Sunday, October 30, 2016

Rush's Moving Pictures 35 Years Later

This week on their 3rd Halloween Spooktacular, Lou and guest host Kevin discuss the classic album Moving Picture's by Rush.  The boys play excerpts from this iconic disc and discuss some little know facts about it's creation and impact.  Featured Loudini Artists:
Black Stone Cherry Volbeat  Texas Hippie Coalition

Black Stone Cherry
They say you can't go home again. But Black Stone Cherry proves otherwise on KENTUCKY, the quartet's fifth album and most diverse and mature -- not to mention dynamically exciting -- effort to date.

A decade ago, Black Stone Cherry made its attention-grabbing self-titled debut at David Barrick's Barrick Recording near their hometown of Edmonton, KY. It proclaimed the arrival of a vibrant and exciting new force in Southern rock 'n’ roll, a group that played with fire, sang with brimstone and had plenty of cajones -- what other young band, after all, is willing to take on something as iconic as the Yardbirds' "Shapes of Things" on its first album?

Flash forward nine years and the BSC crew -- still guitarists Chris Robertson and Ben Wells, bassist Jon Lawhon and drummer John Fred Young -- found themselves back at Barrick, which had relocated and modernized a bit during the intervening years, although its analog mixing board hails from EMI's legendary Abbey Road studios in London. This was hardly the same group of fresh-faced rock nubiles that made the BLACK STONE CHERRY album, either; they'd traveled hundreds of thousands of miles on six continents, written scores more songs and even jousted a bit with the industry. They're family men and homeowners, too -- still rockers to the core but well aware of the "real world" outside the tour bus. So they came into KENTUCKY –- the quartet’s first release for Mascot Records -- more seasoned, battle-savvy and focused, ready to come back home and turn everything they'd learned into a set of ambitious and fearless new music. 

"There's all this freedom because it's just us producing it this time," says Robertson. "We're doing it like we did that first one; people still rave about that record, our fans do. But a decade later we're all older, more mature. We all feel like better musicians and songwriters. But even though we're older now it's got a certain element of youth about it that you just can't escape. It's the most interesting album we've done thus far.”

Young adds that, "Man, it was perfect, the experience of getting to record here at home, being with our families, having the opportunity to record with David Barrick again and with all that amazing gear he has. You can never really go back to, 'Oh, I'm 17 again. I don't know how to perfectly tune a guitar or hit the perfect drum lick.' But you can mix some of that into what you are now. We just had a blast and didn't hold anything back.”

Then again, BSC is hardly known for restraint, something anyone who's seen the group blaze through any of its live shows can attest to. The story starts on June 4, 2001, in Edmonton, KY, when Robertson and Young, musical playmates since they were teens, were joined by Wells and Florida transplant Lawhon. Encouraged by musician relatives (Young's dad Richard and uncle Fred are two of the Kentucky HeadHunters), the fledging troupe cut its musical teeth at the Practice House, a 1940s bungalow -- pictured on the cover of KENTUCKY -- that had been relocated to a remote field by Young's grandparents. Used first by the HeadHunters and then BSC - its walls covered with posters, concert tickets and other memorabilia - it was as much of a learning space as the high school the four attended.

"We'd go there and sit and smoke cigarettes and jam on Nirvana and AC/DC, Skynyrd songs and Pantera, try to play Led Zeppelin songs," Young remembers. "It was perfect, man. The closest neighbor was, like, more than a mile away, so we could make as much noise as we wanted, any time we wanted. It was a great way to become a band."

After releasing the independent “Rock N’ Roll Tape” demo, BSC's burgeoning reputation got the group a label deal, and BLACK STONE CHERRY was followed by FOLKLORE AND SUPERSTITION, BETWEEN THE DEVIL AND THE DEEP BLUE SEA and MAGIC MOUNTAIN, which spawned rock radio favorites such as "Lonely Train," "Blind Man," "White Trash Millionaire" and "Me and Mary Jane." The group's muscular style and homespun attitude connected particularly well overseas, where its last three albums hit No. 1 on the U.K. rock charts – MAGIC MOUNTAIN debuted Top 5 on the U.K. album chart overall - making that the perfect place to film and record the scorching concert souvenir "THANK YOU LIVIN' LIVE, BIRMINGHAM UK OCTOBER 30, 2014. 

