Blood Like Red is the 3rd track from the 2014 Music From An Expanded Universe album. The video features Leon Alvarado on Keyboards and Drums. Trey Gunn (King Crimson, The Security Project) on Warr Guitar and Bass and Jerry Marotta (Peter Gabriel, Hall & Oates) on Taos Drums percussion. Produced by Leon Alvarado, Engineered by Leon Alvarado, Trey Gunn and Mastered by Andy Jackson
For years I had wanted to add visuals to what it is one of my favorite pieces from my music. Leon Alvarado
Leon Alvarado is Texas-based prog drummer, keyboardist, composer, and illustrator, Alvarado has recorded with many talented musicians including Bill Bruford (Gong, Yes, Genesis, Earthworks), John Goodsall (Brand X, Fire Merchants), Trey Gunn (King Crimson), Jerry Marotta (Peter Gabriel, Hall & Oates, Paul McCartney), Billy Sherwood (Yes, Asia), Rick Wakeman and Tony Levin.
On the graphics front I have done album covers and touring materials for bands such as Brand X, Genesis, Phil Collins, Jethro Tull, Jeff Beck, Peter Gabriel, Roger Waters, The Australian Pink Floyd Show, and King’s X.
A Critics Point of View
This is not one of those balls-to-walls prog-rock affairs. For instance on “Blood Like Red,” the artists execute a slowly moving and budding rock pulse, steered by Gunn’s prominent bass lines, in support of the leader’s polytonal voicings, sounding somewhere in between a mellotron and synth strings type soundscape. Moreover, Alvarado layers a tabla vibe to incorporate a world music background into the mix, followed by Gunn’s stinging and crunchy Warr guitar notes. All About Jazz
“Blood Like Red” starts and ends with atmospheric wind effects with the middle brimming with Alvarado’s spacier synth exploits and Gunn’s textural Warr guitar crunch. It is here the band really gets into a full but subtle groove. Jon Neudorf – Sea of Tranquility
Ten Jinn have taken upon themselves a monumental task. It’s one thing to do a cover song of a famous artist and quite another to do an entire album covering that one artist. And when the artist being covered is someone as huge as David Bowie, the mountain to climb looks pretty forbidding. Additionally, when that artist has recently left us and everyone is quite likely wanting to do tributes but at the same time perhaps having second thoughts about touching the sacred shrine so soon, there’s every reason to leave the notion well alone. Ten Jinn, however, have boldly decided to pay their respects to Mr. Jones by following their hearts and recording an album entirely of Bowie covers.
They say that the best way to do a cover song is to either make it totally your own and arrange it in a completely different style (as Deep Purple used to do with Beatles‘ songs) or to strike that delicate balance between capturing the original song’s motif and its appeal while simultaneously putting the covering band’s own stamp on it. I have never been a Bowie fan (I totally respect his talent and what he gave to popular music but I just never became a fan) but I am familiar with many of his hit songs. So it’s very interesting for me to hear what Ten Jinn has achieved with their Ziggy Blackstar album because I can hear the Bowie in the music, and even at times in the vocals, but at the same time these songs sound fresh and new to me. Some of the songs Ten Jinn have covered are unfamiliar to me so they sound like new material, and if asked for my opinion I might say that they have a Bowie-esque quality to them. Vocalist John Paul Strauss manages to affect some very close Bowie-isms but never sounds like a hopeful mimic. He is confident in his own voice and that’s one of the reasons the songs come across not as copycat tribute songs but as interpretations by John Paul Strauss and Ten Jinn.
The music nearly all sounds original to me. I don’t know most of the original songs well enough to say how close Ten Jinn‘s versions are to the originals, but from my perspective, they have gone ahead and arranged the music to their capabilities and once again I am hearing fresh new music. I admit I was surprised by the album opener “I’m Afraid of Americans” because that is one Bowie song I have always really liked thanks to Trent Reznor‘s involvement. During the first listen to Ten Jinn‘s version I felt that they made a valiant effort but could not beat the original. But after the second listen I changed my view. They still can’t beat the original but what they have done with the song is, once again, made it their own and in the end, their result is a stand-alone effort. It’s like when you hear Paul McCartney praise a band for their personal take on a Beatles cover; I think Mr. Jones would have approved.
