Tony Reed Posts “Funeral Suit” Video

Posted in Bootleg Theater on November 25th, 2020 by JJ Koczan

tony reed

The enviably prolific Welcome to CustomwritingPros, home of best essay writers! Here, we offer you cheap Nursing Dissertation writing service for all your research papers. Get help Now! Tony Reed issued his solo acoustic debut, read review - Quick and trustworthy writings from industry best company. Entrust your essays to the most talented writers. Only HQ writing services Funeral Suit (review here), earlier this month as the second installment of Buy-Custom-Essays-Online.com is the most reputed online custom Special Education Needs Dissertation UK. you can buy college admission essays at best cost Ripple Music‘s ongoing ‘Blood and Strings’ series. It is just one of several help with writing pseudocode iwe Read More Here secondhand clothing thesis phd accountant resume Reed-related offerings to surface this year, but among the albums and whatnot from the goth-tinged Therefore you are welcome to buy papers online as by http://masheroa.com/division-essay-on-dining-out/ you give yourself a good opportunity to have time for work, Constance Tomb and his main band, http://mairie.megeve.fr/college-essays-what-are-they-looking-for/ composed by professional writers. 100% originality, high quality, on-time delivery guaranteed! Mos Generator, the mostly-unplugged of course stands out both by eschewing the heavy riffs and driving classic heavy grooves that Does Homework Help From Best Dissertation Writing Services UK. best-uk-dissertation.com offers is the custom dissertation writing service UK Reed‘s known for, and for instead allowing him to begin a new exploration as a songwriter.

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The stream of  https://cheapdissertationwriting.com/ - Dissertations, essays and academic papers of best quality. Stop getting bad marks with these custom dissertation tips Instead Funeral Suit is at the bottom of this post, and  Reed‘s “Funeral Suit” clip follows here.

Please enjoy:

Tony Reed, “Funeral Suit” official video

Seattle songwriter and producer TONY REED (also frontman of Mos Generator) debuts an intimate monochrome video for the title track of his solo acoustic album ‘Funeral Suit’, available now on Ripple Music as part of their ‘Blood And Strings: The Ripple Acoustic’ series.

TONY REED is known for being the driving force behind Seattle’s heavy rock trio Mos Generator, as well as one of the most prolific songwriters and respected producers of the American underground rock scene. While he released his solo debut with ‘The Lost Chronicles Of Heavy Rock Vol. 1’ in 2018, never had he found the right occasion to sit down, grab a guitar and lay himself bare as freely and soulfully as he does on his acoustic debut ‘Funeral Suit’. With ‘Funeral Suit’, Tony Reed delivers his most personal work to date, pushing the experience further than the standard “man with a guitar” approach. Whether it’s the delicate arrangements, soulful vocal harmonies or piano-based escapades, this is a dense and multifaceted folk rock album with a strong progressive edge that will resonate with any listener.

Tony Reed, Funeral Suit (2020)

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Review & Track Premiere: Tony Reed, Funeral Suit

Posted in audiObelisk, Reviews on September 28th, 2020 by JJ Koczan

tony reed funeral suit

[Click play above to stream ‘Waterbirth’ from Tony Reed’s Funeral Suit. Album is out Nov. 6 on Ripple Music. Says Reed, ‘Musically the genesis of “Waterbirth” came to me by accident. I was visiting a friend who had an old National M4 resonator that he was playing in a tuning I wasn’t familiar with (DGDGBD). He was playing it with a slide in a blues style. I asked him if I could borrow it for the night to write something in my style with that tuning. This is what I recorded that night. The song is about being hopelessly lost and turning to the one you love to help guide you home.’]

The acoustic solo debut from Tony Reed arrives as part of a creative explosion that has been going on for years at this point. Recording at his own HeavyHead Studio in Port Orchard, Washington, Reed issues Funeral Suit through Ripple‘s ‘Blood and Strings’ series — which began with Wino‘s Forever Gone this summer –and it joins at least two splits, a dug-up-and-deconstructed single and another EP from his main outfit, Mos Generator, an archival release from the earlier goth-tinged project Constance Tomb (with a promise of a new album to follow, already in the works), and a debut full-length and second EP from the supergroup Big Scenic Nowhere, in which Reed works alongside members of Fu Manchu and Yawning Man, among a rotating cast of guests. Plus a swath of mixing and mastering projects for other artists and bands, as always. And there’s a good chance that I’ve left one or two things out.

