Classic Rock Legends Wishbone Ash “Argus 50th Anniversary” Multi-Format Box Set Now Available For Pre-order
Featuring 2 LPs, 3 CDs, 7” single, DVD and 48-page book with rare photographs and extensive liner notes & contributions from Andy Powell, Martin Turner & Steve Upton
Celebrating one of the most pivotal entries in the history of great British rock and prog albums, Wishbone Ash’s legendary LP “Argus” gets a 50th Anniversary multi-format Box Set release on 14 April 2023 through Madfish.
Complete with its indelible Hipgnosis designed album sleeve, 1972’s “Argus” saw Wishbone Ash (Andy Powell, Martin Turner, Steve Upton & Ted Turner) mix hard rock, blues, folk and elements of prog to create an anthemic album of resounding quality. “Argus” was the group’s third studio LP and undoubtedly the classic album within the band’s ‘70s canon. It is not only the biggest selling album of their career, featuring the beloved fan-favorite “Blowin’ Free”, but full of memorable and timeless tunes such as “The King Will Come”, “Time Was”, “Warrior” and “Throw Down The Sword”. Widely considered a vital moment in the progression of twin-lead guitar harmonization, Andy Powell and Ted Turner’s pioneering twin lead attack left an indelible stamp on the likes of Thin Lizzy, Iron Maiden, Metallica and Lynyrd Skynyrd. It was also a technique deployed by Steely Dan for their own 1972 hit “Reelin’ In The Years”.
Madfish are now proud to present the most complete edition of this album to date. Each “Argus 50th Anniversary” Box Set contains:
· 3 CDs: Martin Turner’s “Argus” remaster, “Live at The Alexandra Palace 1973 & Memphis 1972”. Also features 4 previously unreleased early version demos.
· 2 LPs: Original “Argus” replica, remastered for this release + “Argus Live” on yellow vinyl (selected recordings from “Alexandra Palace & Memphis”).
· DVD: French & Swiss TV footage, “Live from the Rainbow 1973 & RTS Broadcast from 1974”.
· 7” Red vinyl Single of “Blowin’ Free”.
· Featuring a 48-page book with rare photographs and extensive liner notes with contributions from Andy Powell, Martin Turner & Steve Upton.
Wishbone Ash achieved considerable success in the 1970s, during which they were among England’s most popular hard rock acts, achieving an impressive eight Top 40 albums. Often regarded as one of the premiere UK live acts of the ‘70s, they toured throughout this period and into the following decades.
1972 was one of rock music’s most memorable years for regal releases – a golden age of classic albums – “Exile On Main Street”, “Machine Head”, “The Rise And Fall Of Ziggy Stardust And The Spiders From Mars”, “All The Young Dudes”, “Roxy Music”, “Can’t Buy A Thrill”, “Sailin’ Shoes”, “Foxtrot”, “Demons And Wizards”, “Transformer” and “Barnstorm” – by rock royalty – The Rolling Stones, Deep Purple, Davie Bowie, Mott The Hoople, Roxy Music, Steely Dan, Little Feat, Genesis, Uriah Heep, Lou Reed and Joe Walsh. Not least among these amazing artists and records was Wishbone Ash and their groundbreaking album “Argus”.
As they reigned supreme through the ‘70s, Wishbone Ash was centered on inspired musicianship, joyful spirit and inventive songs. Their concerts were uplifting and their recorded work sublime. “Argus” remains a stunning highpoint in the band’s startling repertoire. This is a vital addition to the Wishbone Ash catalogue.
Released by Madfish on April 14, 2023
Pre-orders available here: https://WishboneAshMadfish.lnk.to/argus50
NASHVILLE, Tenn. – GRAMMY® Award-winning and Country Music Hall of Fame members, The Oak Ridge Boys are celebrating the 40th anniversary of their hit song “Thank God For Kids,” which was released in November 1982. Written by Eddy Raven and produced by Ron Chancey, The Oak Ridge Boys included the song on their 1982 album, Christmas. The single went on to reach number three on the Hot Country Songs for Billboard and has continued to be a fan favorite throughout the years, being played at nearly every Oak Ridge Boys show since being recorded.
“There are a number of songs in The Oak Ridge Boys’ repertoire that fans insist on hearing,” shares Joe Bonsall. ”One of those is obviously “Elvira,” and another one is “Thank God For Kids.” It is hard to imagine a set list without It. Eddy Raven wrote it and William Lee Golden’s heartfelt rendition always makes for a special moment!”
