#the latest one about album reissues is just so proud

[belialjones]

I love any time bob the biographer posts about the mats on ig

[leoninapelliolovesconchitawurst]

ENGLISH TRANSLATION (by me)

LOSDELAMUSICA.COM 19/11/20

https://www.losdelamusica.com/articulo/conchita-wurst-me-encantaria-colaborar-con-ruth-lorenzo-amo-tanto-a-ruth-y-es-tan-gran-artista

Conchita Wurst: "I would love to collaborate with Ruth Lorenzo, I love Ruth so much and she is such a great artist!"

Conchita Wurst is back and she's never gone. It has changed and evolved since we heard “Rise like a Phoenix”. Now behind her is also Tom, who is embarking on all kinds of projects, like his recent collaboration with Ricky Merino on "Smalltown Boy".

We had the pleasure of interviewing Conchita and below we have his answers on his appearance at Eurovision, his new album, his new stage as presenter and some curiosities like his dreams to be realized.

After your stint and your victory at Eurovision in 2014, now that time has passed, how has that influenced your new music? Are you still seeing as much impact?

I believe that all musical development is an evolution and that everything that comes from the past influences the present and the future. Winning the Eurovision Song Contest and all the attention that came with it allowed me to live the life I live today. And I think I felt a lot of pressure at first to be perfect and do everything right, and now a few years later I feel more mature and genuine and I have no intention of thinking about what other people might think. I'm just doing my thing.

“Truth Over Magnitude”, T.O.M, what does this record mean to you? Why does it have the initials of your name (Tom)?

It means that I appreciate the truth and being myself more than the celebrity. You understand? Being famous or a celebrity is fun and all, but in the end it doesn't mean anything to me. It's no good if you don't live the life you want to live. "Truth Over Magnitude" is very personal, so it fits very good as an album name, and abbreviated as TOM, it also shows that this album is much more my personal self than Conchita.

Your projects do not end there. You recently launched a collaboration with Ricky Merino, how did you receive the proposal?

I love collaborating with other artists and seeing what we can do together. Ricky contacted me and sent me his version of "Smalltown Boy", which I loved. So of course I said yes when he asked me to record a reissue of the song together.

Is the career or the fame of an artist important for you to collaborate with him?

Obviously it's flattering that a famous person wants to collaborate, but again I think it's “Truth Over Magnitude”. I really wanna like what the other person is doing, I wanna like the voice and the whole vibe, that's more important than the fame. I would never work with a super famous person that I don't like. And I've worked with people in the past who weren't very well known and we still do duets and projects together.

Which other Spanish artist would you collaborate with?

I would love to collaborate with Ruth Lorenzo of course, I love Ruth so much and she is such a great artist! And I think there are so many talented Spanish artists that I don't even know! Send them all to me and we'll do something together! (Laughs)

You also sang with Anastacia, do you want to edit one of her songs in the studio and release it as a single? Which?

I would record all of Anastacia's songs with her! She's an amazing singer, such a kind and friendly person and I think we would have a great time together in the studio!

Why do you think we need an example like you to follow for the LGTBI + collective? Are you proud to be a reference?

I don't like to think of myself as a point of reference, honestly, and I've never seen myself as an example. I like to think of myself as a guy who does his thing. But yeah, sure, I know I'm an example in people's heads, not mine.

Hope a lot of people will see that you can do whatever you want as long as you don't hurt others. If you want to be a bearded woman, be a bearded woman. If you don't want to be the bearded lady anymore and want to make electronic music, then do it. You only have one life, and I hope that's what people see in me: the motivation to love their own life and their fantasies.

You also worked as a presenter this 2020 on German TV, what about the experience in 'Fame Maker'?

You know? I love hosting TV shows especially when they're live because it's so much more fun than pre-recording and recording stuff over and over again. And “Fame Maker” was the first live concert I did this year where there was a real audience, it was also very nice. Having instant reactions is very important, not only for me as a presenter, but also for the jury, the artists and the entire production team.

Being a program where you can see but not hear, does the image matter more or are there other deciding factors?

Seeing the artists without listening to them was really interesting and fun. Of course, it also makes you aware of how quickly we judge someone by seeing them for a few seconds. But you can't see the talent, you can't see people who can really sing and have a great voice.

You might be able to see if they have some experience on stage. But it was also the fun of this show, anyone could guess it and it was full of surprises all the time!

How important is the image to you?

Image in the sense of how you look, your hair, what you wear is of course very important in the entertainment industry. Not just in situations like a cover shoot or during a three minute live TV show.

I think everyone knows what it feels like to look in the mirror and say, “Wow! Today I love myself a lot ”, that gives you a lot of confidence. Likewise, we all have days when we feel like wearing jogging pants and not leaving the house. I think the appearance and image can help a lot with the confidence and the way other people notice you. Use them to your advantage!

And now that it seems like every dream is impossible, do you see yourself in the middle of the Super Bowl in a few years? You would like it?