In the context of this frenetic productivity, it’s somewhat astonishing that Reed found the time to add nuances like the self-harmonies and the Mellotron early in and the dual-layers of strum in the final fadeout of the title-track of Funeral Suit, or to tap into CatStevens-meets-AlainJohannes vibes on the progressive, finger-plugged and richly melodic opener “Waterbirth.” There are a couple reworked Mos Generator songs in “Lonely One” — originally “Lonely One Kenobi” from 2012’s Nomads (review here), which began the band’s association with Ripple Music — and “Wicked Willow” from 2016’s Abyssinia (review here), as well as closer “Who Goes There,” which appeared as a two-parter on late-2019’s Spontaneous Combustions EP (review here), but even these are given due treatment rather than simply played in “unplugged” fashion. To wit, the impassioned vocal of “Lonely One” and layers of guitar that accompany, or the slow piano balladry that suddenly feels like such a natural context for “Wicked Willow” and the choral effect that acts as a culmination for the entirety of Funeral Suit at the end of “Who Goes There.” These moments balance intimacy and melodic grandeur, emotional expression and stylistic experimentation.

As those who follow Reed‘s work to some degree or other would have to expect, he delivers this material with a steady, masterful hand. His approach to melody is clean and clear, his playing is precise but organic, and across the ultra-manageable eight-song/34-minute span of Funeral Suit, he demonstrates an awareness of his audience not only through a customary lack of pretense or in the lyrics to “Lonely One” (“I can tell you right now, people…”) and “Funeral Suit” (“…Can I find worth in you and you and you?”), but also in the breadth of arrangements throughout. A crucial first clue of the diversity to come arrives with “Waterbirth,” which is played in a style unlike anything else on the album. It’s the shortest track at 3:07, and along with the charm of a subtle Voivod reference in the first verse, it brings a melodic wash worthy of its title, Reed joining himself in the chorus for an effect conveying depth and melancholy.

tony reed

There’s a turn just before the last minute that brings handclaps and a feel like languid gospel, but of course a return to the chorus finishes, the structure duly reinforced. Even so, the message to the listener that Funeral Suit is more than guy-and-a-guitar folk emulation is immediate, and by putting “Waterbirth” first and then following it with the more straight-ahead strum of “Moonlighting,” the aforementioned Mellotron on “Funeral Suit,” and the relatively serene amble of “Along the Way” on the record’s first side, Reed likewise frames the progressive reach of the album as a priority. Thus the mind of the audience is more open to whatever the subsequent tracks might bring, and because the material that follows asks relatively few indulgences, it’s that much easier to follow along where each piece leads. This is a skill born of experience, and it makes an essential contribution to the spirit of the album as a whole.

“Lonely One Kenobi” was a standout hook on Nomads, and there may be a bit of reorienting the listener happening as “Lonely One” — the title dropping the Star Wars reference that seemed to distract from the emotionally-fueled, frankly lonely lyrics — but whether or not one assumes a given listener taking on Funeral Suit is already familiar, its harder-edged strum and its soulful vocals find it serving as a memorable inclusion here as well. It is followed and complemented by “Wicked Willow,” which departs from guitar in classic side B fashion, taking its own familiar basis and from it bringing a new texture to Funeral Suit only previously hinted toward. Slow, mellow and wistful as only a slow piano can be, it’s about as stripped-down as Reed gets here, and as it inevitably would, it highlights the songcraft that underscores all of these pieces, new or old. The same applies to the subsequent and penultimate “Might Just…” which feels stylistically like a reset back to where the album was on side A circa “Moonlighting” or “Along the Way,” with doubled-vocals in the repeated-line chorus of “Rolling along…,” melodic and straightforward, short at 3:30 but enough to satisfy and do its job between “Wicked Willow” and “Who Goes There,” which is the longest inclusion at 5:37 as well as the already-noted finale of the record, encompassing and ready for judgment-free sing-alongs as it is.

