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Fate-Crossed Rock Duo LIBRE STONE Lay it All On The Line For New “Mark of Cain” Single and Album

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England’s fate-crossed rock duo Libre Stone lay it all on the line when it comes to the release of their new full-length album and title single, Mark of Cain — available now.

The 11-song strong release follows their debut EP, Wrecking Ball, and lands as a passion project they were forced to create remotely due to a global-wide pandemic.

The pair met at a Tears for Fears fan group gathering, and found commonality and mutual ground within each other from their first encounter. “Dion Smith and I got chatting and he told me he played a bit of guitar — which was an outright lie,” Julian Orzabal (brother of Roland of Tears For Fears) recalls of their first interactions. “He plays a lot of guitar, and plays it very well.

“I said I needed a couple of guitar solos for a project I was working on,” Julian continues. “A week or so later he sent me the solos, and they were great. He then asked me to write some lyrics on a tune he had, and I obliged.

“That was the start of Libre Stone.”

From there, the two would buckle down as musicians and songwriters, music makers and storytellers, bouncing ideas off one another, and trusting the intuition of the other to create the soundscape that would eventually shape Libre Stone into what we hear today. “We soon realised we were a great combination for writing together because he brought the ideas to the areas I was not so good at, and I brought the missing parts of the puzzle to the areas he was not so good at,” Dion says. “So, it just worked!

“We continued to write and realised, the more we worked together, the easier the process became and the better the songs were.”

Now, with their commitment to creating together had become concrete, it was time for Libre Stone to turn to penning an arsenal of songs that would later become a debut EP, followed by their full-length effort, Mark of Cain. “We decided to write a full album of material and we continued to write enough material for a second album,” they say.

Though the pandemic of 2020 would prove a challenge in terms of conventional brainstorming and collaborations, the pair would get creative and turn to writing and recording the album completely solo from one another. “We recorded everything remotely,” they recall, with Dion adding: “Julian and I had ideas separately, which we would email back and forth to further develop the ideas. We were never in the same room working on the songs for the album.

“When creating music remotely and not being in the same room because of lockdown, you would think it would be really difficult to make music — but it was quite the opposite,” Dion continues. “It was actually very rare for us to come up with ideas that the other person didn’t like, and everything always seemed to click in place.”

Dion and Julian found themselves in the fortunate luck of an A-list team of guest musicians who then rounded out the sound of Libre Stone, converting the duo into a lush, full-band. Featuring Jamie Wollam (drums), Andy Carr (bass), Michael Wainwright, and Guy Townley (backing vox), the duo says: “We had the opportunity to work with other first class musicians which helped bring the Mark Of Cain songs to something we are both really proud of. It was a fantastic opportunity to work with outstanding musicians on the album, both Jamie and Andy brought their own styles and sounds to the music.”

“I think they both really understood what we were trying to do, and the sound we were trying to achieve,” Dion adds. “And, of course, with the additional backing vocals from Michael and Guy, it brought everything to how Julian and I imagined everything would sound.”

Title track “Mark of Cain” is a rushing rock bop; melodic, splashy electric riffs and licks from Dion, drawing the rumbling of Julian’s deeply seeded vox. It’s oozing with classic rock nostalgia, featuring memorable hooks and danceable bass/percussion. Dion and Julian take turns in the spotlight, from the electric lo-fi, to the sing-along chorus, “Mark of Cain” are each of them, and both of them; beautifully intertwined while singularly celebrated, tantamount to their success as a duo.

The album teaser is available online; a 90-second sneak peek into the album as a whole. Akin to flipping the book open to read the highlights, the teaser will draw you into Mark of Cain. Libre Stone’s full length effort is as much a triumph as it is a love-letter to the music that moves and inspires both of them. And now they’re offering that to each of us.

Mark of Cain is available now.

Canadian Folk Troubadour JAMES GORDON Highlights Growing Gaps in Humanity with “The Great Divide”

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Most of us know what living on the “wrong side of the tracks” means, but how many of us realize the role social injustice often plays in who lives there? Prolific Guelph, ON-based folk singer-songwriter James Gordon examines this, taking a deeper look into humanity’s widening chasms, pulling no punches in the process, in this, his new single, “The Great Divide” available now.

“There’s a railroad track near my house that divides the ‘haves’ and ‘have nots’,” he notes. “It’s the same in many towns.

“It got me thinking about all the different ‘divisions’ we’ve created in our society,” he continues. “Economic, racial, class, etc… The song ‘The Great Divide’ came from this observation.”

Like a freight train blowing its attention grabbing horn, “The Great Divide” chugs along, calling out social injustices that keep surfacing in our boiling melting pot. The wail of the mouth harp in the song’s intro and extro echoes the growing chorus of discord we’re hearing more often for various reasons around the globe.

