The latest Groovegrinder album is available now and it is called The Daily Grind. I have been playing this an awful lot recently, usually several times a day and goes like this…. Track1 “Funky Bone” is a perfect opening track and introduction to their funkaliscious style of feel good rocking R & B which leaves you wanting much more, it is foottappingly feel good song that uplifts and seduces ending with a fun voice box manic giggle. Track 2 “One Hundred Miles” is a story of a man in despairing to be home, rolling along in fine Groovegrinder style once more and as in all of their tunes proving the quality of this band. Track 3 “Lazy Man” downs the tempo into a bluesy ballad that that foot a tappin’ while as on all the songs proving the quality of this band of musicians who work together so sweetly creating a sound so rich, joyful and addictively funky. Track 4 “Pocket Full of Stars” is yet another traditionally grooving R & B style feel good masterpiece with some excellent harmonica work from Jon complimenting his great vocals which top the perfectly rolling backbeat so beautifully laid down by Adam on the drums and Philip plying his collection of basses so well. Ross works the guitar sound so beautifully, all in the Groovegrinder sound is truly ‘alive’ with so much heart and soul. Track 5 “Once Bitten (Twice Shy)” has more of a bluesy feel, the song title tells this and it is a showcase for both Ross and Jon, Philip and Adam provide a rich, sweet treacle like tight & smooth backdrop to the whole Groovegrinder sound. Track 6 “No 3rd Degree” has an intro which is proof to what I have just written, Groovegrinder get back into the funky groove with this number, full of hard-hitting catchy choruses and Grooveriding rythyms. Track 7 “8pm in The Cadders” a seductively Smokey tune that rolls away so dreamily floating along on deep but funky bass rythyms laid down by Philip. Track 8 “Sweet Mama Sugar Cane” keeps the funky beat going strong and brings the tempo back up. As always there are some lovely licks from Ross on this number and Jon has a lot of fun here also, being accompanied by Ross so well on the vocals, as on all the tracks. Lastly, track 9 “Get Anther Round In” closes this fine collection of songs to perfection. Deeply R & B with Jon getting right into the swing with his harmonica and vocal style so finely tuned and worked. An R & B and blues laden masterpiece that completes the album leaving you wishing for more.

I was invited by Groovegrinder to accompany them to a gig of theirs in a venue at a local seaside resort, and gladly accepted the invitation.  Groovegrinder played a great couple of sets lasting the better part of two hours with a short cider and cigarette break in-between. During these two sets Groovegrinder played all the numbers from The Daily Grind along with some tunes from the forthcoming EP available in January 2010. One of these was a tune titled “Yo! You Right”, this is a kickin’and jumpin’ little number, one that really sets the pace going so well. I am looking forwards to its release excitedly. There were a few covers that suited their style and blended perfectly with the set being finely executed, the most notable was “Blackberry” originally by The Black Crowes.

In a nutshell, Groovegrinder really are a great band playing a great set and keeping feel good  R & B and Rock’n’Roll alive in fine fashion while adding their own funky style.  They are keen to add more bookings as they just love to play live, you can contact them through www.myspace.com/groovegrindergg Or www.groovegrinder.co.uk. Or Email groove_grinder@hotmail.co.uk.

From beginning to end this is an album that will not only engage your ears, but will also engage your inner being.  Trevor mixes reggae style with a rock and roll edge and smoothes it all out with deep, soothing vocals.  His music has an undeniable refreshing tone of unity that leaves behind a feeling of inspiration and his sound is somewhere along the lines of Matisyahu, Ben Harper and Michael Franti. He has however found his own voice and it’s one of love, hope and connection.

The first track, “Internal Heights,” is a melting pot of cultures which leads the listener into some island-influenced serenades like “Who You Gonna Turn to” and “The Lime Tree.”  If one thing is evident in this album, it’s Trevor Hall’s passion for music and for bringing people together.  Not only are the songs rich in sound, but the music enriches your soul.

Growing up in South Carolina, Trevor knew from an early age that he was meant to make music.  As a young teen he would come home every day after school and spend time playing guitar and writing songs. After being fortunate enough to attend the Idyllwild School for the Arts in California, Trevor saw how music could bring people together and from there his after-school hobby developed into the beginnings of a full-blown career.

Currently on tour with Matisyahu, Trevor was generous enough to take some time to talk to The Rock and Roll Report.

Q: Your sound is very much that of an “old soul”.  Can you tell us about the influences that helped develop your musical style?

A: Ever since my youth, I have been greatly inspired by reggae music. Especially roots reggae that brings the spiritual message. I was so attracted to that one drop rhythm [because] it really resonated with me how anyone could move their feet to it. That was the foundation for me. Now I am really inspired by Indian music and other music from around the world. As for my lyrics, I am greatly inspired by the mystic poets such as Hafiz, Rumi, Kabir, and Rabindranath Tagore.

