Adrian Smith is best known as the most tasteful (in my opinion!) guitarist in a band you may have heard of, Iron Maiden. He has written some of the band’s best material (also in my opinion!), and when he left Maiden in 1990 to pursue a solo career with his band Adrian Smith and Project (A.S.A.P.), Maiden’s downhill trajectory soon followed. When he returned to the Maiden fold in 1999 (along with vocalist Bruce Dickinson) they became the biggest metal band on the planet again.

Before he took Dennis Stratton’s place in Iron Maiden back in 1980, Smith was the lead vocalist and guitarist in his own band Urchin, who themselves had some limited success. Smith’s vocal prowess has been highlighted with Maiden over the years as a more than capable backing vocalist, and he sang lead vocals on the fantastic B side to ‘Wasted Years’ – ‘Reach Out’ back in 86.

He shares vocal and guitar (bass and lead) duties on this collaboration with former Mike Varney prodigy, Poison, Mr Big and Winery Dogs guitarist/vocalist Richie Kotzen. Kotzen’s first ever concert experience was Iron Maiden’s renowned World Slavery tour back in 1985 and he’s come full circle by writing and performing with one of the guys on that very stage. Not that he’s been a slouch himself with a pedigree that’s world class.

The pair met in an LA restaurant (as you do), got chatting, jamming, writing, and recording and the result is an album that shows both Smith and Kotzen in a light we haven’t seen before. A stylish blend of classic rock, blues rock, and straight up R & B mixed with the combined talents of Smith and Kotzen produces a strong album with some fantastic performances.

The album was produced by Smith and Kotzen themselves with long time Maiden producer Kevin Shirley handling mixing duties. Smith’s Maiden buddy Nicko McBrain makes a guest appearance on the track ‘Solar Fire’ and Tal Bergman (Billy Idol, Simple Minds) lends his tub thumping talents to the songs ‘You Don’t Know Me’, ‘I Wanna Stay’ and ‘Til Tomorrow’. Kotzen plays drums on the remaining songs…so talented, makes me sick! Ha ha!

Opening up with ‘Taking My Chances’ and ‘Running’ there’s a definite nod to the bands of the 70s that have obviously influenced the duo. Bad Company and Free come to mind with some great bluesy licks. It’s not hard to differentiate between Smith and Kotzen in both voice and guitar styles, Smith has a more refined vocal style while Kotzen has echoes of the late, great Chris Cornell is his delivery. ‘Scars’ is the standout track for me with it’s haunting melody and Hendrix style lead work. This one sticks in your mind after a few plays, the guys trading licks at will. Great stuff.

‘Some People’ lays down a thick groove with an almost funky feel. More guitar wizardry is again tastefully added to the track without overpowering the song. ‘Glory Road’ is a straight-ahead rocker with some added swagger and lyrics about how to be successful in a band, (they should know!) A catchy, sing a long chorus make this another highlight. You can feel the chemistry between the pair, and it translates well onto record even though they recorded much of the album with five thousand miles between them due to the pandemic.

‘Solar Fire’ really benefits from sticksman McBrain’s powerhouse drumming, you certainly know he’s there! There’s a throwback to his days with the Pat Travers Band here, a great 70s vibe. ‘You Don’t Know Me’ is another track that has a less is more approach that works well. The songs aren’t just vehicles for the pair to show off their chops, they really are playing for the songs. That said, this track is a little on the long side. ‘I Wanna Stay’ really shows how soulful Smith can be, he really does have a fantastic voice which wouldn’t work in the Maiden set up. The album closes with ‘Til Tomorrow’ another classy number with an almost dreamlike quality. Apparently, the recording sessions left the duo with ‘tracks to spare’ so I’m sure this album won’t be a one off.

