Beth Hart announces UK dates

Posted on Sep 29, 2011

Following the September 26th release of Beth Hart’s “Don’t Explain” album – a soul covers collaboration with guitarist Joe Bonamassa– she’ll perform two intimate UK concerts in November. The first date will be The Flowerpot, Derby on Monday 28th November, followed by London Dingwalls on Tuesday 29th November. Tickets for both concerts are available from 0845 413 4444, www.seetickets.com, www.ticketline.com and www.alt-tickets.co.uk.

Already a platinum selling solo artist across mainland Europe, Beth’s collaboration with Bonamassa on the Gil Scott-Heron classic, “I’ll Take Care Of You”, was recently BBC Radio 2’s “Record of the Week” and has since been added to the playlist;the “Don’t Explain” album also recently reached #5 on the Amazon UK pre-order chart.

Compared vocally to the likes of Janis Joplin and Etta James, Beth Hart’s November UK concerts will showcase tracks from the new album, including a brilliant rendition of Tom Wait’s “Chocolate Jesus”, as well as songs from her back catalogue such as the emotionally moving “LA Song”.

Produced by Kevin Shirley (John Hiatt, The Black Crowes, Black Country Communion),“Don’t Explain” combines Hart’s raspy and soulful vocals against Bonamassa’s signature guitar sound. The pair collaborate on a stunning collection of hand-picked soul classics from the likes of Delaney & Bonnie, Billie Holiday, and Aretha Franklin. Read the official “Don’t Explain” press release here.

Monday 28th November 2011
Derby, The Flowerpot
Tickets: £13.00 / Doors: 8:00pm / Starts: 9:30pm
Venue Box Office: 01332 204 955 / Venue Email: info@rawpromo.co.uk
The Flowerpot, 25 King Street, Derby, DE1 3DZ
Book Online from the following outlets:
www.seetickets.com | www.ticketline.co.uk | www.gigantic.com | www.aloud.com
Tuesday 29th November 2011
London, Dingwalls
Tickets: £13.00 / Doors: 7:00pm
24 Hour Box Office: 0845 413 4444
Dingwalls, Middle Yard, Camden Lock, London, NW1 8AB
Book Online from the following outlets:
www.seetickets.com | www.ticketline.co.uk | www.gigantic.com | www.dingwalls.com
www.eventim.co.uk | www.alt-tickets.co.uk | www.ticketmaster.co.uk

Tracer–Spaces in between

Posted on Sep 28, 2011

High art it isn’t – but it rocks

When you have a voice a bit like Klaus Mein, you have a fair shot of climbing the old fame and fortune ladder. So, Tracer front man Michael Brown looks set to position himself as a man to whom you should listen. It doesn’t matter that he can’t play like a Schenker, although he poses with a Flying V quite nicely, because the lads write decent rock songs and perform them with enthusiasm and no little skill.

Based in Adelaide, South Australia, the trio of Michael, his brother Leigh who plays bass and drummer Andre Wise do the riff-rock genre proud with solid, uncomplicated songs that have a certain catchiness about them. Think of the driving, rhythmic feel of the Foo Fighters wrapped around the metallic thunder of the Scorpions and you’ll get close. The solos are short, to the point and derivative, as are the the songs, but despite this, Tracer manage to turn in a sound that works. They’re a rock band for a new generation of guitar heads. Lack of originality is nothing to be sneered at, dozens of bands from Guns n Roses to Pearl Jam via Muse have made massive careers out of it. So, unless you’re a genius, you make the best out of what you have and Tracer have quite a lot thank you.

Their new album: “Spaces In Between” taken as a whole is quite impressive. There’s lots of good, solid guitar rock to be had, nice hooks and bag of riffs to bang your head to. The album opens with “Too Much”. Take a listen to this:

I get the feeling I’ve heard it before somewhere, but it rocks, so who cares? Next up is “Push”, which opens with a pulsing drum beat, then we’re into the riffing. “Push” could have been lifted straight off a Free album in the seventies, Brown even manages to do a Paul Rogers intone in the chorus “It goes on and on…” The pace drops into Doctor-Doctor mode for “Walk Alone” and Brown starts singing like Percy Plant. We get served “Louder than this” after “Walk Alone”. It’s pretty much a blues standard of the kind Deep Purple used to excel when they were in the mood, circa Machine Head. “Devil Ride” takes into grungeland with shades of Nirvana daubed over Motorhead.