Q: Did your upbringing and family play a role in the positive and hopeful messages that are typical of your music?

A: My family has always been extremely supportive: they have showered love on me ever since I was born. I believe that a child’s youth shapes their whole lives. They made sure that I had the freedom to express myself through music.

Q: What has been the highlight of your musical career so far?

A: By the grace of the Most High, I have been extremely blessed to play with all types of people. The highlights have not been only playing with people, but forming friendships as well.

Q: You’ve been on the road quite a bit lately, do you have any anecdotes about the people you’ve met or what you’ve experienced?

A: The road is always surprising. You never know who you are going to see or what is going to happen. This time around we had a little funny situation where we ran out of gas in the middle of nowhere in Montana. Within moments my drummer, Chris Steele, flagged down a car of three cowboys and got in the car with them to go get gas. After he left, my bass player, Super Mario, and I wondered if it was the best idea. Wondered if we would ever see him again. Chris returned and we made it to the next gig [laughs].

Q: “Unity” is one of those songs that sounds extremely natural and organic and really has the ability to bring people together. What was the writing process for that song and how was the experience of working with Matisyahu?

A: I’m in the dressing room right now in Illinois [and] just got off stage with Matisyahu singing that song. It is always a blessing sharing the stage with him; I love him greatly and really hope he continues to flourish. “Unity” was written during our last tour together during the time of the Mumbai shootings. There was a Jewish Temple there and the couple inside had died. Matisyahu knew of the people so it really hit a little closer to home. The whole tour we were really discussing and meditating on why people fight and kill in the name of God and religion. It made us so unhappy. Also, there were other things happening on that tour that were related to that situation. The pot kept brewing and brewing until that song came out the last show of the tour.

Q: Where do you feel you are at this point in your musical journey? And where do you see yourself in the near future?

A: I try not to think about the future or where I could be. I am blessed to be playing music every night and doing what I love. Where the Almighty wants me, She shall put me there. I have no fear.

Q: You’ve come really far at a young age, but was there ever a time when you didn’t think you’d make it? Or when you weren’t sure that this was the right path for you?

A: Plenty of times. That even happens now sometimes when I am really tired and burnt out. But those thoughts pass quickly. Music is what I love, but I also believe that it is my service to the world and to others. It is my duty – no matter what happens.

Q: Are there any final thoughts you’d like to leave for your fans and the readers of The Rock and Roll Report?

A: Thank you for taking the time to read this article. I hope the music inspires you in a positive way. Love all, serve all and tell the truth.

For more info on Trevor Hall visit: www.trevorhallmusic.com and myspace.com/trevorhall

That something in question, comprising of five uppity Oxford and Cambridge drop-outs who, alongside one itinerant American cartoonist, somehow joined forces in 1969 London to produce forty-five British (plus two German) half-hour television shows, five full-length motion pictures, three theatrical musicals, five (authorized) books, seventeen original (and one unreleased) audio albums and six video games (and counting), now tell The Whole Story – including, yes, even some of the “naughty bits” – in their (even the dead one’s) very own words throughout Monty Python: Almost The Truth (The Lawyer’s Cut), Eagle Rock Entertainment’s one and only three-DVD and/or two-BluRay disc video box set containing six hour-long episodes plus an additional one hundred and eighty minutes of bonus material.

Strictly numerically speaking, that is.

Yes, from their wickedly risqué yet far from humble beginnings upon Britain’s college Comedy Revue circuit through their infiltration of the U.K. television industry via children’s shows and the weekly David Frost Report, John Cleese, Eric Idle, Terry Jones, Michael Palin, Terry Gilliam (the American) and Graham Chapman (the dead one) were somehow finally offered thirteen half-hours to fill themselves for none other than BBC Television. And so it came to pass during the evening of October the Fifth, 1969 that Monty Python’s Flying Circus Episode 1, Whither Canada?, suddenly appeared on British tele-screens with a surreal socio-musical sketch entitled “It’s Wolfgang Amadeus Mozart.” Over the next three months, despite an infuriating variety of unpublicized, ever-changing timeslots, the show slowly-but-extremely-surely built a loyal audience of viewers captivated by its weekly parade of flying sheep, musical mice, crunchy frogs, naked ants, lumberjacks, murderous octogenarians, men with tape recorders up each other’s noses and, how could we forget, dead parrots.

Try as the once-staid BBC did to conceal this bizarre new program from its viewers, the Flying Circus carried onwards and upwards for an additional four years before spawning a full-length motion picture entitled Monty Python and the Holy Grail, financed by such Python fan(atic)s as Pink Floyd, Jethro Tull and Led Zeppelin. By now, the original British television episodes were popping up on American PBS-TV stations as well, and even Elvis Presley could soon be heard leading his hitherto all-American Memphis Mafia in late-night recitations of “The All-England Summarize Proust Competition” and even the Knights who say “Ni!”