The Oak Ridge Boys continue their Christmas concerts this year at Gaylord Opryland Resort to celebrate the holiday season at home with their 32-show residency as part of the resort’s 39th annual ‘A Country Christmas’ event. The Oaks’ ‘Christmas in Tennessee’ Dinner Show runs through December 25, 2022, and features a delicious holiday meal prepared by the resort’s culinary team followed by the Oaks and their band performing Christmas classics, new favorites, and many of the timeless hits that have shaped their legendary career. This year’s residency is sponsored by AARP Tennessee. For more information on ‘Christmas in Tennessee’, visit www.ChristmasAtGaylordOpryland.com.
“It is such an honor to have our Christmas show back at Gaylord Opryland in 2022 for the THIRD year in a row,” Bonsall continued. “Nobody does Christmas like Gaylord Opryland, and our dinner shows have become a part of their tradition over the last few years! Our show is much different than last year, but Santa promised to be there every night and he never disappoints. We hope you will plan to join The Oak Ridge Boys over the holidays this year for a gourmet dinner and a show that has been honed over decades of Christmas tours.”
The group— Duane Allen, Joe Bonsall, William Lee Golden, and Richard Sterban—are best known for their iconic and multi-platinum hit “Elvira,” along with “Thank God For Kids” and other chart-toppers like “Bobbie Sue,” “Y’All Come Back Saloon,” and “American Made.” The Oak Ridge Boys have achieved a decorated career, winning five GRAMMY® Awards, and multiple CMA, ACM, and Dove Awards for their crossover brand of pop, country, and gospel music that spans multiple generations. The Oak Ridge Boys became members of the Grand Ole Opry in 2011 and achieved arguably country music’s highest honor in October 2015 when they were inducted into the Country Music Hall Of Fame. Website | Facebook | Twitter | Instagram | YouTube About The Oak Ridge Boys: The Oak Ridge Boys have sold over 41 million units worldwide and are synonymous with “America, apple pie, baseball, and country music.” In addition to their awards and accolades in the country music field, the Oaks have garnered five GRAMMY® Awards, nine GMA DOVE Awards, and two American Music Awards. The group— Duane Allen, Joe Bonsall, William Lee Golden, and Richard Sterban, members of the prestigious Country Music Hall of Fame (2015 Inductees) and the Grand Ole Opry (since 2011)—is known worldwide as one of recording history’s most extraordinary musical successes. They have charted single after single and album after album—gold, platinum and double-platinum, and more than 30 Top 10 hits, including No. 1 chart-toppers “Elvira,” “Bobbie Sue,” “American Made,” and “Y’All Come Back Saloon,” among dozens more. For more information and to view upcoming tour dates for The Oak Ridge Boys, please visit oakridgeboys.com.
Emerging Hip Hop Lyricist Tay Toe Presents New Single “Meet Again” and album “Habits and Setbacks” – Available Now
Salt Lake City based and Los Angeles bred hip hop artist TAY TOE presents the new single “Meet Again”, from his album “Habits and Setbacks” – available now on all the major music services.
Inspired by versatile, intelligent rappers like Mac Miller, hip hop upstart Tay Toe is one to watch. Like many young Americans, Tay Toe spent his teenage years living with anxiety and depression. He began writing music as therapy, but actually performing it live was a big step for him. However, once in his element, it’s plain to see Tay Toe was born for the stage.
“There’s something special about connecting with a random person because of a song you created.”
Starting out as just a fifteen year old kid with a laptop, a microphone, and a dream, Tay Toe has been making a deep impact on the hip hop landscape for the past decade with clever lyrics and block rockin beats. With “Habits and Setbacks” it’s clear he’s ready to break through to mainstream notoriety.
“I only write when I’m inspired because I want my music to be meaningful”
You can catch Tay Toe live all around Salt Lake City, Utah and the surrounding states with plans for a west coast excursion in 2023.
Jeff Lake released his debut EP, “Field of Grass” on August 20, 2021. Since then he has amassed over 200k streams on Spotify, and over 275k views on YouTube with his bluegrass cover of Janis Ian’s “Better Times Will Come” leading the way with 120k views. His new album, “Seven Days” is scheduled for release early next year.
So what do you do in the meantime? If you’re Jeff Lake, what else? You write a new Christmas show! “The Christmas Chronicles” featuring Jeff Lake & Cellophane Flowers will be debuting with back to back performances at The Belfry Music Theater in Delavan, WI on Wednesday, 11/30, and Thursday, 12/1, with additional shows to follow on Sunday, 12/4, at The Gracie Theatre in Bangor, ME, Saturday, 12/10 at The Please Touch Museum in Philadelphia, PA, and Saturday, 12/17 at the Kings Point Theatre in Delray, FL.
“The Christmas Chronicles” reveals the true meaning of Christmas in a series of visually-stunning, intertwined, seasonal vignettes. Tales of love and magic around the globe and through the ages are told through the words of Martin Luther King, Jr, Emily Dickinson, Chief Seattle, Henry V, interpretive dance, and the music of Peter Lynch Tchaikovsky, Ludwig van Beethoven, Lennon/ McCartney, George Harrison, as well as original music by Jeff Lake.
