Author: Ross

The inspiring sound of Alex Band’s powerful, emotionally charged voice is immediately recognizable to millions of music lovers, thanks to modern-day classics like his #1 hit with Santana “Why Don’t You and I”, “Adrienne,” “Our Lives” and the massive chart-topping hit “Wherever You Will Go,” which Billboard recently named the #1 Adult Pop Song of the Decade. And though We’ve All Been There, Band’s last solo debut (released June 29, 2010 on his own AMB label through EMI), contained the first new material we’ve heard from the former leader of The Calling in half a decade, the first single “Tonight” became the European them song anthem for the 2011 World Cup, establishing Alex’s solid presence in the music business yet once again.

At its heart, “We’ve All Been There” charts the course of a distinctly human romantic relationship, from its first stirrings to its final moments. “A lot of these songs were drawn from personal experiences,” Band confirms. “I got married at the beginning of this process and got divorced at the end of the record. ‘Love’ was written in the early stages of that relationship, when my ex-wife was going through medical problems, which we dealt with throughout the years. And ‘Leave (Today Is the Day)’ was the last song I added to the record, after we’d gotten divorced. So a bunch of these songs are extremely personal.”

His then-wife’s illness led to the critical need for a liver transplant, which she had to forgo due to the waiting list. The experience inspired Band to devote his time and energies to the Donate Life organization, which is dedicated to building organ-donor awareness. Alex definitely does his part in the fight for more donors, even tattooing “Donate Life” across his arm as a walking advertisement.

In early 2012, Band began work on his second solo album. This time, with the advice from friend Jon Bon Jovi, he formed a full traditional band; a departure from the string of studio musicians used on his previous records and hired young guns on tour. Los Angeles based guitarist Sean Kipe, who had toured with Band for several years, Austrian native Simon Huber on bass guitar/strings and drummer Art Pacheco began the writing and recording process that would take the next 10 months to now fully complete. Slated with an early 2013 release on Universal Records worldwide, the currently untitled album promises to be the biggest and most diverse collection of songs to date in Band’s career.

Canned Heat rose to fame because their knowledge and love of blues music was both wide and deep. Emerging in 1966, Canned Heat was founded by blues historians and record collectors Alan “Blind Owl” Wilson and Bob “The Bear” Hite. Drawing on an encyclopedic knowledge of all phases of the genre, the group specialized in updating obscure old blues recordings. Applying this bold approach, the band attained two worldwide hits, “On The Road Again” in 1968 and “Going Up The Country” in 1969. These were inspired interpretations of the late 1920s blues recordings by Floyd Jones and Henry Thomas.

Canned Heat gained international attention and secured their niche in the pages of rock ‘n roll history with their performances at the 1967 Monterey Pop Festival (along with Jimi Hendrix, Janis Joplin and The Who) and the headlining slot at the original Woodstock Festival in 1969. Alan Wilson was already renowned for his distinctive harmonica work when he accompanied veteran bluesman, Son House, on his rediscovery album, “Father of the Delta Blues.” Hite took the name Canned Heat from a 1928 recording by Tommy Johnson. They were joined by Henry “The Sunflower” Vestine, another ardent record collector and former member of Frank Zappa’s Mothers of Invention, capable of fretboard fireworks at a moment’s notice. Rounding out the band in 1967 were Larry “The Mole” Taylor on bass, an experienced session musician who had played with Jerry Lee Lewis and The Monkees and Adolfo “Fito” de la Parra on drums who had played in two of the biggest Latin American bands, Los Sinners and Los Hooligans and then with The Platters, The Shirelles, T-Bone Walker and Etta James.

Canned Heat’s unique blend of modern electric blues, rock and boogie has earned them a loyal following and influenced many aspiring guitarists and bands during the past four decades. Their Top-40 country-blues-rock songs, “On The Road Again,” “Let’s Work Together,” and “Going Up The Country,” became rock anthems throughout the world with the latter being adopted as the unofficial theme song for the film Woodstock. Their cover version of Wilbert Harrison’s “Let’s Work Together” was actually their biggest hit as it rose to #1 in 31 different countries around the world.