Naturally, this lead to the Pythons’ own (anti-) Biblical epic The Life Of Brian being released, to much publicity-scooping furor worldwide, in 1979 – this time financed in full by the aforementioned ex-Beatle George mortgaging his castle and forming his own Handmade Films concern (all because he “just wanted to see the film” after original backers EMI pulled out at the proverbial last minute) (claiming the Pythons were, and I quote, trying to “crucify” their corporate body). Four years later came your own humble Rock and Roll Reporter’s personal favorite Python project The Meaning of Life before Messrs. Cleese, Palin, Jones, Idle, Gilliam and even Chapman decided to at last call it a day.

Until, that is, they set about launching a staggering series of century- and globe-spanning multiple-media re-launches, repackages, revivals and reunions that can only be matched by their frequently Farewell Tour-ing countrymen The Who.

Which brings us today to their latest, but I just must admit by far greatest grab at the penultimate [sic!] Python megabucks, Almost The Truth.

Meticulously programmed and packaged, filled with fact ‘n’ fun-filled interviews featuring even the mysterious “Seventh Python,” and of course stuffed with literal hours of clips, this is honestly (“almost”) the closest we’ve yet come to understanding the histories, inspirations, motivations and machinations behind everything from The Fish Slapping Dance on down. And its near seven-and-three-quarter total hours (!) on, and by, the group which truly has yet to be equaled as – you were right, George – the Beatles of comedy undoubtedly add up to what must surely be the final, final words on this most silly of subjects.

…..Until the NEXT posthumously Python-produced television, motion picture, musical, book, album and/or video game self-retrospective arises, that is…

http://pythonline.com/

www.GaryPigGold.com

Hailing from Australia, The Temper Trap has already caught the ears of BBC’s Radio 1 and countless SXSW critics and bloggers, and now it’s time that The Rock and Roll Report gets a taste of their newest album Conditions. These emotion driven melodies can transport you to an inner reflection and still manage to keep your toes tapping. You may not know it yet, but these guys are the soundtrack to your future.

There’s not a detail missed in these meticulously crafted tracks from the heart pounding “Sweet Disposition” (recently featured in Indie film “500 Days of Summer”) to the anthem-like “Fader” and the electronic-experimentation “Science of Fear”. “Drum Song” really showcases how the percussion of this band keeps you on your toes, and acts as the epitome of their instrumental capabilities (I’m not even usually an instrumental fan).

Every time I listen to this album, I hear something new, and fall in love over and over again.  Not since the Killers “Hot Fuss” album have I heard something so refreshing yet so instantly classic. If you can catch these guys at a small venue, do it now, because if they stay on this creative track, they’re gonna be up in the ranks with bands like Radiohead. This band deserves everything that comes their way and I truly believe this is one of the best albums of the year by far.

The Temper Trap Official Website

The Temper Trap Myspace

Conditions on Lala

Seems to me the last batch of bands I’ve seen have been a then and now type of comparison that I’ve quite enjoyed studying. Seriously, out of the last dozen bands or so, most of them have I’ve seen way back when and then waited at least 10 years to see them again. Motorhead, Kiss, Helix, Headpins, GWAR, Stone Temple Pilots, Our Lady Peace… there’s probably a few more but I think you’ve heard enough already. Well you have to hear about one more. One of my all time favourite top notch acts of all time, Metallica.

Back in 85, my cousin dropped a couple albums on me and said I must try these out. They were “Kill em All” and “Ride the Lightning”. 3 notes into “Hit the Lights” and I knew I had just found the band of all bands. The most awesome sounding heavy metal unit that combined great lyrics with some totally original riffing, instrumentals and leads that would bring any musician to their knees.

I made it a point to promote this new band wherever I possibly could. I just wanted to share the awesomeness that was Metallica with everyone. I was constantly making compilation tapes of their stuff and dropping them on people. I made sure I had at least one Metallica tape on me at all times and would thrust it into the gaping maw of any cassette tape player I could find.

Those Northern BCer’s just weren’t ready for it yet though. Still firmly grasped by the claws of Judas Priest, AC/DC, Iron Maiden and the other “mainstream” metal of the time, these guys just couldn’t handle the “THRASH” metal that Metallica was pimping out. It wasn’t until Ozzy took Metallica on tour that these guys finally started to take notice. Funny though, the guys I hung out with all the time were all musicians, and we all knew Metallica was the shit. Listening deep past the heaviness revealed a talent, rawness and attitude that no other band was sporting at the time.