Haha, they still haven't called me! Of course, the Super Bowl is one of the greatest entertainment shows in the world and every year we see how Americans are crazy about having a massive experience.

At the same time, I like to watch the Eurovision Song Contest because, if we're being honest, it's our European Super Bowl and we don't have to watch a lot of sports to finally enjoy it. (Laughs)

What can we expect from Wurst in the short term?

With the pandemic, it has been a very difficult year for artists around the world, and I fear it will still be some time before we can enjoy concerts with crowded audiences. The closures in Austria have made me think about things I would like to do in the future, I have been working on some creative projects and looking forward to sharing them with my fans, when possible.

But don't be fooled, of course I also spent days at home doing nothing and being lazy; I think it's also something that unites us all. It's also okay to be lazy sometimes.

Thank you very much for your closeness and for answering questions so extensively, Conchita. We wish you good luck and success.

Check out the latest single with Ricky Merino on 'Smalltown Boy' below, then one of Tom's most recent singles, 'Hit me':

[wizrocklopedia]

New Post has been published on Wizrocklopedia

New Post has been published on http://www.wrocklopedia.com/2020/07/31/the-2020-wizard-rock-six-month-report-january-june/

The 2020 Wizard Rock Six Month Report: January-June, Part 1!

It’s been a great 6 months for wizard rock. In addition to numerous online concerts (including a 12-hour long festival!), the return of Yes All Witches grants and the launch of WZRD Radio, lots of artists both new and old have released lots of great new songs! Plus, several rare and out-of-print wrock releases have been given new life and new listeners through the Wizrocklopedia Music Archive and elsewhere. I am now proud to present a chronological list of ALL the wizard rock released or rereleased from the 1st of January to the 30th of June, 2020, totaling 38 releases and more than 130 songs! This is the first of three parts—stay tuned for the second part tomorrow! Enjoy the tunes and please support the artists! All of them are awesome and completely worth your time. If I missed any releases, let me know in the comments below or at wizrocklopedia [at] gmail [dot] com! Also, please comment and tell us what songs you liked the most—and what you’re excited to hear about next!

January 1: Pussycat Dolores – Boss Witch album: Bandcamp | iTunes | Spotify | YouTube

This album by Swedish auteur Pussycat Dolores set off the year right. Featuring a mix of comedic and reflective tunes, this album both deepens the character of Dolores Umbridge and provides a rallying cry for fans in the modern age.

January 3: Creevey Crisis – Letters in Fall EP: Bandcamp | iTunes | Spotify | YouTube 

This latest EP by longtime wrocker and ‘Pedia alum Creevey Crisis is a change from his usual work—it’s acoustic! CC’s songs transform into beautiful and lilting ballads under this approach.

January 10: Zac Anger – “Don’t Kill Ginny:” Bandcamp | “Page 596:” Bandcamp

This underground musician reissued two old wrock songs on his latest compilation. “Don’t Kill Ginny” is a plea to not kill Ginny when the 7th book comes out, so it’s quite a bit out of date. However, “Page 596,” about Severus Snape and Dumbledore’s death, wonderfully evokes the anger and the sadness of the situation and definitely stands the test of time!

Sometime in January: Newt Skabander – Pick It Up! (Demos) EP: Bandcamp

Wrockin’ ska band Newt Skabander released their debut EP in December 2019, but they added two additional tracks to it at some point in January. One song is straightforward Newt Scamander storytelling, and one is solid social commentary!

March 15: Dwight Evan Young – “Always:” Bandcamp | iTunes | Spotify | YouTube

Young’s debut wizard rock single features a delightful carousel-like sound and heartbreakingly beautiful lyrics from Snape’s perspective at his death.

March 20: Robert Shredford – “Moaning Myrtle:” Bandcamp | iTunes | Spotify | YouTube

Indie rockers Robert Shredford had a wrock song on their debut EP—it’s about how Moaning Myrtle is all sexually frustrated and stuck in the bathroom! It also wrocks pretty hard!

March 20: Tom Smith – “Hogwarts Holodeck:” Bandcamp

I guess March 20 was the goofy sexy wizard rock day, because filk legend Tom Smith included a wacky Star Trek/Potter crossover song on his newest album Holy Crap! We should have crossovers like this more often.

Sometime in March: Les Barnabas Cuffe – “Harry Est Là – (hallelujah):” Soundcloud | “La tristitude Harry Potter:” Soundcloud

This French wizard rock band released two singles in early 2020, both of which are lo-fi, acoustic and have clever lyrics (in French). “Harry Est Là – (hallelujah)” is a parody of Leonard Cohen’s “Hallelujah!” Looking forward to hearing much more from this musician!

April 17: Jack Forman – “Little Dobby Does It:” iTunes | Spotify | YouTube

Jack Forman of the comedy rock band Recess Monkey included a single wrock song on his latest solo album. It’s a fun tribute to Dobby’s awesome deeds and how cool he was! Dig it!

