Long regarded as one of the premier musicians in the world, David Sancious was an original member of Bruce Springsteen’s E Street Band, toured and recorded with Peter Gabriel, Sting, Seal, Eric Clapton, Jon Anderson and a long list of A-level musicians. He also created groundbreaking music with his band Tone.
After a long absence from recording, David has embarked on his 9th recording entitled “Eyes Wide Open,” an 8 song project featuring legendary names such as Vinnie Colaiuta (drums) and Prince alumni Michael Bland (drums) and Sonny T. (Thomson) (bass). A mix of instrumental and vocal music reminiscent of David’s group Tone, “Eyes Wide Open” takes a contemporary stance by addressing today’s issues head-on through David’s signature sound.
All pledgers receive a digital download of the recording with their pledge (also available in high-resolution 96K 24bit). The campaign will also be offering signed and unsigned audiophile 180-gram vinyl and CDs, remastered versions of landmark recordings “True Stories” and “Just as I Thought” (both remastered in 2000), rare photos and posters of David with Bruce Springsteen and Peter Gabriel, as well as behind the scenes videos, T-shirts, interactive updates, gear used by David on tour, and much, much more, all of which will only be available through PledgeMusic!!
London – “Zebra Crossing” is the eagerly anticipated 5th full length album by Fernando Perdomo, guitarist and bassist of The Dave Kerzner Band and Jakob Dylan’s Echo In The Canyon Band.
This NEW STUDIO ALBUM was predominantly recorded at ABBEY ROAD STUDIOS and features all new original titles building up to a beautiful cover of ‘While My Guitar Gently Weeps’ featuring Diane Birch, Shawn Lee, and Jason and Daphna Rowe.
“Zebra Crossing” also features songwriting collaborations with Zak Nilsson (son of Harry Nilsson), Cyndi Trissel, and Beach Boys lyricist Stephen Kalinich.
The first single, “Find Love (Hold On)” features Danny Ayala and Megan Zeankowski formerly of The Lemon Twigs as well as Ken Sharp.
“’Zebra Crossing‘ is the culmination of my lifelong dream of making a record at Abbey Road Studio 2. When the opportunity arose I got very inspired and the songs just flowed out of me!
“The date I was given just happened to be the 50th anniversary of the day George Harrison and Paul McCartney came in to record the first version of ‘While My Guitar Gently Weeps’ (as heard on “Anthology 3”), naturally I decided to record a cover of that song that day. I called up my London family and an all star band came together and that performance closes the record.
“’Zebra Crossing” is my love letter to Abbey Road Studios.” – Fernando Perdomo
1. I’M HERE
2. SOMETIMES I FEEL NOTHING AT ALL
3. FIND LOVE (HOLD ON)
4. WE WERE RAISED WITH HEADPHONES ON
6. NOT MEANT TO BE
9. CROWN OF STARS
12.WHILE MY GUITAR GENTLY WEEPS
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.
I very nearly missed out on this one, as although the material was made available to me, I didn’t chase it down as I hadn’t heard the name anywhere, and it’s not as if I am hunting for albums to review. But, I was told that there was a PFM connection so thought that it may well be of interest, and I am glad I did. The label is a new one to me, but looking at their site they have released a lot of material so far. Their stated aim is to only focus on Italian bands, publishing the best from the past and present Italian “hard ‘n’ heavy” scene. The main Italian label I have worked with over the years is Black Widow Records, who concentrate much more on classic Italian progressive rock, so this in itself was intriguing. As to the band themselves, Arca Progjet was originally formed by Alex Jorio (drums, Elektradrive) and Gregorio Verdun (bass and keys), together with Sergio Toya (vocals), Carlo Maccaferri (guitar) and Filippo Dagasso (keyboards and programming). There are also some special guests, including Mauro Pagani, a founder member of PFM who appeared on their first albums before leaving in 1977.
I am guessing that Mauro provides violin, the instrument for which he is best known, but he is more important in having his name connected with this release as opposed to the music he provides on it, as that PFM link is going to get a great deal of people interested – and to be honest it was the reason I listened to this in the first place. But, I am glad that I did as here in an Italian progressive rock band that is using the sounds that one would expect from a band from that country playing this style of music, but also has been brought up to date so while many may expect this to be RPI, there are also elements of neo-prog, hard prog and crossover which make this an incredibly interesting and accessible album on the very first hearing. All lyrics are in Italian, often with harmonies, so I treat the vocals as part of the overall sound, and to my ears it all comes together very well indeed.
If this album had been released on one of the “usual” progressive labels then I am sure that we will have been hearing a great deal more about it, but as it is more “reviews” just seem to mention that it has been released and that it features Pagani. But, this is an accessible progressive rock album with a series of short and direct songs that allows the musicians just enough to room to display their skills without it ever becoming one long solo-fest after another. Two numbers manage to just breach the seven minute barrier, but most are around the five-minute mark, and while the keyboards often use keyboard or mellotron sounds they are never filling the sound and there is always plenty of room for the guitar to be heard as well. This is a really enjoyable album, that definitely deserves to be heard, and as it has been made available on Bandcamp while not give it a try?
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