The first release from the show soundtrack, “Happy Xmas (War is Over)” is now available on Spotify and all the major services.
The release is the first by Jeff Lake & Cellophane Flowers since the 2020 album release “Penny Lane” which is available on CD and digital outlets worldwide. Lake does not stray far from the Lennon/Ono classic; but, his voice does soar on the higher vocal lines sung by Yoko Ono on the choruses of the original version. This plus a simple score for guitar and string trio make this holiday classic worthy of a listen.
The idea for the “The Christmas Chronicles” was conceived in 2019 while Lake was singing in church choir during Christmas Eve mass. “Pastor Sallie began speaking of the Christmas Day Truce in 1914 during World War I.” says Lake. “I’m a huge history buff and Beatles fan so I immediately connected the dots to John & Yoko’s song. In that moment, ‘The Christmas Chronicles’ were born”.
Narrator Scout Ford (x-TSO) tells the story: “British and German troops emerged from their trenches exchanging hand shakes and small souvenirs… and in that one magical moment, the war was over!”
Singer/Songwriter Mark Newman is proud to present the new single “At The Border” now available on Spotify and all the major music services.
About the tune, Mark explained – “At The Border” was originally written with the struggles people were experiencing fleeing the war in Ukraine in mind, but is also inspired by the millions of people all around the world trying to escape oppression and hunger on an ongoing basis”.
Mark Newman is a well traveled and in demand professional whose musical prowess has taken him around the world several times over; working alongside many soul, blues, and rock greats of our time including John Oates (Hall & Oates), Jim McCarty (The Yardbirds), Willy DeVille (Mink DeVille), Sam The Sham, Bobby Whitlock (Derek and the Dominos) and Sam Moore (Sam & Dave).
As part of several of these bands, Mark has shared the stage with stars such as Sting, Elvis Costello, Travis Tritt and Carla Thomas as well. As an opening act, Mark and his original band have played many dates with acts like Delbert McClinton, Les Dudek, The Doobie Brothers, Don Felder of The Eagles, David Bromberg and many others. A multi stringsman, Mark has mastered electric/acoustic/lap steel guitar as well as the mandolin and dobro.
Past releases include the singles “Tulsa”, a song and video created in remembrance of the Tulsa Race Massacre of 1921, and “From Me To You”, a cover of the Janis Ian song for her Better Times Project of 2020. His most recent album, “Empirical Truth” was the 2019 Winner of The Long Island Blues Society Best Album Category, and represented the NY area in competition at the International Blues Challenge in Memphis. Earlier records include 2006’s “Must Be a Pony”, 2010’s “Walls of Jericho”, and 2015’s “Brussels” – a live acoustic-driven EP.
Insightful Lyrics and Intricate Melodies Abound on Sophomore Offering
Prolific young Singer/Songwriter/Producer Rob Eberle is proud to present his sophomore ep release, “i can’t say goodbye”, now available on Spotify and all the major music services.
Listening to the lyrics on his debut ep, “WHERE’S MY MIND?”, there is no doubt that “High School” Rob Eberle’s life had been the living proof of teenage heartbreak. Now at the ROC NATION School, his sophomore release, “i can’t say goodbye” takes a different approach. This time, Eberle focuses on writing songs that were inspired by other people’s heartbreak & hardships, telling the story through their eyes.
The five song collection is broken up into five different emotions. The feeling of anger shown through the production & lyricism of “wanting more”, the feeling of fear described through “far”, despair through “reckless”, angst through “hope u feel ok” and finally, vulnerability through “there’s not enough time?”
Rob writes all of his own music, lyrics and works with various producers to create unique moments within his songs. Each one of Eberle’s songs are stories and moments into his life and others around him.
Influences from an eclectic group of artists such as FINNEAS & Billie Eilish all the way to Madison Beer, Olivia Rodrigo and Panic! At the Disco have helped to create Eberle’s genre bending darker-alternative to traditional Pop Rock.
Rob Eberle is a young, versatile singer & songwriter and producer from Long Island, NY. Rob’s ability to capture snapshots of his life and other’s experiences is a special gift that separates him from lyricists within his genre.
Since the release of Eberle’s first single, “Enough” in 2020, he has continued to raise the bar with impeccable lyricism and melodic mastery. 2021 saw the release of his debut ep, “WHERE’S MY MIND?”. The future is a mystery, but the destination is not.
A Story of a Promising Young Life Cut Short by Another’s Irreparable Actions
Continuing his march up the stairway to stardom, burgeoning upstart Singer/Songwriter/Producer Rob Eberle has teamed up with powerful vocalist April Rose Gabrielli for “Reckless”, the latest offering from his forthcoming sophomore release.