"For us it's realizing we're a live band -- that's where people are really sold on us and where we cut our teeth," says Wells. "So in writing the riffs and writing the songs for KENTUCKY, we had that in mind. We'd say 'OK, how is this gonna go over live in a festival setting? How is this gonna go over live in a club? Is this what our fans expect?' That was our whole mindset, just to get back to where we were when we first started and 'Let's not overthink this. Let's go in there and make the riffs cool and heavy. Let's just do it.’" 

KENTUCKY does it from the get-go, letting loose with the meaty groove of the appropriately named "The Way of the Future," and fellow heavyweights such as "Shakin' My Cage," "Rescue Me," "Hangman" and the metallic "In Our Dreams," which was co-written with Bob Marlette (Alice Cooper, Rob Zombie, Seether, Saliva). “We wanted to write a song to show the struggle people faced in a situation of disparity, who when presented with danger and chaos could rise above the physical world and escape to another dimension of peace,” explains the band of “In Our Dreams.” The group's rendition of Edwin Starr's Motown classic "War," besides being eerily timely, features a full brass attack from Jonas Butler and Ryan Stiles, while "Soul Machine" shows that BSC knows how to get a deeply funky groove, complete with backing vocals by Sandra Dye and Toynnia Dye. "Long Ride," meanwhile, is a testament of devotion, whose anthemic chorus will have fists pumping into the air whenever the group pulls it out in concert.

"The songs came off more pure and not forced on this album," says Lawhon. "A lot of bands will get very political about things and be like, 'We need this kind of song' or 'We need this batch of songs for this part of our audience' and so on. With us, we just write. Once we feel like we've got the record, that's when we sit back and think about marketing angles and all that. The songs come first and foremost."

The emotional crucible of the album, meanwhile, comes via the wrenching "When Your Heart Breaks Down," a richly melodic co-write with former Shinedown guitarist Jasin Todd that takes stock of some of the costs that come with BSC's chosen life but also offers comfort to those left back home. "It's just about heartbreak and being a true rebel spirit at heart," explains Young. “We all knew the song was special, and when we were in the studio writing it Chris lost his grandpa, and he got pretty emotional when he was putting his vocal on it. It's a really wonderful song.” 

BSC is particularly proud that KENTUCKY was not only made at home but also features a corps of hometown players adding their magic to the songs, including Chris Carmichael (strings), Paul Hatchett (organ), Chad Lockhart (vocals), Boone Frogget (vocals), and Andrea Tanaro (vocals). "This album IS Kentucky," Robertson says with palpably fierce pride. "Everyone who plays on it is from Kentucky. It's in their blood just like it's in ours, and they added so much to the record."

KENTUCKY will, of course, send BSC away from Kentucky and back to its second home on the road, with a fresh batch of songs Lawhon notes, "were meant to be played live." And it's key to remember that it's the same four guys playing it now as it was in Edmonton, when they were wet behind the ears and ready to put on some miles.

"It's cool we've been able to be the same four guys just doing it, putting out albums. You don't see that many bands who are the same members after all these years," says Wells. "We're friends first, and from the beginning it's always been four equals. That's what's kept us together. We're all in it, all on the team. It takes four of us to lead the band, not just one." And, Robertson adds, everyone in BSC shares the same credo. 

"Music is life, life is music," he says. "It's faith, family and music. Those are the things that are quintessential for my life -- for all our lives."

General Manager

- Chris Robertson - vocals/guitar
- Ben Wells - guitar/vocals
- Jon Lawhon - bass/vocals
- John Fred Young - drums


EDMONTON, Kentucky

Record Label
Mascot Label Group


BSC Store:

Elvis Presley, Johnny Cash, Metallica, Slayer, Social Distortion

Michael Poulsen - Guitar/Vocals
Jon Larsen - Drums
Rob Caggiano - Guitar
Kaspar Boye Larsen - Bass

Current Location
Copenhagen, Denmark

Copenhagen, Denmark

Record Label

New album SEAL THE DEAL & LET’S BOOGIE out now!

