Addicted To Vinyl Musical thoughts from the open road, with headphones on

24Nov/130

Run Off To The Circus With Dan Baird….

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It's Sunday evening and you're a little bit bummed that the weekend is drawing towards its conclusion, right?

Here's a brand new album from Dan Baird & Homemade Sin to help soften the blow a bit.

The new album is called Circus Life and you can either snag the physical disc here or grab the newly released Amazon MP3 download for instant gratification. Like everything that Baird releases, the arrival of this one has been highly anticipated in my world. From a quick scan, it sounds like Dan Baird, so that might be all that you need to know.

Dan_Baird_Circus_Life

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24Apr/1122

CD Review: Nazareth – Big Dogz

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I'm pleased to welcome longtime MusicTAP site editor Matt Rowe to ATV for a guest review of the new Nazareth album Big Dogz (which will also be available on vinyl). MusicTAP is a longtime favorite destination of mine for music reviews and release news, so it's a pleasure to have Matt's words here on the site. Enjoy!

Being a fan of Nazareth through their many albums (no, I didn't love them all), I have determined that when they hit the gong well, they really hit it. Razamanaz (1973), Hair Of The Dog (1975), Loud 'n' Proud (1974), and Rampant (1974) were strong albums in the golden age that were tough to beat. Although I preferred Razamanaz over them all (and still do), I've never ruled out the potential of any of their albums.

The release of The Newz in 2008 left me feeling good about aged classic rock with new material from a band that actually recorded during the period, and so it was with much hope that Big Dogz would adhere to the blues/rock quality that permeates a good Nazareth album. And it does to a good degree. There are eleven songs on the album, with several excellent tracks that are pure Nazareth. The opener track, "Big Dog's Gonna Howl" musically offers a Nazareth experience, if not a pure one. But it is necessary to get to the final two songs on the set to immerse a bit deeper into the Nazareth experience that is familiar to fans.

Nazareth - Big Dog's Gonna Howl by Eagle Rock Entertainment

"Butterfly", is a reflective ballad that drips with love for a girl that was unable to stay. We've heard this stuff from Nazareth before and so we can go with it when we hear it "again". The final track, "Sleeptalker", now THAT'S Nazareth. Which is why it's so odd to see it buried all the way down at the end. It's here where the album earns its patch with excellent guitar work by Jimmy Murrison even as the album (like The Newz) still misses Manny Charlton. Charlton's guitar-work were as distinctive of early Nazareth as McCafferty's voice is. McCafferty's voice now, while admirable for a 65-year old, doesn't have the range it used to have but that doesn't impact a new Nazareth album in any way.

The remaining songs on Big Dogz, all the ones that lead up to the last (and important) two, are good efforts. "Claimed", and "Radio" are a couple very good tunes. What makes the final two so important is that they reveal that this band hasn't finished making good albums. They may not be Razamanaz, or Rampant, or even Hair Of The Dog from their prime years, but as a fan, Nazareth can still satisfy a classic itch.

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4Dec/107

Contest: Win “Clapton” by Eric Clapton on vinyl!

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Congrats to Ian from Charlottesville for being the lucky winner of our contest for the vinyl edition of the Everest album On Approach, courtesy of Warner Brothers and Because Sound Matters!

Whether it was intentional or not, the cover artwork for Eric Clapton's latest album is a sobering sight.  21 years after Clapton's shadowy face adorned the otherwise desolate cover of Journeyman in 1989, we see a very similar picture on the cover of Clapton. Stepping into the light, Clapton is visibly older and as fellow passengers on this trip, we've aged too.

Ain't time a bitch? Clapton's body language doesn't really communicate that though - if anything, the look on his face says that "if you ever get a picture that you're happy with, we can finally put this album to bed so that people can actually hear it."  Clapton is a music guy and I don't imagine him to be someone that sits around for a long time stressing about cover art and I'll submit the artwork for Clapton as my argument for that point.

In the two decades of music that have come from Clapton since the release of Journeyman, there have been some interesting moments. Journeyman holds a special significance for me personally because it's the first album that I bought from Clapton and it was the 24 Nights tour that made me a Clapton fan for life. Which is why it was a head scratcher for a young fan when Clapton moved away from the image of Eric Clapton that everybody was very familiar with and began an extended period of revisiting his roots and exploring new horizons as a musician. Although it was a curveball, I was impressed that Clapton, a legend with nothing left to prove to anyone, chose to instead work on blazing new trails as an artist.