A linear build, it holds a tension in the guitar of its first half, the title lyric delivered with due paranoia. A break after two verse/chorus cycles comes at 3:25 in, and from there, the song launches into its righteous capstone movement, not a departure from what’s come before throughout Funeral Suit, but an extension thereof that speaks to one more prevailing factor of Reed‘s work across the LP, which is the forward potential. Not that he doesn’t have plenty going on besides, but having so risen to the challenge of this first offering, as a fan (I also wrote the bio for the album, which I’ll note was uncompensated only because I knew I’d want to review it as well), one only hopes he’ll continue to explore outward from the already-broad reach he establishes here. If Funeral Suit is a one-off, fair enough, but what it conveys to the listener feels far more substantial.

Tony Reed, Funeral Suit (2020)

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Tony Reed’s Constance Tomb to Release MCMLXXXVIII LP

Posted in Whathaveyou on June 30th, 2020 by JJ Koczan

The human productivity machine known as Tony ReedMos Generator, Big Scenic Nowhere, all your vinyl mastering, etc. — offered up Constance Tomb‘s MCMLXXXVIII in April for those who might take it on, showcasing influences in gothic rock that would probably be a surprise to a decent portion of his fanbase. The songs were written, indeed, in 1988, when Reed was 19 years old, and recorded this past March and April, as apparently the dude lining up multiple Mos Generator releases and an acoustic solo record for 2020 had a few spare minutes to work with, and the result is a present reconciliation with past that is both distinctly Reed‘s own and still outside the scope of what he’s best known for, which at this point is of course heavy rock and roll.

Not every artist would be so bold as to look back in this way, so it seems all the more fitting that DHU will release the album on vinyl. Good. Now Reed can go write a new album for the project.

The PR wire has details:

constance tomb mcmlxxxviii

New signing to DHU Records: Constance Tomb

DHU Records is honored to announce the signing of Mastermind, multi instrumentalist, producer and all out awesome individual, Mr. Tony Reed’s personal project Constance Tomb!

As many of you know Tony Reed is responsible for most of the vinyl masters of the DHU catalogue, not to mention many, many other labels he’s mastered for. So when asked by the man himself he wanted to release something with DHU Records this was, of course, more than a privilege!

Constance Tomb’s debut album entitled MCMLXXXVIII (1988) will be released this Fall on Limited Edition vinyl including Test Press, DHU Exclusive and Band Editions

More details and info coming soon…

STAY DOOMED STAY HEAVY

BIO

I wrote and recorded somewhere around thirty songs in 1988 (my 19th year). A large percentage of them were heavily influenced by the gothic movement of the early 80s. Bands like Bauhaus, Christian Death, Tones On Tail, Mighty Sphincter, Death Cult & Samhain were obvious inspirations during this time in my life.

In 1988 I was making music with a band called Twelve Thirty Dreamtime and in that year alone I worked with three different rhythm sections. All of the songs I wrote that year were captured on tape but the recordings were done on the most primitive equipment in the bedrooms and basements of people that would let us make noise in their space. At that point I was doing 2 track tape to tape overdubbing and after a few passes the tape hiss would be almost unbearable.

When I listen back to the old recordings sometimes I think those limitations are cool and add to the eerie quality of the music but over the last 32 years I’ve also wanted to hear what the songs would have sounded like done in a proper recording studio. I did my best to NOT overplay or add too many additional ideas beyond the original versions. When I would start to add extra layers to some of the tracks I almost always scrapped the idea soon after.

This collection is what I consider to be the ten best songs of that era recorded the way I heard it in my head all those years ago.

Constance Tomb ~ MCMLXXXVIII

Side A:
A1. Spiritual Stairway
A2. Amokt
A3. The Doomsday Subliminalist
A4. Crawl
A5. Neurosleep

Side B:
B1. The Last Picture Show
B2. Orthodox Seduction
B3. Big Brother Doom
B4. Poison Perfomances
B5. Blood Red Eternity

All songs written by Tony Reed in 1988.
Recorded at HeavyHead Recording Co. March / April 2020.
All sonic manipulations, instruments and vocals by Reed.
Mastered for vinyl by Tony Reed at HeavyHead Recording Company

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Constance Tomb, MCMLXXXVIII (2020)