The best track on the album is “The Bitch”, which opens with a very promising, undistorted, metronomic riff, which is suddenly subsumed under a wailing voice and crashing guitar, only for it to disappointingly develop into a pretty standard seventies riff, although the chorus brings out a lovely dynamic contrast, which is really why this song is the stand out track on the album. It has a great hook, lots of drama and a sing along tune, with the best guitar solo on offer – it’s almost accomplished. The slide guitar at the end is very nice though and completely unexpected.

“Voice in the rain” nods to Jimi at his most mellow with Paul Rogers singing along. Good stuff if you’re in that bottle of whisky and a quiet cigarette while staring out at the rain type of mood. There’s a great crescendo that descends into a reprise of the opening bars. It’s really quite good.

The title track closes the middle section album. It’s five minutes I’ll never get back. The twee, eastern Indian influenced solo was particularly grating. It’s followed by “Dead inside”, which is a cracker, lots of dynamics, drama and contrasts. “Save my breath” is like “Too much” with a slightly different riff – enjoyable though. “All in my head” takes on a tour of Michael’s soft guitar  technique, before it breaks out into a “Wheels of fire” Cream sound-alike – he even does Jack Bruce phrasing, although the chorus breaks out into Foo Fighters yelling. I was moved to think Pete Brown must have had Aussie children. The chorus is really good though.

By time we get to “Won’t let it die” with it’s vibrato guitar, I’m ready for something different, and to be fair to Tracer, they serve it up with aplomb. This is a nice plodder, with a great, sparse sound. Good production can make a song and this one is a great example of good production values making a good song, great.

Overall, this is a good, perhaps very good album, but you’ll enjoy it more if you haven’t listened to everything rock from the sixties to the naughties. Recognising complete rips is not the same as admitting influences and “Spaces in between” tends more towards the latter than the former. Better still, it’s a grower – by time I’d played it three or four times, I was beginning  to sing along and by the sixth play I was sold and will probably end up buying my own copy.

Listen if you want high art, then this isn’t the album for you, but if you’re after real good time rock ‘n’ roll with a more than adequate sampling of listenable tunes and the odd sing along, then it might be worth shelling out a few quid.

 

David Coverdale at 60

Posted on Sep 27, 2011

Legendary Whitesnake singer David Coverdale celebrated his 60th birthday on September 22nd. His latest studio record "Forevermore", released on March 25th, shows experience, musical maturity and a personality that is far from jaded after an almost 40 year career. Also it is an evidence that Whitesnake’s career is far from finished, even if Coverdale evoked the end quite a few times in the last years: "I’ve retired more times than Frank Sinatra – but luckily I didn’t tell many people.” he laughs.” The music business can be so exhausting & destructive on a person, which makes you think sometimes, that you have to step back & take stock of your situation & circumstances", Coverdale confessed.

"I’ve retired more times than Frank Sinatra – but it never last for very long…"

Today David Coverdale is happy that he never threw totally stepped away. He recently wrote a song called "Best Years" that he says still perfectly fits describes his life with him turning 60 years old. He explains: "It’s great that I’m able to still work as a musician. And with it came consistency in my career and also in my private life. I really am experiencing the best times of my life these days, & believe me, I’ve seen a lot."

"Forevermore" is Whitesnake’s eleventh album released on Frontiers Records. The band is still known as one of the most successful acts of all times with several platinum awards. Through his eloquent, always cultivated, British-charming personality David Coverdale is not only known as a rock patron, but a highly regarded gentlemen within the rock business. There are not many other musicians that deal with love and passion in their lyrics like he does. And also there are just a few acts that are able to highlight lyrics perfectly and successfully with thrilling blues and soul anthems like he does.

Before Coverdale, who’s originally from Saltburn-by-Sea area, founded Whitesnake, he was the lead vocalist for Deep Purple. When Coverdale celebrates his 60th birthday on September 22nd he’s able to look back at a musical career that is almost 40 years long. "I’m going to celebrate my birthday with my private family & my musical family", he reveals, "I will party several times on several different continents. Even if it sounds a little un-rock & roll, I will use the day to reflect and be thankful for what I achieved in my life so far. I’m incredibly grateful to still be experiencing professional success & to be so physically active in what I do, after all these years."

Wilko Johnson’s nationwide UK tour kicks off on September 15th

Posted on Sep 13, 2011

Wilko Johnson, the phenomenal guitarist and founding member of Dr. Feelgood, who has influenced everyone from Joe Strummer and Mick Jones to Steve Albini, will embark on a nationwide UK tour throughout September and October 2011. Very special guest on all UK dates will be the award-winning blues singer Ian Siegal and his band.