As the latest piece in the puzzle of Eric Clapton's discography, the Clapton album has been heralded as a long awaited return to form, which is a viewpoint I don't entirely subscribe to.  Instead, I think that it takes bits and pieces of what Clapton has been doing all along through his whole career, if you've been paying attention, shaping those elements into what is merely the latest album from Eric Clapton.  It's where Eric is today and man, he's sounding good. As a fan of the Reptile and Back Home releases, I find personally that the feel of this album sits very close to those two releases. Unlike the polish and layers of some of his material, Clapton is stripped back (very similar to Reptile) and has the feeling of Eric and his band sitting in your living room playing a set of songs.

Unfortunately, I keep checking and Eric isn't actually in my living room but if this is as close as we can get to that feeling, well, I'll take it.

And you can grab two slabs of 180 gram EC vinyl in glorious gatefold packaging for yourself - look at it as your chance to bring Eric Clapton home for the holidays to sit in your living room for an evening of music. Send us an email here with "Clapton is God" in the subject line and we'll pick one lucky reader as the winner of this limited vinyl edition of Clapton from Warner Brothers and Because Sound Matters. Good luck!


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30Nov/102

The ATV Interview: Behind The Wall with Kipp Lennon of Venice

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About a month ago, I spent some time talking with vocalist Kipp Lennon of Venice, the California based band of brothers and cousins (and longtime ATV favorites).  Three out of the four Lennons (Kipp, Pat and Mark) are currently on the road touring as backing vocalists for the  Roger Waters tour celebrating the 30th anniversary of the classic Pink Floyd album The Wall.

In a two part interview, I spoke with Kipp about the tour and also spent some time digging into a lot of Venice stuff.  You can check out the first part of the interview here (plus some additional "outtakes") focusing in on the Waters side in a piece for the Riverfront Times.  Here's the rest of the interview with some more Waters tidbits and plenty of Venice chat.

Venice will play a sold out homecoming Christmas Show in Santa Monica this Saturday during a day off from the Waters tour.  A newly released DVD featuring a full live show from 1990 (!!!) will be available at the merch stand that night (or if you're far away like me, you can pre-order a copy).  Enjoy this conversation with Kipp!

Let's talk about how you came to be involved with one of the year's biggest tours. As I understand it, there was a mutual love of the Beach Boys involved.

We just found this out ourselves - when Roger wrote the original Wall album as far as background vocals, he wanted a departure from their usual thing. They usually have women sing on a lot of that stuff or just David Gilmour. On this album, he wanted it to have a feel like Beach Boys vocals over Pink Floyd music. And you can kind of hear it in things like "Goodbye Blue Sky," "The Show Must Go On" and a few things, there's almost a doo-wop kind of vibe in a lot of the music on The Wall as well that people wouldn't necessarily pick up on, considering all of the themes in it. But in fact, there's a lot of doo-wop/street singing kind of stuff in the whole show. When Roger called Jon Joyce, who is one of the original singers from the original album and tour, and from the revival show in Berlin in 1990, he called Jon and said "I'm putting the band back together and we're going to do this tour. Jon said "well, the original background vocalists that you hired are all retired now, but I know a band that's perfect, because they're brothers and cousins and they sing like the Beach Boys."

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26Oct/104

Pop Quiz Q&A: Ian Anderson of Jethro Tull

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Say the name Ian Anderson and you’re likely to get a huge eyeroll from some rock fans. Indeed, this is the guy with the metal codpiece playing flute while standing on one leg who fronts the band Jethro Tull.

Yeah, the same band that bested Metallica for a “Best Metal Performance” Grammy.

And yeah, that that’s the band responsible for the ubiquitous classic rock tracks “Aqualung,” “Bungle in the Jungle” and “Locomotive Breath.”

To most casual listeners, Anderson is Tull. But ask any proggies or long-in-the-tooth classic rockers and they’ll set you straight.

Or perhaps you could just take in the wild-eyed minstrel when returns to Cleveland to perform at Playhouse Square Center this Thursday, October 28.

For this “An Evening With Jethro Tull's Ian Anderson” show, the 63-year-old performs sans Tull, but delivers acoustic and electric versions of Tull songs along with Ian Anderson solo music.

He gave Addicted to Vinyl a buzz to chat about the show, the future of Tull, digital music and commerce.