In the key folk music tradition of turning a mirror on ourselves and our human condition, Gordon reflects an image that is uncomfortably true and impossible to turn away from.

It’s not just the tracks that split this town
It’s a system built to keep you down
If you don’t have the money and your skin is brown
Then slavery’s alive
All along the great divide

“The Great Divide” is the second single and lead track from Gordon’s 40th (yes, 40th) album, When I Stayed Home — a self-produced, pandemic-born project released in July 2021. Although Gordon admits he’s “lost track” and there could actually be more than 40 albums under his belt now; over his enduring forty-year career, Gordon has released music both as a longtime, successful solo artist, and as a founding member of the groundbreaking Canadian folk group, Tamarack.

“I can’t seem to stop writing songs,” Gordon shares. “Mostly, they write themselves — I just hold up a net, and catch them as they flutter past.”

Written and recorded at home during the extended periods of pandemic imposed isolation that we’ve all experienced since early 2020, the album is just one of a number of projects Gordon dove into during lockdown. A legendary ‘gig pig’ who has toured relentlessly around the world since he was 20 years old, Gordon, like many musicians, found it difficult at first to adjust to staying home but then, he got busy, really busy.

From his tiny home studio, Gordon finished a novel that is accompanied by a 36-song recording; he did a virtual tour of his one-man show “James Gordon’s Emergency Climate Musical”; he kicked cancer’s butt, dealt with the overwhelm of his side hustle as a Guelph city councillor during Covid, and perhaps most significantly, wrote and recorded his 40th album. He may have been staying home but he was anything but standing still.

During a time when all of humanity has been threatened by a microscopic foe, Gordon had a lot of personal time to focus on songwriting and sharpen his recording skills to bring those new songs to life. The new songs are as current and they are socially conscious, with the album’s first single “We’ll Bring You Home” written in response to the shocking news that unfolded around Canada’s Indigenous residential schools this year.

In addition to “The Great Divide,” and its commentary on the income gap and racism, the songs on When I Stayed Home examine climate change, empathy, social justice, our natural environment and ‘love in a challenging time.’

“These are songs that demanded to be written,” says Gordon. “And I’m excited about sharing them with the opening-up world.”

“The Great Divide” and When I Stayed Home are available now.

What Happens When A Violinist Breaks A String During Tchaikovsky

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Violinist Ray Chen broke a string while playing Tchaikovsky, and handles it like the pro he is.

It’s Time to “Smile”: Punk Rock Band BUSM Debuts Newest Release in Rock ‘N’ Roll Campaign

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With tangy wah-guitar peppered on top of throbbing bass and drum handoffs, Canadian rockers BUSM — Big Up Sour Mash — have unleashed their newest high-voltage single, “Smile” — available now.

Sure to give you something to “Smile” about while you jam along, BUSM is a three-piece hard rock outfit from Oshawa, Ontario, and features Shawn Cormier on guitar, Dustin Cormier on bass, and Mike Loyal on drums. Their journey started as a comedic acoustic-rock group, but eventually morphed into “a three-headed dragon of electric commercial punk mixed with dark, erotic undertones of rock ‘n’ roll.”

While there isn’t so much fire being spewed in BUSM’s newest single, “Smile” features plenty of the punk and rock ‘n’ roll Big Up Sour Mash is recognized for. “The intention with ‘Smile’ was a riff-rock blues vibe reminiscent of Jimi Hendrix and/or Stevie Ray Vaughn,” the band recollects. “Shawn’s high-pitched vocal added more of a pop sound to the jazzy instrumentals of the rhythm section, played by Dustin (bass player) and Mike (Drummer).”

As is tradition for any good punk band, BUSM has managed to sneak some clever underlying messages into their newest release. While “Smile” is disguised as a funkadelic pop single, the overall message isn’t lost on anyone who is critically listening.

“In some ways, the song lyrics reflect a commentary on social media and the pressure everyone feels to look good in society: to project a positive image,” the band says. “It is a commentary on the organic nature of smiling — an act which cannot be forced.”

It is worth mentioning BUSM’s producer, Austin Nolan, and, specifically, his dedication to the acquisition of gear and his grasp on audio engineering. Big Up Sour Mash gives Nolan credit for his dedication to the group, reflecting on Austin Nolan’s input during the creative process. “Austin is very very meticulous as an engineer/producer, taking painstaking time to sculpt the body of the sound that you hear throughout this whole EP.”

BUSM started a release campaign at the beginning of 2021, each housed under the Smile EP, and with “Smile” as their newest addition. “We took a new approach to releasing the songs by debuting them all as singles, each with their own unique album art,” they say of the inventive rollout. “We took a lot of time figuring out the aesthetics of each title cover, which we are particularly fond of and proud of.”

