Who: Jim Daneker Where: resides in Nashville TN by way of Allentown PA What: New Age meets Classic Crossover with a mainstream bend When: 2017 since his solo debut Ad Alta Sounds Like: reflective instrumental music with a higher vision of purpose. It has been 3 years since Jim Daneker’s hugely impressive debut Ad Alta that it appeared his problem paralleled the rock band Boston. How do I follow up that grand massive piece of work? Unlike Boston, who attempted to reduplicate their efforts, Daneker did quite the opposite and took a totally different new journey. He did not attempt to reach “to the summit” but instead took us on a musically passage unlike anything we have ever heard from Jim Daneker. As a result Equinox presents a completely contrasting musical perspective that is nevertheless equally as moving. During this time of isolation and distance from our family and loved ones, Equinox is a perfect soundtrack to allow us to find peace and reflection during this difficult time to remind us that when you are alone you are never really alone. The album has a consistent theme of allowing you to slow your pulse and reflect that while the world may appear chaotic and out of control, there is a greater power beyond what anyone of us can see. With that in mind, this 12 track 42 plus minutes of tranquility helps you find calm and quietude. Equinox opens with the meandering understated “Aurora” and continues on into “Long Shadows” allowing you to get lost in the music. Though just over the 2 minute mark, the latter finds a wonderful soft repeating melodic line that brings to mind the opening introduction of “The River” on Bruce Springsteen’s Live 1975-85 album. That soft understated melody continues on with “The First Frost” and continues to transform you as the listener from a place of possible worry and distraction to a safe harbor of peace and tranquility. While the music is refrained and refined, it is by no means boring nor bland. That said, Daneker gently picks up the pace somewhat with the more rhythmic lively “The Wonder Of Autumn” that even includes some gentle percussive embellishments. If this song was filled out, it would have fit nicely on Ad Alta but it does not place the pastoral theme at risk. Meanwhile, the album slowly closes out with the light reflective string embellishments found on the delightful “There And Back Again” that will leave a goose bump trail followed by the concluding “Light Of The World with its light choral arrangements. Though Jim Daneker’s latest recording will not have you prancing around like Ad Alta did, that is not the point of this poignant recording. Equinox is an introspective inward musical experience, that instead of hiking God's country, we get to soar and glide on the wings of an eagle as it hovers above the valleys and mountains, allowing us to gaze down upon God's wonderful Creation. You can almost feel the life breathing air brush against your face along with being able to visual see the majestic mountains and landscape, but this time from far above. With very similar moods and tempos throughout, Equinox allows you to completely escape from today's chaos uncovering a harbor that will allow you to rest reflect and restore yourself. Do yourself a favor and switch off the news and find a quiet room with this hushed sound experience. At the time of posting on 1/31/21 currently only available for digital download on Jim Daneker’s website at the below link: https://jimdaneker.com/store/equinox
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Tomi Malm is Coming Home with his follow up solo album....and every home should have one!!!11/15/2020 Who: Tomi Malm Where: Finland What: music steeped in West Coast AOR When: 2017 Sounds Like: elements of David Foster, Chicago and Earth Wind & Fire It has been 3 years since we soared and raved over Tomi Malm’s solo debut album Walkin’ On Air that one has to wonder what next after releasing such a strong solo debut? Needless to say the stellar production and some of the same players and vocalist remain and so do the top shelf compositions. But did Tomi Malm play it safe and repeat himself or did he risk stepping out? The answer is yes to both questions with Coming Home bringing the familiar and also a new forte of styles that have only added even greater value to Malm’s follow up release. So, we revisit his debut by starting off the album with another instrumental song but unlike the jazzy moody instrumental “Kuwakaribisha” from the debut, the new release starts with the snappy R&B feel of “Second Wave”. Speaking of instrumentals, this is where Malm has been more “vocal” this time around by extending his repertoire in this area. This