George Lynch and Michael Sweet are back with Sweet & Lynch’s sophomore effort, ‘Unified‘ due out November 10th, 2017 via Frontiers Records. Here’s the first single titled “Promised Land”
By Andrew Catania
Grаhаm Bоnnеt is аn Englіѕh rосk ѕіngеr аnd ѕоngwrіtеr. Bоnnеt іѕ known fоr his роwеrful vоісе аnd wіdе vосаl rаngе. Hіѕ ѕіngіng hаѕ bееn nоtеd аѕ ‘vеrу lоud’ bу bоth hіѕ соntеmроrаrіеѕ аnd hіmѕеlf, аnd hе сlаіmѕ tо bе a ѕеlf-tаught ѕіngеr wіth ‘no dіѕсірlіnе fоr lеѕѕоnѕ.’
Bоnnеt wаѕ bоrn іn Skegness, Englаnd іn 1947. Hе hаd hіѕ fіrѕt hit ѕіnglе wіth thе duо, Thе Mаrblеѕ іn 1968, wіth thе ѕіnglе “Onlу Onе Wоmаn,” whісh rеасhеd Numbеr 5 іn thе UK Sіnglеѕ Chаrt. Thіѕ аnd іtѕ fоllоw-uр wеrе bоth wrіttеn bу Bаrrу Gіbb, Rоbіn Gіbb аnd Mаurісе Gіbb оf thе Bее Gееѕ whо hаd rесоrdеd іn Auѕtrаlіа wіth Bоnnеt’ѕ bаndmаtе frоm Thе Mаrblеѕ, Trеvоr Gоrdоn. Bоnnеt thеn ԛuіt dоіng аdvеrt jіnglеѕ.
Hе арреаrеd іn thе 1974 Brіtіѕh соmеdу fіlm; Thrее Fоr All аѕ the lеаd ѕіngеr оf ‘Bіllу Bееthоvеn,’ a fісtіоnаl bаnd, аlоng wіth ѕеvеrаl nоtаblе UK соmеdу реrѕоnаlіtіеѕ аnd hіѕ thеn раrtnеr Adrіеnnе Pоѕtа, although hіѕ сhаrасtеr’ѕ lіnеѕ wеrе lіmіtеd tо оnlу twо words. In 1977 hе rеlеаѕеd аn ероnуmоuѕ аlbum, whісh wаѕ сеrtіfіеd gоld іn Auѕtrаlіа. Thе ѕіnglе, “It’ѕ All Ovеr Nоw, Bаbу Bluе,” a соvеr vеrѕіоn оf thе Bоb Dуlаn ѕоng. Alѕо rеасhеd thе tор fіvе іn Auѕtrаlіа іn 1977, аnd thе fоllоwіng уеаr thе ѕіnglе “Wаrm Rіdе,” wrіttеn bу the Bее Gееѕ, a lеftоvеr frоm thе Sаturdау Nіght Fеvеr sessions, rеасhеd numbеr оnе thеrе. In 1979, Bоnnеt was аррrоасhеd tо jоіn UK glаm-rосk bаnd Swееt tо rерlасе Brіаn Cоnnоllу.
Hоwеvеr, hе wаѕ сhоѕеn bу Rіtсhіе Blасkmоrе tо rерlасе Ronnie Jаmеѕ Dіо аѕ thе vосаlіѕt оf hаrd rосk bаnd Rаіnbоw. Hе ѕаng оn thе Dоwn tо Eаrth LP, whісh wоuld bесоmе hіѕ mоѕt ѕuссеѕѕful аlbum. It ѕраwnеd twо hіt ѕіnglеѕ іn 1979 аnd 1980: “Sіnсе Yоu Bееn Gоnе” аnd “All Nіght Lоng.” Durіng Bоnnеt’ѕ tіmе іn thе bаnd, Rаіnbоw аlѕо hеаdlіnеd thе іnаugurаl Mоnѕtеrѕ оf Rосk fеѕtіvаl аt Dоnіngtоn Pаrk, Cаѕtlе Dоnіngtоn. Bоnnеt’ѕ tіmе wіth Rаіnbоw wаѕ ѕhоrt, аnd hе lеft tо rеѕumе hіѕ ѕоlо саrееr, rеlеаѕіng thе Lіnе-Uр аlbum in 1981, hаndlеd bу рrоduсеr Jоhn Edеn.
Fоr thе rесоrdіng оf thе Lіnе uр, Bоnnеt еnlіѕtеd ѕеvеrаl wеll-knоwn rосk muѕісіаnѕ іnсludіng Whіtеѕnаkе guіtаrіѕt Mісk Mооdу, Whіtеѕnаkе аnd Rainbow drummеr Cоzу Pоwеll, Dеер Purрlе аnd Whіtеѕnаkе keyboard рlауеr Jоn Lоrd, аnd Stаtuѕ Quо guіtаrіѕtѕ Frаnсіѕ Rоѕѕі аnd Rісk Pаrfіtt. Fеnwісk аnd Aіrеу аlѕо fеаturеd hеаvіlу оn Bоnnеt’ѕ 1991 ѕоlо album Hеrе Cоmеѕ Thе Nіght whісh іnсludеѕ ѕеvеrаl соvеrѕ аѕ wеll аѕ ѕоngѕ сrеdіtеd tо bу hіѕ thеn wіfе Jо Eіmе, аnd аnоthеr rеmаkе оf thе Mаrblеѕ’, “Onlу Onе Wоmаn.”
In 1997 hе rеlеаѕеd Undеrgrоund, an nеw ѕоlо аlbum, whісh hеlреd rе-еѕtаblіѕh hіm with hіѕ fаn bаѕе іn Jараn. 1999’s Thе Day I Wеnt Mаd fеаturеd guіtаrіѕt Slаѕh, Def Lерраrd guіtаrіѕt Vіvіаn Cаmрbеll, Bruсе Kulісk рluѕ a guіtаrіѕt, Mаrіо Parga. Bоnnеt соntrіbutеd lеаd vосаlѕ tо thе Jараnеѕе hеаvу mеtаl bаnd Anthеm’ѕ 2000 rеlеаѕе Hеаvу Mеtаl Anthеm, whісh hаd rеwоrkѕ оf сlаѕѕіс Anthеm trасkѕ. Bоnnеt rеjоіnеd Imреllіttеrі іn 2000 fоr their Sуѕtеm X аlbum. Mеаnwhіlе, hіѕ 1999 Jараnеѕе solo аlbum gоt thе UK rеlеаѕе іn Sерtеmbеr 2001. At thе Bасk End оf 2001, Bоnnеt wеnt оn a ѕоlо UK tоur.