“Smile” is available now.

Multi-Platinum Australian Roots Rockers THE BLACK SORROWS Release Fiery “Revolutionary Blues” Single

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In this era of reality TV and lightning fast virality, it’s extraordinary when an artist can achieve fame for more than 5 minutes. Cue: The Black Sorrows. Nearly 40 years after their hometown debut, the legendary Australian roots rock band has amped up their enviable catalogue with another in a long line of chart-busting albums and blistering new singles — Saint Georges Road and “Revolutionary Blues” are available now.

The second high-energy single from The Black Sorrows’ 22nd album, “Revolutionary Blues” rips out of the gate with a spirit of wild abandon crossed with polished confidence only years of honing musical craftsmanship can add.

“The band really owns this track,” says Joe Camilleri, Australian Recording Industry Hall of Famer and the main artist behind, and in front of, the internationally successful ensemble that has had a rotating and ever-evolving line- up of members and contributors since 1984. In the current TBS line-up, Camilleri is joined by Claude Carranza on guitar, James Black on keyboards, Mark Gray on bass and Tony Floyd on drums.

“It’s just a lot of fun,” he continues. “Initially, I had a different concept, but we took it into a country/blues/gospel sound. And lyrically, it could be about any time… There could be a revolution brewing somewhere.”

With its own heady brew of Saturday night roadhouse rhythm, dueling hot country guitar licks with honky tonk piano and soulful southern gospel vocals, “Revolutionary Blues” delivers handily on the promise of The Black Sorrows’ hit-filled past.

“History’s got its heroes
They all had to choose
And if I’m not mistaken
They sang the Revolutionary Blues”

Saint Georges Road may be album #22 for The Black Sorrows but, more notably, this new chart topper is Camilleri’s 50th career release, putting him in the esteemed company of other household names from Down Under like Olivia Newton-John, Jimmy Barnes, John Farnham and Slim Dusty.

The lifelong singer/songwriter, saxophonist, guitarist and producer with a five-decade career has well-earned the “Living Legend” designation bestowed on him by Australian Rolling Stone. Luminaries such as Elvis Costello, John Denver and Frankie Miller have recorded his songs and with The Black Sorrows alone, Camilleri has toured Australia relentlessly, played to sold out audiences across Europe, racked up 18 ARIA nominations, two ARIA awards and has sold well over two million albums.

The honours continue for Camilleri’s newest album with The Black Sorrows: Most recently, Saint Georges Road has parked at #1 on the ARIA Jazz and Blues Album chart and the 11-track collection has also hit #1 on the iTunes Australian Rock Albums Chart, the iTunes Australian Albums Chart and #2 on the Australian Blues and Roots Airplay Chart — all since its September 2021 release.

After releasing an impressive repertoire of hits that have become staples on Australian radio and beyond, Camilleri felt obliged to keep the creative bar high for the Sorrows’ latest effort. He brought the new batch of songs he co-wrote with his long-time collaborator Nick Smith to Peter Solley, the Grammy-nominated producer who helmed Camilleri’s breakthrough project with his band Jo Jo Zep and The Falcons in 1979 that gave him his first two top 40 hits.

Before they embarked on the project, Solley asked Camilleri one question: “What kind of record do you want to make?”

“A good one,” Camilleri replied.

Numbers and sales figures don’t mean as much to the seemingly ageless Camilleri as does making music that’s timeless.

“This album is a testament to Joe Camilleri’s long-lasting career and his burning desire to keep working at his craft. The album shows the power of love and inspiration that spans 40 years of our lives,” says Solley, who also adds his Hammond B3 and keyboards to the record. “I’m sure, Saint Georges Road will inspire Joe’s fans as well.”

Reflecting back to the final listening session as he completed the album with Solley, Camilleri recalls a profound moment. “We were two like-minded souls coming together for what could be the last time. We knew we had something special. A record that was a culmination of everything I’d done before and probably the best record I’ve made.”

The following day Peter Solley headed back to his home in the US. The day after that, Australia’s borders were shut as the global pandemic took hold. A fitting wrap on the latest project for an artist and his band that have always been right on time with their music.

The Black Sorrows’ “Revolutionary Blues” and Saint Georges Road are available now.

Sonic Reducers: The Grateful Dead Are Back On The Billboard Album Charts

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Sonic Reducers. 1 topic. 2 music nerds. 5 minutes.

We celebrate The Grateful Dead scoring their highest chart placement in 34 year, talk about why the Dead continue to thrive in an era when so much music is dying, and explain just who Dave is anyway.