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7Oct/100

Carry on, you wayward student musicians…

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Classic rockers Kansas are in the midst of a tour that somewhat strangely pairs them with college orchestras, dubbed the Kansas Collegiate Symphony tour.  The band's latest live release There's Know Place Like Home was recorded with the Washburn University Orchestra, and the positive feedback for that release brought inspiration to explore the idea of a full tour featuring the band supported by student orchestras. A portion of the proceeds from the outing (produced in conjunction with D'Addario Strings) will help raise money to support college music programs.

So of course, The Musicians' Association of St. Louis is planning to picket outside the scheduled area date at Family Arena this weekend. You know, because why should young musicians gain valuable experience from playing with professional musicians?  You're right, we gotta protest that s#%t!

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27Sep/102

Check out The Doobie Brothers “World Gone Crazy” launch event TONIGHT!

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As promised, here's the player link that will allow you to get in on the action for tonight's special Doobie Brothers performance, which begins at 6:30pm:

Here's some additional info regarding the schedule for tonight's event.  Enjoy!

The last time The Doobie Brothers released a studio album iTunes did not exist, and now working with AT&T, Cisco and Marriott, the World Gone Crazy album release event will utilize Virtual Meetings by Marriott with AT&T and Cisco TelePresence, the most advanced interactive video conferencing technology available in select Marriott properties worldwide. Cisco TelePresence™ is a rapidly growing and increasingly popular technology that enables groups to meet and collaborate in multiple locations worldwide in real time.  The Virtual Meetings by Marriott studios can connect to more than 100 companies and organizations via more than 1,100 telepresence sites worldwide, using the AT&T Business Exchange, AT&T’s unique, network-based, inter- and intra-company collaboration feature.

Additionally, fans attending the preview concert will be given the ability to interact, react and be a part of the action from remote locations throughout the United States.  The Doobie Brothers’ performance will be transmitted to the various locations and the fan’s actions, voice, and applause will be transmitted to the performance studio and will be seen and sensed by The Doobie Brothers.

In addition to the  public Cisco TelePresence suites and Virtual Meetings by Marriott locations, the entire concert and experience will be broadcasted over the Internet.  The Doobie Brothers will perform hits and premier new songs from World Gone Crazy in a live 90-minute concert interspersed with questions from fans across the country.  ATT, Cisco and Marriott will put the audience face-to-face with the legendary band.

HOR Presents The Doobie Brothers World Gone Crazy album release event on Monday, September 27, 2010

  • At 6:30PM Eastern Time (3:30PM Pacific) The pre-show retrospective will commence
  • At 7:00PM Eastern Time (4:00PM Pacific) The Doobie Brothers will perform songs from World Gone Crazy Live

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24Sep/100

Stream the new Doobie Brothers album “World Gone Crazy”

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As you might have heard, I'm pretty excited about World Gone Crazy, the new album from The Doobie Brothers that will finally be in stores on Tuesday.  Thanks to the fine folks at Yahoo Music/Early Edition, you can stream the entire album right now.

And in even better news, the Doobie Bros will launch the album with a special 90 minute interactive performance on Monday night at 6:30pm EST sponsored by Cisco.  The event sounds pretty cool!

The last time The Doobie Brothers released a studio album iTunes did not exist, and now working with AT&T, Cisco and Marriott, the World Gone Crazy album release event will utilize Virtual Meetings by Marriott with AT&T and Cisco TelePresence, the most advanced interactive video conferencing technology available in select Marriott properties worldwide. Cisco TelePresence™ is a rapidly growing and increasingly popular technology that enables groups to meet and collaborate in multiple locations worldwide in real time.  The Virtual Meetings by Marriott studios can connect to more than 100 companies and organizations via more than 1,100 telepresence sites worldwide, using the AT&T Business Exchange, AT&T’s unique, network-based, inter- and intra-company collaboration feature.

Additionally, fans attending the preview concert will be given the ability to interact, react and be a part of the action from remote locations throughout the United States.  The Doobie Brothers’ performance will be transmitted to the various locations and the fan’s actions, voice, and applause will be transmitted to the performance studio and will be seen and sensed by The Doobie Brothers.

In addition to the  public Cisco TelePresence suites and Virtual Meetings by Marriott locations, the entire concert and experience will be broadcast over the Internet.  The Doobie Brothers will perform hits and premier new songs from World Gone Crazy in a live 90-minute concert interspersed with questions from fans across the country.  ATT, Cisco and Marriott will put the audience face-to-face with the legendary band.

Click here for more information about the event.

We'll put a page up here on ATV on Monday that will allow you to watch this special performance. Stay tuned!