The after-prom that was supposed to be the start of their lives was lost due to irresponsible intoxication. Two lovers attend a party, drink then drive and only one makes it out alive. Guilty of his actions, he can’t stop thinking about her; as if she’s haunting him. He can’t remember much, just sirens.
Rob writes all of his own music, lyrics and works with various producers to create unique moments within his songs. Each one of Eberle’s songs are stories and moments into his life and others around him.
Influences from an eclectic group of artists such as FINNEAS & Billie Eilish all the way to Madison Beer, Olivia Rodrigo and Panic! At the Disco have helped to create Eberle’s genre bending darker-alternative to traditional Pop Rock.
Rob Eberle is a young, versatile singer & songwriter and producer from Long Island, NY. Rob’s ability to capture snapshots of his life and other’s experiences is a special gift that separates him from lyricists within his genre.
With the release of his debut ep, “WHERE’S MY MIND?” The 17-year-old New York native captures what it truly means to be heartbroken. Since the release of Eberle’s first single, “Enough” in 2020, he continues to raise the bar with impeccable lyricism. Currently working on the release of his sophomore ep, Eberle is gearing up for what’s next.
Country Music’s Biggest Night™ Delivers Unforgettable Collaborations While Honoring Loretta Lynn with Multiple Tributes and Celebrating Alan Jackson’s Lifetime Achievement Award
Luke Combs Receives the Top Honor of CMA Entertainer of the Year, While Lainey Wilson Wins CMA New Artist of the Year
Luke Combs Receives the Top Honor of CMA Entertainer of the Year for a Second Consecutive Year, While Lainey Wilson Wins CMA New Artist of the Year
Luke Combs, Cody Johnson and Lainey Wilson Tie for the Evening’s Most Wins, Taking Home Two Awards Each
Watch CMA Awards Performances on YouTube, and Catch the Full Show Later Tonight on Hulu
NASHVILLE — “The 56th Annual CMA Awards” made its grand return to Nashville’s Bridgestone Arena this evening, honoring musical legends, showcasing emerging artists, and highlighting unforgettable collaborations, all while celebrating excellence within Country Music. Hosted by Luke Bryan and Peyton Manning, Country Music’s Biggest Night™ delivered extraordinary performances and heartwarming moments, shining a light on a community like no other.
With a touching tribute to the iconic Loretta Lynn, Country Music superstars Miranda Lambert, Reba McEntire and Carrie Underwood opened “The 56th Annual CMA Awards,” performing a medley of Lynn’s classics that included “You Ain’t Woman Enough,” “Don’t Come Home A-Drinkin’ (With Lovin’ on Your Mind),” and “You’re Looking At Country,” before concluding with all three artists coming together to perform “Coal Miner’s Daughter.” Carly Pearcelater took the stage, first speaking to how Lynn inspired and mirrored her own musical journey before being joined by Musician of the Year winner Jenee Fleenor, Sonya Isaacs, and Ricky Skaggs to perform Pearce’s original song, “Dear Miss Loretta.”
A thunderous roar echoed throughout Bridgestone Arena the moment Country Music legend Alan Jacksonsurprised the crowd by performing his hit “Don’t Rock the Jukebox.” Dierks Bentley, Jon Pardi, Lainey Wilson and Underwood were on hand to honor the 2022 CMA Willie Nelson Lifetime Achievement Award recipient with exceptional performances of Jackson’s greatest hits including “Remember When,” “Chattahoochee,” “Drive (For Daddy Gene),” and “Chasin’ That Neon Rainbow.”
Known for its once-in-a-lifetime collaborations, the CMA Awards also brought Brothers Osborne together with The War And Treaty for a show-stopping performance of the Rolling Stones’ “It’s Only Rock & Roll (But I Like It),” while Chris Stapleton and Patty Loveless performed a stirring rendition of “You’ll Never Leave Harlan Alive.” Ashley McBryde welcomed friends Brandy Clark, Caylee Hammack, Pillbox Patti, and John Osborne to the stage for a powerhouse performance of Linda Ronstadt’s classic “When Will I Be Loved,” while Kelsea Ballerini was joined by friends Kelly Clarkson and Pearce for a cheeky performance of their new song “YOU’RE DRUNK, GO HOME.” Thomas Rhett and Katy Perry came together to perform their heartfelt new single, “Where We Started,” while HARDY and Wilson performed a deeply powerful version of their collaboration “wait in the truck.”
