The Story of Bluebeard release newest single “I’ll Give You Roses”

Los Angeles legends of the Sunset Strip, the Story of Bluebeard, have released their romantic powerhouse single, “I’ll Give You Roses,” just in time for Valentine’s Day.

Los Angeles legends of the Sunset Strip, the Story of Bluebeard, have released their romantic powerhouse single, “I’ll Give You Roses,” just in time for Valentine’s Day. The song is a modern classic that deviates not at all from the quality and exacting skill fans of Bluebeard have come to expect from them over the forty years (and running) of their career. In addition to the single, the Story of Bluebeard has also released an equally strong B-side called “Sad Forgotten Song.”

 

The tone of “I’ll Give You Roses” is raw and clean at once. The Story of Bluebeard showcases razor-sharp guitar work with tons of bluesy groove, in the vein of classic rockers like Heart or early Aerosmith. Bluebeard’s notorious, glorious vocals as rich and gorgeous as Roy Orbison’s. The drums are driving and with a touch of jazz, neither the boring “chopping wood” of heavy metal nor the ostentation of many glam rock percussionists. Their bass is a phantom that dances and weaves in and out between the notes, holding up the melody line like a suspension bridge. Their remarkable keyboardist plays as expertly and wonderfully as any of the other integral members, not as a backdrop of sound the way many keyboard players are relegated these days. Bluebeard’s keys are as important to their sound as the keyboard was to the Monkees.

 

Many music fans will be uninitiated to the genius and chemistry of the Story of Bluebeard, however, and this is largely the fault of the gluttonous late-70s and early-80s music industry, which began to overlook staggeringly talented and popular acts in lieu of easy marketing (which behavior would eventually all but destroy it in the late 90s). As a result, Bluebeard reigned for decades as the Led Zeppelin of the rock n’ roll underground, the most skilled, passionate, earnest and popular unsigned rock act in Los Angeles. They were staples of the World Famous KROQ music station. They played with Steppenwolf, Van Halen, and the Motels, among a slough of others.

 

Tragically, original lead singer and songwriter for the Story of Bluebeard, Robert Barry Leech walked off-stage forever in 2004, which reunited the remaining band members so that music fans around the world have Bluebeard’s awe-inspiring live shows and music for years to come (there are nine albums to date).

 

Rock fans do not need to miss this important and exceptional piece of rock history (and history-in-the-making). The Story of Bluebeard’s “I’ll Give You Roses” is available online worldwide beginning late January, 2013.

 

-S. McCauley

Staff Press Release Writer

MondoTunes

 

The single “I’ll Give You Roses” is distributed globally by MondoTunes (www.MondoTunes.com) and is available at iTunes for convenient purchase and download

 

MondoTunes (www.mondotunes.com) supplies the largest music distribution in the world and provides upstream services for many major labels in search of breakout artists. While most independent distributors reach only 45-50 retailers despite charging needless monthly and yearly fees, MondoTunes reaches over 750 retailers and mobile partners in over 100 world regions without any monthly or yearly fees.

 

ARTIST CONTACT INFO:

 

eMail –

vincent@sparkofblue.com

website –

www.facebook.com/bluebeardstory

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Matty Underwood releases bombshell single “I Don’t Need the Light”

Powerhouse singer-songwriter Matty Underwood has released his premier single and video, “I Don’t Need the Light” in anticipation of his upcoming album.

Powerhouse singer-songwriter Matty Underwood has released his premier single and video, “I Don’t Need the Light” in anticipation of his upcoming album. The single is a standout introduction to what will doubtless be a remarkable record, and the accompanying video showcases Underwood’s passion and talent on the live stage in a way that would otherwise only be possible by attending a performance.

The single is an extremely catchy, heartfelt song with pop-rock influences and mild dubstep undertones, capped with stirring, awe-inspiring vocals by Underwood, himself.

 

The most immediately awe-inspiring quality is in Underwood’s songwriting, quickly followed by his singing performance. The mere phrasing of his lines is enough to keep the song at the forefront of the music fan’s thinking for hours after having listened. The tones of “I Don’t Need the Light” are at first reminiscent of Robert Miles, but are quickly punctuated by spooky, bright guitars like the work of U2’s the Edge. This is appropriate for Underwood’s sound because, like U2, much of his strength relies on clarion-call singing at the top of the range. This strength (which in “I Don’t Need the Light” is emotionally visceral and can be literally staggering) is easily enough to demand attention from anyone with a soft spot for Coldplay or John Mayer – and especially if one likes power in music. The slightly audible distortion of Underwood’s voice pegging the VU needle into the red is absolute gorgeousness. There is intensity in “I Don’t Need the Light” like the looming impact of a metric ton of bricks falling at 32 feet per second per second.