Texas Hippie Coalition

Texas Hippie Coalition are the purveyors of their own patented Red Dirt Metal sound: designing their own line in life and in music. For them, there is no other way. Texas Hippie Coalition are committed to crafting a unique, original and thoroughly raucous brand of music that’s born of both life experience and a respect for rock ‘n’ roll’s forefathers.

What exactly is Red Dirt Metal? Take outlaw country, toss in a dash of Southern-fried classic rock and mix it with some potent Texas power grooves and you’ve got a combustible sonic cocktail on your hands. Texas Hippie Coalition’s third album Peacemaker is a textbook example of Red Dirt Metal, which is the sound the band has been honing and cultivating for its entire existence.

Booking Agent
Phil Battiato | United Talent Agency |

General Manager
Carved Management | phone: 806-452-8071 email:

ZZtop, Black Label Society, Pantera, Lynyrd Skynyrd, Willie Nelson, too many to name

Press Contact

Big Dad Ritch - Vocals

John Exall - Bass Guitar... See More

Current Location

Red Dirt Metal

Denison, TX

Record Label
Carved Records

DARK SIDE OF BLACK available 4/22/16. Preorder your copy at!

Wednesday, October 26, 2016

Loudini Interviews Jonathan Cavier

Phoenix-based singer-songwriter and pop performer Jonathan Cavier is no stranger to writing catchy tunes that blend wide-ranging influences into a multi-faceted yet cohesive sound. 

Originally from Northern California, Cavier (“cav-AIR”) moved to Phoenix, AZ where he performed as Alan Clark in the atmospheric pop duo, EyeTalk. Over the course of 10 years and five albums, this venture saw their music reach international audiences in Italy, the UK, and Australia. After five albums and hundreds of shows played throughout the US, Alan Clark reintroduces himself under the pseudonym Jonathan Cavier. Cavier re-forms his musical identity on his debut solo album, Premier. In addition to his musical endeavors, Cavier is a semi-professional tennis player and a member of the USTA and IFT. Cavier says practicing and playing in tournaments is “the fountain of youth.”

His first single, “January” is set for release in April 2016, and was produced by Jonathan Cavier and mixed by Cavier and Jason Lossett. Cavier blends influences from Duran Duran to Taylor Swift on his upcoming album, Premier. Tackling themes such as rebirth and renewal, “January” features Cavier’s signature blend of acoustic guitars, twelve-string basses, and atmospheric keyboards all supporting Cavier’s expressive vocals. The video for “January” was filmed in Northern California and was produced by Dave Lepori.

Cavier creates a sound of his own on his debut album, Premier, as he merges his new pop and rock influences from his early influences of the 80’s. Taking elements from a wide range of sounds, Cavier hopes to “transport listeners to colorful three-minute worlds,” through his careful composition and thoughtful lyrics.

Loudini Interviews Cory Congilio

Since picking up the guitar at age thirteen, Corey Congilio has been steadily forming a solid musical foundation built upon honesty, integrity and respect for his art form. Born and raised in Phillipsburg, New Jersey, Corey was exposed to music from his father, mother and guitar playing uncles. This exposure to music of all types at an early age, helped to lay a foundation of passion, versatility and appreciation of what music is, where it comes from, and what it should be.

Realizing at an early age that music and the guitar would be his life’s focus, Corey moved to Pittsburgh, PA to attend the Art Institute Of Pittsburgh. There, Corey studied audio engineering but, didn’t get into music production officially until a few years after graduation. In the late 1990’s Pittsburgh had a vibrant music scene rich with blues, RnB, and original Rock. Corey shot up through the ranks by hanging out with the city’s best players who helped in honing his skills and overall musical maturity.

In 2005, Corey produced his first EP for a local country artist and his love of the studio began to blossom. Corey became an in demand session player in Pittsburgh and began to produce projects for singer-songwriters. His projects ran the gamut of styles that showed off his ability on instruments other than the guitar.

Over a 10 year period as an instructor, Corey has taught hundreds of students ranging in age, from six to eighty years old. A decade’s worth of guitar instruction helped to connect Corey to the world’s leader in online guitar instruction, Corey released his first official Truefire course entitled 50 Texas Blues Licks You Must Know in 2011 and his fate as a worldwide guitar instructor was sealed. Since the release of 50 Texas Blues, Corey has released several other top selling courses for TrueFire and continues to work on new material for upcoming releases.