They showed a lotta personality and never took anything too seriously with hilarious photo shoots by the infamous Ross Halfin depicting the band on a lighter side with his instantly identifiable fish-eye lens shots of the band goofing around and having fun. Then the shit hit the fan.

Two things happened that changed the band forever. Two crucial pieces of that old unit died. For one and on the humanity level of it all, by far the worst of the two occurrences, was the death of the incredibly talented, one of a kind, Cliff Burton. When he was crushed by a tour bus accident in Sweden, Metallica never looked, sounded or felt the same. It’s almost as if the band lost it’s sense of humour. Maybe not all of it, but a good chunk flew right out the door and Metallica became a much more serious band.

Gone was a truly gifted bass man and an undeniable grounding influence on the band but before that happened, Metallica lost their sound. That one of a kind sound that no other band could imitate. Not even themselves. James had a Marshall tube amp that had it’s own sound and a character of it’s own. The first two albums were recorded with this amp in the studio to get that distinctive guitar sound that NOBODY could duplicate and EVERYBODY tried.

Just listen to any song on “Kill em All” then any song from “Ride the Lightning” and then slap on “Master of Puppets” and the difference will punch you right in the nuts if it hasn’t already. Getting over the death of an original member and the loss of the old sound, would kill a lesser band but Metallica rose above the whole thing and propelled itself into a whole new level of confidence and power that took the band to the highest heights of achievement in the music business only dreamt about by most musicians.

I finally got to see the guys in 1989 on the “Justice For All…” tour with Queensryche and Dokken opening. The show was at Copps Coliseum in Hamilton and we were totally disgusted that every time we went to light up a smoke, a security guard was on our asses threatening to kick us out. This, of course, meant we couldn’t fire up a joint and thoroughly enjoy the experience and it really took the wind out of our sails and pretty well ruined what was supposed to be the concert of all concerts for me.

Fast forward, 20 years later, waiting in a small area just outside of centre stage with a photo pass and some great equipment that I actually know how to use, waiting to see Metallica once again. I know most of their catalogue inside and out. I can jam most of the tunes on the drums and I know more than a few of their lyrics so singing along is not a problem.

So what’s a guy supposed to do when he’s standing in front of one of his all time faves with only 3 songs to shoot/rock out? ONLY 3 songs. In Metallica’s world that’s about 45 minutes! As much as I just wanted to rock out, I knew I had a job to do in getting as many great shots as I possibly could before going up to the rafters to review the show.

The band put on a heavy rotation of their latest album “Death Magnetic” with a showing of 6 of the 10 tunes the album has to offer. And they’re great tunes too. Every one of them. One thing for sure that Metallica is still as strong as ever is the songwriting. Most bands die out and their creativity loses it’s sting after a while but Metallica’s has always been there. They’ve always pulled something outta the bag for every album they’ve ever done. I don’t care what anyone says about any of their albums, they’re all incredible in their own way and if Death Magnetic is any indication, it’s fuckin far from over.

Personally my faves were the oldies. From those first two albums. It was so cool hearing “Fight Fire With Fire” and “Whiplash”… oldies that you’d think couldn’t or wouldn’t even be played these days. “One” totally brought the place to it’s knees with the incredible pyro show and the crescendo of the song building to the frenzied ending that still stands as one of their finest to this day. “Sad But True” reminded us that Metallica is as heavy as they come. That drop D tuning has a way of bringing a whole new meaning to the word heavy.

The band was tighter than a Scotsman. On numerous occasions I saw the guys smiling their asses off genuinely showing they were having a great time out there. The guys at times interacted onstage like brothers. Robert Trujilo, bassist, at one point stomped over to Lars Ulrich on drums and rubbed his bald forehead while they both laughed. Trujilo feels like he should have been in the band from the very beginning, and knowing what I think of Cliff Burton that is saying A LOT. That’s not to knock Newsted either, but the ex Suicidal Tendencies bassist has really found a home with the best metal band of all time.

James n Lars squared off face to face rocking out, smiling and enjoying themselves. This notorious duo who love and hate each other like only brothers do. Lead guitarist Kirk Hammett, the quiet little brother of the band spent most of his time basking in the cheers of his dedicated fans, smiling and rocking out, all the while slicing us apart with his incredible abilities and talent on lead guitar.

For any metal fan who has or hasn’t seen Metallica, this is a tour you just can’t miss. Opener, Lamb of God is a worthy unit to fire up the ceremonies. Metallica hasn’t jacked the prices out of this world so there’s no excuse why anybody can’t go and see them. All the elements are there, now all you need to do is plug yourself in and just go for it.

Mike Forbes
Libra Photography
Rebel Reviewer Dot Com

… Continued from Thursday, November 5th

Q: Over the years has there been one artist that’s particularly stood out as the best or most interesting to work with?