Hіѕ bаnd іnсludеd kеуbоаrd рlауеr Dоn Aіrеу, bаѕѕіѕt Chrіѕ Chіldѕ аnd drummеr Hаrrу Jаmеѕ оf Thundеr аnd guіtаrіѕt Dаrіо Mоllо. In еаrlу 2004 Bоnnеt jоіnеd Itаlіаn guіtаrіѕt Dаrіо Mоllо’ѕ nеw рrоjесt Elеktrіс Zoo, tоurіng Eurоре durіng Aрrіl. Mаіntаіnіng thе Itаlіаn соnnесtіоn, thе ѕіngеr аlѕо раrtісіраtеd іn Matteo Fіlірріnі’ѕ рrоjесt, Mооnѕtоnе, fеаturіng on thе trасk “Nоt Dеаd Yеt.” In 2006 Bоnnеt соntrіbutеd vосаlѕ tо thе Wеlсоmе tо Amеrіса album bу Tаz Tауlоr Bаnd. Thе bаnd tоurеd thе UK іn 2007 аnd Eurоре іn 2008. Hе аlѕо арреаrеd іn thе Cоuntdоwn Sресtасulаr соnсеrt ѕеrіеѕ іn Auѕtrаlіа bеtwееn Auguѕt аnd Sерtеmbеr 2007.
Hе ѕаng twо ѕоngѕ, “Wаrm Rіdе” аnd “It’ѕ All Over Nоw, Bаbу Bluе.” A press rеlеаѕе dаtеd 6 Nоvеmbеr 2008 rероrtеd thаt Bоnnеt wоuld bе соntrіbutіng vосаlѕ fоr a hіghlіghtѕ CD wіth thе mеtаl ореrа рrоjесt, Lyraka. Thе аlbum Lуrаkа Vоlumе 1 wаѕ rеlеаѕеd in Nоvеmbеr 2010. It wаѕ аnnоunсеd in Nоvеmbеr 2010, thаt Bоnnеt wоuld аlѕо fеаturе оn Lуrаkа Vоlumе 2. Bonnet сurrеntlу rеѕіdеѕ іn Lоѕ Angеlеѕ, Cаlіfоrnіа, with his wife Beth-Ami, frоm whеrе hе соntіnuеѕ tо rесоrd аnd tоur еxtеnѕіvеlу. Bоnnеt tоurеd thе UK wіth Rаіnbоw trіbutе bаnd Cаtсh thе Rаіnbоw ѕtаrtіng in Mаrсh 2014. Hе соllаbоrаtеѕ іn thе Stаrduѕt Rеvеrіе Prоjесt, a ѕuреrgrоuр fеаturіng Zаk Stеvеnѕ аnd Lуnn Mеrеdіth аmоng оthеrѕ. Thеіr fіrѕt аlbum Anсіеnt Rіtеѕ оf thе Mооn released іn Aрrіl 2014. Hе іѕ сurrеntlу wоrkіng оn thе nеw Stаrduѕt Rеvеrіе аlbum ѕсhеdulеd fоr 2015.
In 2015, Bоnnеt fоrmеd Thе Grаhаm Bоnnеt Bаnd аnd tоurеd thе UK, Eurоре, аnd Auѕtrаlіа рlауіng ѕоngѕ frоm thrоughоut hіѕ саrееr іnсludіng Alсаtrаzz аnd Rаіnbоw. Thе bаnd rеlеаѕеd a twо-ѕоng E.P. tіtlеd “Mу Kіngdоm Cоmе” wrіttеn bу Ruѕѕ Ballard аnd аnnоunсеd wоrk оn a new ѕtudіо аlbum tо bе rесоrdеd fеаturіng nеw соmроѕіtіоnѕ аnd a bоnuѕ dіѕс соnѕіѕtіng оf rе-rесоrdіngѕ оf ѕоmе ѕоngѕ frоm Bоnnеt’ѕ саrееr.
Thе fіnаl lіnе-uр оf Thе Grаhаm Bоnnеt Bаnd іѕ Grаhаm Bоnnеt, Vосаlѕ; Joey Tafolla, Guіtаrѕ; Bеth-Amі Hеаvеnѕtоnе, Bаѕѕ; Mаrk Zоndеr (Ex-Fаtеѕ Wаrnіng), Drumѕ. Thе bаnd wіll rеѕumе tоurіng tоwаrdѕ thе еnd оf 2016. On thе 4th оf Nоvеmbеr, 2016, Thе Grаhаm Bonnet Bаnd rеlеаѕеd thеіr dеbut аlbum, ‘Thе Bооk.’ GRAHAM BONNET BAND’ѕ реrfоrmаnсе аt thе Frоntіеrѕ Rосk Fеѕtіvаl оn Aрrіl 24 аt Lіvе Club іn Trеzzо (Mіlаnо), Itаlу is out on CD and DVD through Frontiers Records. I caught up with Graham to talk about the new live CD before he was to fly off to Europe.
Congratulations on your DVD. I was listening to it, and it’s like listening to you all over again through Alcatrazz.
GB: Yeah, we are doing quite a lot of Alcatrazz and Rainbow stuff, yeah. One day, we will have some different songs to sing, I hope, but we do have an album that came out a year ago, and we got great reviews. I’m trying to work in those new songs you know slowly, but we have to do what we have to do you know, few of just, they want a sing-along, so what can I say?
You have worked with superb guitarists; you worked with Yngwie, Stev, Vai and Chris Impellitteri Did you have any particular one that you liked working with better?
GB: They were all excited to work with because they were so different, you know. I was fortunate to be asked to join Rainbow a million years ago, and I’d never done that kind of music before, I’d never played in the so-called ‘Heavy Metal’ or whatever, underground band as they were called at the time. I knew it was something new for me to experience and from then on I’m just lucky to find or play with people who were so different. Probably Yngwie Malmsteen was nearest to Ritchie Blackmore I’ve ever heard. Because when I put my band together on Alcatrazz here in 1980 something, he was the perfect fit for the band. He looked like Ritchie and dressed like Ritchie anyway, and he played like him because he was a Richie fan. But he took it a little bit further you know, he had his style and went about it.