especially so, if you include what appears to sound like the wordless vocals of ZoSia on the bouncy optimistic “Na WeWe (With You)” that is actually of lyrical content sung in Swahili. That said, it is followed by the rather progressive “Solaris”, though the complex arrangements of earlier Earth, Wind & Fire come to mind. However, Malm’s most progressive moments are found on the 10 minutes plus multi movements of “Freefall” that is clearly Malm’s most ambitious recording to date. For those of you that remembered and enjoyed the jazz fusion of Deodato, then that will give you some idea of what to expect. Otherwise, the remainder of Coming Home, as the title would suggest, brings the pleasures and peace of coming home to something familiar and fulfilling. While there is much to rejoice about with regard to Tomi’s follow up, the highlight reel includes the mid-tempo “Come Away” featuring Bill Cantos that is immediately followed by gorgeous “When You’re Gone” co-written by Cecily Gardner with the soulful vocals of Andreas Aleman. Tomi Malm is not afraid of seeking composition assistance from friends in high places such as the Jeremy Lubbock penned “Without You Saying a Word” sung by the underrated Marilyn Scott. Needless to say, influences of David Foster can be heard here. Yet still this beauty is outdone by the Michael Haddad’s composition “The Time Is Now” featuring the late great Warren Wiebe duetting with Wendy Moten and of course Malm’s amazing arrangements. Closing out with Malm’s collaboration with the Randy Goodrum’s on the highly reflective and poetic “Hearts In Phase”, Malm’s does well to counter the musical mood through out the album with more upbeat moments such as the toe tapping “Two Hearts” and “I Got You”. But if we keep rambling, this review will quickly become a track by track breakdown. The reality is that this is no sophomore jinx along with no filer and simply put another stellar recording from the phenomenal Tomi Malm. If Coming Home has not yet found a home in your music collection then it is time to rectify this as every home should have one!!! https://www.contanteysonante.com/ Who: Grammy Award winner pianist Omar Akram Where: Born in New York with an ancestral home of Afghanistan What: musical weavings of world, new age and smooth jazz When: Recording debut 2002 Sounds like: the exotic leanings of Yanni Omar Akram is by no means an undiscovered artist in the New Age/World/Smooth Jazz genres, but it has been 6 years since his pleasant yet subpar Daytime Dreamer that this would be an excellent opportunity to rediscover this unique artist. Prior to Daytime Dreamer, he made three sublime albums in a row in the form of Free As A Bird, Secret Journey and the Grammy award winner Echoes Of Love. With the gap in recordings, one might ask which category is Destiny destined for? One listen to this album or even just a small peek at it, one will instantly know that Omar Akram is clearly right back on track with a sensationally inspiring winner of an album, so much so that one has to wonder why this album is not also destined for a Grammy. While all the music is composed and produced by Omar Akram, he does not hesitate to bring in impressive friends to assist him. First, we have the world-renowned producer Walter Afanasieff (who has worked with the likes of George Benson, Kenny G, Celine Dion and Mariah Carey to name a few), that co produces on the blooming “Lotus Flower” as well as the exotic closer “Here I Am”. The latter includes his vocal work, along with the poignant guitars of Ramon Stagnaro. Omar is also assisted on two tracks by the arrangement and conducting of Shardad Rohani who is well known for a little gig with Yanni Live At The Acropolis. Rohani’s contributions can be heard on the heart-rending “My Promise To You” along with the slow churning builder “Regenerate Love”. The latter features Akram’s beautiful piano work interplaying with Rohani’s arrangements and Steve Oliver’s guitar work. Add David Foster’s engineer/mixer Dave Reitzas into the mix one can only expect nothing short of a total winner of an album. However, let’s remember that this album is about this Grammy Award winning artist Omar Akram, who with or without the above company, has created an album that is flying in the upper stratosphere of beautiful creativity and inspiration. From the stirring opener “Take Me Away” to the pulsating flirtatious title track or the soft rhythmic “Mystery Train” with Akram’s unforgettable melodious piano work, Destiny is emphatically his best to date. While not reviewing as frequently as past years, it is these types of sublime albums that keeps bringing this reviewer back to the keyboard. And