 

This intensity comes partially from Underwood’s personal life, and partially from his having to shelf his career in music for years in order to pursue a responsible man’s occupation. This occupation now well in hand, Underwood is in the process of rewarding the music world for patiently awaiting his return. His own longing for this moment drips from every note and syllable like molten lead.

 

Regarding the material of “I Don’t Need the Light” and that of his upcoming album, Underwood says, “Some songs are anticipatory, some songs are introspective, some songs are private thoughts…” As an afterthought, he adds with a smile: “– now public.”

 

The high artistic quality of “I Don’t Need the Light” is unmistakable by any account, to any taste, and whether Underwood needs the light or not, chances are he’s about to get an awful lot of it.

“I Don’t Need the Light” is available online around the globe beginning late January, 2013. His new album has a tentative release date scheduled late February or early March, 2013.

 

-S. McCauley

Staff Press Release Writer

MondoTunes

 

The single “I Don’t Need the Light” is distributed globally by MondoTunes (www.MondoTunes.com) and is available at iTunes for convenient purchase and download

 

MondoTunes (www.mondotunes.com) supplies the largest music distribution in the world and provides upstream services for many major labels in search of breakout artists. While most independent distributors reach only 45-50 retailers despite charging needless monthly and yearly fees, MondoTunes reaches over 750 retailers and mobile partners in over 100 world regions without any monthly or yearly fees.

 

ARTIST CONTACT INFO:

 

eMail –

matty@mattyunderwoodmusic.com

website –

http://www.mattyunderwoodmusic.com

Grafton Street Jules releases newest single “Pills and Dro”

Rap artist Grafton Street Jules has released his latest single, “Pills and Dro.”

Rap artist Grafton Street Jules has released his latest single, “Pills and Dro.” He has released the single in anticipation of his larger release, the extended play album “Sleep When I am Dead.” Of the EP Grafton Street Jules says, “Basically, it’s a body of work that symbolizes hard work and lyricism,” which are the two qualities that stand out most in the “Pills and Dro” single, itself, so this is not surprising. The rapper also has a strong sense of humor that is equally showcased in “Pills…” He goes on to quip about his musical work ethic, “’Sleep When I am Dead’ also features magnificent word play from today’s hungriest starving artist.”

 

Grafton Street Jules is a Connecticut hip-hop artist, but he was raised by parents from the South and has since relocated to that area. This has allowed him to feature such artists on his up and coming EP as Lil’ Boosie and big Krit, as well as take advantage of the studio skills of Houston’s DJ Lil’ Steve.

 

Like many artists, Grafton Street Jules learned musicianship from the masters. He describes his internship like this: “I was introduced to music as a teenager. My brother gave me a NWA album and the rest is history.” While no self-respecting fan of hip hop has failed to give unending devotion to NWA, the same Compton crew that gave rise to Dr. Dre and Ice Cube among others, Jules had a more personal experience with music. “I always had friends that freestyled and recorded music,” he writes. “Naturally, I embraced the culture more and more.” Still, his work as a real musician began on a whim. “Last year I recorded my first song as a dare, and thereafter I took it serious.”

In fact, he takes it very seriously. No track is complete by Grafton Street Jules until extensive, exhaustive editing and revisions have taken place. His goal is perfection, his art is his goal. “I write my songs over and over. All my music is heavily influenced from artists I grew up listening to, so it’s mandatory that I pay homage every chance I get.”

 

The Grafton Street Jules single “Pills and Dro” is available online globally beginning late January, 2013.

-S. McCauley

Staff Press Release Writer

MondoTunes

 

The single “Pills and Dro” is distributed globally by MondoTunes (www.MondoTunes.com) and is available at iTunes for convenient purchase and download

 

MondoTunes (www.mondotunes.com) supplies the largest music distribution in the world and provides upstream services for many major labels in search of breakout artists. While most independent distributors reach only 45-50 retailers despite charging needless monthly and yearly fees, MondoTunes reaches over 750 retailers and mobile partners in over 100 world regions without any monthly or yearly fees.