His passion for teaching and presenting lends itself to the world of musical instrument demonstration as well. Since 2014, Corey has been an artist clinician for the most iconic acoustic guitar maker in the world, C.F.Martin Guitar & Co.

The combination of being a multi-instrumentalist and having a solid background in all contemporary musical genres meant that Nashville, TN would eventually become Corey’s new home. Corey moved to Nashville in 2013 and has begun working in what he feels is the “best city for music in the world.” Currently Corey is performing with and producing multiple acts as well as recording his solo EP released in 2016.

Friday, October 21, 2016

Is Rock and Roll Keeping Women Down

Is sexism a problem in rock and roll? Unbelievably... it is! Katie and Lou discuss this VERY hot topic. Featured Album: Gov't Mule: The Tel-Star Sessions Lou and Katie ALSO talk about and play some highlights from the latest release from the band Gov't Mule. You can also check out Lou's review here:

California Breed
Think of California and you think of brilliant color and bright sunlight. Think of a breed and it’s all about bloodlines and brotherhood. Put the two together as California Breed and you have the most exciting new band of 2014.
Built around the foundation of legendary vocalist-bassist Glenn Hughes and drummer extraordinaire Jason Bonham, with the addition of the 23-year-old newcomer guitarist-singer Andrew Watt, as Hughes says: “California Breed is real rock’n’roll – but made for right now.”
One listen to standout tracks like first single ‘Midnight Oil’ will confirm that. Deeper grooves than a monster tyre track, more funk than a roomful of bad-asses, this is rock that knows how to roll. That writes its’ own rules. That just don’t care, baby.
But that’s only one side of the story. On the flip you’ve got something like ‘All Falls Down’, a song so beautiful, so soulful and strange and touched by magic, it will make your radio cry.
As Andrew Watt says: “Getting to play with these legends has given me wings. I don’t really believe in luck. For me, luck is when preparation meets opportunity. And if you’re prepared and you’re met with the opportunity, you rise to the occasion. That’s what California Breed has been like for me. So that we’ve come out with something I’m really, really proud of.”
And when Watt calls Hughes and Bonham ‘legends’, he ain’t kidding. The breakout star of mid-70s Deep Purple, the man they call the Voice of Rock, Glenn Hughes has spent the subsequent years working with the biggest legends in music, as a solo star, and guesting with everyone from Black Sabbath to Earth, Wind & Fire – up to his most recent collaboration in rock supergroup Black Country Communion, which included Bonham.
As the son of Zeppelin legend John Bonham, Jason has followed his own distinctive path over the years, fronting his own successful outfits like Bonham, and playing with Led Zeppelin, Foreigner, Heart and, most recently, movie composer Hans Zimmer.

When Black Country Communion disbanded Hughes and Bonham had a strong desire to keep playing together. They're only challenge was finding a new guitarist worthy of their musicality. Easier said than done for these stars who between them have worked with some of the greatest guitarists in history – including Ritchie Blackmore, Tony Iommi, Jimmy Page and Joe Bonamassa, to name just a few.
Then fate took a hand in things when Glenn’s friend Julian Lennon introduced him to the astounding talents of a New York City hotshot guitarist named Andrew Watt.
“Literally, the first day me and Andrew got together we wrote two songs,” recalls Glenn. “One was ‘Chemical Rain’ and the other was ‘Solo’, both of which are now on the finished album. I was so moved by the music, I said, ‘We’ve got to record this!’ That’s when I called Jason.”