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18Sep/100

Rebuilding The Wall: Looking inside the new Roger Waters tour

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It's an event that ATV pal Peter Chakerian said was a really good idea....it just took a while for Roger Waters to see the light.  Now with that light fully illuminated, Waters is putting The Wall back up with a 30th anniversary tour celebrating the classic album, a tour that opened earlier this week in Toronto (and eventually will land in Cleveland on September 28th).

The tour is bait enough to draw me out to see Waters for the first time in nearly 10 years.  I wasn't a huge Doyle Bramhall fan, so my previous Waters experience was marred quite a bit by the presence of Bramhall on stage.  This time around, I'm intrigued by the vocal inclusion of my longtime faves Venice, with three-quarters of the band enlisted to provide the background vocals for The Wall tour.  Looking at that key nomination as well as the rest of the members selected by Waters to make up his 2010 touring ensemble, I knew this was going to be a show that I probably wouldn't want to miss and with the information below, my thoughts have now been confirmed.

My pal Matt Levitz, webmaster of the official Venice website received the ultimate job perk (can you really call something that you don't get paid to do a job?) when the Venice members offered him a pair of tickets to check out a full dress rehearsal run-through of the tour setlist last weekend in New Jersey.

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13Sep/1014

The ATV Interview: Rik Emmett

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Rik Emmett is one of those guys that came along at an odd point in my path of musical discovery. I knew more about his solo work (because that's where I encountered his music initially) and less about his glory days as the singer/guitarist for Canadian arena rockers Triumph in the '70s and '80s.

This year's release of Triumph: Greatest Hits Remixed did a lot to further flesh out the music of Triumph for me beyond the hits and one of these days, I'll dig into their catalog releases that I inherited on vinyl a year or so ago.  For now, with Emmett back on the road for a fresh set of dates with songwriting partner Dave Dunlop (as part of a duo originally known as the Strung-Out Troubadours and now, simply shortened to a new nickname of "The Troubs"), I figured I'd take the opportunity to lock in an interview with Emmett and chat about a few things.  Talking with Emmett really made me excited about the upcoming Cleveland date at The Winchester on Saturday, September 25th (there are two shows at 7pm and 10pm) and I think we covered some really interesting ground.

I'm really stoked that you're coming back to Cleveland and obviously you've got a lot of history with the city. Is there a particular Cleveland-related memory that comes to mind when you think about the city?

Oh geez. I think we played that city one time if I recall correctly, it was around New Year's Eve and we opened for Alice Cooper on a Triumph show [our historians have been unable to come up with specific details on a pairing of Cooper and Triumph, but we did dig up evidence of a Triumph headlining performance on New Year's Eve of 1984 at the Richfield Coliseum, thanks to some help from ATV friend Scott Banham]. Of course back in the day Triumph never really ever opened for anybody because we always wanted to have big flash pots, flame throwers and all the rest of that kind of nonsense. But this was a thing where Jules Belkin had sort of said "look, you want to get in good with us, come here and be part of this big New Year's thing." I seem to recall we were out at the Richfield Coliseum - we seemed to be out in the middle of nowhere - you'd drive forever and forever. I remember that gig and there was an Agora show at some point and now of course I'm getting older and so my memory is a lot shorter, the Alzheimer's is kicking in so now I only really remember the Winchester which is where I'm playing [laughs].

It's interesting to hear you mention Jules Belkin, because it was definitely unique for the time that there were certain promoters in certain cities that made it happen for bands that were trying to break out at the time. Watching Phil Collins of Genesis thank the Belkins from the stage at the Rock and Roll Hall of Fame inductions earlier this year makes it clear how much of an impact the Belkins had on a lot of bands and musicians.

Oh yeah. I guess if you grow up and you only live and stay in one market you might be thinking that your market is kind of unusual or unique. But every market has people that sort of own it and run it - it's their territory and their turf. The Belkin thing - if you weren't in with them, you weren't going to be able to succeed. I guess you guys in Cleveland, you get to see a little bit of that when you see the turf protection stuff going on around the Rock and Roll Hall of Fame and all of that stuff about the roots of rock and roll in Cleveland with Freed and the folks that had that impact on radio in the early days. Every market you would travel to there were certain key people that you had to kind of end up on their good side one way or another or they were going to be getting a little piece of the action somehow one way or the other. In Toronto, where I grew up, there was a guy named Michael Cohl, and of course now he globally runs that Rolling Stones franchise. But he was the Jules Belkin of Toronto for a while.

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