while late to the party, thankfully we did not miss this celebration of a rich harmonic musical tapestry of world, new age and smooth jazz, synonymous with Omar Akram’s recordings. https://www.omarakram.com Do you remember the day when it was so easy to drive to your local record store and check out the latest new and used inventory? From state to state and city to city, the metropolitan populations were always stocked with independent stores that were capable of accommodating to its customers even with the most far-fetched genre’s that could not make it to the mainstream market. The day the lofty retail giant Tower Records had to close its doors to its customers was a sad one. Then came COVID-19 and even more so the independent stores are continuing to struggle in a business that had its issue even before this pandemic. So where were we and what next? After moving to Houston, Texas from the isolated yet beautiful Bahamas back in the early 80’s, I was exposed to the dominant retail record store of its day Sound Warehouse. This was only a tease when compared to the network of record stores I was introduced to upon my arrival to Southern California in the late 80’s. Of course, there was that significant retail chain Tower Records also located on Sunset Boulevard with its worldwide recognized yellow and red sign that seemed to be featured in a multitude of pop cultural movies of its time. Who would have thought that someday it would be no more? That day arrived many years ago. The mega-retail store had survived many hurdles such as the growing voracity of the record industry, Napster, the internet retail boom, and now the growing demand to download music for pennies. But early signs of their fate came in 2004 when Tower filed for bankruptcy who were to close their doors by the of 2006 with the exception of some of their mega stores in Japan. How did the retail business in general get here? Though there are a multitude of intertwining aspects, certainly an initial resistance to the technological advancements was one of many stumbling blocks. There was the long hard battle of converting the vintage virgin vinyl consumers to the silver disc however compact discs did finally take a commanding lead in retail sales. While the technological developments understandably resulted in an initial higher price tag, once the research and cost controls were inhaled by the consumer the buying public looked forward to the lowering of the retail prices. It never happened but instead discs were repackaged only years later with bonus tracks and anniversary editions persuading the consumer to buy their product a second and third time. This would only anger consumers even more. Meanwhile, Napster took a further bite out of the music retail sales which resulted in artists and the recording industry litigating over this technology advancement. Then, the internet crushed the local retail outlets resulting in the homogenizing of those that survived for a while such as the Wal-Mart’s, Targets, Best Buy’s and Barnes & Noble only to all of them cave into the online giant Amazon. So, what has happened since? Though many independents stores have perished in the capitalistic “food chain” there are a few independent local outlet and internet stores that continue to survive and thrive, willing to commit to a niche of consumers who cannot find what they are looking for via their mainstream options. And with the resurgence of vinyl there is a younger generation showing a strong interest in the past and actually heading into a physical store. Prior to COVID-19, Amoeba Records was booming, but even this giant is struggle as is so much of mainstream America. Along with their online presence Amoeba is still getting by. But if you don’t live in the greater LA area or San Francisco where can you run to? Though not intended to be exhaustive, here are a few viable alternative resources that may actually be your best buy. 1. Amoeba www.amoeba.com Located in the heart of Hollywood, Amoeba is a mega-store that accommodates to every genre you could possibly think of. Their inventory is equal strengths of used and new cd’s and DVD’s. And yes, their used vinyl collection in recent years is also very impressive. The store is so huge that it will take your breath away. Though currently closed they are in the process of reopening their new store just around the corner from the original Hollywood location. Stay tuned for that. They also have 2 other locations in San Francisco and Berkley. 