“I was excited from the start,’ says Jason, “because apart from locking in as a rhythm section, Glenn and I had started writing together in BCC, and we wanted to continue that.”
“There was such energy in the room the first time we all played together, me and Glenn didn’t even have to talk about it,” says Jason.  “He was so exited to be playing, though, it was infectious! He was just on stage! No going through the motions, kicking the chair over, everything! I was like, you know what, this kid is a free spirit. It was cool, we all just clicked straight away.”
“Nothing though has gotten into my blood like California Breed,” says Glenn. “I feel the same way,” says Jason, “I feel like a kid again starting out.”
Recording with Dave Cobb at the producer’s own studio in Nashville, added all the finishing touches, says Glenn.
“I’d gotten into Dave’s work via the Rival Sons, who I know and really love. But Dave has done a lot of great stuff. That whole Nashville trip which Dave is a part of. Well, me and Jason don’t want to sound like anyone else, we already sound like ourselves, but we felt we needed some fresh energy – and Dave absolutely brought it.”
At Cobb’s insistence, every vocal was recorded live as the band was playing. “Totally the reverse of what I’m used to,” says Glenn. “But I went into that aggressive rock soulfulness and everything down to the whispers, it was all done live! I enjoyed myself so much, just going for it.”
For what is on paper a three-piece, the sheer range of sounds and melodies you get from California Breed are breathtaking.
“I’m the oddball of the group but I’m the thing that makes us different from any other classic rock band. I grew up loving grunge music,” explains Andrew. “But my father always played me The Who and The Beatles and Led Zeppelin. I always felt like I was in the wrong generation. I used to make rock music on my own and I’d play all the instruments because I could never find anyone my age that really got it the way I heard it. Then I got to play with Jason and Glenn and I haven’t picked up anything but a guitar since!”
“What we’ve got here is a kid who isn’t a hammer-on, virtuoso,” says Glenn, “but a whole new entity. This kid grew up listening to Mick Ronson on Bowie’s records, as well as Jimmy Page in Led Zeppelin. He has a completely different take. And it’s fresh and bold and so exciting. It just gets into your blood.”
That’s the thing about breeds. They go all the way back, in order to bring forth something new. Be the first to hitch your horse to the California Breed wagon.
They’re heading straight for the bright colored sun…

Glenn Hughes and Andrew Watt have chosen ex Queens of the Stone Age/ Eagles of Death Metal drummer JOEY CASTILLO as the drummer for all upcoming live dates when it became clear that Jason Bonham’s professional commitments would prevent him from being able to tour with the band. As Glenn Hughes says “We’re just excited to play live, to tour, to be in front of and with our fans. We’re very proud of our debut record and we can’t wait to share it, live and loud, with you.”

Charlie Wheeler Band
The hills of Northern PA are an unforgiving place. Hailing from a small town called Ridgway, PA, the CWB exudes a toughness and desperation that can only be cultivated in the working class environs from which they hail. Their driving brand of hard driving groove-rock is reminiscent of the Black Crowes and The Allman Brothers Band, coupled with the blunt force of Pearl Jam.
Powered by the rhythm section of Rad Akers on Drums (Big Leg Emma) and Dave Fink on Bass (That Dog In Egypt), Charlie Wheeler describes his trio as a “song first” type of band. While expansive, improvisational jamming is a key component to their live show, their third album “Rewind” is a solid group of structured songs which allow Wheeler to tear into his vocal and lead guitar work with reckless, pent up hostility.

Deap Vally
Our names are Julie and Lindsey and we make a lot of noise.

Sunday, October 16, 2016

Loudini Interviews Continental Recording Studio

First opening our doors in 2008, we have called Long Island City our home for the past six years. We are proud to be part of Long Island City’s vibrant artistic community, and celebrate the exciting cultural diversity that New York City embodies. Continental Recording Studio is fully independent and rooted in DIY ethos.

Having recorded, mixed, and mastered dozens of LP’s, EP’s, and singles over the last several years, our seasoned engineers are well versed in the art of turning your vision into reality. Our staff possesses the professional expertise to spearhead high level sessions in an efficient and effective manner while experimenting with new sounds and exploring creativity.

Loudini Interviews Brett Staggs

Brett Staggs is a songwriter based in Pittsburgh, PA. His music is a mix between Tom Petty and Paul Westerberg with poetic lyrics and melodic hooks of the americana genre. He has had many songs placed in films and is currently working on releasing his first album.