May 1: Harry and the Potters – Mostly Camping album: Bandcamp

This album by Harry and the Potters consists of outtakes from the writing sessions for their 2019 album Lumos. But boy these outtakes are incredible songs and the album is just as cohesive as Lumos, just in a totally different way!

That only takes us up to the beginning of May—come back tomorrow for the second part of the January-June 2020 Wizard Rock Six Month Report! And believe me when I tell you that the incredible releases are only just getting started. Thanks for reading!

[overlooked-tracks]

First Stream Latin: New Music From Maluma & Anitta, Santa Fe Klan, Danny Felix & More

The following article has been posted on August 15, 2022 at 07:15AM:

An Overlooked Tracks News Finding: Here’s an article you might have overlooked. Having a partnership with NewsAPI, we try to catch music entertainment news for you to view, read and possibly enjoy. We will continue to find what’s available in the world of music entertainment, concert information and music releases. But obviously you – the listener and reader are the biggest source for news in your area, so if you can share with us. For right now, look at what we found for you:

“From The Billboard Magazine Website – First Stream Latin: New Music From Maluma & Anitta, Santa Fe Klan, Danny Felix & More”

First Stream Latin is a compilation of the best new Latin songs, albums and videos recommended by the Billboard Latin editors. Check out this week’s picks below.

Anitta & Maluma, “El Que Espera” (Warner Records)

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Leave it to Anitta and Maluma to heat up an already sweltering Friday. The pair team up here for “El Que Espera,” an ultra sensual reggaetón track which marks their first collaboration. The song’s video, directed by Mike Ho and shot in Ibiza, is just as steamy. It finds the Brazilian star and Colombian hitmaker getting up close and personal on the set of their film, where they play the leading roles. The new collab comes on the heels of Anitta’s deluxe edition of her latest album, Versions of Me, which she will be releasing a new music video from each week in anticipation of the deluxe reissue. — GRISELDA FLORES

Santa Fe Klan, Mundo (Cuatro Siete Tres Music)

Santa Fe Klan has released his fifth studio album Mundo, home to 12 tracks that best represent his battles and successes in life, resulting in an ultra-personal project. Honoring the album’s title, he welcomes fans into his world, kicking off with “Mar y Tierra,” a powerful love song that can be for someone else or oneself. “I cried and cried, walked and walked, and looked for you by sea and land but finally I found you/ I had been lonely for a long time and I got tired of walking aimlessly/ I will no longer return to the path where one day I stumbled/ I will take care of you in the good times and the bad,” he chants in the track.

The Mexican rapper continues with the previously released honest letters “Eres” and “Lukas,” the former dedicated to his late mother and the latter to his newborn son. For the most part, Mundo is accompanied by weeping guitar riffs, hip-hop undertones, and vulnerable lyricism, as heard in “Triste Realidad” with Jacky Jacky, AXS Axel Santos, the reflective “Demasiado Tarde,” and the Reik-assisted “Llévame,” a soulful R&B song about facing the world with your partner in crime.

“This year has been a whirlwind for me to say the least,” the Guanajuato-born artist, who won the 2022 Premios Juventud for new Regional Mexican artist, says in a statement. “It’s such an indescribable feeling to see years of hard work pay off. This album has a very special place in my heart because of everything that has happened to me personally and professionally. I’m incredibly proud of what we’ve created with ‘Mundo’ and I’m thrilled to finally share it with everyone.” Mundo also includes collaborations Tornillo from Mexico and Colombian-born rapper Nanpa Básico before wrapping up with the emotionally charged acoustic number “Se Acabó.” — JESSICA ROIZ

Danna Paola, “XT4S1S” (Universal Music México)

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Danna Paola explores self-liberation in her new pop anthem “XT4S1S.” The euphoric beat serves as a canvas for her lyrics on feeling happy and invincible, and generally experiencing intense emotions. The track was written and produced by Danna Paola and Alex Hoyer. “This release is the sincerest of my career — for the first time, I’m not guided by what people will say, nor by pleasing anyone,” the Mexican singer-songwriter says in a statement. “I’m just enjoying connecting with myself when creating music, to enjoy with the people who want to connect. Today I live my music at 1000 percent.” — G.F.

Chesca X Alejo, “Piensas en Mi” (Chesca Entertainment Ventures/Saban Music Group)

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Chesca has her eyes set on the new generation of artists and for her new single, she recruits Puerto Rican newcomer Alejo. Produced by Yung Cado, “Piensas en Mi” is a sultry reggaetón where two people go back and forth on the status of their relationship. Chesca kicks off the track assuring that she doesn’t care if she behaves bad and goes out with her friends because she’s over him. On his verse, Alejo replies that they are only friends because he got rid of the benefits. But as much they play hard to get, the one common denominator is that they can’t stop thinking about each other: “You’re thinking of me, I can tell, you think I can’t notice, you’re crazy for me,” goes the flirtatious chorus. The pair also flaunt their on-screen chemistry in the music video. — J.R.