The tour kicks off at the Edinburgh Caves on Thursday 15th September. Tickets go on sale on Friday 15th April at 9am and can be ordered by calling the 24 Hour Box Office on: 0871 230 1101 or book online at: www.seetickets.com.

In addition to pioneering Dr. Feelgood’s distinctive mid-seventies, pre-punk British R&B sound, in 1980 Johnson went on to play guitar for Ian Dury and the Blockheads. Today, Johnson’s solo band features Blockheads’ Norman Watt-Roy (bass guitar), and Dylan Howe (drums).

In 2009 Johnson featured in Julien Temple’s "Oil City Confidential"; a fascinating feature length documentary about Dr. Feelgood. The film received many accolades including the MOJO Vision Award at the MOJO Honours List 2010.

Dr. Feelgood originally formed in 1971 as a British pub rock band who hailed from Canvey Island, Essex. Their name derived from a slang term for heroin or for a doctor who was willing to overprescribe drugs. It is also a reference to a 1962 record by the American blues pianist and singer Willie Perryman (also known as "Piano Red") called "Dr Feel-Good", which Perryman originally recorded under the name of Dr Feelgood & The Interns.

Dr. Feelgood’s distinctive British R&B sound was centred on Wilko Johnson’s choppy guitar style. The original band line-up also included singer Lee Brilleaux, and the rhythm section of John B. Sparks (aka "Sparko") on bass guitar and John Martin (aka "The Big Figure") on drums.

Dr. Feelgood was known primarily for their high energy live performances, although studio albums like Down by the Jetty (1974) and Malpractice (1975) were also incredibly popular.  Their 1976 breakthrough live album, Stupidity reached No.1 in the Official UK Album Chart.  When the band released their fourth album, Sneakin’ Suspicion (1977), Johnson left the group to pursue a solo career.

Tour Dates

• Edinburgh Caves                    Thurs 15 Sep
• Glasgow O2 ABC                   Fri 16 Sep
• Aberdeen Lemon Tree            Sat 17 Sep
• Newcastle O2 Academy        Sun 18 Sep
• Sheffield O2 Academy           Thurs 22 Sept
• Kendal Brewery Arts              Fri 23 Sept
• Holmfirth Picturedrome Sat 24 Sept
• Leicester O2 Academy            Sun 25 Sept
• Bilston The Robin                    Thurs 29 Sept
• London Islington Academy     Fri 30 Sept
• Manchester Academy              Sat 1 Oct
• Nottingham Rescue Rooms      Sun 2 Oct
• Gloucester Guildhall                Thurs 6 Oct
• Falmouth Pavilion                    Fri 7 Oct
• Exeter Phoenix                        Sat 8 Oct
• Brighton Komedia                   Sun 9 Oct

Free Bonamassa / Hart MP3 download

Posted on Aug 15, 2011

To celebrate the release of the “Don’t Explain” album – a collaboration between American singer-songwriter Beth Hart and the acclaimed blues guitarist Joe Bonamassa, the duo are making their version of Delaney & Bonnie’s classic “Well, Well” available as a free MP3 download single.  All you have to do is sign up to http://jbxp.net/, input your email address, and you will receive the free download.  

CD, Digital Download and 12” Vinyl editions of “Don’t Explain” will be released in the UK and Europe on Monday 26th September, and can be pre-ordered from Amazon UK.  Click here to pre-order.
Produced by Kevin Shirley (John Hiatt, The Black Crowes, Joe Bonamassa, Black Country Communion), “Don’t Explain” combines Hart’s raspy and soulful vocals against Bonamassa’s signature guitar sound.  The pair collaborate on a stunning collection of hand-picked soul classics from the likes of Gil Scott-Heron, Tom Waits, Etta James, Billie Holiday, and Aretha Franklin.

Beth Hart and Joe Bonamassa colab on “Don’t Explain”

Posted on Jul 19, 2011

Los Angeles-based singer-songwriter Beth Hart, known for her raw and powerful blues-rock sound, wraps her expressive vocals around classic soul covers on Don’t Explain, an album that grew out of her friendship with the acclaimed Blues guitarist Joe Bonamassa. The album will be released in the UK and Europe on Monday 26th September by Provogue Records.

Produced by Kevin Shirley (Led Zeppelin, Aerosmith, Black Country Communion), Don’t Explain is an intimate collection of hand-picked soul cover versions, as performed by celebrated artists, such as Gil Scott-Heron, Tom Waits, Etta James and Aretha Franklin.