A: Definitely the main one is Elton: the most amazing songwriter and singer and all around artist and performer that I’ve ever met. But I’ve been very lucky; I’ve worked with lots of great bands. Jimmy Page was another one I learnt a lot from and Paul Rodgers is probably the best singer I’ve ever worked with [...] he made an album with Kenney Jones, the drummer from The Who, and they had a band called The Law and he’s definitely one of the best artists I’ve ever worked with. Not the easiest [but] usually the best artists aren’t the easiest to work with. Chris Rea who I worked with and sang with, I sang on backing vocals on his album [...] I’ve been very lucky. I have worked with Oasis, and I worked with Robbie Williams and, you know, I worked with some pretty big artists and it’s always, even if you’re not into their music, it’s always interesting to see what makes them the way they are.

My big hope now is to be able to [...] come across an artist for myself who’s in the early stages of their career that I can then use all my experience to help fulfill and hopefully make into a similarly big recording artist, which is what we’re trying to do with Kendal Sant at the moment. [...] You know I still love making music with people, still love making records, still good fun. Which is a bit surprising really because you think it’s something you might grow out of, but it’s still good fun.

Q: As you mentioned, now you’re focusing your attention on up-and-coming artists, how do you find them?

A: I don’t really look. I’ve got a twenty-four year old son and he told me about MySpace and initially I couldn’t work it out at all, I thought “This is really peculiar”, but it’s been brilliant for me. Bands just come, you know, it’s a way of people getting in touch with me who wouldn’t be able to normally. So I don’t actually do much looking. It’s mainly people just coming to me and that’s how I met Kendal and I probably worked with twenty bands or so from MySpace.

Q: So when an artist/band approaches you are there any specific traits you’re looking for in order to say ‘Yes’?

A: What do I look for? Well, I would like it to be the next Beatles really. I mean, that’s what I’ve been looking for. If it’s a good project and if it’s got some sort of merit at all then I’m interested in it [...] unfortunately, there’s always something seems to be lacking. Whether it’s the songs or whether it’s their timing or something, but anyways its really down to the challenge of it as much as anything else. It’s trying to get the very best record that I can from what’s there.

Q: Who are some new artists that you’ve seen potential in and that people should look out for?

A: Well, the main one is Kendal, to be honest. And then, as I say, there’s some of these other bands that are not bad, but I haven’t come across anything sort of extraordinary. [Vivid Sky] is just well ahead of, their capability is well ahead of their years. They’re probably the best, because of their age, that I’ve come across. The guitarist, he’s just turned sixteen, and he’s extraordinary so, you know, I was a bit amazed. It’s very unusual to find young guys of that age who play so well.  I always felt this thing that most youngsters are copying bands from the 90s, but the bands from the 80s and 90s weren’t that great either in my opinion [...] so this guy is really, for his age, is extraordinary.

Q: Having worked in the music industry for such a long time, what are some major changes that you’ve seen?

A: I suppose the main one is the internet, isn’t it? I could say that the recording technology, there’s been a lot of different changes [...] I started in ’67, we’re talking about forty years, multi-track recording wasn’t even invented. So, obviously, technically recording techniques have changed [beyond] recognition until now anyone can record multi-track almost on their wristwatch, let alone at home. So from a technology point of view it’s completely changed.

But the amazing thing is that, in a way, music has reversed. Maybe it got as far as it could get [...] from the 80s onwards it seems to have retarded almost, pretty much copying from the 60s. In some ways it’s a bit sad to think that there was nowhere else to go but back, but obviously from my point of view it’s an amazing thing because, you know, on MySpace every band’s favorite band is Led Zeppelin and ‘cause I worked with Led Zeppelin or The Beatles or, you know, they mention Elton or whatever; it’s like the music that I grew up with is just as valid, if not more valid, with youngsters today [so] I can relate to kids that are making music now very closely.

And then there’s a lot of things that are missing now I find. That’s probably why they listen to The Beatles or they listen to Zeppelin and they just think “Wow.” But the thing is that Zeppelin weren’t listening to Zeppelin type bands, they were listening to blues and stuff related to the 20s or the 30s [...] some of that music was also quite complicated and complex, that you had to really learn your instrument and it’s not so often you find musicians that have the same sort of standard and quality of the 60s and 70s, which is a bit of a shame. It’s a little bit more disposable now I think.

Q: Once you find an artist you’d like to work with, what happens next?

A: So before going to the studio I’ve hopefully heard some sort of demo of the song and then I might have ideas on that; the arrangement maybe needs changing or something needs changing [...] there’s normally something, otherwise they don’t need me. Whatever it is that needs improving I would mention, I would put forward, and if it’s fairly radical then we would probably have some sort of pre-production get-together and rehearsal [...] But there isn’t a standard to be honest. It’s not a standard situation ‘cause every band is completely different. And although its still Rock and Roll and its still Rock and its still music, you know, every band has their own dynamics and you have to just approach [...] every situation as to what’s required to make it better than it already is.