Los Ángeles Azules & Carlos Vives, “Cumbia del Corazón” (Disa/Seitrack)

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When Mexican cumbia royalty meets Colombian music royalty, a cumbia del corazón (cumbia from the heart) is born. This new single brings the best flavors of both worlds, a perfect fusion of music institutions that mix Vives’ high energy vocals with the traditional sound that represents Los Angeles Azules. Penned by Joss Favela and produced by Rodolfo Lugo and Jorge Mejía Avante, the lyrics to this beautifully blended cumbia narrates how a sensual cumbia should be danced. “And let me gently cling to your waist. How about we do something crazy? And we wake up in the cumbión,” Vives sings. — INGRID FAJARDO

Nanpa Báscio ft. Gera MX, “Lejos De Ti” (Nanpa Básico)

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Frequent collaborators, Nanpa and Gera MX, “Lejos De Ti” solidifies their reach in the rap scene with this track that is powered by melodies and poignant lyrics. The somber song is led by melancholic acoustic guitars fused with folk and regional influences. Meanwhile, the track’s lyrics dives deep into complex relationships that will inevitably reach an end. “Lejos De Ti” previews Nanpa’s forthcoming studio album, which is due in September. — G.F.

Danny Felix, “Grupo Táctico” (Fonovisa/UMG Recordings)

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They don’t call him the pioneer of Corridos Tumbados for nothing, and the first 15 seconds of his new single “Grupo Táctico” further cements why. Following his heartfelt “Tio Lito,” Danny Felix presents his latest track, where his strong requintos, vocals, and producing skills come out to play.

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[hmel78]

In conversation with Andy Jackson ...

73 DAYS AT SEA (2016)

At the mention of ‘Pink Floyd’, people often, perhaps immediately, identify with a certain sound - you could argue that there’s nothing throughout the annals of modern music that quite matches it. Over the past 35 years, of most things pertaining to ‘Pink Floyd’, that sound has been shaped and polished to perfection with the help of Andy Jackson.  As senior engineer at David Gilmour’s studios, he has also worked on all of Gilmour's solo recordings / multimedia projects ( as an engineer and/or co-producer) since 1984. 

Andy Jackson’s talents, however, do not rest solely with ‘Pink Floyd’ - he has also worked with artists such as ‘Heatwave’, ’The Strawbs’, ‘The Boomtown Rats’ (most notably mixing their hit "I Don't Like Mondays"), ‘Incredible Kidda Band’and goth rock group ‘Fields of the Nephilim’– he was also guitar player in the live band version of ‘The Eden House’. Originally trained in the sound engineering profession by producer/engineer James Guthrie, at Utopia Studios,  Andy served  as his assistant for several years, and began work as an engineer for Pink Floyd in 1980 - assisting in the recording of the performances of “The Wall” at Earls Court ; He was also the Front of House engineer on the band's 1994 world tour. Jackson also engineered Roger Waters' first solo album “The Pros and Cons of Hitchhiking”, and worked Front of House on the subsequent tour in 1984.  As Guthrie's assistant, Andy worked on the film soundtrack recordings for “The Wall” and the studio album “The Final Cut”.  When Guthrie relocated to Los Angeles, Andy became the band's primary engineer beginning with “A Momentary Lapse of Reason”, and then “The Division Bell”;  receiving three Grammy Award nominations for Best Engineered Album - for ‘A Momentary Lapse of Reason’ - and Best Engineered / Best Surround Sound album - for ‘The Division Bell’.

In collaboration with engineer Damon Iddings, Andy remastered the majority of the bonus features material on the Immersion editions of “The Dark Side of the Moon” and “Wish You Were Here” for the "Why Pink Floyd...?" reissue campaign ; plus the material recorded for the soundtrack to the band's 1992 auto racing documentary film “La Carrera Panamericana”, as well as engineering, producing, AND playing bass on two of the tracks on their last album “Endless River”, in 2014. Inbetween times, Andy continues to work on his own solo albums - his debut “Signal To Noise” received nothing but rave reviews, and his latest release “73 Days At Sea” looks to be achieving more of the same. We caught up with Andy, on one of his rare hours off ...

HR : When we spoke in 2014, about your debut album “Signal To Noise”, you hinted that one day there may be a second offering of songs - and here it is! “73 Days At Sea”. It’s a truly incredible album Andy, are you happy with it? Andy Jackson : Thanks! I’m sure for anyone involved in any creative process, there’s always a degree of doubt - could it be better? Having said that, I’ve learnt over the years that there is a point where you have to put it away, accept that you are into microscopic changes that no one but yourself will perceive. I feel pretty comfortable that the album was the best I had in me at that time.  The next one will be better! HR : What came first this time, the music or the lyrics?