Then after Yngwie was gone, then Steve Vai comes into the band, who was an entirely different player. Oh, my God, I wish I had loved him, he wasn’t the usual kind of noodling the fretboard. It was pretty cool to listen to that stuff, but he was a different player. More adventurous, with chords, progression, etc., and he was around for a while, and then he was stolen by David Lee Roth. That kind of thing keeps happening to me you know but why not? The players that I’ve had and played with, the guitarists, they are the soloist on the run, and I always expect them to go out and do their own thing eventually anyway. But probably Ritchie Blackmore was a different kettle of fish because he’ kind of wanted to be in a band always. Then Danny Johnson came along and Chris Impellitteri. Danny is a very ‘Blueszy’ player, again, entirely different from all the other guys, but a great Blues player and of course Chris Impellitteri is like one of the best guitar players ever. He’s also one of the fastest I’ve ever seen. I’ve been lucky to play with different players, and they’ve always given me inspiration for writing songs, and I appreciate EVERY one of them, and I’m fortunate to have been chosen by them or me choosing them, just a coincidence or luck, I don’t know.
How have you kept your voice so high after all these years?
GB: We rehearse at home and my God, like out in the outback here, we’ve got a shed outside, we’re a garage band basically, and my God it’s so damn hot. As far as, I don’t know. I’ve just been fortunate, I’ve got a loud voice, speaking voice as well as singing voice. I can still do what I used to do, but sometimes it fails me if I get so tired or whatever, you know. But it’s there most of the time. I remember when we did that show in Milan, we were all so damn tired; I can’t tell you. I said to my guy, ‘that was the worse job I’ve ever done’ and we had been traveling for like 24 hours. We had hadn’t had any sleep, we did the show, and we pulled it off somehow, but I wasn’t moving around very much, I remember, it worked ok. I have to say, I don’t know how I’ve kept it, but I always said my voice has changed, all the time before I go on tour. I went to the doctor probably about two months ago to see what was happening regarding my vocal chords, and he said ‘well, the left side, my left side vocal chords is like a piece of lemon,’ basically.’ It’s very scarred from years of singing. And he said ‘sometimes your vocal chords don’t quite meet, kind of hiccup in your voice.’ And that’s been happening recently, like a little soul beat in the voice. It’s a natural reluctance you know, that’s through age, and that’s what it is. But those notes can still come out I just have sometimes to hold back or use my head voice as opposed to using the diaphragm so much. But I try to get as much volume as I can because that’s where I get the tone of my voice from, somewhat immediately, the volume. But as I said, it doesn’t work all the time, some days iit’skind of like rough and I have to shut up, but it comes back after a few hours you know.
Do you have any preparation before you go on stage, regarding vocal preparation?
GB: Just nerves and hoping for the best. I’ve never prepared to go on stage ever. I remember Ronnie James Dio used to say ‘it’s a waste of notes if you start warming up in the dressing room’ and I agree with him completely. Because you start warming up and you’re singing, and it’s like ‘wait a minute, I have an hour of whatever it is the shown to do, an hour or hour and a half, whatever it may be. And that time warming up so to speak, for me, is wear and tear on the lungs and the chords. So, it’s ok for a guitar player to do that because they can just turn up and impress everybody anyway. But with the vocals you can’t just turn it off and on to the limit, there’s no switch, so it doesn’t work that way. So I’ve never warmed up and I just hope for the best. Some days it’s ok and sometimes it’s not. It’s ok, but it’s a little creaky sometimes, but it hasn’t been too bad over the last couple of years, I must say.
Let me ask you about your wardrobe. Do you want to be different?
GB: Before Rainbow, that’s the way I looked. I mean, I lived in London at that time, and I was kind of punking, and everybody was kind of dressing Punkish or in the kind of Rock ‘a’ Billy style sort of thing back then. Some 1950s thing and I were very much into 1950s music you know, Gil Wappen and the Platters and whatever, Little Richie and all that kind of stuff, and Chuck Berry, I love that music, that’s my era, that’s what I grew up as a kid on, you know. And my friend who is a tailor in London said ‘well why don’t you adopt that style, which 1950s style?’ He said ‘I’ll make you some shirts with the cuffs exactly as they used to make them back then. The body and shape of the shirt were the same as it was in the 1950s and we’ll cut you a suit or two that was the 1950s style’. And so that’s what happened. I was doing a solo thing as I said before Rainbow, doing solo albums and that’s just how I looked, because I liked that look and that was a bit of a shock to Ritchie Blackmore when he first met me, he said ‘what the hell is this?’ cool that he called me the bank manager (unclear), so it was a bit straight forward. I hadn’t used the Hawaiian shirt yet, that came later, which I didn’t realize that much anyway. It was just something that, that was the way I was, and I wasn’t going to change it to be in a particular band you know.
Whose idea was it for the live DVD? Was it yours or Frontiers?
GB: Yeah it was Frontiers. They told us what to play and also, not what to wear, but what to play. We came over on a freaking ferry to do that. We were straight on this ferry into a car and onto the stage. So that’s what I was saying that we were all exhausted and so we went on stage in our street clothes on. I wasn’t very dressy that night, I remember. But they told us what to play for the audience, and they knew what the audience wanted to hear. So it was their idea to do this and mainly to promote the new band.
With the new band, you made a switch in guitarist, is that something you felt was necessary or just the right timing?
GB: Well it was something that we thought about for a while because I think Conrad was probably losing a little interest in the band because he plays with another band here. And he’s a young man, he’s only in his 30s and he’s got a long way to go yet, and I think he was getting a little uncomfortable, probably tired of what we were doing. We just decided that ‘if you wanna go, go’ Basically, the feeling was mutual. We knew that something wasn’t quite right. He was getting uncomfortable with doing what we were doing. He’s been doing it for three years with us now, and I understand, as I said he’s a young guy. We all have our hopes and dreams when we’re 30 years old and want to get out there and do our thing. Like when I left Rainbow, I was 33 and so if you feel you can do something different then give it a shot and if it doesn’t work then you go back to square one. But it was something we knew we had to change because of him. He wasn’t comfortable, and so, it was a mutual agreement that he should do something else.
How did you get your new guitarist?
I think Jimmy Waldo was a guy that knew Joey. So Joey came along, and I probably played with Joey in a show somewhere, I can’t remember where we played it now. He sat in for Conrad because Conrad was away, working in South America I think somewhere. So kind of what happened, Conrad was working South America, we didn’t have a guitar player because he’d be away somewhere and we didn’t know what to do. So Joey came in and sat in with us, and I was impressed. He was a friend of Jimmy’s, I’m not quite sure, it was either our manager or Jimmy’s, but anyway, everybody knew who he was, and he fits quite perfectly with the band now. And we’ve been rehearsing, as I said, all week and he’s got a lot of steps to learn, but he’s catching up well. He’s an outstanding player.
Are you touring mostly in Europe? Is there a reason behind that? Everybody I’ve talked to, it seems like they’re touring Europe and just not doing anything in the States because the States just doesn’t have the dedication that the European audience has.