Don’t Explain perfectly combines Beth Hart’s raspy soulful vocal with Bonamassa’s unique guitar sound, Kevin Shirley, who has produced Bonamassa’s last five albums, reflects on what it was like working with Beth for the first time – “Beth’s got a pretty heady voice, very reminiscent of Janis Joplin, she’s also got a lot of Etta James in her, but hadn’t really accessed it. With this material, there is a gentleness to the way she delivers the most heartfelt tunes that she hasn’t shown before. It’s very cool, she’s done a fantastic job.”

Bonamassa and Hart had crossed paths on the road numerous times, and played many of the same festivals in Europe. In early 2010, Joe caught a show of hers in London – “It was killer,” says Bonamassa – and suggested they do a project together sometime.

“I was up late one night, I couldn’t sleep. I was playing songs on my iPod from the reissue of Get Yer Ya-Ya’s Out, which included all the opening acts from that Stones show,” he recalls. “As soon as the Ike & Tina Turner tracks came on, I just said out loud, ‘Beth Hart.’ I emailed Kevin, saying, ‘Let’s do a soul covers record with Beth,’ and he replied back, ‘Actually, that’s a great idea.’”

Clearly humbled by the recording process, Beth Hart adds “Going into the studio with the level of players there, including Joe of course, I really had to rise to the occasion. I couldn’t do my best, I had to do better. That kind of focus was humbling, and it was great. We had such a good time making the record; I listened to all these songs over and over to learn them the best I could. I felt so much growth just by virtue of listening to these amazing singers. I hope some of those chops rubbed off.”

To back Hart up, Bonamassa assembled the ace band that was heard on his 2009 #1 Blues album The Ballad of John Henry: Anton Fig (drums, percussion), Blondie Chaplin (guitar), Carmine Rojas (bass), and Arlan Scheirbaum (keyboards). The sound evolved into a simmering mix of soul, jazz, rock, and blues, with Hart’s vocals confidently in the pocket of each and every groove. “Beth has been an absolute hidden gem,” says Bonamassa. “She has a beautiful voice. She’s a fantastic singer, a lovely person.”

So, who is Beth Hart?

Wikipedia says: Beth Hart (born January 24, 1972) is an American singer who became famous with the hit “LA Song (Out of This Town)”, which aired during Episode 17 of the 10th and final season of Beverly Hills, 90210. Her musical influences include rock, blues and gospel.

While playing the Los Angeles clubs, she enlisted bassist Tal Herzberg and guitarist Jimmy Khoury. In 1993, Hart appeared on Ed McMahon’s Star Search several times.

“Beth Hart and the Ocean of Souls” was recorded in 1993. It includes “Am I the One” (re-worked on later albums[citation needed]) and a pop-rock cover of the Beatles’ “Lucy in the Sky with Diamonds.” Hart released her album Immortal with her band Beth Hart Band in 1996. Her next album, Screamin’ for My Supper (Atlantic, 1999), featured “LA Song (Out of This Town),” a top-5 Adult Contemporary Chart hit. At the same time, Hart was singing the lead role in “Love, Janis,” an Off-Broadway musical based on Joplin’s letters home to her mother. Hart’s Leave the Light On was released in 2003. European releases of the album include extras such as the ballad “Learning to Live” and a duet with Barry Hay, “I Don’t Want to Be.”

Hart released “Live at Paradiso” in 2005. The DVD version includes a bonus documentary covering “a day in the life” of Hart. She has also recorded with Born (“It Hurts”), Les Paul and Neal Schon (“I Wanna Know You”), and released a number of music video singles not available on CD, including “Shine,” “Boogeyman,” and “Setting Me Free.” Beth Hart’s album 37 Days was released in Europe July 2007. Hart did a song with Slash called “Mother Maria.” That song is on the iTunes version of Slash’s solo album, Slash.

Beth Hart is married and currently resides in Los Angeles. Her band includes lead guitarist Jon Nichols, bassist Tom Lilly, and drummer Todd Wolf. Her manager is David Wolff. Beth’s new single was released in May 2010, the track, “Learning to Live,” is from an upcoming album of the same name and will be used as the theme song to “Losing It with Jillian” on NBC. this album marks Beth’s first new American studio release since 2003.

2011 finds her working with Joe Bonamassa. First providing vocals for the track “No Love On The Street” on his forthcoming album DUST BOWL (March 2011) They are also reported to be working on entire album together of soul classics