AJ : One of the things that I decided last time, on ”Signal To Noise”, was that I wouldn’t record anything that wasn’t finished being written, having seen at first hand (many times) the pitfalls of recording backing tracks with no idea what the song is vocally.   That is, after all, the single most important element.  I didn’t change my opinion about that this time.   There again, I can’t say necessarily that anything came first. I tend to knock around lyrical ideas & musical ideas independently, and at some point it becomes clear that one particular lyric belongs with a particular piece of music. Then the evolution starts, when the two things become interactive.   I do allow myself to start on a piece without the lyrics necessarily being totally finished, not least of all, all sorts of minor tweaks are needed once I actually start to sing them, just to make them scan well. HR : Across both albums, some of your song writing is quite personal - although I’m sure many listeners will connect with your philosophy, and the snapshots of your life experiences that are shared in the songs. Do you listen to them and hear your heart on your sleeve, or do you just hear some really great music? AJ : I’ve tried writing from other perspectives, but it always feels like I’m being dishonest.   I don’t think that, that is something that can’t be done - Plenty of great writers write about things outside themselves, I just don’t find that I can do that.  ‘The Gyre’ is a good example - I originally wrote it from a totally different perspective, but in the end it felt contrived, and I needed to write it from the perspective of ‘me’.   The ‘me’ isn’t necessarily totally me, but I just like writing in the first person.   Drownings is a bit of a departure that way, that has bits written as other people, but even then, I needed to totally get under their skin to do it, including a section which I ‘method improvised’, ad lib’d in character.

It’s in my nature to listen to the music primarily, but if I’m going to write lyrics I want them to be worthwhile, I want to be able to read them as if they are someone else’s and to like them.

HR : Has making the recordings somehow aided your own ‘journey’? AJ : Absolutely.   It’s in the act of making them, of doing things that are difficult, that the value lies. “Nothing worth having was ever achieved without effort” -Theodore Roosevelt. HR : The songs on “73 Days At Sea” are linked by a theme - primarily the ocean ... Was the inspiration down to a lifelong affinity with being beside the sea - say, a love of eating ice-cream in the salty air -  are they musings, or is there a deeper connection?

AJ : As I allude to on the album notes, it comes from spending a bit of time working next to the sea at David Gilmour’s studio. I kept feeling a sense of nostalgia when ever I left there, as if it were somewhere that was significant in my past, which it isn’t. I wrote about that in a song (Type 1 error) and found that I kept making reference to the sea in lyrics, without necessarily realising I was doing it until afterwards. I thought about a suite of songs linked by the sea, but it kept getting bigger & bigger, until it became the whole album.  I went down onto the beach one day & recorded the waves, which made a lovely link between songs.  There is no huge significance to it really, or maybe there is on an unconscious level, I can’t know ... HR : Do you have a favourite track on the album? AJ : Same answer as everyone gives – they’re all my babies!   I actually have a fondness for the segue of songs that start the album, that’s the original ‘sea suite’ and works well as the Soft Machine Volume 2 inspired idea.  ‘The Gyre’ was the last one I wrote & recorded, and is probably the most sophisticated musically, so I’m proud of that one too.  The best one is always the next one though, so you’ll have to wait for that! HR : “Drownings” is nothing short of a masterpiece ; some may pick up on a bit of  a ‘Pink Floyd’ vibe - would you embrace that comparison? AJ : People are inevitably always going to hear ‘Pink Floyd’ in what I do.   I often wonder if chance had meant that my career was most associated with, say, ‘Genesis’ or ‘King Crimson’ or even ‘Steve Hillage’, if people would say I sounded like that.  Frankly I don’t worry about it, I just make music I like.

HR : I’m curious about the significance of the dates, detailed alongside the lyrics in the booklet ...

AJ : The dates in ‘Drownings’ really serve to help understand the chronology in the song.  I thought of Part 1, Part 2 etc (although not in that order), but I like the dates as it makes it like diary entries. I also ended up with having 2 of the sections being the same date, but from different perspectives, which I like, what 2 different people are thinking at the same time.  The specifics of the dates are arbitrary, although I did look them up to make sure they were all mundane dates, so they all feel like rainy Tuesdays.

HR : “Signal To Noise” was a complete solo effort, but you invited some guest artists to perform on “73 Days At Sea”; namely David Jackson from ‘Van Der Graaf Generator’, and  Anne Marie Helder from ‘Panic Room’, who both feature on ‘Drownings’ - did you envisage their involvement from the beginning? AJ : No, it evolved as I was making the song, and for different reasons.   Once ‘Drownings’ became written from the different perspectives of the people in it, it became obvious that I needed to have a female voice to sing the female role (there is a version with me singing it, but it’s a bit ridiculous).   Anne-Marie came about just because I knew her work and thought she’d be good, so I asked her, simple as that.   David Jackson was just because I have always been a huge fan of his playing, and thought it’d be great to have him on the song.   If he’d said no I wouldn’t have got a different sax player, it was specific to David.  Again it was just a matter of asking him.   I definitely envisage doing something with David again, on the next album probably ...