The main thing is that the band likes it. That’s the main thing for me, is that when we finish the session they just go “Wow, that’s just great. It’s better than we ever imagined it.” And obviously commercial success following that would be an added bonus, but the main thing is to get the product as good as possible.

Q: What’s been one standout moment as Stuart Epps so far?

A: There’s just been lots of them, and a lot of them have been in the studio when you get these magic moments when you’ve got Paul Rodgers and a band and they’re all playing live and you’re recording this song and you’re knowing that this is the master and that this is absolutely brilliant music being made, and I’m recording it and I’m just praying that it’s all going on tape and nothing’s gonna break down in that four minutes, or whatever it is.

Or, you know, [...] when I use to work with Elton and he’d play me a new song, or when Chris Rea played you a new song [...] and then definitely magic moments on tour. When John Lennon came up on stage with Elton and you feel that atmosphere from a 20,000 people auditorium, when your friend is playing to that amount of people [...] but I can’t think of one particular standout [...] but I still get a kick out of going to Elton gigs and there’s 20,000 people singing his songs and I can remember when I was listening to them as demos.

Q: So no plans for retirement any time soon?

A: Not really, no. I can’t afford to stop. There’s a lot of people around me keep saying that they’re retiring and I say “Well, I don’t feel like I’ve started yet.”

For more on Stuart Epps: http://www.myspace.com/shwepp and http://www.stuartepps.co.uk/

In 2006, John Wilkes Booth released a self titled EP. The tracks “The Inner Workings” & “Only the Facts” were featured on the Compilation “Fumes from a Dead Scene” in 2007. Both received praises from fans as well as critics.

John Wilkes Booth abides by a strict “no-pay-to-play” policy, refusing to financially compensate venues in order to be added to the bill. The band’s popularity has featured the foursome playing shows along the east coast with such national acts as The Hidden Hand, La Otracina, Zoroaster, Puny Human, Solace, Wooly Mammoth, and Wrecketh. The NY Speed Coalition reviewed the Booth show at Bar 131 and stated, “The dirt rock assassins played an absolutely flawless set of bone shattering, ground shaking hard rock.”

In May of 2008, Aural Fix, a Long Island magazine covering the local music scene, featured the band on the front cover. In 2007, John Wilkes Booth was chosen as a featured band on Fatcat Radio as well as selected as band of the week for Joe’s
Podhole. In June of that year, they were voted by listeners as band of the month on local radio station, Radiox. Podcasts and word of mouth have turned on audiences across America and the world.

Let Sic Semper Tyrannis assault your ears with the sound that so many fans have been waiting for. Let John Wilkes Booth assault your mind, given the opportunity they most certainly will gaining your full consent as they do!

Myspace http://www.myspace.com/jwilkesbooth

Test out ‘Eye Rack’ courtesy of John Wilkes Booth and rockandrollreport.com

Since 1967 Epps has immersed himself in the music industry, stating out as an office boy at Dick James Music at the age of fifteen and going on to become a praised producer and engineer. He even toured America with Elton John in the early 70s as his personal assistant.

Mr. Epps was kind enough to call in to The Rock and Roll Report from his UK home for a retrospective chat about his marvelous 40+ year career.

Q: Going back to the very beginning, how did you get involved in the music industry?

A: I was in bands from about the age of eight or nine and one guy who I was in a band with, and I also went to school with, [...] got this job working for Dick James as an office boy. That was probably about 1965 or ‘66 and he use to come home with all these stories [...] that he just went to Paul McCartney’s house, he got the new Beatles album [...] all these stories were just magnificent about him and the music business and how exciting it was.
A year passed and he said that he was looking for his replacement so that he could be promoted and I was just starting school, I was only 14 back then [...] but I just thought, “Wow, this could be an opportunity.” So, I mentioned it to my parents who I just thought would say, “You must be joking, you’ve got to start school,” and my dad said “Well, you know, if you want to do it then go and do it.” I just didn’t need any more encouragement than that.

I went for an interview and got the job as office boy. It was an amazing time. It was 1967 in London, it was flower power and hippie time, and I was earning $10 a week, which was about $9 more than I’d been getting, so I was like a millionaire and getting these incredible jobs: go to Paul McCartney’s house, go to Abbey Road Studios. It was a great way to find out about the music business really. Even though it was the lowest of the lowest jobs, to me it was absolutely brilliant. Everyday was great and I could probably talk about that period for about six hours and we can’t really do that! [laughs]

Q: So you began as an office boy and then where did your career path take you?