 

ARTIST CONTACT INFO:

 

eMail –

graftonstreetjules@gmail.com

website –

Graftonstreetjules.tumblr.com

Mar-lo’s Rhythm releases new flagship single “The Key”

Omni-talented instrumentalist Mar-lo’s Rhythm has released his latest single, “The Key.”

Omni-talented instrumentalist Mar-lo’s Rhythm has released his latest single, “The Key.” The track is a layed back, grooving title with heavy Motown influences in the vein of Earth, Wind, and Fire or George Duke. The song has a suave, cocktail-lounge feel and does just as well as a backdrop for romance as it does as a soundtrack for highway cruising.

Regardless of how excellent the music sounds, it is not the product of a band, strictly speaking; Mar-lo’s Rhythm is actually the work of a solo instrumentalist. Mar-lo’s Rhythm produces contemporary rhythm and blues music with jazz undertones, although this pigeonhole is too limiting for the scope of the artist, himself. Mar-lo’s Rhythm mainly has the skills of guitar and bass, but his understanding of percussion and vocals feature largely in “The Key.” His studio skills also figure into his continued success as a musician and recording artist. He has released two full-length LP albums to date, “Go’in Back (to When…)” and “Easybak,” as well as a string of other singles available online.

The elasticity of Mar-lo’s Rhythm is due mostly to his open-mindedness with regard to music listening. The only common trait of all his favorite acts is excellence. “The artists I grew up with and admired,” says Mar-lo’s Rhythm, “were Earth Wind and Fire, P-Funk, and George Duke.” But he doesn’t stop there. Mar-lo goes on to name a flurry of other classic groups across all the top genres: “Led Zeppelin, Stanley Clarke, Jimi Hendrix, James Brown, ZZ Top, Michael Jackson, Paul McArtney, Kool & the Gang, Jeff Beck, and many others.” How many others there could possibly be is known only to Mar-lo, and probably not even to him. Nevertheless, as the artist himself says, “You can hear their influences on my sound.”

 

Mar-lo started playing guitar at 14 and went on to write and perform in bands throughout his youth. He enrolled at college as a music major but eventually changed to business for the usual reasons. He has performed in clubs and records music on a regular basis.

 

“The Key” represents for him the particular push one makes in order to achieve. “The main theme of this song,” he writes, “is that one can accomplish one’s dreams – if one is willing to work for them. The Key is that special symbol of effort that helps one make that dream a reality.”

 

“The Key” by Mar-Lo’s Rhythm is available everywhere online beginning late January, 2013.

 

-S. McCauley

Staff Press Release Writer

MondoTunes

 

The single “The Key” is distributed globally by MondoTunes (www.MondoTunes.com) and is available at iTunes for convenient purchase and download

 

MondoTunes (www.mondotunes.com) supplies the largest music distribution in the world and provides upstream services for many major labels in search of breakout artists. While most independent distributors reach only 45-50 retailers despite charging needless monthly and yearly fees, MondoTunes reaches over 750 retailers and mobile partners in over 100 world regions without any monthly or yearly fees.

 

ARTIST CONTACT INFO:

 

eMail –

marlosrhythm@att.net

Blind Autumn releases new LP album “Something Hidden”

Idaho rock quartet Blind Autumn have released their second long-playing record album, “Something Hidden.”

Idaho rock quartet Blind Autumn have released their second long-playing record album, “Something Hidden.” The record is a collection of Blind Autumn’s best work since their 2010 release, “Topsy Turvy,” and includes nine new original tracks for a total of fifty minutes of listening time. As usual for Blind, the set list includes a healthy smorgasbord of variety, including modern rock, prog rock, classic rock, funk, blues, Latin, and even a spot of jazz.

 

Each of Blind Autumn’s tracks on “Something Hidden” is a minimum of four minutes long, the longest of them approaching ten, which places the record in that elite group of records from rock artists who have perfected the art of the jam, stadium favorites such as the Grateful Dead, Pink Floyd, and Rush.