HR : Did ALL of your guitars make it onto this album? AJ : No they didn’t this time. It was a much more limited palate than I used before, somewhat deliberately.   Pretty much one electric (which was new for me, a PRS with P90s), one for slide, a 12 string electric and one 6 string and one 12 string acoustic.  No real reason, just keeping it simpler this time, there’s a bit of trying to give it a ‘band’ feel to the album, even though it’s 4 incarnations of me. HR : The cover artwork on both “Signal To Noise”, and “73 Days At Sea” are pieces by Michael Bergt, and they’re an absolutely  perfect fit -  how did you come across his work? What is it about his art that you admire? AJ : It was a chance find when I was doing Signal to noise.  I googled for ‘Sisyphus’, while writing the lyrics to ‘One More Push’, and the painting that I used on the cover for that album came up. It immediately struck me as perfect for the album cover, so I emailed Michael and asked him.  He was more than happy for me to use it, and for a very minimal price.   It seemed obvious to go back to him again for 73 days at sea.  If anything, I think that one is even better & more appropriate.   One fluke is the balloon in that painting, I already had the instrumental piece called ‘Ballooning’ (in fact that’s a very old piece of music & was always called that).  Couldn’t be more perfect!   I should mention the ‘barbie on the beach’ picture, which I love, was kindly provided by you!!

HR : [laughs] Indeed! I feel very honoured ...

AJ : I had a conversation with Anne-Marie about the fact that, as ‘cottage industry’ artists, we end up doing our own artwork, with no Storm Thorgerson type bringing in brilliant ideas & craftsmanship.  Makes the whole thing even more ‘mine’ though.

HR : Totally - and it is perfect. I think you get a real sense of how much of YOU has gone into the whole album ;  the sound, and the way the physical copies look. Both of them  - you should be incredibly proud! Since we last caught up, you’ve worked on David Gilmour’s latest album “Rattle That Lock” -  it’s quite an eclectic album, was it demanding to record?

AJ : It was a slightly odd album to work on. The way David works these days, he does a lot of work of putting the songs together on his own. We’ve set up the Brighton studio so he can come in & tinker and record anything he likes.  I get brought in when we do the ‘serious bits’.  This was doubly unusual inasmuch as we broke off this album to do ‘Endless River’, so it was a couple of years between my first stint on it, recording drums with Steve, to the final overdubs and mix. In the middle, David had built the album, so I came into half finished songs that I didn’t know.   One of the issues that many ‘big stars’ have is that no one is prepared to tell them that anything they do is no good.   That’s not a problem for me, we’ve worked together for 35 years now.  He really needs someone to be able to say yes/ no do it again, let’s drop in this bit and so on, which is a role that I do for him. As ever, with Protools sprawl, the toughest thing was that in the end some of the songs were 120 tracks or so, just because it’s so easy to defer decisions. Took a bit of sorting out!! HR : What projects have you got lined up for the coming year - are you planning  a 3rd solo album? Any live shows?

AJ : Well I’m halfway through a stint on a project I can’t really talk about. Let me just say it’s a whole heap of archive recordings for a well known band who I’m associated with!

As for my own music, when I get the time I’ll start on my next project. I want to explore a particular dynamic I have in mind. I’ve often thought that in recording or rehearsing situations I’ve been in, either working with others or as part of a band, sometimes someone will play something that I think is great, and that everything else should be built around that thing, to let it be the most important thing. Too often I see that idea lost, buried under other people’s opinions or lack of vision.  As, with my own music, I am in the position of being able to make all the choices, I have the opportunity to absolutely follow my vision.   I’m going to try a methodology of working with other people (such as David Jackson) and giving them the chance to be the defining element on something (by being ‘first’).  Hopefully this way I can get an album that is made of extraordinary things.

Live shows, I don’t know.  It’d need to coalesce into a band really for that to be viable. I’d like to do it one day, but who knows when.

[Andy spotted one of my more bizarre photos one day, and it features within the inlay booklet artwork of 73 Days At Sea]

[krakowergroup]

PR: Varese Sarabande CD Club Titles (Various)

VARÈSE SARABANDE RECORDS ANNOUNCES THE NEXT FOUR CD CLUB TITLES: The Cowboys - John Williams Small Soldiers - Jerry Goldsmith The Complete London Sessions - Georges Delerue Heathers - David Newman (June 18, 2018– Los Angeles, CA) – Varèse Sarabande Records is proud to announce next four album releases as part of their famed CD Club title program to be available beginning on June 18th: THE COWBOYS: THE DELUXE EDITION (John Williams), SMALL SOLDIERS: THE DELUXE EDITION (Jerry Goldsmith), GEORGES DELERUE: THE COMPLETE LONDON SESSIONS, and HEATHERS: ENCORE EDITION composed by David Newman. 