In 1992, dada exploded on the scene with their critically acclaimed debut release, Puzzle (#2 Billboard’s Heatseeker Chart) on Miles Copeland’s now defunct, I.R.S. Records. The single “Dizz Knee Land”, (#5 on Billboard Modern Rock Tracks chart), set the alternative radio movement – just then hitting it’s stride – on fire, and quickly migrated to mainstream rock and pop stations. Mark Brown of The Rocky Mountain News recently wrote, dada “burst onto the national scene with the single ‘ Dizz Knee Land’ in 1992 and followed it up with a solid series of albums and a strong following…” The third single “Dim”, (#24 on Billboard Modern Rock Tracks chart), further solidified dada’s reputation as a band to watch. Puzzle sold over a half million copies and made a number of critics “best of year” lists. Sixteen months of constant touring followed, both as headliners on the club circuit and as openers for Sting, Izzy Stradlin & the Ju Ju Hounds and Material Issue (USA), Crowded House (UK), and Depeche Mode (Portugal). September 1994 saw the release American Highway Flower (#5 Billboard’s Heatseeker Chart) — which had a harder feel, both musically and lyrically, than it’s predecessor reflecting the band’s evolution from a studio to a touring band. The single, “All I Am,” spent 8 weeks on Billboard’s Modern Rock Tracks Chart. Money problems at I.R.S. cut short promotional efforts in February 1995. Dada fared no better with their third release, El Subliminoso in April 1996. I.R.S. Records was on its last legs by this time, and folded just as the band was winding up the first leg of the tour. The exquisite , El Subliminoso was perhaps the group’s most artistically complex and satisfying offering.

The band signed to MCA Records in 1997, and released their self-titled fourth CD, Dada (#32 Billboard’s Heatseeker Chart), and completed an abbreviated tour of New England and the Mid-West with many shows selling out. This CD received favorable reviews, as did a 33-city headlining US tour. As dada was in mid-tour to promote the album however, MCA’s parent company was sold, leading to wholesale roster changes at the label. A final appearance before 14,000 fans at Norfolk, Virginia’s Harbor Fest on June 5, 1999 marked the band’s last live performance as a group—for the time being.

From June 1999 until March 2003, dada was on a self-imposed hiatus. During this time, Michael Gurley and Phil Leavitt went on to form the critically acclaimed Butterfly Jones— and released Napalm Springs (Vanguard Records), Leavitt performed regularly with The Blue Man Group and Joie Calio began working as an A&R scout for MCA, wrote a book & recorded and released his solo debut CD, The Complications of Glitter (Blue Cave/thumbsucka Records). Three lives evolved, and four years passed. Although dada, as a group, was not out touring or recording— their fans continued to be, well— fans— in the truest since of the word. The message board on the band’s website continued to be active throughout this time. dada’s fans have never been the kind of people who are into the “flavor of month.” Once a dada fan, always a dada fan. Their music has a broad appeal including being featured in the “The Brady Bunch Movie,” “Charmed,” “Real World,” and “Homicide.”

March 2003 marks the return of Joie, Michael and Phil together again as dada. They spent the first half of 2003 ‘testing the waters’, playing a series of one-week stints focusing on Midwest and East Coast markets (“almost a stealth” tour, remarked Mark Brown [Rocky Mountain News] – of a Colorado visit.) Then, invigorated by the experience, they spent the second half of the year on an extensive seven-week, 40-city U.S. tour in support of their live CD release, Live: Official Bootleg, Vol. 1 (Coach House Records). The live album was recorded at The Galaxy Theatre, Santa Ana, CA in July 2003.

March 2004 brought the release of the band’s fifth studio effort, How To Be Found (Blue Cave Records), an infectious collection of songs that is classic dada: smart, sharp lyrics, undeniable melodies and incredible musicianship— mixed by rock industry heavyweights Bob Clearmountain (Bruce Springsteen, David Bowie,) Scott Gordon (Aerosmith, Alanis Morissette) and Tom Lord-Alge (Pink, No Doubt, Avril Lavigne). In support of the release, the band embarked on a series of tour treks throughout 2004— the first of which was a punishing 31 shows in 38 days, stopping in New York, Boston, Philadelphia, Seattle, Chicago and dozens of other cities— marking their full throttle return to the music scene. In July 2004, due to overwhelming demand—- from their newly minted fans and the existing die-hard fans who re-connected with the band—- dada reissued their first three releases, which had been out of print for several years: Puzzle , American Highway Flower and El Subliminoso (Blue Cave Records). The reissues were remastered and enhanced with bonus materials, including previously unreleased tracks. One of the extras is a mind-blowing acid-rock cover of “The Mamas and The Papas” ‘California Dreamin,’ which finds a searing guitar solo by Michael Gurley putting a new face on a classic song. Fan favorite, “I’m Feeling Nothing,” previously available only on ‘The Brady Bunch Movie Soundtrack’, was also included.