The reason for this is part of the inherent beauty of Blind Autumn: each of the four instrumentalists is a clean-playing, rock-solid juggernaut of style in his own right, each of them playing earnestly and without pretentiousness. The resulting groove of their combined playing styles flows effortlessly from one measure into the next, and many songs have dedicated space to showcase each instrument in their band the way classic improvisational jazz has done it for decades.

 

Blind Autumn has a warm character that would be difficult to emulate, which partially stems from the unique blend of their instruments and also in part from the wide variety of music they play. Their lead vocals sound genuine and raw, not unlike John Doe of X, and their guitars are a flurry of rhythm that play close to the drums and never stray into hair-metal ridiculousness. Blind Autumn’s bass is also incredibly strong as part of the percussion section (the guitars would be included in this, too) although the bass often appears as one of their more prominent features, playing way out in front the way Red Hot Chili Peppers make use of Flea, but never so ostentatious – more like the classy, yet strident walking riffs of the disco era’s bass players.

 

Blind Autumn’s drums are a secret weapon of sorts that hang back in the background keeping solid time, then suddenly become omnipresent from time to time, ambient and loud, even though the drumming is paradoxically conservative, much like Pink Floyd’s Nick Mason or the Doors’ John Densmore. Remarkably, Blind Autumn also makes frequent use of a lead saxophone which is played in surprising ways, first jazzy, then Latin flavored, then somewhat ska or reggae, but never in the sappy romantic slow jam manner of the 80s. Keyboards round out what remains of their audio space for a gliding, ethereal overtone.

 

Blind Autumn’s songs are all collaborations, with no member claiming all the writer’s credit for any single track. Regarding the themes of their lyrics, they write, “Our songs convey the idea of wondering about life, overcoming challenges, and looking beyond the current situation to reveal new opportunities and hope.”

 

“Something Hidden” is a straightforward, soul-grooving record that all fans of rock deserve to have in their personal collection, available online everywhere.

 

-S. McCauley

Staff Press Release Writer

MondoTunes

 

The LP “Something Hidden” is distributed globally by MondoTunes (www.MondoTunes.com) and is available at iTunes for convenient purchase and download

 

MondoTunes (www.mondotunes.com) supplies the largest music distribution in the world and provides upstream services for many major labels in search of breakout artists. While most independent distributors reach only 45-50 retailers despite charging needless monthly and yearly fees, MondoTunes reaches over 750 retailers and mobile partners in over 100 world regions without any monthly or yearly fees.

 

ARTIST CONTACT INFO:

 

eMail –

blind.autumn.band@gmail.com

website –

http://www.blindautumn.com

Indie music artists 3weeksplay release newest LP “Who We Are”

East Texas indie musicians 3weeksplay have released their latest full-length album, “Who We Are.”

East Texas indie musicians 3weeksplay have released their latest full-length album, “Who We Are.” The album is part rock, part groove, part pop, and entirely, wholly fun. The record is composed of fourteen tracks comprising forty minutes of play, each song a 3weeksplay classic unto itself. No track on “Who We Are” is wasted. Each composition is a single deserving radio play, and fans will hit the repeat button on “Incognito,” considering it their favorite for a few weeks before moving on to “Lightning Pole,” “Pass Go and Collect 200$,” and so on until every track has had its time at the top. It is a record that can stay in the listener’s car CD player for weeks on end without becoming tired.

 

The overtone 3weeksplay has taken with “Who We Are” is optimistic and rock driven, but at no time does it sound contrived or sappy, thereby avoiding a pitfall that has been plaguing modern pop for the last couple of years. “Who We Are” is led by a clean-channel guitar, unadorned for the most part, and showcased by vocals that are rich and natural. Their bass lines are not ostentatious, yet arching and omnipresent like ambient light. Their drums have a power that rolls along in the background, biding its time, with a rising tide that builds and roils like a tsunami. Their music is not unlike the best acts of the late nineties, such as Blind Melon or Modest Mouse, although there are slight reggae elements in there, too (think the Police) as well as the modern ethereal quality of bands like Kings of Leon.

 

Their lyrics have an almost jazz-like phrasing, and their messages have a purity that listeners can identify with, sympathize with, and understand on a level that needs neither explanation or philosophizing. The record is appropriately named, too, because “Who We Are” is a naked address to the listening world that says, “Hi, world, we’re 3weeksplay. Let’s hang out for awhile and jam.”