2. Zia Records www.ziarecords.com Should you ever decided to visit the greater Phoenix AZ area then it is a must that you visit the city’s most dominant independent record store Zia Records. With both an extensive range of CD’s and vinyl at a reasonable price, Zia Records is a priority. With 5 stores in the Greater Phoenix area, one in Tucson, AZ and now also 2 stores in the Las Vegas area there is certainly a physical presence. It should also be reminded that if you purchase over $30 on their website it comes with free shipping and handling and points. 3. Bull Moose www.bullmoose.com Much like Zia the set up is very similar from having a physical presence of 12 stores in the Maine and New Hampshire north east corner of the USA along with a strong internet presence. Like Zia, they use the same search engine and also offer free shipping and handling on any purchase over $30. And considering you have 12 stores of new and used product to pull from this is easily achievable. And even the used product much like Zia are rarely below very good condition. 4. CD Trader http://www.cdtradertarzana.com/ While there is physical record store in the Southern California valley in the suburb of the greater LA Valley that makes for a wonderful visit if you are in the area, their website ordering and presence is very limited. But if you are in the Greater LA area this small but super-efficient local record store when compared to the Amoeba Mega Store might be less overwhelming yet even greater efficiency wise. COVID-19 is still limiting their ability to be open to the public. 5. Waterloo Record www.waterloorecords.com While Waterloo Records is not quite as strong on the website like Zia Records, their physical presence despite only one store is impressive. Nevertheless, this is the strongest pure independent record store that has a super strong new arrival and a multi-genre musical choice in both used and new music as well as a decent internet presence. Much like CD Trader, COVID-19 has limited their ability to serve the general public shy curbside and online. 6. Josey Records www.joseyrecords.com Despite the closure of the dearly missed CD Source in Dallas, the blow of that loss was softened by the opening of Josey Records. With a stronger focus on the vinyl format, the Dallas location has strengthened its cd section over recent years and is beginning to flex its muscle in the Dallas market so much so that it has now extended into the Oklahoma and Kansas marketplace. Add their more recent moves of a stronger online presence also using the same search engine as the Zia and Bull Moose website, yet to be tested, Josey Records are showing to being a major new player in this ever-changing landscape of music stores. 7. Boo Boo Records www.booboorecords.com If you ever decide to make a trip up the world-famous Pacific Coast Highway then pay a visit to the city of San Luis Obispo. It is at about the halfway point between Los Angeles and San Francisco and it is a stone’s throw away from coastal town of Morro Bay. It is the home of Boo Boo Records that has been in existence since the mid 70’s that has grown from a 300 square foot store to its current location of 5000 square feet. The selection is amazing which to this date includes a vinyl room and a significant classical, jazz and new age section. Though meager in size when compared to Amoeba, the store has a heart of a giant and is worth side stepping from your coastal excursion. 8. Forever Young Records www.foreveryoungrecords.com Located in Grand Prairie which is a distant suburb of the Dallas Metroplex the store covers over 11,000 square feet of cd’s (used and new), vinyl, memorabilia and even eight track tapes (does anyone remember them?). From a size aspect the store almost compares to the Hollywood monster Amoeba. The cd inventory, especially new, is impressive, and the prices are reasonable but do not compete with the West Coast mega store. But for those of you now two steps behind on the audio technological advancements, they do have a huge impressive vinyl selection. 9. NEH Records www.nehrecords.com With no physical retail outlet available, the Colorado based NEH Records is purely an internet presence that specializes in Melodic Rock. Yet despite an almost complete emphasis on imports, the prices continue to be very reasonable in the event that a used copy is not attainable. Add their limited Wednesday $5 sale day where titles go really fast, it should be remembered that owner Michael McPherson also released his own solo album back in 1997 titled Don’t Look Back. Produced by Bobby Barth the sound is solid, the lyrics insightful and McPherson’s voice and music somewhat in the vein of James Taylor. 