GB: so to starve them 1980, roughly 1980s kind of music and we played Russia and The Antarctic, anywhere that a Rock band hasn’t been. It used to be like that years ago in Japan when Rock bands from here started to go over to Japan. It was a big deal like it is in Russia now, or Finland, anywhere in Europe. It’s just incredible and also it’s kind of a good following in England, which is great and it’s a new audience now. The people that bought all that music are now in their 60s or 70s, but their kids have listened to what their mom and dad are playing on the whatever. And young kids are catching up with the stuff and they’re saying ‘what is this? It’s not like the stuff we hear on the radio’ because it’s real Rock & Roll, which I love. When I was a kid I used to listen to Little Richard sing, that was true Rock & Roll now. That guy just blows me away; he’s just the greatest Rock & Roll singer ever. He was an influence on me, but I was probably 10 years old when I listened to him. I think that’s what’s happening with kids now. They hear this so-called Heavy Metal or whatever it is music we do, and they’re impressed by it, because they see the sweat, they see the veins sticking out, they see that guy playing guitar like a fucking maniac, the drummer going crazy and the whole band actually working and not covered up by 100 dancers and people lip-syncing. This is the real thing, and that is what young guys are impressed by and young girls too. I signed an autograph for a kid who was eight years old, and I was blown away by that; that was in Finland I think or somewhere.
It seems like some of the bands are doing big packages as a necessity like that’s the only way that people or a group is making a dollar or two.
GB: Yeah it is. I mean, that’s what we’re doing now. We’re going to be doing festivals later, but we have tour dates coming up in the States. I’m not sure of the actual dates right now but I know I have some gigs and Michael Schenker as well. I’m doing a guest thingy with him next year which is going to be in the States with the other singers from the Michael Schenker band, so we’ll all come in and do a couple of songs each. That will be good for this group because it will show people I’m still alive, apart from the other guys who used to sing with him. So that will be a good sort of intro, a foot in the door, to start playing more in the States, I think we have some dates coming up in Texas in a while, I’m not quite sure when.
Going back to your album, which was released last year, are you going to be supporting that throughout your tour? I assume that you are going to be in Europe, that’s what you’re rehearsing for?
GB: Yeah, we’re going to be doing a few songs from that album, obviously. And as I said, I’d like to incorporate some of the new stuff because it sold so well. We’re very very lucky, it did so well, and people appreciated it, they liked it. Because I was a bit worried about it being a bit too dated or something, but it sounded pretty modern. But anyway, that’s what I aim to do and eventually it would be nice to squeeze out some of the older songs than sticking up to the new ones, so to speak. So if you promote the new album and that’s what I want to do, unfortunately, we have to the sing-along songs; the ‘Since She’s Been Gone’ and the ‘All Night Long’ and whatever else. So we will be paying more of those songs and writing more.
Do you have any music written down so far for a future album?
GB: Yeah, in fact, today I’ve got Jimmy Waldo coming over just for the demo; I’ve got songs. I’m just going to play them on my acoustic or something and just put down for the band because we’re leaving tomorrow, Bethany and me, and then the other guys join up a little later. They are going to rehearse while we’re gone for a couple of days. So that’s what I’m doing today, I have probably 10 or 11 new ideas, and then, of course, they have their stuff, I think, which I’ll find out eventually. But I have ideas already; I just need to play it to them so that they can turn them into band songs and that’s how I always do things. Acoustically, and then say ok now, what can you do with this? Drums, guitar bass, keyboards, what do you think? But it’s up to them to help me get it into an electronic sound. it’s so groovy.
How do you handle songwriting? Are you the principal songwriter or do you split it amongst the band members?
GB: It depends on the play on the idea. If they’ve got a ripple or two or some kind of arrangement they have in their head, yeah I can roll with them. I usually work out an agreement before I play it to the band so I have all the ideas in my head, the base part, the keyboard part sometimes and the way the song should feel, you know. If they ‘nah I don’t think you should do it that way’, then I would say ‘ok show me how you think it should be’, and then we change it if necessary. But when I played with Yngwie, I would play it with him or he would come up to my house and I would play it with him and I’d say ‘well I’ve got this, what do think? Can you make this more your own kind of thing guitar ‘playing wise’?’. And that’s how I’ve always done it. It usually starts with the guitar player and the other guitar player with the lead guitar player, so to speak or keyboard player, and then we’d develop it from then on. Then the drummer will add his two cents and the base two cents or maybe ten cents, whatever, then it develops. Usually, I have the idea in my head, I hear it and I say ‘it should sound like this’, then they agree or disagree. Which is ok with me, I like input from everyone, but it basically starts with me, so I can take the blame for everything.
Are you going to be touring mostly with your band for the rest of 2017?
GB: Yeah, with my band and till the end of the year as far as I know. Then next year I do a guest thing with Michael, but the rest of the time I don’t want to do all these guest things much more because it’s becoming a bit of whole freaking band are you in? It’s ok, but after a while it’s tiresome. I want to do what I’m doing right now and concentrate on this band. This is the most important thing to me, and it’s important to the rest of the guys too. I don’t want them saying ‘well are you going to be here? Are you going to play with Michael Schenker?’ Oh, you’re kidding. It’s ok, it promotes the band a little, but after a while, people wonder ‘am I joining? Is Robin McAuley joining the Michael Shanker band? it’s got to stop at some point. And I’ll be glad to say well ‘that’s the last time I’ll going to do that’ but work we’re saying is very hard to find over in America and to do that thing with Michael in America next year, it’s great because I don’t have to go anywhere, well not long journeys anyway. It’s a thing I’ve got to knock on the head eventually because this is important to me that we develop this band and not kind of ‘oh remember this song from the yesteryear with the Michael Schenker Band. But I appreciate the work, I really do, don’t get me wrong, but it’s so damn hard to get work for this band here, that’s what I’m saying.
You can purchase the Graham Bonnet Band’s live DVD from Milan at your online retailers.
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By Andrew Catania
Chris Impellitteri is one of those few names of the metal shredding genre who have proven themselves as an eligible and worthy heir to the legacy of eternal metal legends such as Yngwie Malmsteen and Randy Rhoads. An honor and acclaim of this significance never come as complementary though. It should require immense talents, some exceptional command and penchant for non-conformity on a musician’s part to not just make a mark, but a breakthrough to demolish the status quo of the industry.
In the particular realm of rock and metal music sphere, many musicians have emerged since the mighty era of the 1980s, as a promising addition to the genre. Equipped with speed, techniques and making waves with their unique style, several musicians of the modern era of metal are making an encouraging reassurance that the future of the genre is in safe hands. However, among all the shred metal maestros of the modern era, Chris Impellitteri’s name rests a par above the rest.