 

3weeks says of the album, “It sends the message of our daily life experiences, past and present, good and bad, loving and confused. It talks about being hurt and being strong, discusses our religious views and questions about the world.” In other words, they write: “It’s a record about who we are.”

 

“Who We Are” by 3weeksplay is available online worldwide beginning January 25, 2013. 3weeksplay are Jered Thomas Ochoa, Brenton Arney, Daniel Collier, and Jonathan Dorsey.

-S. McCauley

Staff Press Release Writer

MondoTunes

 

The LP “Who We Are” is distributed globally by MondoTunes (www.MondoTunes.com) and is available at iTunes for convenient purchase and download

 

MondoTunes (www.mondotunes.com) supplies the largest music distribution in the world and provides upstream services for many major labels in search of breakout artists. While most independent distributors reach only 45-50 retailers despite charging needless monthly and yearly fees, MondoTunes reaches over 750 retailers and mobile partners in over 100 world regions without any monthly or yearly fees.

 

ARTIST CONTACT INFO:

 

Jered385@gmail.com

Vega Nova releases new LP album “Lovesongs for the Dead”

Copenhagen alternative rock band Vega Nova has released their new long-playing record album, “Lovesongs for the Dead.”

Copenhagen alternative rock band Vega Nova has released their new long-playing record album, “Lovesongs for the Dead.” The record is comprised of twelve original tracks for an approximate total of 45 minutes playing time, making for a strong dose of audio medicine from the European duo. “Lovesongs…” is a record that comes out swinging and doesn’t let up, with enough variation in its compositions to seem fresh at every turn, while at the same time keeping a steady flow of power from start to finish.

 

In this trait, Vega Nova’s album joins that elite club of rock musicians who are capable of producing a record that has a character all its own, like Abbey Road (Beatles), Ten (Pearl Jam), or Metallica’s black album. “Lovesongs for the Dead” is a cutting-edge work of postmodern rock that features pounding, up-front percussion, soaring wall-of-sound orchestration, and epic-scale chord progressions. V.N. does not shirk from contemporary digital effects, either. They tend to prefer sounds and tones more akin to Depeche Mode’s “Violator” record, albeit much more masculine and confrontational. The result is a cross between the darker, almost spiritual overtones of Tool and the dance-friendly overtures of Muse and 30 Seconds to Mars; however, Vega Nova does not sound at all emo-inspired.

 

This makes sense to fans who have followed the careers of Vega Nova’s members Jeppe Christensen (Synth, vox) and Jesper Tilsted (Guitar, bass, synth). Christensen and Tilsted have performed in numerous capacities in the European heavy metal theater, and are also members of the popular and accomplished Danish metal band Raunchy, which crew has released five full-length records to date as well as performing in Denmark, Europe, Russia, and China.

 

Like indie favorites The Postal Service, Christensen and Tilsted compose most of their music by mailing tracks to one another to be polished at last in the live music studio. Each song clearly reflects the concerns and characters of the artists.

 

“The music,” writes Vega Nova, “revolves around classic themes such as growing up, becoming a parent, love, hate, and life in general when you are in your mid-thirties.” The record does represent a departure from their usual writing, however. They’ve added a pop-music dimension to their metal roots for “Lovesongs for the Dead.”

 

Vega Nova’s “Lovesongs for the Dead” was recorded around the world between 2010 and 2012.
Acoustic drums recorded by Martin Pagaard Wolff at Hansen Studios. Additional guitar and synth by Jacob Hansen. “Lovesongs for the Dead” is available everywhere online beginning January 23, 2013.

 

-S. McCauley

Staff Press Release Writer

MondoTunes

 

The LP Lovesongs for the Dead” is distributed globally by MondoTunes (www.MondoTunes.com) and is available at iTunes for convenient purchase and download

 

MondoTunes (www.mondotunes.com) supplies the largest music distribution in the world and provides upstream services for many major labels in search of breakout artists. While most independent distributors reach only 45-50 retailers despite charging needless monthly and yearly fees, MondoTunes reaches over 750 retailers and mobile partners in over 100 world regions without any monthly or yearly fees.

 

ARTIST CONTACT INFO:

 

eMail –

veganova@veganova.dk

website –

http://www.veganova.dk , https://www.facebook.com/VEGA.NOVA.band, http://veganova.bandcamp.com