Few bands endure over a decade of work together. Fewer, still, are delivering their strongest performances and material ten years down the road. But dada is back with an aggressive plan to tour in 2005. With fan websites and the band’s official website buzzing about their legendary 2 ½ to 3-hour performances, the anticipation of the band’s forthcoming sixth studio release and the slated release for a 2 nd Live: Official Bootleg, early indications are that dada’s brand of music is about to be embraced anew by fans who’ve followed their career over the years. It’s an auspicious return for a band that knows how to play and is ready to rock.

More info coming soon for Summer 2021

Howie Day’s emotionally resonant lyrics and inventive melodies have earned him both critical praise and a legion of devoted fans. He is known for his energetic, heartfelt shows, where he connects with audiences through the strength of his songwriting and his quirky sense of humor. Day’s warm tenor voice “soars into fluttering, high registers, but also grates with real, pleading grit,” as one critic put it. After sales of over a million albums and two Top 10 hits, Day is back on the road showcasing old favorites, as well as new material from his upcoming studio release.

A native of Bangor, Maine, Day began playing piano at age five and guitar at age 12. By 15, he was writing his own songs and performing across New England. Shortly after graduating high school, Day became a fixture at college coffeehouses across the U.S. He wrote, financed and released his first effort, Australia, which was named Best Debut Album at the 2001 Boston Music Awards. The Boston Globe called Day “gorgeously seasoned, far beyond his years” with “a brave, beautiful singing voice.” During his relentless touring schedule, Day began experimenting with effects pedals and loop-sampling techniques as he performed, layering live percussion with vocal harmonies and guitar parts to become a veritable one-man band. He went on to sell over 30,000 copies of Australia as he navigated the independent music scene and continued to hone his craft.

After signing with Epic Records, Day released his major-label debut, Stop All The World Now, and hit the road to support it. The constant promotion paid off: Stop was certified gold in the U.S. and spawned two Top 10 radio hits: “She Says” and the platinum single “Collide.” After three subsequent years of intense worldwide touring, Day moved to Los Angeles and returned to the studio. His next release, Sound the Alarm, built on the emotionally complex spirit of its predecessor and delved into Day’s journey from indie wunderkind to platinum-selling artist. It’s lead single, “Be There,” became a staple at modern AC radio.

After parting ways with Epic and relocating to New York City in 2010, Day released the Ceasefire EP on his own label, Daze. New songs began to emerge and evolve at shows across North America and Australia. Day is currently immersed in the recording process of his fourth studio album, which he is crafting with the help of longtime friend and producer Mike Denneen. “There is a sense of inherent creativity and imagination to these sessions,” Day says. “Everything seems to be in perfect balance, and I want to capture that energy as it’s happening. Nothing is over or under thought, it’s just in the moment.”

Countless musicians of far lesser accomplishment have probably made similar statements regarding their own personal creative process, but when the confession comes from John Waite – whose been successfully writing, recording and performing some of the most listenable, enduring and appreciated popular music for more than 35 years – one cannot help but both recognize and marvel at the shimmering legacy of this British born rock star.

The ride began when Waite was tapped as bassist and lead vocalist for the Babys who rocketed to Top 20 chart positions with a pair of infections hits, “Isn’t it Time” from the band’s sophomore LP, Broken Heart in 1977 and the monster ballad, “Every Time I Think of You” off 1978’s Head First. But it was the album’s rhythmically aggressive and seductive title track where fans got their first glimpse of the authentic John Waite, a no-holds-barred rock n’ roll performer devoted heart and soul to live performance and making sure every fan in the audience left the concert hall just as elated and exhausted as the band they’d paid to see.