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Days of Rona: Tony Reed of Mos Generator

Posted in Features on March 31st, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. — JJ Koczan

mos generator tony reed

Days of Rona: Tony Reed of Mos Generator (Port Orchard, Washington)

How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

I’m in a few bands and this is potentially and most likely going to force us to cancel or reschedule quite a few gigs including a short tour for Hot Spring Water and some festival gigs for Mos Generator and Big Scenic Nowhere. Everybody is scrambling to reschedule and that will make it difficult to get these postponed shows in anytime this year. Many bands and promoters have put down money for merch, flights, hotels, etc. and that money may or may not get lost because of all this. Let’s hope that we can at least get these costs back over time by the rescheduled shows or online sales.

Everybody seems to be in good health at this point. There are frequent check-ins by call or text.

What are the quarantine/isolation rules where you are?

Everything is closed but essentials.

How have you seen the virus affecting the community around you and in music?

The “stay home – stay safe” push has certainly turned our small town (Port Orchard, WA) into a ghost town and Seattle seems to be almost completely abandoned. On March 14th I played a show on the last night that music venues were allowed open in our town and because of these shut downs it’s possible that many venues won’t be able to make it through this and will be forced to [close permanently]. Some of these venues are places that have been on our gig circuit for years.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

Personally I’m not effected very much as I work from home mixing and mastering records and 85 percent of my work is sent to me over the internet. The band is financially effected by the loss of revenue that helps keeps the machine rolling and in some weird way we are mentally effected by not being able to share our music to a live audience. That means a lot to us. Along with band issues, like everybody else, we are concerned with the health of our friends and loved ones.

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Review & Track Premiere: Seedy Jeezus with Tony Reed, Live in Liège

Posted in audiObelisk, Reviews on July 12th, 2019 by JJ Koczan

Seedy Jeezus with tony reed live in liege

[Click play above to stream ‘Polaris Oblique’ from Seedy Jeezus with Tony Reed’s limited Live in Liege LP. Album will be available on the band’s upcoming European tour (dates here).]

The front cover of the LP is emblazoned with the heading ‘The Broken String Incident,’ and indeed, Seedy Jeezus guitarist/vocalist Lex “Mr. Frumpy” Waterreus does break a string as the Australian outfit make their stop in Liège, Belgium, on July 18, 2018. “Incident” might be stretching it — so far as I know no ambassadors were recalled — but you gotta call it something, and it underscores the intention of the limited-to-150-copies, only-available-on-tour LP, which is to capture a bootleg-style feel. The artwork for Live in Liège is taken from Waterreus‘ own tour poster for their 2018 European run, which was their first — the tour they’ll sell the LP on is their second — with Mos Generator‘s Tony Reed filling in on bass for Paul Crick, who couldn’t make the trip from Australia with Waterreus and drummer Mark Sibson.

And if Reed seems like an out-of-the-blue choice, the relationship there runs deeper than just the live shows, with Reed having traveled from his home in Washington to record Seedy Jeezus in their native Melbourne for their 2015 self-titled debut and again for last year’s Polaris Oblique (review here) — he’ll reportedly produce their next album as well whenever that happens. Bottom line, then, is Tony Reed is about as close as one could get to being in Seedy Jeezus, and sometimes he is kind of in the band. He plays like it, taking on a backing vocalist role in the 10-minute side B launcher “Dripping from the Eye of the Sun,” stepping in to introduce Waterreus during the second round of band introductions before they finish the set with “Oh Lord Pt. 2” from the sophomore LP. That the two parties would fit well together isn’t a huge surprise, since both play a style of largely straight-ahead heavy rock with a strong foundation in the classics of the form, an emphasis on songwriting as well as the tightness of the presentation. In the rhythm section with Sibson, Reed‘s right at home throughout “Polaris Oblique”  and the subsequent “Everything’ll Be Alright” — billed as “Everything’s Alright” on the back cover; a notable change in tense — and all throughout the 40-minute set that unfolds.