It should cost an exceptional talent, and a massive dose of efforts to a metal musician to be called as the ‘Leading Light of Post-Malmsteen Shredvolution and Chris Impellitteri has proven his mettle and expertise to be rendered as worthy of the title. That is not all Chris Impellitteri possesses to his claim.
The Leading Light of Post Malmsteen Shredvolution is also known as ‘The Master Shredder’ and as one of ‘The Fastest Guitarists in the World.’ All these titles and awards and that too at the age of 53 tell a lot about the strength, status and the credibility of a musician like Chris.
Completely owning the genre that brought him this fame, Chris has not only contributed to the progress of the genre, he has also been imparting his acumen and expertise for the benefit of the current and coming generations of metal musicians.
Chris’s playing technique is pure and highly refined. His tones are well-structured, finely articulated to the core and stands a class apart regarding the flow, speed, depth, nuances, and versatility. It is interesting to note that these unique attributes that have become his signature characteristics primarily stem from his self-taught learning approach.
Chris Impellitteri was never satisfied in learning from the instructors and opted instead for his high road. Plunging headlong in the pursuit of his passion, Chris tried his hands on a variety of instruments, playing styles, techniques, and that too in a multitude of genres and sub-genres.
This extensive learning has allowed him to build a strong grasp of rock and metal music. Being well-versed with the tact and intricacies of the chords, it has become a cake walk for him to squeeze out tones, with extreme clarity, exuberant audacity and at an extreme speed.i
Talking about his ideals and role models, Chris claims to be inspired by several eminent musicians of the 1970s and 1980s decade such as Jimi Bell and Al DiMeola
Guitarist Magnus Karlsson (Primal Fear, Magnus Karlsson’s Free Fall) and vocalist Ronnie Romero (Lords Of Black, Rainbow) have joined forces, together with drummer Mike Terrana (Rage, Axel Rudi Pell, and more), in a brand new project dubbed The Ferrymen.
The songs were written by Karlsson in Sweden during the summer of 2016. Once Romero was sent the music via their main bands’ shared label home Frontiers, he immediately wanted to be part of the project. Terrana was the last piece of the puzzle, and he recorded his drums in Italy, where he currently resides. The resulting album is a shot of adrenaline for all lovers of melodic metal! Musically, you can expect maximum melodic metal is fusing the songwriting and epic structures of the great ALLEN/LANDE records (for which Magnus Karlsson was the chief architect of the first three widely praised releases) with the Ronnie James Dio-esque vocal approach of Romero. (Let’s not forget that Romero was hand-picked by Deep Purple and Rainbow’s legendary guitarist Richie Blackmore to be the lead vocalist for Rainbow’s recent reunion shows, so the Dio comparison is more than accurate!)
With stunning artwork courtesy of Stan W. Decker and an excellent mix courtesy of Simone Mularoni ( of Italian prog metal masters DGM), THE FERRYMEN is an album which will take the metal world by storm in 2017!
By Andrew Catania
A former member of ‘Racer X,’ and the co-founder of ‘Mr. Big’, Paul Gilbert has much more to his stake his claim, that eventually saw him rank 4th, in the Guitar One Magazine’s list of the Top 10 Greatest Guitar Shredders of All Time. He has also made into the Guitar World Magazines, the list of the 50 Fastest Guitarists of All Times.
Paul Gilbert is a prominent, and sound name in the music sphere, specifically in the rock and heavy metal genre. His penchant for veering off from the conventional techniques, trying improvisations and his natural curiosity to experiment outside the prevalent, and well-grounded trends, compels him to test his expertise in a variety of genres.
Having a firm knowledge of the tactics, techniques, and intricacies of a variety of instruments, such as bass, keyboard, harmonica, and percussion, Paul Gilbert eventually settled to play the guitar. His techniques are finely calculated, intricate, have great depth, and utmost attention to detail. It is this precision of his shredding style, that makes even the loudest of tones fall smoothly onto the eardrum, and makes one experience ultimate musical ecstasy.
Paul Gilbert’s playing style is unique and unbelievably complexed to be true. His one mere shred occurs with such force that few can match. Playing on fretboards, similar to those used by his contemporaries, his exceptional command over the chords sets him a class apart from the rest.
Lightning fast, dense, dynamic and fluctuating with aesthetic and carefully-handled nuances, Paul Gilbert has enchanted millions of rock, and metal enthusiasts worldwide, through his vibrant and addictive tones. His technique is neat and has a ferocious frequency which is squeezed out at an overwhelming speed. Besides that, his immense control over the length, the graduation of tones, and prolonged picking without taking an anchor or bridge is a worthy testament to his incredible and extraordinary skills. No wonder he is ranked among Yngwie Malmsteen, Steve Vai, John Petrucci, Rusty Cooley and other legendary names that have redefined the rock and heavy metal genre.
Paul Gilbert’s signature style has evolved through his self-taught, and experimental approach. He mentions the work of notable legendaries including Randy Rhoads, Eddie Van Halen, Tony Iommi, Jimi Hendrix, Yngwie Malmsteen, Kim Mitchell, Steve Clark, Akira Takasaki, Jimmy Page, Robin Trower, and much more as his inspiration. Being a keen observer and a quick learner, he attempted to learn, and master each’s technique, and improvised to include a fusion of his own. It is because of this, that he’s equally famous among the fandoms of other heavy metal legends, as his style reflects a flavor of his prime influences while maintaining its signature essence, and uniqueness.
While he’s ranked at an unparalleled stature among other heavy metal virtuosos, Paul Gilbert, experiments and composes his music in a variety of genres, including pop, metal, rock, funk, and blues. The speed, versatility, efficiency, timeliness, and seamless control visibly rule over all genres that he plays. His fusion of fast picking, combined with legato, and his precise-to-perfect staccato-picking, is a powerful depiction of his nonpareil excellence and is a sure-tell sign that the milestones he has set in the heavy metal genre, will demand a lot from his predecessors to come close to matching his legacy.
Mr. Big’s new record, Defying Gravity, will be released on July 7th, 2017 via Frontiers Records.
Radiation Romeos is a new band formed by the amazing singer Parramore McCarty, best known for being the frontman of such legendary US Metal acts Warrior and famed Billy Idol guitarist Steve Stevens’ solo project, Atomic Playboys (in fact, the inspiration for the name Radiation Romeos came from a line in the song “Atomic Playboys“). Their self-titled debut record will be released on June 2, 2017, via Frontiers Records.
Musically, the band moves in a melodic hard rock direction with solid, metallic edges thanks to the production of Michael Voss (Phantom 5, Casanova, Michael Schenker), who also contributed to the songwriting. In the studio, Parramore sang all vocals with Dag Heyne handling guitars, Jogi Spittka on bass, and Gereon Homann laying down the drum work with gusto!