After John Lennon’s assassination, December 9, 1980, a bizarre thing happened during one of those furious Baby’s performances when John was pulled from the stage by an overzealous fan during an encore. The freak event seriously injured his knee and the group disbanded shortly thereafter. From the ashes of the Baby’s, however, rose an abundant and prodigious solo career, ignited by the well-received release, Ignition, that featured the single, “Change,” which rode the AOR charts for weeks in 1982, the year a new cable channel that would alter the course of popular media culture called MTV launched. At the forefront of its early play list was the video for the Holly Knight-penned track that in 1985, was included on the platinum-selling Vision Quest soundtrack.

John’s next solo effort, 1984’s No Brakes, did exactly what the title inferred, barreling at runaway train speed to international acclaim and U.S. platinum success thanks to the smash hit, “Missing You,” which did not stop until it reached Number 1 on the Billboard’s Hot 100 Singles, Album Rock Tracks and Adult Contemporary charts. The following up single, “Tears” was a top 10 hit on the Billboard Mainstream Rock charts.

Continuing to evolve as both a songwriter and formidable stage presence, Mask of Smiles was released in 1985, possessing a pair of muscular hit melodies, ”Every Step of the Way,” and “If Anybody Had a Heart,” which appeared on the soundtrack to the 1986 motion picture, About Last Night starring Demi Moore. John’s fourth solo LP, Rover’s Return, highlighted by the superlative, “These Times Are Hard for Lovers.” The same season that Bon Jovi was urging two lovers to live on a prayer, John delivered an aortal anthem of timeless resonance. “Baby we can make it ‘cause our love will pull us through/ these times are hard for lovers its down to me and you/Nothing’s gonna break us if we hang on to what’s true, these times are hard for lovers, I believe I you.”

“I don’t have a plan and most of the songwriting is a knee jerk reaction of being alive. I try to speak from an honest place where the listener can both hear and feel where I’m coming from; the job is mine, to help them understand me. There’s a real need as an artist to express who you are and where you’re coming from.”

A long and prodigious career often combines composition and interpretation, like in 1990 when John recorded the Martin Page and Bernie Taupin-penned track, “Deal for Life” for the Days of Thunder soundtrack. But two years prior to that cinematic adventure, superbly performing another songwriter’s work led to one of the biggest hits on John Waite’s illustrious resume. In 1988, a reunion with former Baby’s band mates, Jonathan Cain and Ricky Phillips –along with uber-guitarist Neal Schon from Journey and drummer Deen Castronovo –resulted in the John Waite fronted supergroup, Bad English. And in 1989, the group’s ballad, “When I See You Smile,” – penned by Grammy-winning songwriter, Diane Warren – went to Number 1 on Billboard’s Hot 100 and was certified Gold. The album reached Top Five and sold more than two million units in the U.S. alone. Bad English released two albums before breaking up in 1992.

Since returning to the recording studio and concert trek as a solo artist in 1995, John has produced a string of solid, existentially eccentric, courageously eclectic and blisteringly electric rock n’ roll records, including 1995’s Temple Bar, 1997’s When You Were Mine, 2001’s Figure in a Landscape, 2004’s The Hard Way, 2006’s Downtown: Journey of a Heart and 2010’s In Real Time –an extraordinary live recording that featured burning in-concert realizations of the Baby’s “Change”, “Back on My Feet Again” and “Head First”, not to mention Bad English’s “Best of What I’ve Got” as well as a mind-blowing cover of Led Zeppelin’s “Rock and Roll.” It was this lifelong passion for original Country that inspired John’s sensational 2006 duet with bluegrass legend, Allison Krauss, where the two combined honeysweet vocal forces to remake his international hit, “Missing You.” On February 5, 2007, they performed the song on The Tonight Show with Jay Leno.

John teamed up with Matchbox 20 lead guitarist and songwriter, Kyle Cook in 2011 and their creative chemistry birthed the exhilarating Rough & Tumble, a long form exercise in raucous riffs and bloody truths highlighted by “Further the Sky,” “Shadows of Love” and the Classic Radio chart topping title track, a remarkable feat for any musician to reach number one airplay after three and a half decades in the music business trenches.