For a second consecutive year, Luke Combs took home Entertainer of the Year. First-time winner tonight, Wilson took home New Artist of the Year and Female Vocalist of the Year, joining Alison Krauss and Underwood as the only other artist to win both Female Vocalist and New Artist in a single year. Stapleton becomes the fifth most-winning artist in CMA Awards history with tonight’s Male Vocalist of the Year win, behind Brooks & Dunn, Vince Gill, Jackson and George Strait. Stapleton also becomes the most-winning artist in the Male Vocalist category.
Additional artists taking the CMA Awards stage tonight included Bryan, Combs, Cody Johnson, Elle King, Marcus King, Jo Dee Messina, Cole Swindell, The Black Keys, Morgan Wallen, and Zac Brown Band. Watch the evening’s biggest performances now at YouTube. Starting later tonight, catch the full show on Hulu.
Media can access video footage, photos and additional assets from “The 56th Annual CMA Awards” at CMApress.com.
“The 56th Annual CMA Awards” is a production of the Country Music Association. Robert Deaton is the Executive Producer, Alan Carter is the Director, and Jon Macks is the Head Writer.
See below for the complete list of winners from “The 56th Annual CMA Awards.”
ENTERTAINER OF THE YEAR
• Luke Combs
SINGLE OF THE YEAR Award goes to Artist, Producer and Mix Engineer
• “’Til You Can’t” – Cody Johnson
• Producer: Trent Willmon
• Mix Engineer: Jack Clarke
ALBUM OF THE YEAR Award goes to Artist, Producer(s) and Mix Engineer(s)
• Growin’ Up – Luke Combs
• Producers: Luke Combs, Chip Matthews, Jonathan Singleton
• Mix Engineers: Jim Cooley, Chip Matthews
SONG OF THE YEAR Award goes to Songwriter(s)
• “Buy Dirt”
• Songwriters: Jacob Davis, Jordan Davis, Josh Jenkins and Matt Jenkins
FEMALE VOCALIST OF THE YEAR
• Lainey Wilson
MALE VOCALIST OF THE YEAR
• Chris Stapleton
VOCAL GROUP OF THE YEAR
• Old Dominion
VOCAL DUO OF THE YEAR
• Brothers Osborne
MUSICAL EVENT OF THE YEAR Award goes to Artist(s) and Producer(s)
• “Never Wanted To Be That Girl” – Carly Pearce and Ashley McBryde
• Producers: Shane McAnally and Josh Osborne
MUSICIAN OF THE YEAR
• Jenee Fleenor, Fiddle
MUSIC VIDEO OF THE YEAR Award goes to Artist and Director
• “’Til You Can’t” – Cody Johnson
• Director: Dustin Haney
NEW ARTIST OF THE YEAR
• Lainey Wilson
About the CMA Awards The first “CMA Awards Banquet and Show” was held in 1967. The following year, the CMA Awards was broadcast for the first time – making it the longest running, annual music awards program on network television. The CMA Awards have aired on ABC since 2006. ABC is the network home of the CMA Awards and CMA’s other two television properties, “CMA Fest” and “CMA Country Christmas.”
All balloting is tabulated by the professional services organization, Deloitte.
As used in this document, “Deloitte” means Deloitte & Touche LLP, a subsidiary of Deloitte LLP. Please see Deloitte.com/us/about for a detailed description of Deloitte’s legal structure. Certain services may not be available to attest clients under the rules and regulations of public accounting.
(New York) Acclaimed UK based eclectic rock band Otherish, has released the video for “Their Mistake”, a smashing single from the recently released album “Gone Wrong Rainbow Blues”, to YouTube.
Who are Otherish? George, Paul, Mark and Francis: Irish-English outsiders, musician-poets, sweethearts, alchemically active friends. 4 gifted misfits with confusing outsider music career pedigrees: together and alone, they have toured the world, lived the dream, done their time, somehow survived as musicians, friends, and brothers.
“I suppose the thing about ‘Their Mistake’ is, it’s trying to be a frolicsome tune engaging with a heavy notion, how we seem stuck in a feedback loop with those who manifest our collective shadow, who thus become ever more powerful and inevitably use that power to push us all ever deeper into the shadow, to the point of darkening our spirit completely. But (and hurrah!), if they were to accomplish this all-consuming obsession, lifeless matter is all they’d win and all they’d become.” – George
(photo by Charlie Romjin Barr)
“Gone Wrong Rainbow Blues”, 14 songs by George, Paul, and Francis. 3 songwriters: Paul, George, and Francis, with Mark, Paul’s brother, on drums. A fallen iridescence here, a cinema-sweep of themes and sounds: The 13/8 timed opener “Boil Me into Life”, with Paul’s improvised one-take speechsong, is probably unlike any other known music, heralding George’s rueful paean to the damaged soul of “England”; waves wash up on a Gael’s waking dream in Francis’ “Kingdom of the Birds”. “Their Mistake” swanky broadside at spirit-sucking ghouls and their vapid acolytes gives way to elegiac lost-friend memorizing with “Planxty Mark Loudon”; “Car Park” finds itself on the brink in the rain, then disintegrates to the sublime, teasing “Dreams He’s Awake” and a quest for “the good, the real, the beautiful”; “Come Away” lives in liminal worlds, between faery and human, at the water’s edge, far out to the West; “Loughshore Dim” also occurs by a shore, in the shivering air, in the 1970s near Lough Neagh; “Lies Today”, gently punching us in face for the ovine acquiescers that we (mostly) are; “My Lagan Sunrays” cavorts with the sparklewaters of Belfast’s river; “Gold in the Stormwaves” surrenders to the waves that shared space with our ancestors, the first living organisms; “Passing Show”, life’s petty-serious play, sweet flickering candle, heat, light and universes toying with time; “Right All The Time”, an epic message from the future.