10. Impulse Records www.impulsemusic.com Specializing in metal of all kinds including a strong inventory of Melodic Rock, Impulse Music was located on the west side of Chicago in the suburbs of Roselle, Illinois. The owner moved to the state of CO and continues to stock an impressive inventory of affordable imported priced music. The above is by no means meant to be comprehensive, but is a reminder that giants have fallen and faltered and yet there are still places either on the internet and better yet some in your own backyard. So, what’s in your neighborhood? Who: Iconic American songwriter Mark Spiro Where: Seattle born Southern California based. What: A highly melodic energetic singer songwriter When: Recording debut 1986 Sounds like: West Coast driven AOR at its best Despite a relatively low internet profile as well as outside of the Melodic Rock hallways, Mark Spiro is not a particularly prominently well-known household name. However, within the hallways of the Melodic Rock circles his name is hallowed. And even those of you that may not be so familiar with Mark, there is a close to guarantee that some of his music might just live in your household if you have albums by artists such as Julian Lennon, Cheap Trick, Bad English, John Waite, Heart, Giant and House Of Lords to name a few. And if you have missed out on his solo material well now is the perfect time to correct that oversight with the purchase of the 3 CD set 2 + 2 = 5: Best Of + Rarities. While Spiro was busy writing for others, he always found time to release his own solo albums dating as far back as 1986 with the extremely hard to find In Stereo. Unfortunately, we had to wait eight years for the 1994 sophomore follow up effort Care Of My Soul. Although the soon to be released compilation does not included tracks from these albums (sort of on the latter), we are given the joy of several tracks from Spiro’s hard to find 1996 recording Now Is Then, Then Is Now which is way overdue being re-released. From there on disc 1 and disc two attempt to give us a great snapshot of top shelf tracks from Devotion, The Stuff That Dreams Are Made Of, King Of The Crows, Mighty Blue Ocean, It’s A Beautiful Life, Care Of My Soul Vol 1 and Vol 2. And if that is not enough to satisfy your Spiro cravings, spiral into disc 3 that is packed with what appears to be 13 unreleased songs. So, if you missed the hard to find Mark Spiro’s solo material first time around and you want a great way to springboard into this criminally overlooked artist, then 2 + 2 = 5: Best Of + Rarities is a great place to correct that oversight. Also, according to the press release, Spiro is in the process of recording a brand-new album. Now if we can just get around to reissuing all of his titles then that would truly be the stuff that dreams are made of. Who: progressive band born as a side project from the band Sieges Even Where: German based roots When: recording debut 2009 Sounds like: highly accessible progressive music with a sense of melody and structure Subsignal is by no means a brand-new band but have actually been in existence since 2007. Born original with the intent of being a side project of another progressive band Sieges Even, vocalist Arno Menses and guitarist Markus Steffen felt it was appropriate to completely spread their wings and fly away. With former Dreamscape bass player Ralf Schwager also joining Mense and Stefffen, the core of this original side project had been formed and metaphorized into their own full-fledged band Subsignal. These three members to this day remain the nucleus of Subsignal. It only took one year for the band to begin recording their impressive 2008 debut Beautiful & Monstrous that did not see a worldwide release until the following year. With a solid all-around recording the most noticeable are the opening track “Where Angels Fear To Tread” and the glorious more reflective titles “The Sea” and closer “The Last Light Of Summer”. Followed up with their slightly more aggressive 2011 recording Tombstone, it was clear this band did not wish to limit their creative exploration. However, it was their 2013 album Paraiso whose special edition included a 3D album cover and bonus live disc Live In Mannheim 2012 that captured this writer’s attention. Clearly the band were not just musicians limited to their studio gimmickry but one’s fully capable of reproducing they’re at times complex music live. This particular impressive album also garnered attention Stateside and as a result found them enjoying their first US concert dates. With some of the band members struggling with unknown personal issues, it appeared that their lives were somewhat reflecting in their art with their 2015 recording The Beacons Of Somewhere Sometime. It is certainly their moodiest and probably most experimental album to date. The title track, though broken