All-Access Live hit the streets in 2012 and delivered on all stages of John’s career–solo, The Babys and Bad English. Bearing a dynamic, stripped down sound which shows off his talented three-piece band, Waite demonstrates why he’s considered one of the great rock and roll singers, imbuing the timeless material with saber toothed vitality and kinetic power.

In 2014, Waite is back with Best. Navigating raucous rock, gut bucket blues and country, Waite’s new greatest hits album is a thrilling snapshot representing the inspired artistic breadth of this legendary artist’s entire career tallying more than 40 years on the rock and roll highway. From re-recorded versions of signature classics, “Back on My Feet Again,” “Isn’t It Time” and “Missing You,” hard-hitting live renditions of “Head First,” “Saturday Night” and “Change” to the more introspective fare of “Suicide Life,” “Downtown” and “Bluebird Cafe”, Best goes a long way in proving there’s many miles left of unexplored road for this rock and roll wunderkind.

The story is far from over for the Lancaster, England-born rock star/balladeer/storyteller who was inspired onto his musical path by childhood blues-based heroes like Free, the Small Faces and Humble Pie, along with a deep connection to the Celtic folk music of his homeland. The legacy of John Waite is a beautiful monster of sound and vision, the chronicle of an authentic artist, a superstar, a seeker of truth and a soother of hearts. He walks and rocks among us.

Joey Belladonna, lead singer of the legendary group Anthrax who along with Metallica, Megadeth and Slayer are credited with originating the genre of Thrash metal, has been featured on over 10 albums that have sold over 8 million units worldwide. Belladonna has shared the stage with Iron Maiden, Kiss, Ozzy Osbourne, Black Sabbath, Alice in Chains, Dio, Public Enemy, Living Color, Primus, Motley Crue, Bon Jovi, Dio, Whitesnake, Testament, Overkill, Exodus, Helloween, and many others. Joey has also sung the National Anthem at Madison Square Garden and the Metro Dome in Minnesota for the NFL’s Minnesota Vikings. In 1988 he also starred in the underground cult classic film, “Pledge Night”.
With Joey as the lead singer of Anthrax in the 80′s to early 90′s the band was nominated for three Grammy awards, appeared on the Fox sitcom Married with Children, and Joey was voted the #1 metal singer two years in a row by Metal Forces Magazine.

Since rejoining Anthrax in 2004, Joey has toured with Judas Priest, Rob Zombie and has played in front of millions of fans across the globe. 2010 has found Joey with Anthrax sharing the stage with the pioneers of Thrash Metal Metallica, Slayer and Megadeth, all collectively known as “The Big Four” playing to sold out audiences across Europe for the Sonisphere festivals.

In the mid to late ’90s, Belladonna released his first two solo albums with great press and reviews from around the world.

Jordan Knight helped spark a pop music phenomenon with The New Kids On The Block, becoming an international household name and earning millions of devoted fans. Today, he is a multi-faceted artist wearing several hats from singer, songwriter and musician to producer, TV star, and devoted family man.

Like any siblings, guitarist Jonathan Jackson and drummer Richard Lee Jackson used to specialize in discord. Their preteen years in Washington state involved a lot of “rolling around on the ground and punching, choking, all kind of things,” recalls the latter. One indelible memory even involves a spat, a hockey stick, and multiple stitches. But thankfully, that didn’t last long. Because once Jonathan (then 11) finally convinced his reluctant older brother (then 14) to jam with him in their parents’ basement, cacophony led way to harmony — and that formed an unwavering foundation for Jonathan Jackson + Enation, their anthemic rock band about to release its fourth album, Radio Cinematic, this fall.

“I’m sure it sounded like crap,” explains Jonathan, of their first time playing together. “But we played for three hours and thought it was the most incredible thing ever.” Their skill set has evolved considerably since then. These days, the Nashville band Jonathan Jackson + Enation — which also includes longtime friend, bassist Daniel Sweatt — has independently released music that’s popped up on TV and charted in the top 10 on iTunes’ rock chart. In 2011, their ever-sprawling grassroots fan base also buoyed them on to win a national AOL competition, which featured the trio on a Times Square billboard.