The guys really want to take the project out on the road when restrictions are (finally) lifted and I think these songs will work fantastically in the live arena. As Richie says, “When the time is right, and it’s safe, we’ll have a conversation about some players – male or female – that will help us take this to the next level and bring the music to the stage. We both want to play live, we both miss it terribly actually. Before all this stuff happened I said I was ready to take a break from the road – but I’m sure as hell ready to go now!”

Aren’t we all Richie, aren’t we all…..

 

Buy Here

Author: Kenny Kendrick

Smashed-slang. : drunk, intoxicated. Synonyms & Antonyms Example Sentences Learn More about smashed.

Gladys -It means God’s Princess from the bible, 1 Peter 2:9. An alternative meaning would be the sword used by a gladiator in Roman times.

Born from the embers of the vibrant Toronto punk scene, Smashed Gladys helped to craft a legendary period of New York City rock.

Lead singer Sally Cato started as a singer in the art rock band The Concordes, while guitarist Bart Lewis did a brief stint with Canada’s most dangerous band, The Viletones, before departing for NYC.

Soon after relocating to Gotham, Sally & Bart met songwriter Tommy Boyce, who (along with his partner Mickey Hart) had coined most of The Monkees songs. Under Boyce’s guidance, the group began rehearsing at a well known studio in midtown Manhattan.

SG started playing venues in and around the NYC area, during which time they met Gene Simmons. Simmons offered them a production/ management deal.

The band’s original 4 members: Sally Cato- Vocals , Bart Lewis- guitar , Matt Stellutto- drums and Ken Fox (Toronto’s Raving Mojo’s , Jason and the Scorchers and The Fleshtones)- bass –  along with the addition of Hilly Micheals, drummer from the Ian Hunter band – went into the studio and recorded close to an albums worth of material produced by Simmons.

Four of the songs from those sessions are being released now, for the first time ever, on the Golden Robot release, ‘Raw’.

Simmons captured the personality and raw grittiness of the band perfectly and by the end of 1984, SG were in the UK recording their first album, Smashed Gladys, with Mark Dearnley at the producer helm.

Smashed Gladys returned to the states and began touring and doing opening slots with The Dead Boys, Van Zant, Nazareth, Ace Frehley, Cheap Trick, Poison, Rick Derringer, Blue Oyster Cult, Crocus and others.

It was during this feverish period that they established the infamous Wednesday night series at The Cat Club. The night became a launching pad for several bands, and grew to become a showcase venue, late night hang, and playing party stage for artists such as David Bowie, Duran Duran, Mick Jagger and several others.

Selling out venues in Manhattan and the surrounding tri-state area, Smashed Gladys caught the attention of Elektra records A&R rep Micheal Alago. In 1986 they were signed by Elektra VP, Howard Thompson.

The band played a signing gig to a packed house at one of the first venues they played in NYC – CBGB’s. Elektra picked up the rights to the first record and then sent the band into the studio to work on their next record, Social Intercourse, recorded in NYC with Rick Browdie and in L.A with Michael Wagner doing additional tracking and mixing.

While making the record, they met the artist working in the adjacent studio, Ozzy Osbourne, who made a guest background vocal appearance on the song “Cast of Nasties.” Osbourne had warned the band that some of the titles and subject matter on the record might get them in trouble in certain markets and banned altogether from retailers such as Walmart. He was right, and touring in certain Midwestern states became dangerous at times forcing the band to bring along new members … Mr Smith & Wesson.

SG was making demos for their third record when they received offers from producers John Paul Jones and Mick Ronson. They went with Mick Ronson and began pre-production, but Ronson fell ill. The Band was then picked up by Teddy Slatus, Johnny Winter’s manager and label.  Tragically, SG’s third bass player, Mark Sliker, then died from a drug overdose. Following the trials and tribulations, Sally left the music business and returned to being a graphic artist.

On May 19, 2020 Sally Cato passed away.