A: At that time there was a bit of a natural progression [...] Dick James, it was a music publishers then, one of the biggest in the country, but it wasn’t a record label so you went from office boy to disc cutter, and then from disc cutter you could go in the studio and become assistant engineer and then maybe engineer. And I sort of went from office boy to disc cutter and then I started working in the studio.
At that time I’d also met Elton John, or Reg Dwight, [...] everything happened incredibly quickly. It’s incredible to think that I was there when I was fifteen and by the time I was eighteen I was on tour with Elton as his personal assistant in America. It was quite a big team of people involved in making Elton John into a major recording artist [...] and that’s what everyday was involved in doing really. I was [also] producing at the time. [...] They were unbelievably exciting times. It’s only now that you realize just how exciting they were. Everyday was amazing music being made and incredible bands and it was all very exciting really.

Q: Touring America with Elton John at the age of 18; what was that experience like?

A: I’d never been on tour before, I’d never been to the States, and now we’re embarking on a three-month tour [...] but the thing is it was all kind of new to everyone [...] we were all sort of kids in a way, experiencing it the same. So exciting [but] it’s still a job, it’s still work [...] it’s not all parties and groupies. There were a few, but not for Elton, you know, he was a good boy. [laughs]

The audiences in America and Canada were absolutely incredible. We’d never seen anything like that [and] I haven’t seen anything like that since, to be honest. They took him to their heart instead of just polite, you know, applause. Whopping and yelling: they liked to have a good time. Not like London audiences where they would sit there and see what’s going on, they really loved him, you know, they loved the band. And touring in America you felt you were doing something exciting, whereas in England you just got told you got long hair and get off the bus or something. In America and Canada you felt like a special person doing it.

Q: Was Elton John just as eccentric in those early days as he is now?

A: Absolutely. He was eccentric long before he was eccentric on stage. He was always eccentrically dressed, he’s always been a mad comedian; he’s got an incredible sense of humor. He was never ordinary. Ever. And he was always a larger than life sort of guy and as popularity took him he could just be more eccentric really. And the wealthier he got the more outrageous the costumes got. That’s what he loves to do; be outrageous. In fact, if he weren’t outrageous he’d be extremely shy and would not want to be noticed at all. There’s a lot of people in the business like that: they’re either going to be not noticed and be completely obscure [or dress up] as Mickey Mouse, which is what he did in Central Park [...] but that’s what you need to be a big star: you need to be a bit larger than life.

Q: Getting back to England from the tour, where did you go from there?

A: [Dick James Music] had a record label now and I was working for the head of the record label who was Steve Brown. So, we talked everyday [about] Elton John albums, sorting out album sleeves and more tours and everything to do with the band, and that’s how it went on to 1973. Then Elton and Gus Dudgeon, who was his producer, and Steve Brown decided to form a record company which was Rocket Records. I went to work there as well for the head of that company, so it was a big move really. Dick James wasn’t very pleased we all started leaving.

Q: How where the years at Rocket Records?

A: I was an A&R there and we signed a band called Longdancer who had a guy in the band called Dave Stewart who then went on to form the Eurythmics. We signed Kiki Dee, that was my next big project: getting her band together and getting her albums together, and I did that for quite a few years. In fact we went on tour, that was the last tour I did in America, in 1974 with Elton and Kiki’s support and that was an extremely big tour. We met John Lennon on that tour and John came on stage with Elton at Madison Square Garden’s [...] But then coming back to England [...] It was all not as good as it was. Steve Brown had left, he was the guy that I was really working closely with, and I don’t know, nothing seemed to be the same.
In the mean time I’d met a girl who lived in an ice cream van in Hawaii and I thought, “That’s what I want to do, I’m going to go and live there and sort of retire really.” Just before I did that I was sort of saying goodbye to everyone and then Gus Dudgeon said he was building a studio, the ultimate studio, and would I be interested in looking to see where it was going to be built [in Cookham][...] I just thought the idea was brilliant and it’d been a long time since I’d been involved in making records hands on as producer or engineer and so I just thought, “Wow, this could be great.” So I had to tell the lady in Hawaii that it was all off and I wasn’t coming. I then moved to Cookham [to the Mill Studio] and this was when I was about twenty-three.

Q: So you took on the studio job, how did that go?

A: I worked with Gus, became his engineer and worked on Elton albums again and we worked on Kiki Dee and we had Chris Rea [but] Gus sold it to Jimmy Page in 1980 and then Jimmy wanted to keep me on at the studio [...] I wasn’t a big Zeppelin fan, I mean, I obviously liked them and I knew all about them. Jimmy was quite a strange person; I didn’t actually meet him for three months when I was working with him. It’s like working for Howard Hughes a bit, you know, he really was eccentric and a very strange guy, but I became his engineer and we recorded, we mixed, the last Zeppelin album. Then, because of his connection with heavy rock, I then started producing artists for Atlantic Records, which were Twisted Sister, Vandenberg [...] that was all a very good period as well.