The brothers first dipped their toes into music “professionally” as members of Scarlet Road, a classic-rock band with their father, country artist Ricky Lee Jackson, and his brother Gary. Jonathan just was 14 and Richard 17 when, decked out in leather, they performed songs such as U2’S “Bullet the Blue Sky” to adult concertgoers at venues like the Whiskey a Go Go. These trials by fire helped tighten up their live shows. “Sometimes the audience just didn’t care, so there was a real fight to get people’s attention and do something they’d remember,” says Jonathan. “I wasn’t out partying — I was studying how bands like U2 do the things they do.”

Acts such as U2, Pearl Jam, and Peter Gabriel not only shaped Enation’s confident sound, but also informed their desire to create music that lingers. With their dad’s blessing, the brothers decided to make music a full-time occupation, and they recruited Daniel, whom they met socially. He made his Enation membership official with — what else? — an epic jam session. “Within a month of meeting each other,” Daniel marvels, “we were playing music together.”

That was 15 years ago. And as a nod to that enduring synergy, Radio Cinematic will be the first Jonathan Jackson + Enation album produced to sound like their invigorating concerts. Why now? Says Richard, simply: “Well, we’ve just never been able to capture that energy before.”

The word “Enation” is technically a botany term referring to an outgrowth on a plant. The band immediately took to its metaphoric meaning, as it applied to both their live and recorded performances. “It means to bring forth, give birth,” notes Richard, “the idea that you can actually have an idea that inspires and encourages.”

To that end, the band has worked to raise money through their music with charities such as the anti-human trafficking organization NOT FOR SALE and The Syria Project, in support of refugees. “We feel like we have something that’s special,” says Daniel. “We owe it to people to try to get this out there, raise awareness for things they might not know.”

That theme of illumination resonates through Radio Cinematic, co-produced by Greg Archilla (Matchbox 20, Collective Soul) and Patrick Dillett (David Byrne, The National) — starting with its first single, the sprawling, swelling “Everything Is Possible.” Jonathan hammers out the most of the band’s melodies and lyrics himself, before roping in his bandmates to bring those songs to life. His chorus for this cut — “I wake up every day and feel brand new / Love / Everything is possible with you” — is at once vague and subversive in elocution. “Love has a fight in it. It’s not passive. It’s fierce,” he says of the track’s reliability. “There’s this proverb: Love is stronger than death. ‘Everything Is Possible’ takes that idea of rebellion and applies it to love.”

It will be followed by “Cinematic.” The track unfolds intimately — a tug of war between simmering piano and soaring falsettos. More specific in its assertions of love, it revisits “new beginnings by colliding a love story with our musical journey as a band,” says Jonathan. That is perhaps Radio Cinematic’s most intriguing magic trick: its uncanny ability to look forward by first looking back.

“The philosopher G.K. Chesterton once wrote about entering your second childhood,” says Jonathan. (He’s a big reader whose musical output is frequently inspired by the several books he’s reading at any given time.) “There comes a point when you’re an adult, where you’re given an invitation to rediscover the beauty and wonder of life, of what exists all around you. With Radio Cinematic we’re also exploring the paradox between sight and sound and how they’re connected.”

From Jonathan Jackson + Enation’s inception, its members innocently asked big questions about life, and contemplated how their music would fit into it. When playing clubs such as The Roxy as a kid, Jonathan says, “The drug for me was music — this endless mystery to learning more and experiencing more.” Now, even as celebrated musicians, a youthful optimism and curiosity continues to simmer in them. “If you look around at the world, the hardest thing to do is to overcome the darkness that is around us — to break through that weight,” Jonathan says. “It’s the role of the artist to push back against that.”

Kyle enrolled at the Atlanta Institute of Music where he was exposed to various styles of music. There he was able to expand his knowledge of classical music, which he had studied as a violinist well before falling in love with artists like Jimi Hendrix and Led Zeppelin. Consequently, like Brett, his desire to begin an immediate career in writing and performing Rock n’ Roll made the school’s condensed one-year program the perfect environment for his development. Upon graduation, Cook was quickly introduced to producer Matt Serletic who was searching for guitarists for one of his groups called Tabitha’s Secret. Cook was impressed by the songwriting and production. Shortly thereafter, Matt flew Kyle to an audition in Orlando where he was soon offered the job. This group later became Matchbox 20, which to date has had three multi-platinum records and a string of number one hits.