The latest CD Club titles will kick-off the 40th anniversary celebration which will spotlight the legacy of the world’s most renowned soundtrack record label.  The concept of the CD Club debuted in 1989 as a mail order exclusive releasing limited edition batches of beloved previously unreleased or long-out of print scores, carefully curated by Robert Townson. The first batch of Varèse Sarabande CD Club titles for this anniversary year begins with John Williams most epic pre-Star Wars score!  We are so excited to present this revelatory Deluxe Edition of John Williams’ THE COWBOYS.  The 1972 score is classic Williams, loaded with melody and adventure, in it he gave us his greatest and grandest western and one that would even spawn one of the composers greatest concert overtures, the beloved The Cowboys Overture. One of screen icon John Wayne's finest twilight films, THE COWBOYS was a box-office hit in 1972.  John Wayne stars as a rancher who will lose his livestock unless he can transform a ragtag bunch of schoolboys into cowboys. When all his ranch hands go off in search of gold, the veteran rancher is forced to hire eleven teenage boys as trail hands, and in the process of driving 1200 cattle across 400 rough miles, the young cowboys become cowmen.

THE FILM SCORE 1. Overture (2:34)   2. Main Title – The Cowboys (2:27)   3. The Hands Quit (1:44)   4. The Boys (1:05) 5. Wil and Ann (2:34)   6. The Kids and Crazy Alice (2:01)   7. Graveyard (:46)   8. Anybody That Tall (1:12) 9. Training Montage (1:32)   10. Long Hair and The Roundup (2:26)   11. Nightlinger’s Tale (1:47) 12. To Belle Fourche (1:46)   13. The First Night (1:56)   14. Burning Daylight (1:02) 15. Learning the Ropes (Vivaldi Concerto in D) (1:17)   16. Sour Mash (2:03)   17. Long Hair’s Threat (1:20)   18. Entr’acte (2:25)   19. Afraid of the Dark (1:42)   20. Charlie’s Demise (2:00)   21. Charlie’s Burial (1:37)   22. Mrs. Collingwood’s Girls (1:42)   23. Long Hair Trails (4:08)   24. Long Hair and Dan (1:29)   25. Summer’s Over (1:51)   26. Drums of Manhood and The Execution (5:56)   27. Into the Trap (2:18) 28. The Battle (1:27)   29. End Title and End Cast (2:23) ADDITIONAL MUSIC 30. Nightlinger’s Tale (Alternate) (1:47)   31. Long Hair’s Threat (Alternate) (1:26)   32. Entr’acte (Segment) (1:01)   33. The Execution (Alternate) (4:21)   34. Into the Trap (Alternate) (2:17)   35. End Title and End Cast (Alternate) (2:21)   36. Exit Music (1:13) We have received so many requests over the years for a Deluxe Edition of Jerry Goldsmith’s score for Joe Dante’s 1998 film Small Soldiers. An epic action/adventure score with a heroic march, Goldsmith had a lot of fun with this film and it shows. This is another epic expansion and remastering effort.  Our 40th Anniversary year and the 20th anniversary of the film seemed like the perfect time to revisit the film and its incredible score. When teenager Alan (Gregory Smith) buys a set of Commando Elite action figures, he's unaware that they have been programmed with military technology. The toys, including leader Chip (Tommy Lee Jones), spring to life and start taking their directives seriously, beginning by "killing" their enemies, the toy Gorgonites. But Archer (Frank Langella) and the Gorgonites won't go down without a fight. Alan gets caught in the middle of the war, as does his neighbor and crush, Christy (Kirsten Dunst). THE FILM SCORE   1. Globotech (:58)   2. He’s Here / Chip Hazard / Just Toys (1:00)   3. The Assembly Line (2:44)   4. Alan’s Town (1:25) 5. The Boxes / Off The Truck (2:12) 6. Gorgonite Scum / Almost Gold (1:36)   7. Roll Call (4:52)   8. Alan And Archer (3:01) 9. Destruction / Branded (3:01)   10. Prepare For Assault (3:48)   11. Special Design (Extended Version) (2:38)   12. Talk To Me / Not Found (3:07)   13. Team Gorgonite (1:10)   14. Phone Wires / Gorgon / Top Of The Stairs (1:12)   15. Stand Down / Negative Target (1:52)   16. The New Army / Brain Chip (1:14)   17. Bombshelley (Franz Waxman) (1:21)   18. The Wind (1:01)   19. The Gwendys / Terms Of Surrender (1:50)   20. The Trojan Box / Rocket Entry (1:45)   21. Gwendys Attack (1:47) 22. This Is Fun (1:26)   23. Toast / Down The River / Lost Battle (1:21)   24. I’m Scared (2:04)   25. Negotiations (1:10)   26. Fire In The Hole (3:45)   27. Trust Me (4:07)   28. No Prisoners (4:38)   29. Chip Dies / Cleaning Up (1:39)   30. Off To Gorgon (4:44) ADDITIONAL MUSIC   31. Globotech (Alternate) (:55)   32. Almost Gold (Alternate) (1:15)   33. The New Army / Brain Chip (Alternates) (1:51) 34. Toast / Lost Battle (Alternates) (1:03)   35. Ride Of The Valkyries (Richard Wagner) (:40)   36. Also Sprach Zarathustra (Richard Strauss) (1:30) One of Varese Sarabande’s most cherished recordings. GEORGES DELERUE: THE COMPLETE LONDON SESSIONS is such a priceless collection of his music that we couldn’t stand having its last reissue be out of print any longer.  