The Jackson 5 Perform Classic Medley In First Appearance On The Ed Sullivan Show

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Start your day off right by watching The Jackson 5 “Medley: Stand!, Who’s Loving You, I Want You Back” performed on The Ed Sullivan Show, December 14, 1969.

The Rolling Stones’ Brian Jones Reviews the Singles of March, 1965

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Blind Date with Brian Jones of the Rolling Stones as he reviews the singles of March, 1965.

ASTRID TANTON Grapples with Heartbreak in “Love You”

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There’s no more powerless feeling than wanting to love someone only for that person to push that love away, and Canadian indie-pop singer/songwriter Astrid Tanton sits with such sentiments in her new single “Love You” — available now.

Fresh from her debut album, From My Eyes, Tanton’s vocals soar as she sings with the clear-voiced honesty of feeling (metaphorically) bruised by a relationship rotting from the inside, all amid velvety synth and full-bodied piano.

You’ve got me beat up and bruised
I crash into you
Another night, another fight
What should I do?
Because I just want to love you

“This song came from learning to navigate love and relationships,” Tanton says. “Being young and falling in love is completely idealized by society, when it can be really difficult. This song focuses on the fear of being vulnerable and trusting someone to be careful with your heart.

“Love isn’t easy, but nothing worth it ever comes easy.”

That vulnerability is conveyed in both the song and the video concept. “It was to be very stripped back, and focus on the words and emotions of the song,” she shares of the process. “I’ve done a lot of super fun, high-energy videos, so this song and video was a chance for me to do something different; something less polished and rawer.”

At 19, Astrid Tanton is an accomplished artist, writer, and producer. Having loved music from a young age (“Eye of the Tiger” was a favorite at age three) and starting to write with her musician brother at age 11, it was clear to everyone around her that music would always rule her life.

Her goal? Make sure no young person feels alone. Having volunteered at the Regent Park School of Music for four years, Tanton has seen firsthand how music can show kids from a young age that their voices make a better world. Astrid lives in Toronto and attends Ryerson University.

Each song on From My Eyes is as confessional as “Love You.” “I really wanted to let people into what has shaped me into the singer/songwriter and young woman I am today,” Tanton says. “Each song recalls and explores a pivotal event in my self-growth.

“From My Eyes means a lot to me,” she continues. “Not just as a singer, but as a woman being vulnerable and open about experiences that weren’t always easy but made me stronger.”

Her new single “Love You,” and album, From My Eyes, are available now.

A Star In Colombia! Toronto-Based CAROLINA LOPEZ Brings Fire to the Dancefloor with “El Latin Dance”

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Sometimes, all it takes is an invitation to get out on the dancefloor, and there’s no turning one down from Carolina Lopez, who keeps it muy caliente with this, her new single “El Latin Dance” — available now.

A little bit of Cumbia mixed with a driving hip-hop beat, “El Latin Dance” is a summons to dance — no matter your culture, and no matter how shy you might typically be.

“This Latin song only has one rule: to dance,” Lopez says, before assuring, “and I promise – you don’t need to be an expert…

“Just feel it, let the music in, and let’s go to dance!”

It’s a super-sexy jam, with the drums and bass as the stars, while Lopez positively purrs, mostly in Spanish. The sole line she sings in English is “I told him, ‘Let’s go to dance.’”

That lyric was borne of a memory that suddenly hit her while she was working in the studio; the memory was of a man she had once loved. “I remember, when I listened to the bass, it drew me into the exact moment when I saw the deepest chestnut eyes of a man on our first date…” she recalls. “Eyes that I have never stopped seeing since.

“Those eyes deserve a song, I thought.”

And yet “El Latin Dance” isn’t just about getting lost in the eyes of a lover on the dance floor. “This song speaks not only about love, but also about the beauty of sharing our cultural differences with someone open to appreciate them,” Lopez says.

The song was produced by Roy Hamilton III; Lopez also brought in her brother, Esteban Lopez Piedrahita, an award-winning DJ and producer in Colombia, to infuse it with Latin drums. The result is a blend between both North American and Latin sounds. “A fresh and colorful mix between two important cultures,” she says.

Originally hailing from Medellin, Colombia, and currently living in Toronto, Carolina Lopez has gained international recognition as a dynamic and versatile artist, excelling in both film and music. With more than 25 film and television projects and five TV and film nominations in Colombia, Lopez is known for her natural and multifaceted acting.

In recent years, she has made her mark as a singer-songwriter. She earned three nominations at the Canadian International Fashion Film Festival (CANIFFF) in both 2020 and 2021 for her two recent songs “Mundos Paralelos” and “Heroe.”

Her fourth single, “El Latin Dance,” is available now.