Loudini interviews Steve March-Torme

Steve's extraordinary voice has electrified audiences in venues from the Detroit Jazz Festival to the McCallum Performing Arts Center in Palm Desert, CA, to the Smith Center in Las Vegas, and worldwide from London to Japan, Australia to Brazil and Canada. It might seem an obvious choice that Steve would enter the family business, but he discovered his love for music almost by accident. Steve was born in New York City to the multi-talented Mel Tormé and the former model/actress, Candy Tockstein. They were divorced when Steve was young, and Candy married Hal March, an actor/comedian best known as the host of NBC-TV’s The $64,000 Question Show, but who also starred on Broadway in Neil Simon’s Come Blow Your Horn. An avid baseball player and fan growing up in Westchester County, N.Y., Steve's dream was to play for the Yankees. He was a devoted fan who listened to games on the radio in the basement of his family home. Following every game, he’d switch to the Top 40 music stations and sing along with such artists as The Four Seasons, Nat King Cole, The Temptations, Ricky Nelson, and Gene Pitney. With his natural ear for harmonies, his favorite quickly became and remains The Beatles. By the age of 12, he knew that he wanted to be a performer, and at 13 he earned his first paycheck fronting his own band. After his family moved to Beverly Hills, he continued to develop as a musician and his influences grew to include Joni Mitchell, James Taylor, Todd Rundgren, and Steely Dan.

     Steve recorded his first LP, Lucky, for United Artists Records, supporting it with a 20-city, national concert tour. Upon returning to California, he produced and sang on Liza Minnelli’s Columbia Records release Tropical Nights, which became a favorite of the New York dance clubs.
     Following Lucky, Steve received a phone call from noted jazz critic Leonard Feather, inquiring his interest in auditioning for a vocal group that Leonard's daughter, Lorraine Feather, was starting up with her friend Charlotte Crossley of The Harlettes. The recommendation came from Quincy Jones, who'd seen Steve perform at a tribute to Henry Mancini at the Hollywood Bowl. Steve went to the Planet Records offices to sing "Serenade in Blue" and "Blue Suede Shoes" for producer Richard Perry and his partner, movie producer Joel Silver, and got the gig as the solo male voice in the trio Full Swing. After the debut album (entitled Full Swing) was recorded, it was followed with tours of Brazil and Japan. Another Full Swing highlight: singing with his father, Mel, at the Kool Jazz Festival at Carnegie Hall. Steve sang the lead part on Mel's arrangement of "What Is This Thing Called Love,” previously performed by the Meltones. After Richard Perry sold Planet Records, Steve left the group to pursue his solo career.
     Honing his craft as a performer, Steve worked as an actor, playing the male lead in a mini-series for RAI (Italian) Television, and appeared on a number of variety television shows back home. He spent three years as the featured vocalist on ABC-TV’s $100,000 Name That Tune and also hosted two Los Angeles-based television shows, Video 22 (a precursor to MTV) and Box Office America.
    Steve’s first solo project after Full Swing was his CD Swingin’ at the Blue Moon Bar & Grille, recorded with a crackerjack big band. It also features a duet between Steve and Mel (“Straighten Up and Fly Right”) and showcases an improvised scat lesson between father and son. That disc was followed up by The Night I Fell For You, featuring an alluring arrangement of the Lerner & Loewe classic “On the Street Where You Live,” and a number of Steve’s original tunes, many penned with longtime collaborator, pianist and musical conductor Steve Rawlins. In reviews of both CDs, critics singled out these new songs as “contemporary yet timeless,” and “combining a wry sense of humor and a natural feel for romance, with classic melodies.” Those two releases were followed up by The Essence of Love, a collection of some of the most romantic, well-crafted standards ever written, including “Blue Skies,” “Stardust,” “Every Time We Say Goodbye,” and a playful duet with jazz icon Diane Schuur on “The One I Love Belongs To Somebody Else.” His current jazz CD, So Far (on iTunes,, and, combines the most popular material from his first three CDs into one “best of” recording.
    Steve’s latest CD, inside/out, goes back to his roots as a singer/songwriter, words and music written by Steve, on which he not only sings but also plays keyboards and guitar. Inside/out was written and recorded in the pop vein that Steve was weaned on as a teenager and young adult and includes cleverly penned homages to Steely Dan, Todd Rundgren and Joni Mitchell. (Available on itunes,, and
    Steve performs shows backed by configurations ranging from trio to symphony orchestra in venues around the world, from intimate jazz clubs to performing arts centers to festivals. Because a natural interest exists in hearing Steve sing the songs his dad was known for, he did a 28-city cross-country tour for Columbia Artists Mgt. Inc. (CAMI) entitled Tormé Sings Tormé. Steve is proud to have had the opportunity to pay tribute to his father in  a show featuring a ten-piece band (dektette) playing the extraordinary arrangements penned by Marty Paich exclusively for Mel, and a multimedia presentation of photos and video clips. A Hi-Def, 5.1 Surround Sound version of Tormé Sings Tormé was released on AIX Records, and won Best Music Dual Disc at the EMX DVD Awards Show in Los Angeles.
    In addition to his performing and recording career, Steve hosts his own radio show on the Music of Your Life network every Wed. and Thurs. afternoon. And, he is the weekday afternoon host on 91.1 FM The Avenue in Green Bay, Wisconsin, and KVYL-FM Vinyl in Lake Havasu City, Arizona. He can also be heard every Monday morning on KVYL-FM at 9 a.m. Mountain Time for a sports segment called “Mondays with March-Tormé.”