Check in on Saturday, November 7th, for Part 2 of 2.

For more on Stuart Epps: http://www.myspace.com/shwepp and http://www.stuartepps.co.uk/

What do you think of the list? And what the hell is Indie Rock?

Lita Ford has often been called the “Queen of Hard Rock”, and with a career as successful as hers, it’s no surprise. On the scene since her teenage years, Lita played with legendary Runaways before embarking on a successful solo career.

She’s best known for her 1988 commercial smash hit, Lita, which spawned hits like Kiss Me Deadly and the famous Ozzy Osbourne duet, Close My Eyes Forever.

In the late 90s Lita exchanged her musical career for quaint family life on a secluded Caribbean island and it wasn’t until October 6^th of this year that she released her first studio effort, Wicked Wonderland, since her 1995 Black album.

The rocker was kind enough to chat with The Rock and Roll Report about all things Lita Ford. From the new record, to personal life, to the future of rock – nothing was left off limits.

Q: It is such a thrill to see you back on the scene after all these years. What was the driving factor to make a new record after a 15-year hiatus?

A: Rock n’ Roll is in my blood. Always has been and always will be. I was just waiting until my kids were ready and now they are totally ready. They have as much fun as Jim [Gillette] and I do!

Q: Wicked Wonderland sounds way heavier than anything you’ve done before; I think a lot of fans expecting the 80’s sound will be surprised…

A: Well, if they want to hear the 80’s songs I have a bunch of albums from the 80’s. After 20 years I’ve grown and matured as an artist [and] I hope my audience has also. The old songs are fun to play live so come to a show and you’ll get the best of the old and the new!

Q: Your husband, Jim Gillette [from the band Nitro], had a big hand in writing, performing, and recording Wicked Wonderland. What is it like to work as a husband and wife team?

A: It’s wonderful. Jim and I are soul mates. We work very well together in all that we do. Besides, he’s the best singer on the planet!

Q: A lot of today’s Heavy Metal focuses on politics, religion, injustice, but your new record is overtly sensual, virtually a concept record about sex.  Was this a conscious decision to buck the trend?

A: No, it just started pouring out of us. All of the songs are about Jim and I [and] our relationship. It’s a very personal album. The songs came from the heart and the crotch!

Q: You and Jim live on a deserted island in the Caribbean with your two boys; did that environment influence the musical or lyrical directions on the record?

A: Well, I suppose everything influences your soul and thus, your music. It wasn’t a conscious thing, but I’m sure it did.

Q: I often like to ask people what their “Top 3 Desert Island Records” would be. You can literally answer this question!

A: Well, we were on a deserted island by choice! [laughs] We have Hendrix, Metallica, The Ramones, AC/DC, Priest, things like that. The classics.

Q: Having worked with Ozzy, what are your thoughts on how his career has evolved through the years, relative to yours?

A: Ozzy was, and is, great. I think Close My Eyes is both of our highest charting song. Pretty cool, huh?

Q: Would you ever do a reality TV series like he did on MTV’s The Osbournes? Something like The Fords or The Gillettes?

A: We’ve been approached quite a bit on a reality show. When the right opportunity presents itself, we would definitely consider it.

Q: The video game Brutal Legend uses Betrayal from Wicked Wonderland, how did that come about?

A: The creator, Tim Schafer, actually wrote to us at our MySpace. We called him up and hit it off and said “Hell yeah! What a great game to be a part of.” We’re big Jack Black fans [and] I get to be the Queen!

Q: The tour just started on October 15^th; how does it feel to be back on the road? And with Queensryche no less.

A: It’s wonderful, an honor! They are extremely talented and a great group of guys. Our whole family gets along great with them and their crew. Awesome experience!

Q: You were, and continue to be, proof that women can rock. Are you happy to see bands like Paramore, Damone or The Donnas keeping that flame alive?

A: I’ve been on the island so long I really haven’t heard these girls. We had no TV or radio out there, so it was impossible to keep up with what was happening. I’m sure that I’d like them; any girl that rocks is cool in my book!

Q: We’ve been hearing that Rock is dead for a number of years now. What is your take on this?

A: I don’t think that rock will ever die. I think it will continually evolve and go in different directions, but that keeps it exciting. I love that the new generation is being exposed to the classics with games like Brutal Legend, Guitar Hero, Rock Band etc. Rock n’ Roll will never die!

For Tour Dates and more: www.myspace.com/litaford
Find even more Lita at: www.facebook.com/litaofficial and www.youtube.com/officiallitaford

Wicked Wonderland

Wicked Wonderland

Lita

Lita Ford – The Complete Video Collection