By the time they got to Péniche la Légia in Liège, Seedy Jeezus had already been on the road for somewhere in the neighborhood of 11 days, and they sound like it. The actual audio on Live in Liège is fairly raw. If we’re going on the scale of bootlegs, it’s definitely a soundboard, and it’s gorgeous compared to some recorded-in-a-jacket-pocket DAT shows I’ve heard in my time, but neither is it a polished live record even as much as was Seedy Jeezus‘ 2016 offering, Live in Netphen: Freak Valley 2015 (discussed here). Again, it’s not supposed to be. The whole idea behind this release is that it’s something special that documents this special moment of their European tour supporting their second album. As Waterreus rips into the solo at the furious outset of “Sun in My Car” at the end of side A — stopping amid that triumphal boogie between measures to give the crowd a well-earned moment to holler, whistle, etc. — before, indeed, that string breaks and he does the first round of band introductions presumably in the midst of changing it out. If it didn’t say so on the cover, they’d have gotten away with it no problem. No one would know.

Seedy Jeezus with tony reed live in liege back cover

Still, if that’s something to stand the show out from the others on the tour, they handle it smoothly enough, which is the kind of thing a band can do without being derailed when they’ve already been on the road for a week-plus. “Sun in My Car” picks up in all the more energized fashion when it returns and blasts off en route to the interstellar drift of “Dripping from the Eye of the Sun” after the side flip, recalling the initial punch of “Polaris Oblique” and “Everything’ll Be Alright” at the start of the set — those two also lead off the Polaris Oblique album in succession — and prefacing “Barefoot Travellin’ Man” and “Oh Lord Pt. 2” still to come. Seedy Jeezus excel at this kind of madcap shuffle, and Live in Liège brings that out well, but their range has never been limited to just one thing, as “Dripping from the Eye of the Sun” demonstrates that with its slower roll and more spacious feel, which isn’t something that one would necessarily expect to come across on a live record, since it’s doubly hard to set the mood for someone listening when that person isn’t at the gig, but Seedy Jeezus deliver the set as it happened and the rest takes care of itself.

I imagine there are some who would hear Live in Liège and not understand the “warts and all”-style vibe it hones or why a band would even put out a recording of a set where the guitarist breaks a string in the middle of a song. But isn’t it obvious? It’s cinéma vérité — the most stripped down manner in which they could showcase the reality of what the tour was like. The only way it could be more real is if they recorded the 23 hours that day they spent driving, sleeping, no doubt, waiting for the time when they could get on stage and kick ass as they do here. By the time they get to the end of “Barefoot Travellin’ Man,” the scorch in Waterreus‘ soloing is so encompassing that whatever concerns might exist about fidelity simply dissipate. You just get into it and that’s all there is. This is the bootleg ideal, of course. Seedy Jeezus put you where the show is happening just as they put the audience who was there where they wanted them.

This may only be a limited LP, offered up in plain style through the band’s own Blown Music imprint with no super-deluxe special edition or anything like that, but it represents something special about their approach just the same, where it’s not just the fact that they boogie down or riff out or get spacey or whatever it might be, but that they do so with such obvious, resonant joy. I can’t imagine a more compelling argument to go see a band than that.

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Six Dumb Questions with Tony Reed of Mos Generator

Posted in Six Dumb Questions on July 10th, 2019 by JJ Koczan

tony reed

The mantle of being the hardest working person in show business has been worn by many over the last century-plus, perhaps most notably James Brown, but if we’re talking about heavy rock and roll, Port Orchard, Washington’s Tony Reed makes a strong case for himself. The frontman of the long-running Mos Generator is also near ubiquitous in his studio work on the production side, recording, mixing and mastering bands far and wide. He’s taking part alongside Bob Balch of Fu Manchu and Gary Arce of Yawning Man in the reincarnated Big Scenic Nowhere, and he’s just recorded the first Saint Vitus LP to feature Scott Reagers in over two decades. In August, he’ll tour for the second time in Europe playing bass for Melbourne’s Seedy Jeezus, whom he’s also recorded.

Oh, and for having what he calls a “mellow year,” Mos Generator have already released a hand-assembled live album through Devil’s Child Records and have a collection of studio jams on the way through Kozmik Artifactz. Reed is also learning to cut his own records, so expect much more to come. Like maybe that country rock project he’s got, Hot Spring Water! They’d be perfect for a cut 12″. He’s also been kicking around doing some reunion shows with Twelve Thirty Dreamtime, his band before Mos.