into 4 movements clocks in at over 20 minutes long. Though three years later the band has managed to counter their prior recording with clearly their most accessible album to date in the form of 2018’s title La Muerta. With exception of the toe tapping title track and the uplifting piano and acoustic driven 7-minute composition “The Passage”, the remaining tracks clock in at around 5 minutes or less. Along with no tied in concepts, La Muerta is their most accessible to date yet with no sell out date attached to it. From the melodic driven “Even Though The Stars Don’t Shine One” to one of the most vulnerable recordings to date found on stripped down instrumental “Teardrops Will Dry In Source Of Origin”, these particular tracks reflect how reachable La Muerta is to a wider audience. With a heavy emphasis on atmospheric and yet not overwrought progressive music somewhat in the vernacular of the Flower Kings and Marillion, Subsignal’s latest recording continues to reflect a band that brings their own image to the table. Nevertheless, the more accessible melodic sensibilities found on their 2018 recording La Muerta brings in the elements of their more melodic progressive brethren Spock’s Beard and Saga yet never at the expense of losing their own identity. And with a live recording pending a release date, this a good time to get caught up on a way overlooked progressive band. https://www.subsignalband.com/home/ Who: Jazz guitarist Reza Khan Where: the roots of Bangladesh combined with the heart of NYC When: recording debut 2008 Sounds like: smorgasbord of east meets west smooth and world jazz Born in Bangladesh and raised in the metropolitan of New York City not only effectively sums up Reza Khan’s cross-cultural influences and upbringing but essentially extends to his art as this jazz guitarist presents a unique accessible hybrid world jazz musical exploration. Able to execute and perform on both the electrical and acoustic guitar, Reza Khan has shown exponential growth as an artist resulting in the Next Train Home being his strongest recording to date. Khan has been recording for over a decade when he released his independent self-produced and composed 2008 debut Painted Diaries all the way to his game changing 2016 melodic commercial effort Wind Dance. Featuring the likes of Acoustic Alchemy’s guitarist Miles Gilderdale, Pat Metheny Group’s bass player Mark Egan (also featured on his latest album), Mark Antoine on guitar and Nelson Rangell on flute, it was a whirlwind of a recording. So, it has been 3 years since Wind Dance breezed through our ear canals but now what? Essentially, his latest release Next Train Home has expanded his musical palate and returned with another top notch recording that resulted in the continued appearance of Mark Egan with the addition of The Rippingtons’ saxophonist Jeff Kashiwa, Chuck Loeb’s former musical director Matt King and the ever-present keyboard player Philippe Saisse. Needless to say, Khan is once again in great company. Add his anchors in the form of drummer Graham Hawthorne and horn player Andy Snitzer who have been with him since his recording debut as part of the original Painted Diaries band, there is no doubt that that the performances were going to be top shelf material. Despite the possible distractions of the above name-dropping, Khan’s latest and greatest Next Train Home is still all about his diverse musicianship and compositions. In fact, with the exception of the gorgeous opening commercial track “Drop Of Faith” where he is assisted by guitar producer Nil’s, the remaining portion of the album production is all Reza. The opening track is followed up with another very accessible toe tapping “Gathering” where the big three Khan, Kashiwa and Saisse are seamlessly integrated with their performances. Add the delightful optimistic warm musical breezes of “Clear Skies” as a listener you are now fully engaged realizing you are hearing a very special album evolve right before your ears. Just when you think it is safe to engage in the commercial accessible waters, Khan throws you a curve ball with the progressive swing of “Club 368” followed by the adventurous toe tapping of “Plutonik”. Equal to the task is the slow builder “The Way” that will take you by surprise during its 5 minute plus musical ride. And almost intentionally Khan bookends the album somewhat the way he started with the more commercial leanings of collaborating with David Mann on “Under The Moon” and the glorious title track “Next Train Home” featuring Mark Egan. Needless to say, some of the effects and ideas on the latter will be compared with the sublime Pat Metheny hit “Last Train Home”, however, this is very