Parramore McCarty’s career in music started when Robbin Crosby of Ratt gave him his start singing in cover bands. His first major label album was “Fighting For the Earth” on Virgin Records in 1985 for the legendary heavy metal band Warrior. Steve Stevens’ Atomic Playboys followed in 1989 on Warner Bros. Records. Then he returned to Warrior and also started gigging in the LA area with Metal Freqs and Monster Traxx.
Radiation Romeos will take no prisoners with their exciting mixture of muscular hard rock anthems and killer melodic songs!
By Andrew Catania
Primal Fear is a band that hasn’t released a bad record. Vocalist Ralf Scheepers has pipes resembling Rob Halford. Screeching guitars, double pounding drums, Primal Fear just plain rocks. There new live CD/DVD Blu Ray ‘Angels of Mercy – Live in Germany‘ shows the energy and execution of excellence that Primal Fear displays show after show. I highly recommend this CD/DVD Blu Ray to anyone that likes balls to the wall, in your face music with one of the best singers in metal today! Rating 9.5/10
2016 was a very busy year for German metal masters PRIMAL FEAR. Following the release of their latest killer album, “Rulebreaker” in January, the band embarked on a world tour which shattered all the previously held records for shows played in one year by the band.
“We started in Europe with 11 countries and recorded the concert in Stuttgart for the album and video, which is Primal Fear’s first Blu-Ray release. We continued in the USA and Canada, Japan and for the first time, Australia. Then we played some excellent festivals in the summer, continued touring in 10 countries in South and Latin America and ended the year with more shows in Europe. It was a fantastic experience for the band, and we want to thank every single fan who joined us on this great journey!” says bassist and co-founding member Mat Sinner.
Vocalist and co-founding member Ralf Scheepers adds: “With a handy cam in my suitcase, I have recorded on multiple occasions many behind the scenes shots and funny, candid moments. We recorded an entire show right at the beginning of this fantastic world tour, and it gives you an insight to the Primal Fear live experience on stage. You will find a lot of bonus material such as video clips and different additional surprises, so we can easily say that we are very proud to deliver this package to you…please enjoy and do us a favor: CRANK IT UP!”
The last tour unleashed the best Primal Fear performances since the band formed in 1998 – a constant great mix between power, ambition, and enthusiasm plus of course great the talent of great players! There is undoubtedly magnificent performances on this release, with excellent sound and video quality. This live album offers a barrage metal anthems in their full glory that will please any headbanger!
If you are a metal fan you, then you must see this in all its power and glory!
By Andrew Catania
The boys from Warrant are back with their new album, Louder, Harder, Faster that’ll be released on May 12, 2017, by Frontiers Records. I caught up with guitarist Erik Turner to discuss their new album and touring plans.
Robert Mason sounds great! I would go as far to say that this album, I don’t dislike your previous work, but this one is one of your best
ET: Thank you, man. It’s a pleasant surprise, we’re getting a lot of positive feedback from different journalists that have got advanced copies, and it’s always nice to hear
Did you guy’s do anything different this time around with this album that you have done within previous times?
ET: Well, the biggest difference is the producers. We used in 2006 on our Born Again CD we were produced and mixed by Pat Regan. On the Rockaholic CD we did in 2011, it was produced by Keith Olsen and mixed by Pat Regan, and on this new CD, Jeff Pilson produced it and then once again it was mixed by Pat Regan. So having a different producer is a big difference. It’s not necessarily better or worse, you know it’s just different you know Keith Olsen and Jeff Pilson are two very talented musicians
Absolutely! I think Jeff brought out more of the guitar parts on this album than Rockaholic. That’s just from a guitarist standpoint, listening to it
ET: Yes, yes. There is a lot of really cool guitar work on Rockaholic, the whole record I think a big difference is Rockaholic is like this smooth, shiny piece of metal and this new record we left some of the scratches on it and rough edges and dents and stuff
it’s just more organic you know like old school blues band based hard rock the way they did it in the 70’s
Now regarding you guys writing process, do you guys all have an equal say or do a couple of members mostly do that?
ET: Well, there are a couple of guys that stand out in the band that is good at writing melodies and lyrics and riffs, and that is Jerry and Robert. And you know Joey I thought had some great riffs. I contributed and sent a bunch of song idea riffs. Joey and I neither one finish songs, we don’t write the lyrics and melodies and then tweak it as a band you know. I co-wrote one song on the record this time around and in the past on average probably three or four songs that I co-write usually, and that’s just the way it turned out on this record and then what happens is we do all our demos and pass songwriting files and record some guitars at home or a friends studio and send them to Jerry. You know the same with Joey and Robert might sing some vocals and send them to Jerry, same with Joey, Robert might sing some vocals and send them to Jerry and Robert will demo his songs and Jerry will demo his songs and about the time we have 20 to 25 songs is when we think like okay we’re probably ready to do a record. We’ll vote, everybody votes on which 13 songs that should go on the record and that’s how we decide what songs go on the record we just make a vote and a very democratic process there choosing songs
Then we go into the studio and sometimes know when we are working with the producer or something and a song that we thought only three guys voted for might come up and shine and another song that everybody loved you know it’s not turning out as great as we hoped and you just never know until you get in there and start making the record. But everybody was telling us about Jeff Pilson, and his name kept coming up, and we have begun listening to his records, and the label liked him. A friend of mine Vinny Appice recorded with him and spoke highly of him and started recording with Jeff in his studio and so we met with Jeff and started talking, and we just hit it off right away. His enthusiasm and energy and positivity are contagious and overwhelming and his amount of vintage gear is very awe inspiring and amazing to be able to select from and record.
He did a fantastic job with you guys. Before you go into the studio do you guys write the lyrics or the music first? Or is it a combination?
ET: Oh yes. No, the songs are written pretty much. I mean there might be a few lines here a few lyrics there or change the title. You know Robert, Jerry or somebody, the producer, might suggest a different song title but no, we’re 99% done before we get into the studio. We go into a rehearsal room usually for two to three days. We’ll block it out and spend 6,7,8 hours a day in there going through each song from kick jump patterns to bass line to guitars to ideas that come up like hey what if we change this cord here or what if we added this little riff here, and then we just record them really roughly on the computer. A live recording to have a reference to listening back to when we go into the studio so we can remember what changes we made and what we did. So by the time we get into the studio, everything is mapped out you know 90%. There’s always room for magic, accidents happen that are cool or, “wow, wow, wow what was that?” you know! “I don’t know; I played the wrong note.”
Devil Dancer is one of my favorite songs.