Clearly the man cannot be stopped.

Reed sent a raven recently with details on all of the above and a bunch more and, frankly, it was staggering. I didn’t even know where to start, but we went back and forth and what made the most sense to me was to get an interview together — as always, it took me forever to actually write out the questions — and give him the chance to talk about what’s going on with each of these things, say what he can say at this point and roll like that. With so much going on, some he can talk about and some he can’t, it was really the only way. Expect more news on a lot of this stuff as it continues to develop — the Big Scenic Nowhere LP, the Mos Generator jams release, record cutting, etc. — but the point is that, in all seriousness and all sincerity, I find Reed‘s singular level of passion to be deeply inspiring. He is relentlessly creative, and he doesn’t know how else to be. That kind of person is rare and with the consistent level of his output across such a wide variety of contexts, it’s only all the more impressive.

He talks about Mos Generator touring Australia with The Atomic Bitchwax early next year. I look forward to inviting myself on that run. I’d write a whole book about it.

Please enjoy the following Six Dumb Questions:

Six Dumb Questions with Tony Reed

First up, what’s up with Mos Generator for the rest of this year?

It’s been a pretty mellow year for the band. We’ve spent a lot of time on the road over the last four years and thought we would kick back for a bit. It looks like we will only play four shows this year. Two of them are with Red Fang and Clutch so we will be able to reach a new audience with the touring. Early 2020 we will be going over to Australia to tour with The Atomic Bitchwax. We’ve been out with them before so that was great news to hear we would be doing our first Aus tour with them.

In May Devil’s Child Records released a live album called Night of the Lords recorded in Manchester, England, in 2017 and later this year, Kozmik Artifactz out of Germany will release an album of freeform jams called Spontaneous Combustions. I just submitted the masters so hopefully it will be out by Fall. Like The Firmament and Lies of Liberty, Spontaneous Combustions is very different from our usual studio albums. I really enjoy adding new textures to the band and although we usually do a freeform jam section in our live shows, this is a whole album of them. All recorded in a six-hour time period.

You’re involved with Bob Balch and Gary Arce’s Big Scenic Nowhere project. You toured with Fu Manchu of course, and Gary is Gary, but how did you end up getting involved there, and will you continue to be a member of that band?

Bob contacted me to work on a song with him and I’m pretty sure it was a mix of touring with Fu Manchu and my contributions to his site PlayThisRiff that gave him the idea to contact me. We got along well on the road and we both work very hard at our craft.

After I finished the first song he just started sending more to see if I was inspired. I ended up doing vocals on quite a bit of the songs across the EP and the full-length. I also added Mellotron and synths to a few songs. A song I wrote has me on drums/vocals, Bob on guitar and my son Kylen on bass. How cool is that?

Bob, Gary and I have been talking about being the core lineup and continue to have guests come in. There are some really cool musicians playing on this that I am totally honored to be associated with. I’ve also started to call on people I know and respect to participate and everybody has been really cool. Musically there doesn’t seem to be any boundaries and that is great.

You’re also playing bass on tour again with Seedy Jeezus in Europe. How was that experience last time and how does being in the band differ from recording them?

I really enjoy hanging out with Lex and Mark. They know each other so well. They will have these massive blowup arguments that you feel might end the tour and right at its zenith, then it will be like ,“so where are we gonna eat mate?” like nothing ever happened. Total entertainment. I’ve got some great audio and video clips on my phone.

After recording two albums with them and doing the tour last year I feel like I’m part of the band. It was like that from the first time we met. Easy to get along with. I’ll be back over there to record the next Seedy full-length right before the Mos boys fly over for the tour.

You recorded Saint Vitus’ new self-titled album. What was it like having them in the studio again? Did you get Dave Chandler to put any mids in his guitar this time?

They were less prepared this time but everybody really worked to make a great album that ended having classic Vitus elements and some new textures. Henry and Pat both contributed to the writing so that gave the album some diversity while still sitting in the spot the fans are used to. Also, Reagers is a stud. Great vocalist and one of the nicest dudes you’ll ever meet. Always positive and professional without being too serious. Chandler kept his classic EQ settings. :)

Tell me about the record cutting project.

