Monday, December 31, 2012


As 2012, draws to a close, let's take a final look back at some of the names in music who we said goodbye to this year.

January 2-Guitarist Larry Reinhardt (Iron Butterfly, Captain Beyond)

Etta James

January 8-Singer/Pianist Dave Alexander

January 14-Drummer Robbie France (UFO)

January 20-Singer Etta James

January 20-Singer Therese Hanserot (Destiny)

January 25-Guitarist Mark Reale (Ratt)

February 11-Singer Whitney Houston

Whitney Houston

Davy Jones
February 25-Guitarist Dee Cernile (Sven Gali)

February 29-Singer Davy Jones (The Monkees)

March 3-Guitarist Ronnie Montrose (Montrose)

March 8-Blues guitarist Bugs Henderson

March 12-Drummer Michael Hossack (The Doobie Brothers)

March 14-Guitarist Eddie King

April 17- Singer/Guitarist Brian Jack (Child’s Play)

Levon Helm

April 18- Radio/Television personality Dick Clark

April 19-Drummer Levon Helm (The Band)

April 19-Multi-instumentalist Greg Ham (Men At Work)

April 23-Bassist John Christopher Ethridge (Flying Burrito Brothers)

May 1-Guitarist Charles "Skip" Pitts (Isaac Hayes)

May 4-Adam Yauch (Beastie Boys)

May 13-Bassist Donald "Duck" Dunn

May 17-Singer Donna Summer
Donna Summer

May 18-Drummer Peter Jones (Crowded House)

May 20-Singer Robin Gibb (Bee Gees)

May 25-Drummer Mark McConnell (Sebastian Bach, Blackfoot)

May 26-Bassist John Harrison (Hawkwind)

June 4-Singer Herb Reed (The Platters)

June 5-Singer Bobby Durango (Rock City Angels)

June 8-Guitarist Bob Welch

Bob Welch
June 12-Drummer Dennis St. John (Neil Diamond)

June 15-Drummer Tim Mooney (American Music Club, Sun Kil Moon)

June 19-Manager Gerry Bron (Uriah Heep, Motorhead)

June 30-Guitarist Ivan Sekyra (Abraxas)

July 16-Keyboadist Jon Lord (Deep Purple)

July 24-Singer Larry Hoppen (Orleans)

July 27-Singer/songwriter Daryl Cotton

July 27-Singer/songwriter Daryl Cotton

August 7-Guitarist Stuart Swanlund (Marshall Tucker Band)

August 12-Guitarist Gary Cox (Artful Dodger)

August 15-Bassist Bob Birch (Elton John Band)

Bill Tillman
August 15-Saxophonist Bill Tillman (Blood Sweat and Tears)

August 31- Bassis Rob Grant (Sarasin)

September 2-Guitarist Mark Abrahamian (Starship)

September 5-Songwriter Joe South

September 21-Keyboardist Benjy King (Patty Smyth, Scandal)

September 25-Singer Andy Williams

September 27-Guitarist/Keyboardist Simon Oberender (Trillium, Beyond The Bridge)

September 27-Singer  R.B. Greaves ("Take A Letter, Maria")

Big Jim Sullivan

October 2-Guitarist Big Jim Sullivan

October 2-Singer Marjorie Lane

October 3-Singer Kathi McDonald

Nick Curran

October 6-Guitarist Nick Curran (Fabulous Thunderbirds)

October 15-Guitarist Rick Chadock (White Sister)

October 22-Singer/Guitarist Terry Allen (Elysium)

Bill Dees

October 24 Songwriter Bill Dees

October 26-Guitarist Jo Gunne (Fuzzbox)

October 28-Guitarist Terry Callier

November 9-Singer Major Harris (Delfonics)

November 14-Fiddler and bones player Martin Fay (The Chieftains)

November 17-Singer Billy Scott (The Prophets)

November 20-Guitarist Michael Dunford (Renaissance)

Michael Dunford and Annie Haslam

November 24-Producer/Manager Chris Stamp (The Who)

December 1-Robert J. Cavanaugh (My father-I'll miss you, Dad)

December 1-Singer Dee Harvey

December 6-Drummer Ed Cassidy (Spirit)

Ed Cassidy

December 9-Singer Jenni Rivera

December 12-Sitarist Ravi Shankar

Decedmber 13-Vocalist Keith Deen

December 24-Singer Ray Collins (The Mothers Of Invention)

December 29-Guitarist Mike Auldridge (The Seldom Scene)

Tuesday, December 18, 2012



Although I will be posting a review for Steve Forbert’s Sept. 11th release of Over with You, his first studio album in three years, I just listened to Steve’s new live album, Get Your Motor Running and wanted to put a quick mention of it out here for any fans who might not be aware of it.