ET: Well there you go, how did you know?
Devil Dancer was one of my favorite songs, I think it shows Robert’s voice, and you guys are attracting a new fan base, you know seems we’re in a new millennium now, and we started hearing you guys 30 years ago. I think you guys are attracting new fans. I think with Robert’s voice, your guitar playing and Joey’s guitar playing I believe that it just hits; just everything blends in this album. I think you guys knocked it out of the park with this one with Jeff on there.
ET: Thank you, man! That’s good to hear
When you’re doing your parts, are you doing rhythm or the leads or do you and Joey kind of switch around?
ET: Joey and I what we do is typically we’ll record live with Steven while he is recording the drums and we’ll record scratch guitars and bass and stuff that we’ll go back and rerecord, but we’re all playing along to the song when we are playing live in the studio until we have a great drum track. Then after all the drums are done then, Jerry will typically lay his bass down to all the songs with some scratch guitars on there, so you know he has something to play with another instrument. And then Joey will lay down his basic rhythm guitar and then all this to my thing is always to try and play something different than Joey rhythmically, you know
ET: It may be something as different like playing a different chord in a different position on the neck; it might be a different part you know maybe he’s playing a crunchy tone, I do something that’s just real dry and clean. We always try to play something else, so something is going on there I don’t just go and carbon copy with the rhythm track that we laid down. Then after I’m done doing that, then Joey will go in and play his solos over those tracks, and that’s how it works
What are you using now are you using different rigs in the studio than you do live?
ET: Well, we use some of our Hughes & Kettner stuff that we use in the studio, and then we use a lot of different stuff, vintage gear that Jeff had you know. I use my GMP guitars on a lot of things. I know Joey did as well, but then there’s also that ‘59 Les Paul in there. There’s a ‘52 Les Paul Jr; maybe we need to do something with more of a strat sound, play an old strat 60’s, Tele’s CS335. On one track I’ll play my GMP, and on another, on the next record I’ll play my 69 Les Paul, and then we’ll double on my doubles you know. We typically increase all our stuff all our rhythm tracks are doubled 90% of the time. So instead of doubling it with the same guitar and the exact tone, Jeff will say, “Hey, try that little Les Paul Jr” you know to go along with the track you just did with your GMP. I have a spreadsheet with everything on it, every amp we used on each song, every guitar we used on each song so we can go back and look at what guitar we used on a track.
I would love to see that, that’s like guitar notes
ET: Yes, yes, Joey has that he was a Nazi about it, “Write down what you use! Write down what you use!” you know every day. If he wasn’t there and I was there making tracks, and he wasn’t there he’d text me, “don’t forget to update the spreadsheet!”
We have everything, what amp we used, what effect pedal we might have used. You know Jeff has Echoplexes and Wah-wah pedals. You can hear it all on the record you know all the cool stuff that we use on certain songs. It was just a lot of fun for guitar players like kids in a candy store. And Jeff’s is a real comfortable environment to work in you know. Sometimes you work with different producers and it might be a little more stressful, or the vibe in the room is a little, I don’t know, tense. You know everybody was just really relaxed, we felt right at home in the studio, and Jeff was just great. We got some great performances out of everybody and in my opinion, pushing me and Joey and Robert and Steven and Jerry that extra mile to record some special stuff.
How was it working with Jeff compared to like Beau Hill that produced your stuff for a long time?
ET: You just heard what I said about Jeff. Beau would be the exact opposite.
When you’re on the road, what does your rig consist of?
ET: Right now I’m just using a Grand Meister 32, I believe it is a Hughes & Kettner Amp, and I have a little Shure wireless combo guitar tuner, and that’s what I use. And I have new GMP’s I bring out one of my GMP pawn shop customs and then I have a GMP that’s a Tele-style guitar that has a Floyd on it. It’s a Floyd FU (Floyd Upgrades) I don’t know if you’re familiar with that gear, it’s got so much gear on there so yes, I have a signature pickup that I use by RocketPickups
ET: Rocket Pickups is their name; they are out of Atlanta, Willy Houston is the owner. He hand (winds) our pickups and he did a signature pickup for me called the Dirty Nickel, and we use My Star Sound cables (mystarsound.com). I use Dean Markley Strings; we use In Tune Guitar Picks, I don’t want to forget anybody, we use Hughes & Kettner Amps. Steven uses Pearl Drums and has been forever. Live we all use GMP Guitars, me, Jerry and Joey
What made you pick GMP?
ET: A friend of mine turned me onto them in 2000 and introduced me to the owner, and I saw that Duff Mc Kagan was playing them and gosh who else was playing them? Gilby Clarke and Tracii Guns and Kelli Keri, a bunch of different guys were playing them, and which is cool, I didn’t seek it out, but a buddy of mine was like hey I’m great friends with Cameron, the owner, would you be interested in going down to the shop? So I went down and met everybody and some of the guys that work there used to work at BC Rich when we were there, and it’s just an excellent vibe man, and so I just started playing some of the guitars, and I was like, wow man! All hand made custom made all made right there in San Dimas, California
Do they endorse you?
ET: Yes! And then they just started hooking us up with guitars, and I’ve been playing them on and off. The company went out of business for a while and ironically the guy that bought the company and resurrected it, Dan Lawrence, we had been working with over at BC Rich, and Joey used to work with him over at Jackson Charvel over in 1985 they were working together. So Dan is like, having Dan building our guitars now, is like a dream come true
Very nice! With the record coming out, what are you guys’ plans regarding touring for 2017? Are there any festivals that you are headlining?
ET: We’re going to do what we do every year and yes, everything you just said from Biker Rallies, Casinos, State Fairs, Big Rock Festivals, the occasional night club, if it makes sense, we’re just going to go and play and play and play you know, like we do every year. We typically do around 50 shows a year, so we’re right on track to do that. I think we already have 43 shows contracted for the year and we’ll keep booking year round. So yes, it looks like it’s going to be another good year of touring. The only thing that will be different is all our staging is now the new album cover with all our graphics of the new album cover and you know we’ll be playing songs from Louder Harder Faster as well as all the songs that people want to hear you know. We’ll probably play 2 to 3 songs off the new record, and we’ll play you know 13 songs from the past
Working with Robert, how is it different than Jani?
ET: You know they’re very similar in a lot of ways as far as you find out when they get in a studio environment both total pros, amazing singers you know they can harmonize and just really meticulous, talented guys you know. As far as playing live, you know Jani liked to party, and his approach was I think a little looser you know then when he was on stage you know doing his stick and showmanship, he’s one of the best front men from that era, he’s definitely one of the top guys you know. And Robert takes a little more of a serious approach to going out there and just nailing everything. A total pro, you know! But they’re both you know, how lucky am I to get to work with both those guys? And still do get to work with Robert so yes from a guitar point of view, and all the years I’ve been in this band, and what we’ve done to make records with Jani Lane and with Robert Mason and tour with both of them, I feel very fortunate.
