Victor Aloysius Meyers was born in mid -1898 as the 15th of 16 children in Little Falls, Minnesota. Vic's father was County Treasurer for Morris County, Minnesota, a position he held for 30 years. When the family moved West to Oregon in the mid-'teens, Vic started on a musical career. He could play violin, but by the age of 18, he was a drummer in a three piece group that played each summer at Seaside, an ocean resort. At 21, in 1919 he got a two year contract to play with a full size band in the Rose Room in Seattle’s Hotel Butler, located at the corner of 2nd Avenue and James Street. Its construction started around 1900 and when it opened it "immediately became the jewel in the City’s crown. Its lavish Rose Room grill featured magnificent cuisine in an atmosphere of top recording orchestras, cut-glass chandeliers, thick imported carpets and sterling silver."
Mega-killer, brain-damaging, massive 70s heavy guitar tribute disc by this amazing, bad-ass, heavy guitar axeripper from California. Includes 15 tracks (77 min.) of awesome, powerful, mind-blowing, retro-fied, guitar rock power trio madness of epic proportions. "The Warriors Before Me" features phenomenal cover tracks/jams by the following guitar rock legends: Jimi Hendrix, Robin Trower, Frank Marino, Uli Roth (Scorpions), Ritchie Blackmore (Rainbow), Pat Travers, Tony Iommi (Black Sabbath), Eddie Van Halen (V.H.), Gary Moore, Michael Schenker (UFO), Johnny Winter, Billy Gibbons (ZZ Top), Lonesome Dave Peverett & Rod Price (Foghat), Angus Young (AC/DC) & Jimmy Page (Led Zeppelin)…
Brett Dean is not shy about revealing what his music is ‘about’. Whether inspired by certain individuals (as in Epitaphs), or by an ecological or human disaster (as in his String Quartet No. 1, on the now all too topical plight of refugees), Dean’s works are usually – perhaps invariably – driven by extra-musical narratives. Rather than tease out any innate structural puzzles or tensions, his music typically falls into short little dramatic narratives – no movement on this disc lasts as long as eight minutes, many of them rather less than five. The most obviously successful work here is Quartet No. 2, ‘And once I played Ophelia’, effectively a dramatic scena. Its soprano soloist is no mere extra voice (as in Schoenberg’s Second Quartet) but the leading protagonist. Allison Bell’s genuinely affecting performance is backed by the Doric Quartet’s expressionist scampering and sustained harmonies, the strings occasionally coming to the fore in the manner of a Schumann-style song postlude.
Legendary Australian guitarist Brett Garsed serves up a big helping of solo delights on "Big Sky," his latest musical offering. On a large canvas fitting for a grand Monet, Garsed once again paints a musical landscape using large and brilliant brushstrokes highlighted by subtle colors and fine detail. Fittingly titled "Big Sky," the new album satisfies as it delivers extraordinary playing from the trio of Garsed, Ric Fierabracci (bass) and Toss Panos (drums). The trio's versatility is aptly demonstrated across the CD's ten tracks of melody-infused instrumental rock music. Rich textures are combined with bursts of sound and other-worldly playing, lending credence to the album's title.
Brett's long-awaited follow-up to Rock Fusion features an amazing 6-tune Live Footage section (with Craig Newman on bass, Stuart Fraser on guitar and Angus Burchall on drums). The Instructional Section gets you up close and personal as Brett imparts a wealth of information for players of all levels.
Nashville-born, Los Angeles-based singer/songwriter Meg Myers makes her full-length debut with 2015's Sorry. The album comes on the heels of her two well-received EPs, 2013's Daughter in the Choir and 2014's Make a Shadow. As with those releases, Sorry once again finds Myers collaborating with longtime producer Dr. Rosen Rosen. Together, they craft moody, electronic-tinged rock anthems centered on Myers' yearning, passionate vocals. While Myers' distinctive brand of dark pop fits nicely next to contemporaries like Lorde and Florence + the Machine, Sorry also brings to mind the work of alternative rock-era icons like Sinéad O'Connor and Garbage. Included on Sorry is the urgent '90s grunge-influenced single "Lemon Eyes".