Other moments that caught my attention were the insane piano solo in “Aladdin Sane” (I don’t know if that’s in the original but it’s very cool here) and the surprising (to me) intro to “Future Legend” because it sounds so Ayreon.
Basically, I’ll say this: Ten Jinn‘s album sounds great to someone who does not have a deep familiarity with David Bowie‘s music. It can be enjoyed as an album on its own. Bowie fans might be more critical and zero in on details that go past me. But I think Ten Jinn have done a splendid job of doing an album entirely of Bowie cover songs. They struck the right balance between tribute and originality.
BREAKING NEWS: Frontiers Music Srl is thrilled to announce the signing of Alan Parsons!
Alan and Frontiers‘ relationship began in 2010 when the label released “Eye 2 Eye – Live in Madrid”. They have kept in close contact since, with the ultimate goal to release another album together. Alan wanted it to be a really special album and only recently have the right plans and ideas fallen into place where Alan felt ready to enter the studio to record what he had in mind.
“The writing and recording sessions are going incredibly well,” says Alan. “The album already has a working title, which is THE SECRET, and it will include musical and lyrical themes that are very close to my heart and my own interests and passions. I do not really want to reveal a lot about it, except that for the moment everything that surrounds THE SECRET is going to be just that….a secret!”
The overall musical approach of the album is expected to be in keeping with the symphonic rock that Alan explored on his earlier solo records and the “Project” albums. But, of course, there will be new twists and turns and robust new creative inspiration behind the album. Some special guests will be on the album, but those will be revealed later….again, in keeping with the working title of the album, “The Secret“.
Frontiers President Serafino Perugino commented, “This is pretty much a dream come true for me. For Frontiers being able to represent the artistry and the talent of such a huge artist is a magnificent opportunity. We look forward to this release as much as Alan’s fans and it will see the light of day in multiple exciting formats. Stay tuned!”.
Alan Parsons said, “I wish to thank Serafino and the team for the commitment and the patience to make this happen. To the fans…We’ll see you soon on a world tour!”
Alan Parsons‘ music career started at 19 when he earned one of his his first credits as assistant engineer on The Beatles “Abbey Road”, an album recorded in the legendary London studios of the same name. He soon become a well respected studio engineer, working for Paul McCartney,The Hollies, and many others. He is particularly renowned for his work as recording engineer on the Pink Floyd masterpiece, “The Dark Side of The Moon“. This classic album was recorded in 1972 and Parsons experimented with many of the most advanced recording techniques of the time. As a producer, he enjoyed many successes with Pilot, Steve Harley and Cockney Rebel, John Miles, and Al Stewart, including the masterwork, “Year Of The Cat”.
In 1975, Alan Parsons formed The Alan Parsons Project along with principal songwriter (and occasional singer) Eric Woolfson. The Project consisted of a group of studio musicians and vocalists, often involving the members of three bands Alan produced: Pilot (Ian Bairnson, Stuart Tosh and David Paton), Cockney Rebel’s Stuart Elliott on drums, and (on the first album) American progressive pop/rock band, Ambrosia.
The Alan Parsons Project released ten acclaimed studio albums, but never performed live during the heyday of the albums, even after several US and European Top 20 hits. The Project made its final album at the end of the 80’s with the album “Gaudi“. Since then, Alan has released a number of recordings under his own name using several musicians that also appeared on the “Project” releases.
As well as receiving gold and platinum awards from countless countries, Parsons has received eleven Grammy Award nominations for his engineering and production work. In 2007, he was nominated for Best Surround Sound Album for his studio album, “A Valid Path“.
In 1994, Alan Parsons started touring regularly as The Alan Parsons Live Project and has released a number of live releases in audio and video. His live concerts continue to this day, to audiences worldwide.
UK composer and musician Martin Barre is best known for being a vital member of legendary progressive rock band Jethro Tull being their guitarist for more than four decades and performing on all their classic albums. His sound and contributions to the band have been a major factor in their success. Album sales have exceeded 60 million units and they continue to be played worldwide, representing an important part of progressive rock history.