clearly a wonderful Khan composition whose music tempo comes to a tender slow stop bringing this album home to its final destination. While 2016’s Wind Dance was without a doubt Reza Khan’s best recording at that time it would appear that despite the challenges of having to outdo himself, Next Train Home is a musical treat that clearly meets that challenge. With two exceptional recordings back to back there is very clear evidence that Reza Khan, slightly over a decade since his recording debut, has presented very strong arguments to consider him a candidate as a major player in the world of jazz eager to be fully discovered. Peter Friestedt is the architect of the West Coast/AOR super-group Champlin Williams Friestedt!!!2/17/2019 Who: Peter Friestedt Where: Sweden What: versatile guitarist capable of being an acoustic saint to an electric warrior When: 2002 Sounds Like: the West Coast AOR blueprint If you were to play the impressive self titled 2015 Champlin William Friestedt the most obvious names that would jump out at you would be the former Chicago keyboard/vocalist Bill Champlin and Toto’s lead vocalist Joseph Williams. But actually it is the way overlooked versatile guitarist Peter Friestedt who is the creative engine who has slowly driven the formation of this sensational group close to a two decade era. However, we need to step back in time all the way to the late 90’s when at the age of 26 Peter Friestedt migrated to Los Angeles to continue his musical studies at the Los Angeles Music Academy. It was then he began to be recognized as a significant talent and also made great musical connections including the above mentioned Champlin and Williams who were an integrate part of Friestedt’s solo debut recording LA Project released in 2002. The album also featured two wonderful instrumentals “All Alone” and “Storyteller”. Six years later the even more confident Friestedt released the equally impressive LA Project II which also included the free flowing instrumental “Closer To Home” and the utterly stripped down reflective “Waiting For You”. A few of the songs on his sophomore effort were revisited on the 2011 self titled Williams Friestedt including the outstanding Toto-ish “Where To Touch You” as well as the simply sublime “Going Home” drenched in David Foster influences. With Bill Champlin finally formally boarding the superstar-ship, the band released the “Live In Concert” DVD in 2012 followed 3 years later by the previously mentioned self titled Champlin William Friestedt. Featuring a free flowing Friestedt electric guitar work on the gorgeous “Aria” and his once again impeccable production and songwriting capabilities, Friestedt is frankly the original architect of this outstanding group. With the EP 10 Miles released last year as a stop gap and we patiently await their brand new full length release. Nevertheless, the work of Peter Friestedt over the decades has been somewhat undiscovered in the mainstream musical world. But in the specialized world of West Coast AOR Soft Rock the guitarist, songwriter and producer Peter Friestedt is somewhat of a quiet legend, well revered to those that appreciate this brand of music. One can only hope that perhaps one day Friestedt will find the time to dedicate a recording to spotlight his instrumental guitar work that is so understated and underrated. Who: Mark Williamson Where: England What: blue eyed soul meets West Coast/AOR When: 1979 If you were to complete an internet search on Mark Williamson you would get a lot of hits with this common name. But what you would not get is a lot of hits on the uncommonly talented English born vocalist Mark Williamson. Sadly even the All Music Guide website gives very limited information and this borders on being criminal. With his initial solo recording So Far So Good being released back in 1979, his breakthrough came under the band name the Mark Williamson Band. Throughout his career it is without a doubt that Mr. Williamson’s faith is deeply rooted within his music. As one of the UK grandfather’s of Christian Contemporary Music courtesy of the impressive Get The Drift? recording also featuring Chris Eaton, this outstanding artist was capable of creating cutting edge music of that particular day. Essentially the same album was released Stateside under the band name Lyrix and album title Songs From The Earth with the addition of “Susanne” from his initial solo effort. Otherwise the Mark Williamson Band followed up their debut with the equally impressive 1984 Missing In Action also limited to the UK that despite its high quality, commercially it lived up to its title. Since then, Mark Williamson sightings have been infrequent but