The suites, recorded in London in the spring of 1989, were first issued as three individual volumes, each with a Bob Peak painting on the cover.  In 2001 we compiled the original three volumes into a 2-CD set called Great Composers: Georges Delerue, featuring a Matthew Peak photo of Paris on the cover.  For this new, remastered edition, we have returned to Bob Peak’s painting from the original London Sessions, Volume One. Disc One 1. Rich and Famous Suite (4:56)   2. Platoon Finale and End Title (6:54)   3. Her Alibi End Title (5:31)   4. Beaches Friendship (3:29)   5. Exposed Suite (9:18)   6. Biloxi Blues Main Title (2:34)   7. Steel Magnolias Suite (8:08)   8. Interlude Theme (3:23)   9. The Escape Artist Suite (7:24)   10. The Pick-up Artist Theme (3:09) Disc Two 1. Something Wicked This Way Comes Suite (10:51) 2. Hommage à François Truffaut* (12:12) I. Shoot the Piano Player / II. Love at 20 / III. Jules and Jim / IV. The Soft Skin V. Two English Girls / VI. Such a Gorgeous Girl Like Me / VII. Vivement Dimanche VIII. Day for Night / IX. The Woman Next Door / X. The Last Metro 3. Maxie End Title (4:06)   4. House on Carroll Street Theme (3:12)   5. A Little Sex Suite (9:27)   6. Maid to Order Theme (2:15)   7. Man Woman and Child Theme (3:20) 8. Memories of Me Suite (6:50)   9. Crimes of the Heart Suite (10:45) David Newman’s classic score for the cult classic original HEATHERS from 1989 is back! Veronica (Winona Ryder) is part of the most popular clique at her high school, but she disapproves of the other girls' cruel behavior. When Veronica and her new boyfriend, J.D. (Christian Slater), confront clique leader Heather Chandler (Kim Walker) and accidentally poison her, they make it appear a suicide. Soon Veronica realizes that J.D. is intentionally killing students he does not like. She races to stop J.D. while also clashing with the clique's new leader, Heather Duke (Shannen Doherty). Tracklist 1. Strip Croquet (1:55)   2. Suicide Note (2:10) 3. J.D. Blows Up (2:11)   4. The Forest (2:00)   5. You’re Beautiful (2:12) 6. Martha Dumptruck (1:12) 7. Third Funeral (1:52) 8. Veronica and J.D. (1:10)   9. First Funeral (1:56)   10. The Dorm (1:01) 11. Back To School (1:11)   12. Forest Chase (1:29)   13. Heather’s Locker (1:09)   14. Veronica’s Shower (:44)   15. Into the Cafeteria (:50)   16. Veronica’s Dream (1:56)   17. J.D.’s Final Stand (2:59)   18. Dorm Party (3:32)   19. Croquet (1:31)   20. Second Funeral (1:29) 21. Poor Little Heather (:56)   22. J.D.’s Bomb (3:53) 23. Petition Montage (2:29) Varèse Sarabande will begin taking orders for the latest batch of club releases today, June 18, 2018. # # # www.varesesarabande.com For more information contact KrakowerGroup[at]gmail.com, or @KrakowerGroup on Twitter ABOUT VARÈSE SARABANDE RECORDS Founded in 1978, Varèse Sarabande is the most prolific producer of film music in the world, releasing the highest quality soundtracks from the world’s greatest composers. From current box office hits and top television series to the classics of Hollywood’s Golden Age, Varèse Sarabande’s catalog includes albums from practically every composer in every era, covering all of film history; from Bernard Herrmann, Alex North and Jerry Goldsmith to Alexandre Desplat, Michael Giacchino and Brian Tyler. Varèse Sarabande releases deluxe and expanded editions of special soundtracks for the film music aficionado. The Varèse Vintage imprint specializes in releasing new and re-issued albums by classic pop, jazz and country artists. Varèse Sarabande Records is distributed by Universal Music Group. Follow:  twitter.com/varesesarabande Watch:  youtube.com/varesesarabande Listen:  open.spotify.com/user/varesesarabanderecords Like:  facebook.com/varesesarabanderecords Buy:  varesesarabande.com