Martin’s guitar playing has earned him a high level of respect and recognition; he was voted 25th best solo ever in the USA and 20th best solo ever in the UK for his playing on ‘Aqualung’. His playing on the album ‘Crest of a Knave’ earned him a Grammy award in 1988. As well as numerous Jethro Tull albums, Martin has worked with many other artists including Paul McCartney, Phil Collins, Gary Moore, Joe Bonamassa and Chris Thompson and has shared a stage with such legends as Hendrix, Fleetwood Mac, Pink Floyd and Led Zeppelin. While he is now firmly established as a solo artist, he is not a stranger to his past, and that past will be a vital part of the headliner show that will be presented at ROSfest, 2019.
Clive Bunker Clive was born on the 12th of December, 1946. He took up the drums as a serious occupation with his friend and compatriot, Mick Abrahams in the group “McGregor’s Engine” in 1967. Based in Luton, England, the band played in the general locality with Clive mustering an extraordinary non-matching drum kit, comprised of bits and pieces of various manufacturers’ equipment. It was as a drummer of “mix and match” description that he joined the fledgling Jethro Tull at the end of ’67 to accompany Ian Anderson, Mick and Glenn Cornick in the early, heady days of the post-blues-boom years of Brit-rock.
Never the self-professed technical drummer, Clive made his impact, based on his throbbing, gritty engagement with the essence of blues and rock and roll, moved by the work of Ginger Baker, Mitch Mitchell et al.
Later, Clive was to become firm friends of Corky Laing of “Mountain” and the many other drummers from the bands with which the early Tull found themselves appearing on the first US tours in 1969 and 1970. After the album “Aqualung”, Clive felt that Tull was entering a more complex musical phase, not so much in keeping with his own earthier roots, and volunteered to take early retirement to the different world of marriage, dog kennel management, and a venture in light engineering which had been his previous profession. Tull continued with the employment of Barrie Barlow, an old chum of Ian’s and John’s from schooldays in Blackpool.
In 1974, Clive joined the band “Blodwyn Pig” which Mick Abrahams had formed on his departure from Tull in 1969.
Today, Clive still remains a sought-after session musician, with many, many credits to his name amongst the world of old and not-so-old music groups.
A native of England, Jonathan Noyce was born in 1971. After trying his hand at many different instruments, Noyce eventually settled on the bass. He did his time at the Royal Academy of Music, beginning in 1990. It was during this time that he first hooked up with David Palmer. In 1995, Noyce met Jethro Tull guitarist Martin Barre, who eventually recommended him as a possible bassist for Ian Anderson’s solo tour. He got the gig and did that tour. Shortly after, he went on to become the bass player for Jethro Tull following the departure of Dave Pegg in 1995. He has been with that group ever since, although he still finds time to do other projects.
This show will celebrate 50 years of Jethro Tull in the United States. The show will revolve around a music history of Jethro Tull with Barre and two other former members of Jethro Tull.Clive Bunker, who was their drummer from 1967 to 1971, and Jonathan Noyce, Tull’s bassist from 1995 to 2007.In addition to the three aforementioned members, Martin Barre will be joined by members of his solo band on tour. They are vocalist Dan Crisp, bassist Alan Thompson, and drummer Darby Todd.
This performance will be 2, 60-minute sets with a 15-minute intermission. This is a world class performance delivered by one of the world’s best, most renowned guitarists.
Apart from Ian Anderson’s own solo concerts, this will be the closest thing you can get to experiencing a Jethro Tull concert in 2019, consisting of former members of Jethro Tull performed by seasoned musicians of which several were a part of the band itself and hence know this material intimately. It doesn’t get much better than that. If you like “Sitting on a Park Bench” there are several across the street from the Sarasota Opera House or you can come inside in the air-conditioned theater and enjoy the bliss with Martin Barre performing Jethro Tull 50th Anniversary Tour!
RoFest 2019 will take place on May 3rd through 5th, 2019 at the Sarasota Opera House, Florida. The final line-up and schedule for the festival are still TBA. Confirmed bands to appear so far are Headliner – Riverside, Karmamoi, Traverser, Entransient, and Edge of Reality.
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