out on his own. Working with artists such as The Edge (U2) and Holger Czukay and Jaki Liebezeit (Can), he was able to expand his resume while exploring new sounds and styles. During this period, Wobble also put together his own band, Invaders Of The Heart. By the end of the ‘80s and into the ‘90s, he had become one of the most respected British musicians of his generation – entirely unpredictable yet always riveting. With Invaders Of The Heart, Wobble was able to combine World Music, Ambient, Folk and Electronica, creating a sound that was both unique and commercially successful – not an easy feat for any artist. Scoring a hit album, RISING ABOVE BEDLAM, at the beginning of the ‘90s, was a little surprising but very welcome and well-deserved. With a line-up that has evolved over time, Jah and his Invaders Of The Heart have become one of the most exciting and inspiring musical outfits in modern music. One of the most prolific artists of his generation, Jah’s work with Invaders Of The Heart is only the tip of the iceberg. As a leader or collaborator, Jah Wobble’s catalog is as deep as the music he plays. A visit to www.jahwobble.com will catch you up to date.
EVERYTHING IS NO THING, Wobble and the Invaders’ 2016 release, takes the band into an exciting dimension – Spiritual Jazz. Produced by Youth and led by Jah’s warm and emotional bass playing, the album takes the listener to new and exciting levels of ecstasy. Anyone looking for Ambient, Dub or Post-Punk will not find them here. However, the attitude and excitement of those genres can be found lurking deep within the grooves of the album. Wobble’s never-ending musical journey means that he never makes a bad record. Spiritual Jazz may not be the direction some fans of “Visions Of You” may be expecting, but open your mind and you’ll most certainly enjoy the ride. This is not music that you’ll just listen to – it is music that you will feel.
Stephen SPAZ Schnee was able to toss a few questions over to Mr. Wobble, who kindly took time out to discuss EVERYTHING IS NO THING and much more…