when he does appear the recordings are typically exceptional uncompromising songs matching his magnificent voice. Check out the 1989 commercial collaboration of the self titled Bridges 2 Far with the top notch studio session drummer John Robinson. Oozing in the West Coast/AOR genre Williamson followed up this effort 5 years later with his phenomenal second solo effort Time Slipping By. It was also the debut release on Russ Freeman’s new record label Peak Records. Needless to say it had all the trimmings of a big budget recording that is simply a gorgeous inspiring album with an all star cast supporting his huge voice. From the underlying smoky jazz feel on the opening track “Got To Be A Better Way" all the way to concluding a cappella track “We’d Be Together” shows Williamson in the upper stratospheres of inspiration. After a 13 year absence, 2007 proved to be a high profile year for Williamson. Featured in the band TRW, (an acronym for Michael Thompson, John Robinson and Mark Williamson), River Of Paradise was released in the earlier part of the year. Distributed by the Italian record label Frontiers Records, we get to hear Mark Williamson deliver a more bluesy rock performance. Later the same year the rockier TRW recording would be totally countered by his more restrained yet soulfully smooth vocal renditions on the worship based project Daily Worship. Sadly since 2007 all has been very quiet on the Mark Williamson front. Whether or not there will be another recording from this way overlooked vocalist, composer, and producer is yet to be determined. However do yourself a favor and at minimum search him out on You Tube and check out some of the tracks on the above mentioned recordings. It is highly likely that you will come to the same conclusion that this “Undiscovered Artist” needs be recovered and honored in the light of his majestic talent. Who: King Of Hearts Where: USA What: elements of Richard Marx, Peter Cetera and all things West Coast When: 1989 Sounds Like: your flagship West Coast AOR band Considering the year of origin was 1989 and the long term tremendous reputation that King Of Hearts has in the West Coast-Soft Rock AOR genre it would be silly to consider this band an undiscovered artist. However the brilliant artistic chemistry of the emotive vocalist Tommy Funderburk and deft touch of guitarist Bruce Gaitsch was a royal artistic marriage made in heaven. Yet despite the brilliant musical partnership created by this merger it did not translate into a long recording career at least under King Of Heart. With the debut recording of 1989 apparently there were nightmares behind the scenes only for this spectacular debut to be given the delayed royal treatment twenty two years later. With the King Of Hearts debut disappearing into thin air like a bad nightmare in the Bermuda Triangle, despite including a magical line-up that included Night Ranger’s Kelly Keagy, Chicago’s Bill Champlin and bass vocalist George Hawkins Jr plus David Cole behind the production board, all these ingredients for a spectacular debut just did not come to fruition. Six years later the duo managed to follow up this managerial short fall with the Japanese only release Joy Will Come that was recording in 1995 and released the following year that also included Bill Champlin and guitarist Jay Graydon famous for his collaborations with the now famous producer David Foster and their also severely overlooked collaboration Airplay. But once again the second King Of Hearts recording resulted in the same overlooked results. Since then King Of Hearts have officially and unofficially released a banality of compilations that partially cover their first two cruelly overlooked recordings, including but not limited to Thoughtscape Sounds No Matter What that also includes the previously unreleased “Broken World” and the live in Tokyo track “Lovin’ Arms” from the debut. But better yet the latest news on the block is that Funderburk and Graitsch AKA King Of Hearts have managed to get into the studio and record a batch of brand new material. In fact I can quote that Bruce Gaitsch has advised me that “We now have 17 new songs and are in the process of raising money to cut the new record. Stay tuned!” And while the line up remains unannounced it does include the infamous duo with only the financing and production that is in the way of making this dream a reality. Hopefully this time around they will get the royal treatment that King Of Hearts fully deserves. PS: King of Hearts 1989 is available domestically via Perris Records at the below link: http://perrisrecords.com/sale_cds/king_of_hearts___1989/
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