The album, recorded at The Temple Theater in Meridian, MS., is so far available only from Steve’s website.
Those of us who follow Forbert know that live albums from the singer are nothing new. Steve often releases solo concert performances either via compact disc or download, and often treats fans to occasional free downloads throughout the year.
Any live album from Forbert takes you places the studio albums do not go, and Get Your Motor Running is no exception.
While many of Steve’s performances feature only his unique voice, reliable guitar and trusty harmonica, here Forbert shares the spotlight with The Queen City Fever Band (Clay Barnes, Lead Guitar/Clay Ames, Bass/Adam Box, Drums).
As one might expect, this union brings new life to Forbert’s songs. The arrangements of Forbert’s songs in this full band setting are natural, not forced, and the performances give the impression that this is how the songs were originally conceived, although in some cases this is actually how they evolved over the years.
You would think this was a band that has been playing together for decades, and you will find yourself tapping your toe along with Forbert and band, as they bring some old favorites back to life while keeping the heart and soul of each song intact.
There are some interestingly arranged cover songs (“Born To Be Wild” and “Heartbreak Hotel”), and on both tunes, Forbert reworks these songs into Americana gems, giving them his own unique style and sound.
Fans who only remember the late seventies and early eighties classics (“Goin’ Down To Laurel,” “Romeo’s Tune”) may want to give this a listen as well as look for the new studio effort.



Tuesday, December 11, 2012


With Ostrich, Crack the Sky once again offers up an unbelievable album that few people are likely to hear, returning with one of their best albums in years. This band is one of the best kept secrets in rock music, and have delivered a collection of pop/rock songs that sting while making you smile. The lyrics are full of satirical, smirky commentary that are wrapped in up tempo-yes, you can dance to it!
CTS continues to explore different sounds with each CD, and this one is no different, with a funkier sound (in a good way) than their previous recordings. Although I commend the band for extending their range and experimenting on recent recordings, this record is a return to their fun, upbeat style that fans fell in love with.

The songs are compelling, the musicianship is tight and rocking, and the production work is absolutely flawless.

CTS albums require more than just passive listening, and a few of them require some multiple spins and downright work on the listener's part as they can be dense, multilayered, intricate and thought-provoking. Nevertheless, they are always rewarding.

John Palumbo, having either hit a manic phase or attempting to get our attention via the back door, has penned some excellent tunes that the band delivers on. The chops and the creativity that made you a fan long ago are still there, with clever lyrics, tons of guitar, excellent bass and drums, and even horns!

Ostrich has it all! Sterling production, peerless instrumentation, intelligent/provocative songwriting-this remarkable band once again shows their ability to shift gears while keeping their artistic integrity intact.

Tuesday, December 4, 2012



Over the last few years, Glass Hammer has been steadily earning the title of the US's premier progressive rock band.

After liking the last CD (Cor Cordium) so much, and having seen Jon Davison fronting Yes over the summer, I decided I was enough of a Glass Hammer fan to order an autographed copy of the new CD, Perilous, direct from the band's website.
This is the third CD with the current lineup, and the level of musicianship and production value sets a new standard for the band, who have worked together for longer than any other incarnation of the band and their sound is starting to show the benefits.

The album continues in the stylistic vein of their last few records, and shows the band upping the ante just a little.
While my first inclination might be to draw comparisons to Yes-there are similarities due to the common lead singer and the overall style of the music-let me make it clear that this sounds like a Glass Hammer record.

This is a brilliant piece of music, multi layered, full of different textures and nuances. The emotions and ideas in the lyrics ebb and flow with the music, and Davison's voice fits quite well, soaring and hitting all the right notes, evoking memories of classic seventiess prog.

This is a solid concept album-one musical idea in thirteen movements with a definite story to tell with a beginning, middle and climactic end.
The band set out to make something epic, without being afraid to allude to their influences while developing a sound that is undeniably their own.

They pulled it off!