Under their belt, Warrant has eight million records sold worldwide, two Top Ten Billboard albums, five Top 40 Billboard hits, five #1 MTV videos…the list goes on and on. Now, six years after the release of “Rockaholic,” the album that relaunched the band as a force to be reckoned with in the 21st Century, Warrant returns with another slab of muscular hard rock, aptly titled “Louder Harder Faster”.
With a line-up featuring original members, Erik Turner, Jerry Dixon, Joey Allen, and Steven Sweet along with singer Robert Mason (Lynch Mob, Cry of Love), Warrant are now stronger than ever. Mason’s vocals remain a breath of fresh air and his swagger on the songs gives new life and a bright future to the band. With production handled by Foreigner and ex-Dokken bass player Jeff Pilson (Last In Line, Starship, Adler’s Appetite, etc.). Warrant is sounding tighter and playing better than ever before. “Louder Harder Faster”, true to the band’s roots, is full of rockers with some classic ballads thrown in and sure to send their faithful fans into a frenzy.
Warrant was one of the most popular and successful rock bands to emerge out of Hollywood, CA in the late 80’s and early 90’s. The band was formed in the mid 80’s by Erik Turner and Jerry Dixon. In 1989, Warrant released their classic debut “Dirty Rotten Filthy Stinking Rich”, which immediately entered the charts and launched the hit singles “Down Boys,” “Sometimes She Cries”, and “Heaven”, which climbed up to number two on the US charts. With extensive touring for DRFSR, sales exceeded 2 million records in the US only.
In the summer of 1990, their second album “Cherry Pie”, produced by Beau Hill (Alice Cooper, Winger, Europe, and Ratt), was released. The album turned out to be an even bigger success, featuring the Top Ten hits “I Saw Red” and the rock anthem “Cherry Pie”, which received massive airplay on MTV and continues to get millions of plays on streaming services and YouTube to this very day.
WARRANT’s signature style of rock is catchy, very melodic, and remains the band’s calling card. The band is fired up and more inspired than ever musically! The band will be out touring in support of “Louder Harder Faster”, so be sure to catch them when they hit your town!
Robert Mason – lead vocals
Joey Allen – lead and rhythm guitar
Erik Turner – rhythm and lead guitar
Jerry Dixon – bass guitar
Steven Sweet – drums
Inglorious are five young men with a mutual love and respect of the classics of Hard Rock music, big guitar riffs, and soulful vocals. Their influences stem from iconic rock and roll shrine of Rock albums from the 1970s – many years before the band members were born.
The same albums that have inspired generations of musicians and performers are noticeably evident when you listen to the Inglorious debut album. This is the music they were born to play together – inspired by bands in the classic rock genre as diverse as Deep Purple, Led Zeppelin, Whitesnake, Bad Company, Aerosmith, the Rolling Stones, to name a few.
Formed in February 2014, the band is fronted by Nathan James, who made a name for himself having sung for the multi-platinum selling Trans-Siberian Orchestra, and Scorpions guitar legend Uli Jon Roth. Nathan was looking for like-minded musicians that desired to make incredible rock music in a very honest fashion.
Nathan thought to himself, “Why are those classic albums so awesome?” He realized it was because “the musicians were recording in an organic way; they could track it live and capture amazing energy.”
“Not only in rock but in Motown and even classical music they tracked everyone in the room at the same time,” adds Nathan. “The air movement from a bass drum, that same excitement you get when you perform, and that’s exactly how I wanted the album to feel.”
Nathan wanted all his fellow musicians in the room at the same time, no click tracks, no auto tune and no overdubs. He wasn’t willing to compromise. Says Nathan – “For so long people have been hiding mistakes, singers using auto tune to make them sound perfect, double tracking to make it sound bigger and using click to play in time. There is none of that on this album.
This record is about the vibe, feeling, excitement, energy, and performance of songs we all wrote together. That’s how it came out that day and it will never be exactly the same again. We captured a series of moments that make up our debut album.”
Inglorious is composed of lead guitarist Andreas Eriksson, bassist Colin Parkinson, rhythm guitarist Wil Taylor, and drummer Phil Beaver.
Colin and Phil both hail from Somerset and have played together in bands for 17 years (at one point, both were signed to Mick Fleetwood’s label while Phil was still at school). Phil’s Bonham-like groove, great snare work, and exciting fills, combined with Wil’s solid bluesy rhythm playing and Colin’s fat, gritty bass sound, make for a formidable rhythm section.
Andreas was the final piece of the puzzle – a lead guitar player that shared all the same influences, could command a stage and was able to track the whole album the way Nathan wanted. Guitarist Andreas Eriksson played in bands from his home country of Sweden for many years and has taken influences from all the greats, making him one of the most musically well-rounded guitar players in the contemporary rock scene. His bluesy, melodic, soulful playing compliments Nathan’s soaring vocals.
The musicians bonded during the recording of their first Album, self-titled Inglorious, which took the world by storm, earning its self-comments from the likes of Brian May who described this young band as “a potent young Deep Purple”. And Kevin Shirley who mixed the second album said “The best British band I’ve seen since… I could say the Darkness, but I really mean Led Zeppelin.”
The second album titled Inglorious IIwas recorded in one go at Parr Street Studios Liverpool, a more comfortable setting this time as accommodation was provided, no more sleeping on the studio floors, things are looking up in the world. And as mentioned, mixed by Kevin Shirley at his Caveman Studios.
The band wrote the whole album with no guest writers this time, they said “It came together very organically after spending time touring together and felt great. We knew we were making an album this time too! We focused on getting our sounds just right so we could get into the studio and out in the least time possible.
Between Adde’s flat in Malmö, Sweden and Colin’s family home in Somerset, England, this album came together quickly. We spent three weekends in Somerset, writing in a kind of 9-5 fashion, whereby we knew we were at work. Then after a lovely home cooked dinner we would relax, have a few beers and balance out our hard work, the environment is so important to be creative and we had it good!
The first album was produced well by the band, that they decided to produce this one themselves too. These boys are becoming a force to be reckoned with. Record to be released May 12, 2017.
Produced by Inglorious
Mixed by Kevin Shirley
Mastered by Tony Draper
Inglorious II features
Nathan James – vocals
Andreas Eriksson – lead guitars
Wil Taylor – guitars
Colin Parkinson – bass guitar
Phil Beaver – drums
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