Loudini Interviews Larry Coryell

As one of the pioneers of jazz-rock -- perhaps the pioneer in the ears of some -- Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, phrasing and note-bending that owed as much to blues, rock and even country as it did to earlier, smoother bop influences. Yet as a true eclectic, armed with a brilliant technique, he is comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar. Unfortunately, a lot of his most crucial electric work from the '60s and '70s is missing on CD, tied up by the erratic reissue schemes of Vanguard, RCA and other labels, and by jazz-rock's myopically low level of status in the CD era (although that mindset is slowly changing).

Born in Galveston, Texas on April 2, 1943 Coryell grew up in the Seattle, Washington area where his mother introduced him to the piano at the tender age of 4. He switched to guitar and played rock music while in his teens. He didn't consider himself good enough to pursue a music career and studied journalism at The University of Washington while simultaneously taking private guitar lessons. By 1965 he had relocated to New York City and began taking classical guitar lessons which would figure prominently in later stages of his career. Although citing Chet Atkins and Chuck Berry as early influences he also took cues from jazzmen such as John Coltrane and Wes Montgomery. He was also inspired by the popular music of the day by the Beatles, The Byrds and Bob Dylan and worked diligently to meld both rock and jazz stylings into his technique. This was reflected on his debut recording performance on drummer Chico Hamilton's album " The Dealer" where he sounded like chuck Berry at times with his almost distorted "fat" tone. Also in 1966 he formed a psychedelic band called The Free Spirits on which he also sang vocals, played the sitar and did most of the composing. Although conceptually the band's music conformed to the psychedelic formula with titles like "Bad News Cat" and" I'm Gonna Be Free" it foreshadowed jazz rock with more complex soloing by Coryell and Sax/flute player Jim Pepper. However, it wasn't until three years later after apprenticing on albums by Vibraphonist Gary Burton and flutist Herbie Mann and gigging with the likes of Jack Bruce and others that Coryell established his multifarious musical voice, releasing two solo albums which mixed jazz, classical and rock ingredients. In late 1969 he recorded "Spaces", the album for which he is most noted. It was a guitar blow-out which also included John McLaughlin who was also sitting on the fence between rock and jazz at the time and the cogitative result formed what many aficionados consider to be the embryo from which the fusion jazz movement of the 1970s emerged. It contained insane tempos and fiery guitar exchanges which were often beyond category not to mention some innovating acoustic bass work by Miroslav Vitous and power drumming by Billy Cobham both of whom were to make contributions to Jazz rock throughout the `70s.

His career, however, began in era of guitar rock, where he was able to rise for a time with legends such as Jimi Hendrix, Carlos Santana, and Eric Clapton. As this era came to a close, his musical expression took him on a diverse journey, and though he did not receive the level of commercial fame the aformentioned musicians had, he was still able to make his mark in music by way of the jazz & fusion world. His music continues to influence musicians and fans internationally and will continue to do so for a very long time.

Monday, October 10, 2016

Loudini Interviews the Slovaks

Manchester Rock n Roll  - Adam Saylaby, Luke Allen & Luke Barton
Label Conact:
or contact us at:

Loudini Interviews NORWOOD

I wish I could start this off with a “I was raised in a very musical family.” Or even a “Music was the last thing on my family’s mind” kind of place. But, like most people, my family was somewhere in the middle. My dad went to school for musicology when he was younger, but he wasn’t looking to be a musician, he doesn’t want to write his own music. We’ve talked about it, it doesn’t interest him. My mom could carry a tune, but again, not looking to be up on the stage performing. I don’t have a romantic legacy to fall back on, nor do I have the charm of someone who comes from absolutely no background whatsoever. All I have are my guts and a good sense of rhythm.