“In the everywhere fallout of the gone wrong rainbow, Otherish treat listeners as intelligent and sensitive creatures. Gone Wrong Rainbow Blues, an articulate and original album, is made to be worthy of your time and could even be a modern classic” – Barbara Smandler
Otherish go back a long way with each other, and always have a laugh when they are in each other’s company. They appear like a vector of the vanishing-rare uncynical gene, mapless, illuminated from within. Professorial buckeejits, nice funny guys, poet artists, witty and sharp. Powerful experience of life’s answerless questions, still here.
“Wonderful life forms evolved in an earthly paradise of natural creativity until finally discovered a mere 800 years ago, whereupon many of this pristine archipelago’s stranger and more beautiful lifeforms were butchered and eaten…” explains a friendly bletherer. “Otherish is a bit like medieval New Zealand.”, he concludes. Another describes Otherish as “perched at the edge of the big plate everyone alive is on, looking around in all directions.”
Quietly, almost imperceptibly—and most often entirely out of view—inspiration comes knocking and entices someone to veer off the beaten track. In the darkness of the unknown, where it’s too far to turn back but there’s still no sense of where one might arrive… that is the place where the Belfast-via-Bristol quartet Otherish find themselves on their sophomore album Gone Wrong Rainbow Blues.
Four misfits with three distinct songwriters in their ranks, it took Otherish decades to get here. In fact, they weren’t here just a year ago, they can’t tell you how it happened, and they can’t even describe what it sounds like. That’s a good thing, because it’s best when bands that strike gold on blind intuition stay blind. From a listener’s standpoint, however, the appeal of Gone Wrong Rainbow Blues is far less difficult to pin down.
Startlingly fresh, Gone Wrong Rainbow Blues lands like a welcome splash of cold water to the face, immediately recognizable as a work that captures a band stepping decisively out onto its own limb. Conversely, the album bears a familiar quality, as Otherish somehow wrap their arms around the full arc of rock music and emerge with a seamless amalgamation—familiar and inviting yet undeniably offbeat.
So effortless and natural is the band’s ability to channel its influences that listening to Gone Wrong Rainbow Blues is like looking into a mirror, where the listener hears elements of whatever they themselves bring to the table: fans of ‘60s folk and psychedelia, ‘70s prog and classic rock, ‘80s baroque pop, ‘90s alternative, art rock, contemporary indie pop, chamber pop and even avant-garde composition will all hear themselves reflected in the album.
Nevertheless, there’s an unmistakable sense that this music could only have been made right now. Like an author who’s spent a lifetime borrowing books from the library and realizes that their own voice came into fruition somewhere along the line, Otherish have invented their own language on tracks such as “Boil Me Into Life,” “England,” “Planxty Mark Loudon,” etc. As the album unfolds, it becomes apparent that Otherish have become one of those groups that can only be described in terms of their own sound.
Sure, the band unabashedly wears hallmarks of other artists on its collective sleeve: a touch of, say, Peter Gabriel or David Bowie here and, perhaps, a dash of Richard Thompson or Nick Drake there, etc—all underscored by Beatles harmonies and faint hints of post-punk’s exploratory spirit, as well as echoes of Gaelic folk music and an innate affinity for written verse that’s a pillar of Irish culture.
The secret to the way that Otherish allow these styles to bleed into one another is that the band’s four members have essentially been doing the same with each other for half a century: the bond between brothers Paul and Mark Bradley and their bandmate Francis Kane runs as deep as their bond with one another. Kane, in fact, was born in the same home as the Bradleys, just days apart from Paul.
In the ‘80s, the Bradleys and Kane relocated one by one from their native Northern Ireland to Bristol, England, each lured by the nurturing embrace of the arts community there, as well as by Bristol’s collective ethos that puts a premium on humility. As Kane points out, it’s fitting that the most famous artist to ever emerge from Bristol—the street-art legend Banksy—remains staunchly anonymous.