Well… my buddy Jeremy Deede brought up the idea of buying a record lathe. We found a guy in Germany that builds them so we contacted him and he told us he won’t sell it to us if we don’t take the class so I flew over to Germany a few weeks ago and took the 15-hour one day crash course in record cutting. I did get to bring home my first few attempts at it and they sounded better than I thought they would. We should have the machine and a whole bunch of blanks next week and I’ll start to get grip on making some nice cuts. After I get comfortable with it we are going to launch a site where people can have one-off records cut. Needless to say I’ll be making records of everything I ever wanted on vinyl. Exciting stuff!!!

What keeps you going, Tony? Every year you seem to have your hand in so much and so much going on. What is it that lets you do that? Do you ever feel overwhelmed by the sheer amount of stuff happening at any given time?

I discovered that I had musical ability when I was around 12 and ever since then I pretty much haven’t stopped. I’ve written and recorded more music than I can even remember. I’ve been going through 40 years of tapes and other recorded media that I am cataloging and saving and I’m finding so much music I forgot I even made. From ideas recorded on a boombox in 1985 to complete songs from even just a few years ago. When I think about how much time I’ve spent next to some kind of recording device with a guitar in my hand or behind a drum kit it’s staggering. I have so many musical endeavors going on (including my job) that it is sometimes hard to finish stuff. My dry erase board in the studio always has scribblings all over it. I like it that way. Leaving a legacy has always been important to me and that along with not knowing, and not wanting to know, anything else in life is what keeps me going. I’ve always been very prolific. I often wonder if that will ever disappear.

Any other plans or closing words you want to mention?

I’m putting a lot of time into a project called Hot Spring Water. It’s a country rock project in the style of early ’70s artists like Leon Russell, Graham Nash and Neil Young. Mykey and Mike were the rhythm section from Stone Axe and we actually started this project in 2011. A few months ago we added Bo Mcconaghie on guitar with me and started rehearsing for shows. We’ve played two shows and they have been really fun. It’s so much different than Mos Generator. Bo and I use six watt Fender Champ amplifiers so we have a six watt ceiling for live volume. It’s great! people can enjoy the show without getting their ears blasted. It’s also challenging because playing that clean and quite means your can hear every mistake. Challenges are good.

Tony Reed, Assembling Night of the Lords

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Magnetic Eye Records Completes Backing for Vol. 4 Redux & The Best of Black Sabbath Tributes

Posted in Whathaveyou on March 28th, 2019 by JJ Koczan

Wasn’t this bound to happen? Either Vol. 4 or Master of Reality? And by the way, there’s really no wrong answer there. So, you know, yeah. April 2020 is the listed ship date on Vol. 4 Redux and The Best of Black Sabbath, both of which continue Magnetic Eye Records‘ wildly successful ‘Redux’ series that’s already touched on HendrixFloydHelmet and has Alice in Chains on deck as a next installment. Still, obviously Black Sabbath have a special place in the history of heavy — right there at the start of it, maybe page three? — and accordingly, the big guns are coming out for the homage, whether it’s Matt Pike doing “FX” or Bongzilla taking on “Snowblind” or Tony Reed doing “Laguna Sunrise.” There’s no way it’s going to miss.

My only hope is that High Reeper make “Changes” heavy.

Interested to see how The Best of Black Sabbath pans out as well, with Year of the CobraElephant Tree and Earthless and a host of others confirmed. I saw Elephant Tree do a killer version of “Paranoid” live this past Fall. Wouldn’t mind a studio take on that from them as well.

But really, there’s no way to lose here.

Word from Magnetic Eye follows:

vol 4 redux

If you told us even as recently as six weeks ago that we’d be working on a Redux version of Black Sabbath’s Volume 4 and, before the end of March, artists including The Obsessed, Whores, Zakk Wylde, and Matt goddamn Pike would have all committed to be part of the project, we would’ve probably answered, “Wow.”

And if you’d then said, “Oh yeah, you’ll also assemble a Best of Black Sabbath companion LP featuring Earthless, Elephant Tree, Year of the Cobra, and tons of other great artists including a whole crop of brand-new Magnetic Eye roster bands, who by the way you’ll find time to sign during all the madness of your Vol. 4 Kickstarter,” we’d have most likely said, “piss off.”