I grew up in Long Island, New York and spent most of my childhood during the 90s. My parents moved us to a neighborhood they most certainly could not afford when I was three and we did our best to pretend that we belonged there for as long as we could. It left a bad taste in my mouth, but I didn’t have much of a choice. My sister was a handful, so I was left to my own devices most of the time. I found that keeping quiet kept me out of hot water. And it went on like that for a long while. The middle. Not rich, but not starving. Always almost, though. Nothing to rightfully complain about, but not much to really celebrate. It was maddening. Still is.

Music was something outside of everything. And the bands I clung to were the bands that couldn’t be clearly defined. Sublime was my first “I have to buy everything they put out” band. They were punk, but not. They were ska, but not. They were even kinda pop sometimes, but definitely not. And that’s now a mantra I live by: “I am not a genre.” When “Sublime Acoustic: Bradley Nowell and friends” came out, it became one of my favorite albums. Just a guy and his guitar, but it was beautiful. That album made me want to pick up a guitar and play music. That led into all kinds of bands: Ska bands, Singer-Songwriters, Classic rock, R&B, whatever They Might Be Giants would be called. All of it got listened to.

I went into theater for college, and it made me a better artist, but it’s not for me. I thought, “Hey I like theater and music, so why not do musical theater? It’s perfect!” But it wasn’t. And one day, over in Wisconsin, I was introduced to The Mountain Goats.

I hadn’t realized that you could write songs like that. Bradley Nowell is the reason I picked up a guitar; John Darnielle is the reason I started writing songs. So I wrote a whole bunch of stuff, shared it online a little bit, but never actually put it up anywhere, that was back in 2010. 2 years later, I had written enough to play a full honest-to-god set. I started making my way around the smaller café venues and also began connecting with people who, luckily for me, seemed to immediately get what I was going for.

Nastasia Green was the first to join me. She’s also a musical theater misfit who realized she doesn’t like musical theater. She’s one of my best friends and has been singing with me ever since. Sometimes you meet people, and you get a feeling that you’re meant to make music with them. Nastasia and I are meant to sing together. I worked with Keith Michael Pinault at a shitty server job on the upper west side of manhattan. I was looking around for a bassist one day and he told me he kind of played. I think he used the word “amateur”, but I wouldn’t. And he’s only been getting better and better with each new song or show. He always seems to know what kind of song I’m writing before I do. I met Hajnal Pivnick through a mutual friend and knew I wanted her to play with me on the first note. I’m a rag-tag kind of musician. I pride myself on being rough around the edges. Hajnal brings a sort of grace and sturdiness of core to the music and it takes every song to a whole different level. I met Max Maples through Hannah of Hannah Vs. The Many and also through Hajnal. He’s added so much backbone to my music and I can’t thank him enough for his willingness to jump in and swim.

I would say that my music is for the middle children of culture. The people who are constantly being told what’s cool and how they should think. These songs are for the people who take life on a person-by-person basis instead of lumping people into easily marketable groups, cliques, races, social classes, genders, whatever. This music is for anybody who feels pinned down by a thousand voices coming from all directions telling them they aren’t good enough for any of a million bullshit reasons. Fuck that.

Loudini Interviews Vijay of InRegalia

Born in Mangalore, Vijay's talent was imminent at an early age having won several local guitar and singing competitions. Music, though took a back seat for six years due to the pressure of academics. But destiny had other plans and brought him back to where he belonged - playing music. The journey from an acoustic folk guitarist to an accomplished Rock Lead/Rhythm guitarist has brought with it experience in Rock & Soul bands to which he blends in pop and ethnic sensibilities. Some of his guitar heroes and influences are Jimmy Page, Ritchie Blackmore and Angus Young. "The journey to musical fulfillment is endless " he says.

Composer, Lead/Rhythm Guitars, Backing Vocals - InRegalia
Guitar & Music Instructor