Along the way, Mark, Paul and Francis came across George Claridge, an Englishman born in Wales who joined the crew in time for them to form the fringe alternative outfit Me in the early ‘90s. (The late keyboardist Nick Scooper, also English, joined in ‘93. His presence endures in Otherish even after his passing in 2018.) Once proclaimed “best band in Bristol” by NME, the lads now concur with the assessment that Me’s impact was “not enough even to render cult status.” They didn’t escape Radiohead’s notice, but that’s a story for another day…
Looking back on the way Me fumbled through their bid for wider recognition, Kane, Claridge and the Bradleys recall playing to empty halls. They also insist they had the time of their lives. In hindsight, they understand that trying too hard often takes you further afield from your artistic truth. These days, Otherish are refreshingly unencumbered by self-consciousness, so much so that they’ve managed to recapture something akin to the naiveté that guides children when they fingerpaint.
No surprise, the buzz around Gone Wrong Rainbow Blues comes as a surprise that no one in the band expected. It shouldn’t, however, surprise anyone on the outside looking in: with George, Francis and Paul all contributing songs, vocals and multiple instruments, Otherish functions as a microcosmic example of multiplicity flourishing against all odds. Kane’s elaborate, expressionistic wordplay about ancient excreting slime on “Kingdom of Birds,” for instance, runs in direct opposition to Claridge’s direct, almost deadpan delivery on “Their Mistake.”
The album, in fact, brims with examples of contrast and complementarism. Seasoned by all the years of playing together, it’s as if Otherish can’t help but draw from a kind of unwitting intuitive wisdom. They would probably balk—maybe even laugh out loud—at the suggestion that there’s any wisdom involved.
50th Anniversary Edition Announced Due for release December 2nd via A&M/UMe
Newly remastered album available on 180-gram vinyl and hi-res digital for the first time since its original release
Cat Stevens, London, May 25, 1972 (Photo Credit: Michael Putland/Getty Images)
Following the 50th anniversaries of Yusuf / Cat Stevens’ seminal albums Mona Bone Jakon, Tea for the Tillerman, and Teaser and the Firecat, 2022 will see the legendary singer-songwriter celebrate 1972’s Catch Bull At Four with a newly remastered 50th anniversary edition. The platinum-selling title, which marked Cat Stevens’ most successful chart album, will be available on vinyl for the first time since its original release on both 180-gram black vinyl and limited edition 180-gram orange vinyl, which will be available exclusively on CatStevens.com, UDiscover Music and Sound Of Vinyl. Catch Bull At Four will also return to CD for the first time since its reissue in 2000 and the new remaster will also be available for streaming in both standard and stunning hi-resolution audio. All formats will be released December 2nd via A&M/UMe.
Speaking about the experience, Yusuf / Cat Stevens remembers:
“Contrary to the spiritual nature and theme of the album, Catch Bull At Four went straight to number one and became one of my biggest commercial accomplishments. It was scary! I feared it would divert me from my spiritual goal. That’s precisely why I followed it up with an album called Foreigner, which would sacrifice my newly acquired crown for a welcome return to obscurity.”
Released in the autumn of 1972, Catch Bull At Four marked Cat Stevens’ sixth studio album and fourth release on Island Records – A&M in the U.S. – following Mona Bone Jakon, Tea for the Tillerman (both 1970), and 1971’s Teaser and the Firecat. In the two years leading up to the highly anticipated title, the British singer-songwriter had soared to incredible heights, becoming a global star with such hits as “Father and Son,” “Wild World,” “Where Do The Children Play?” “Morning Has Broken” and “Peace Train.”
The album found Cat Stevens reuniting with producer (and former Yardbird) Paul Samwell-Smith and guitarist Alun Davies, who collaborated with the artist on his previous three records.
Joining them in the studio was drummer Gerry Conway, who appeared on Teaser and the Firecat, plus bassist Alan James, and keyboardist Jean Roussel. The album’s title, meanwhile, was inspired by Kuòān Shīyuǎn’s “Ten Bulls of Zen,” a series of short poems, in which a protagonist sets out in search of a bull, catches and tames him, and, through the experience, finds enlightenment.
When examining the years leading up to Catch Bull At Four, it’s certainly no surprise that the artist found himself looking increasingly inward. After having initial success as a teenager with hits like “Matthew and Son” and “I Love My Dog,” Cat Stevens faced a near-fatal battle with tuberculosis. As he endured months of recovery, the artist made significant changes to his life and began to explore spirituality.
This metamorphosis was also reflected in his songwriting, as he embraced a stripped-down, folk-rock aesthetic, while his lyrics became increasingly reflective and poetic.