The ‘Raw’ album is a collection of some of the works that were initially the demos for the third record, which have been remixed by the bands first producer, Mark Dearnley, whose credits include a wide range from AC/DC to Paul McCartney. The album rounds out with an additional 4 songs from the Gene Simmons sessions due out in 2021 on Golden Robot Records.

If rock is dead, someone forgot to tell Tuk Smith. He flies the flag for the genre in the same way as today’s rock idols have.  So it is only fitting he open for some of them – Mötley Crüe, Def Leppard and Joan Jett will ‘introduce’ Tuk Smith &The Restless Hearts via their upcoming stadium tour.

After cutting his teeth — among many other things — for nine years as the frontman for the Atlanta rock band Biters, Tuk’s solo debut sees him further expanding the reaches of his musical vision into an album that unifies multiple musical styles. Tuk’s debut album, Lookin’ for Love, Ready for War,showcases the versatility of his songwriting. From instantly infectious anthems to intricately arranged rockers and  Americana-tinged ballads the album favors dedication over debauchery. In many ways it’s a musical homecoming for Smith that shows that though he’s covered with battle scars from perfecting his craft, he’s come out on the other side with an amazing collection of songs.

Produced by the legendary Rob Cavallo (Green Day, Eric Clapton, My Chemical Romance) explains “People that really like honest-to-god Rock and Roll – this is the kind of stuff they’ll love.  If you are a Tom Petty fan or aBruce Springsteen fan, if you like really great old-fashioned American Rock and Roll then I believe you’ll like Tuk’s music because it’s cut from that same cloth. It’s original and it is it’s own thing, I think he’s the real deal!”  “What Kinda Love,” is an instantly infectious anthem that unifies Tuk’s love of rock, punk and glam into a unique amalgam of what’s missing from today’s musical landscape. “What Kinda Love” has Joan-Jett-meets-John Mellencamp grandeur and is part of a collection of songs that are a testament to the fact that you don’t need to follow trends in order to create art that fosters a connection with your audience.

Tuk produced and wrote the video, of which he explains “I think when people first hear the song they might not get its meaning right away. I wanted to create a narrative in the video that helped complement the lyrics. Having full creative vision as an artist is as rewarding as it is daunting. If something doesn’t pan out right there is no one to blame but yourself, but it’s the best feeling when your vision becomes reality. I had so many close friends and family act, be extras, and work on videos with me. I’m so lucky to have such a pool of talent and characters to pull from.”


Mötley Crüe, Def Leppard, Joan Jett  – introducing Tuk Smith & The Restless Hearts tour dates
Sunday, June 21                     SAN ANTONIO, TX      Alamodome
Tuesday, June 23                    KANSAS CITY, MO     Kauffman Stadium
Thursday, June 25                   ST. LOUIS, MO                       Busch Stadium
Saturday, June 27                   MINNEAPOLIS, MN     U.S. Bank Stadium
Monday, June 29                     NASHVILLE, TN          Nissan Stadium
Thursday, July 2                      CINCINNATI, OH          Great American Ballpark*
Friday, July 3                           CLEVELAND, OH         FirstEnergy Stadium
Tuesday, July 7                       MIAMI, FL                    Hard Rock Stadium
Thursday, July 9                      ORLANDO, FL             Camping World Stadium
Saturday, July 11                     CHARLOTTE, NC        Bank of America Stadium
Tuesday, July 14                     ARLINGTON, TX         Globe Life Field
Wednesday, July 15                 HOUSTON, TX                        Minute Maid Park
Sunday, July 19                       SAN FRANCISCO, CA  Oracle Park
Thursday, July 23                    SAN DIEGO, CA          Petco Park
Saturday, July 25                     PHOENIX, AZ              State Farm Stadium
Sunday, August 9                    ATLANTA, GA             SunTrust Park
Tuesday, August 11                 HERSHEY, PA             Hersheypark Stadium
Thursday, August 13                BUFFALO, NY              New Era Field
Saturday, August 15                PHILADELPHIA, PA     Citizens Bank Park
Sunday, August 16                  PITTSBURGH, PA       PNC Park
Tuesday, August 18                 MILWAUKEE, WI         Miller Park
Thursday, August 20                DETROIT, MI               Comerica Park
Saturday, August 22                WASHINGTON DC       Nationals Park
Sunday, August 23                  FLUSHING, NY                        Citi Field
Tuesday, August 25                 BOSTON, MA              Fenway Park
Friday, August 28                     CHICAGO, IL               Wrigley Field
Sunday, August 30                  DENVER, CO               Coors Field
Wednesday, September 2        SEATTLE, WA             T-Mobile Park
Saturday, September 5             LOS ANGELES, CA     SoFi Stadium