And yet, here we are, and all of the above has come to pass.

We are indeed reduxing Volume 4 and offering up a Best of Sabbath companion record, we do have some of the greatest heavy artists in the world committed to be part of this project, and we did somehow find time to sign three new bands during all of this, each of whom we’ll have a new record coming from later this year, and all of whom we’re inviting to be part of the project.

So, yeah. Wow.

THOU – WHEELS OF CONFUSION / THE STRAIGHTENER
THE OBSESSED – TOMORROW’S DREAM
HIGH REEPER – CHANGES
MATT PIKE – FX
SPIRIT ADRIFT – SUPERNAUT
BONGZILLA – SNOWBLIND
WHORES – CORNUCOPIA
TONY REED – LAGUNA SUNRISE
HAUNT – ST VITUS DANCE
ZAKK SABBATH – UNDER THE SUN / EVERY DAY COMES AND GOES

ALBUM ART AND DESIGN ALYSSA MOCERE

IN ADDITION, WE HAVE INCREASED THE SCOPE OF OUR PROJECT TO INCLUDE 13 ADDITIONAL BLACK SABBATH SONGS ON A BEST OF BLACK SABBATH REDUX RECORD.

Summoner
Elephant Tree
Scott Reeder
IRONWEED
Earthless
Chris Wyse
Rwake
Mooner
Year of the Cobra
Leather Lung
Brume
Caustic Casanova
Dead Witches

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Black Sabbath, “Snowblind”

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audiObelisk Transmission 051

Posted in Podcasts on August 25th, 2015 by JJ Koczan

Click Here to Download

 

Here is the Music Player. You need to installl flash player to show this cool thing!

The last one was so late, it seemed only fair to get back on track and do this one early. Not that you’re sitting and waiting with baited breath for the next podcast, I know — not deluding myself to think otherwise — but it keeps me sane to stick to some imaginary/arbitrary feeling of timeliness that changes more often than not, so I’ll just say up front that I appreciate your indulgence. Wow. Sometimes these imaginary conversations get pretty heavy.

Speaking of heavy — and speaking of masterful segues! — the new podcast has plenty of it. The second hour actually gets pretty pummeling, what with the Ahab track and all, so I made sure a little extra psychedelic stuff got in at the front. Dig that Red Mountains track. Their album’s coming out on Nasoni, which should be all the endorsement you need. I’m also very much into the Pyramidal space jam, and if you get to hear it, that Brian Ellis & Brian Grainger record (El Paraiso is putting it out) is a gem. Think a more psychedelic Six Organs of Admittance, all instrumental.

Some killer samplings to be had here, so I won’t delay further. Hope you enjoy:

First Hour:
0:00:00 Tony Reed, “Still Born Beauty (Necromandus ’73)” from The Lost Chronicles of Heavy Rock Vol. 1
0:04:02 All Them Witches, “Dirt Preachers” from Dying Surfer Meets His Maker
0:07:43 Uncle Acid and the Deadbeats, “Waiting for Blood” from The Night Creeper
0:12:33 Red Mountains, “Sleepy Desert Blues” from Down with the Sun
0:19:58 T.G. Olson, “Heavy on Your Head” from The Boom and Bust
0:23:18 Pyramidal, “Motormind” from Jams from the Sun Split with Domo
0:33:30 Brian Ellis & Brian Grainger, “Treesmoke” from At Dusk
0:37:53 Vinnum Sabbathi, “Hex II: Foundation Pioneers” from Fuzzonaut Split with Bar de Monjas
0:45:18 Spelljammer, “The Pathfinder” from Ancient of Days
0:53:41 Derelics, “Ride the Fuckin’ Snake to Valhalla” from Introducing

Second Hour:
1:02:03 Ahab, “The Weedmen” from The Boats of the Glen Carrig
1:16:56 Lost Orb, “Low Ebb’s Lament” from Low Ebb’s Lament
1:34:10 Hotel Wrecking City Traders, “Droned and Disowned” from Split with Hey Colossus

Total running time: 2:00:41

 

Thank you for listening.

Download audiObelisk Transmission 051

 

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