During this period, which proved to be quite prolific, the artist wrote more than three dozen songs – the majority of which appeared on Mona Bone Jakon, Tea for the Tillerman, and Teaser and the Firecat. By the time Cat Stevens began work on Catch Bull At Four, however, he was entering a new creative chapter.
The songs on Catch Bull At Four find the artist grappling with his dizzying rise to fame, while, at the same time, delving deeper into his spiritual journey. This search for meaning is illustrated in the album’s title, which specifically references the challenge and strength one must summon as they seek enlightenment.
The opening track, “Sitting,” also speaks to this dichotomy. Cat Stevens sings, “Sitting on my own not by myself/Everybody’s here with me/I don’t need to touch your face to know/And I don’t need to use my eyes to see.” Later, the artist speaks to the trappings of celebrity: “Bleeding half my soul in bad company/I thank the moon I had the strength to stop.”
Sonically, the songs reflect a stylistic shift, with Cat Stevens opting for a more elaborate sound than his previous three records, introducing a broader array of instrumentation, backing vocals, and lush, multi-layered arrangements.
This development resulted in no small part from the fact that Cat’s steep ascent into superstardom meant that he found himself performing in ever bigger venues to increasingly large crowds. He felt the need to expand his sound accordingly and began to lean on his love of R&B, soul, and even musical theatre to do so. These influences can be heard across the album, but particularly in such tracks as “Can’t Keep It In” and “O’Caritas,” both of which find the artist expressing his concerns for the state of the world.
The foreboding album closer, “Ruins,” takes these sentiments a step further. In many ways the song can be seen as a successor to the prescient ecological anthem “Where Do The Children Play?” although, this time the outlook seems considerably more bleak. “Ah but it’s all changed winter turned on a man/Came down on day when no-one was looking and it/Stole away the land, people running scared, losing hands/Dodging shadows of falling sand, buildings standing like empty shells/And nobody…helping no-one else,” he sings.
Catch Bull At Four certainly has plenty of moments of optimism as well. A joyful, romantic spirit runs through songs like the tender “Sweet Scarlett” and the playful “Angelsea,” featuring guest vocals from singer Linda Lewis. Cat Stevens also offers a message of hope with “Silent Sunlight.” Bolstered by strings and woodwinds, he sings about embracing a childlike sense of wonder: “Sing a song of love and truth/We’ll soon remember if you do/When all things were tall/And our friends were small/And the world was new.”
These songs contain all the charm, sincerity and imaginative flair that were so instrumental to the success of his previous three albums, and his gift for timeless folk storytelling arguably reaches its zenith with the glorious “The Boy With A Moon And Star On His Head” Clocking in at nearly six minutes long, the song weaves the elaborate tale of a man’s passionate and deeply romantic transgression prior to his wedding. A year later a baby is left in a basket upon his doorstep and the child grows to become a sage who gives voice to the enlightened message of universal love “And people would ride from far and wide just to seek the word he spread/I’ll tell you everything I’ve learned/And love is all, he said.”
Upon its release Catch Bull At Four built on the massive success of its predecessor, becoming Cat Stevens’ first album to top the Billboard 200, where it remained No. 1 in the U.S. for three consecutive weeks. Certified Platinum by the RIAA, and broadly acclaimed by critics, Catch Bull At Four also topped the album charts in Canada and Australia and peaked at No. 2 in the U.K. Single “Sitting,” meanwhile, was a Top 20 hit in the U.S., while “Can’t Keep It In” peaked at No. 13 on the UK pop charts.
Now, a half a century later, fans can enjoy Catch Bull At Four at its best, with audio digitally remastered at 24bit/96kHz from the original stereo production tapes by Mazen Murad. The LP edition is pressed on 180-gram vinyl and housed in a gatefold jacket, featuring newly-restored artwork. The CD edition, meanwhile, includes a new 16-page booklet featuring photos and press clippings from the era, as well as lyrics.
50th Anniversary Editions of Catch Bull At Four will be released on December 2nd via A&M/UMe. Full format details are listed below.
CATCH BULL AT FOUR
1LP 50th ANNIVERSARY REMASTER Side A 1. Sitting 2. Boy with a Moon & Star on His Head 3. Angelsea 4. Silent Sunlight 5. Can’t Keep It In
Side B 1. 18th Avenue (Kansas City Nightmare) 2. Freezing Steel 3. O’Caritas 4. Sweet Scarlet 5. Ruins
50th ANNIVERSARY REMASTER (1CD, 24bit/96kHz Hi-Res Digital, Standard Digital) 1. Sitting 2. Boy with a Moon & Star on His Head 3. Angelsea 4. Silent Sunlight 5. Can’t Keep It In 6. 18th Avenue (Kansas City Nightmare) 7. Freezing Steel 8. O’Caritas 9. Sweet Scarlet 10. Ruins