*pre-sales begin January 13 and general on-sales begin January 17

Follow/Like TUK SMITH & THE RESTLESS HEARTS

Website           Facebook                    Instagram                    Twitter

On this very date David Bowie unveiled his landmark album, ‘The Rise and Fall of Ziggy Stardust and the Spiders From Mars’. His breakthrough LP, it sells over 7 million copies and is hailed as one of the greatest albums of all time. As genius as it was it has to be said that without his Spiders Ziggy would have been nothing (or at least not a fraction of the success) Ronnos guitar playing was exceptional throughout as were the bass lines. Of course, the image was mind blowing even for the early ’70s.

The concept album serves as the introduction to Bowie’s most iconic of reincarnations: Ziggy Stardust, a flame-haired Martian messiah who visits Earth in an attempt to bring a message of hope to humanity in their final five years of existence. Flamboyantly dressed and dazzlingly androgynous, Stardust helps revolutionize ideas about gender and sexuality like never before.

The Rise and Fall of Ziggy Stardust and the Spiders From Mars is recorded over a two-week period in November 1971 at London’s Trident Studios – the same place where The Beatles made “Hey Jude” in 1968. The legendary album cover depicts a resplendent Bowie posing outside of a Mayfair furriers named K. West.

The album peaks at #5 in the UK, and remains on that chart for two years, bolstered by a groundbreaking performance of “Starman” on Top of the Pops in July 1972.

Although “Ziggy played guitar” for the final time in July 1973, his blazing legacy lives on.  The Rise and Fall of Ziggy Stardust and the Spiders from Mars is about Bowie’s alter ego Ziggy Stardust, an androgynous bisexual rock star who acts as a messenger for extraterrestrial beings (drugs who mentioned drugs). Bowie took Ziggy on tour through the United Kingdom, Japan, and North America. The album and the character of Ziggy Stardust explored themes of sexual exploration and social taboos and it wasn’t until that fateful night in The Hammersmith Odean that Ziggy made his last appearance as Bowie ruthlessly ended the characters existence.  this after shipping over seven million copies worldwide – still to this day an incredible decision from a man at the peak of his powers.  Amazingly the album only made it to number five in the UK charts whilst barely denting the US top 75!

 

Its no question one of the most influential albums for many reasons would there have been the huge new Romantic explosion of the post-punk 80s had it not been for Ziggy?  Also, it was a big influence on the UK punk scene with many of its detractors since citing this particular tour as being very influential fashionably and musically.

 

Track from the album has been covered many times over by many different artists including Bauhaus who did ‘Ziggy Stardust’ as did Def Leppard and RPM favourite Jeff Dahl.  ‘Moonage Daydream has also been covered by varied artists such as LA Guns, Mike Scott and Tim Wheeler of Ash. whereas ‘Suffragette City’ has been covered by such polar acts as Boy George, Steve Jones, Red Hot Chilli Peppers, Frankie Goes To Hollywood, Turbonegro and god forbid Poison! As well as recently on volume 1 of The UK Subs covers album.

https://www.bbc.co.uk/news/av/entertainment-arts-17521244/site-of-ziggy-stardust-album-cover-shoot-marked-with-plaque