Classical

Press Release

Source: PRS Guitars

PRS Guitars today announced several new SE Series models and the David Grissom signature DGT 15 amplifier as a combo. Along with the debut of the SE version of Herman Li’s signature model Chleo, the fresh models include the SE DGT Standard and the SE CE 24 Standard Satin Stoptail. 2026 also brings a construction update to the SE Hollowbody Standard, SE Hollowbody Standard Piezo, and SE Hollowbody II Piezo. Rounding out the launch, the DGT 15 amp brings the acclaimed tone and versatility of the DGT 15 head into a convenient, combo format.

NEW MODELS

SE CHLEO

The SE Chleo is the result of an intimate collaboration between PRS Guitars and award-winning guitar player Herman Li. Best known for his work as one of the lead guitar players in the power metal band DragonForce, Li is a demanding guitarist known for his fast and precise playing style. Based on the exclusive 2025 PRS Chleo Limited Edition, this SE signature model is a unique guitar in the PRS lineup designed with the modern metal guitarist in mind. The SE Chleo boasts the same Fishman Fluence Signature Series Omniforce Herman Li pickups as the Limited Edition that preceded it. With three distinct voices and a versatile switching system, the guitar offers up to 13 unique tone combinations.

“With the PRS SE Chleo, we set out to create the best affordable guitar that delivers a unique combination of effortless playability, outstanding craftsmanship, and versatile tonal range. It combines modern innovations with classic style, giving players the tools they need to create everything from classic tones to cutting edge new sounds. The SE Chleo proves that a world-class instrument doesn’t have to break the bank—it’s a guitar that brings high-end performance within reach for everyone,” said Herman Li.

In addition to the Charcoal Purple Burst and Orchid Dusk that the Limited Edition models were offered in, the SE Chleo introduces a third color, Mantis Burst.

SE DGT STANDARD

The SE DGT Standard brings David Grissom’s signature model to a stripped-down, all-mahogany platform, delivering organic tone, rich resonance, and bold midrange presence, all at a price that comes in slightly below the SE DGT. The SE DGT Standard adds warmth and growl to the model’s signature clarity and articulation. Like the SE DGT, the SE DGT Standard offers a versatile control layout with individual volume controls for each pickup, a master tone control with push/pull coil tap, and a PRS tremolo.

SE CE 24 STANDARD SATIN STOPTAIL

The SE CE 24 Standard Satin is now offered in a stoptail option. The SE CE 24 Standard Satin Stoptail joins its tremolo counterpart as the lowest-priced guitar across all PRS models, at just $499 USD. This new version brings the snap and response of a bolt-on guitar into an all-mahogany body for a warm, focused tone, now paired with the rock-solid stability of a stoptail bridge. Loaded with 85/15 “S” pickups and a push/pull tone control for coil tapping, the SE CE 24 Standard Stoptail packs impressive versatility, whether players are chasing classic humbucking growl or snappy single-coil sparkle.

UPDATED MODELS

Through close work with Cortek, PRS has updated the construction process of the PRS SE Hollowbody models. The center section is cut from solid mahogany, as opposed to bending the sides, so the body shape is now “fully PRS.” The SE Hollowbody II Piezo’s top and back are still made with 5-ply laminated maple for strength and rigidity. The PRS SE Hollowbody Standard models keep their all-mahogany build, while also benefitting from this construction update.

This construction method also allows more color options, so Vintage Sunburst has been added into the lineup on the PRS SE Hollowbody II Piezo. With the SE Hollowbody II Piezo, players can plug into the “Mix/Piezo” jack and use the individual volume controls to blend the 58/15 LT “S” pickups with the piezo’s acoustic tones. Alternatively, players can plug into the jacks separately, so the guitar can run magnetic pickups into an amp and run the piezo through an acoustic amp or DI into the soundboard.

DGT 15 COMBO AMP

Designed in close collaboration with guitarist David Grissom, this 15-watt, single-channel amp delivers vintage-inspired tone and gig-ready portability—all in one compact package. The built-in master volume and 3-position bright switch allow for detailed tone shaping at any volume level. Additional features include a 3-band tone stack (treble, middle, bass), boost, tube-driven reverb, top cut, presence, and tremolo. Like on the head version, it is not just the controls, but the combination of the controls and control parameters that bring out this amp’s functional versatility. For example, the bright switch can be set to on, off, or on except when the boost is engaged, so players can intricately manipulate the amp’s high-end. The Master Volume can be set to be on, off, or on only with the Boost. The included 3-button footswitch allows control of the boost, reverb and tremolo.

“I’m very excited the DGT 15 is now available as a combo amp! With a tweak to the circuit and a lot of work on the cabinet design, the combo has a tight, robust low end and a slightly more open tone than the head/cab version, all in a lightweight 1×12 combo format,” said David Grissom.

PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year. For all of the latest news, click www.prsguitars.com/40 and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.

About PRS Guitars:

PRS Guitaes is a leading manufacturer of high-quality instruments in Stevensville, Maryland and has provided some of the world’s most renowned musicians with instruments since 1985. The PRS team of highly skilled craftspeople design and build a wide variety of musical instruments and gear for worldwide distribution, including electric and acoustic guitars as well as boutique-style guitar amplifiers and effects pedals. The PRS SE Series complements the Maryland-made PRS line by offering highly approachable and more affordable electric and acoustic guitars. Carlos Santana, Mark Tremonti, John Mayer, Jimmy Herring, Myles Kennedy, Zach Myers, Mark Holcomb, Tim Pierce, Orianthi, David Grissom, Mark Lettieri, and Rhonda Smith are among the artists currently playing PRS instruments and/or amplifiers.

PRS Guitars Info: www.prsguitars.com

Press Release

Source: Prime PR Group

KRK announces a striking new Latte finish for its Kreate Series Studio Monitors, the latest addition to the brand’s wide range of audio offerings. Available in the 5 inch size monitor only, this new Latte finish offers a stylish alternative to KRK’s world-renowned black finish with yellow cones, adding visual flair without compromising performance.

Whether for casual playback or professional music and content production, the Kreate Series is designed to perform. Available in three sizes—Kreate 3, 5, and 8 inches—the Kreate 3 models are sold as a pair, while the Kreate 5 and Kreate 8 options are priced individually. The KRK Kreate Series is available worldwide through select dealers and online at www.krkmusic.com.

“The midcentury modern aesthetic with our new Latte finish option makes these look and sound at home anywhere. The KRK Kreate Series is the perfect entry point for emerging artists, producers, podcasters, or any content creator,” says Sterling Doak, Vice President of Marketing for Gibson. “The Kreate Series fills a vital space in our lineup, delivering professional-grade sound, and flexible functionality that empower creators to experience high-quality audio at an accessible price.”

KRK Kreate monitors deliver exceptional value and legendary KRK monitoring quality to emerging musicians, engineers, producers, and content creators. These best-in-class, two-way studio monitors are purpose-built to meet the diverse needs of creatives, providing the tools necessary to reproduce every nuance of a production with astonishing clarity and accuracy.

As the brand’s newest studio monitor line, the KRK Kreate Series represents KRK’scontinued commitment to innovation, accessibility, and excellence—supporting a wide range of setups and needs. Ideal for mixing, producing, and content creation,

Kreate monitors offer a variety of standout features among others in their class. These include wireless audio streaming capabilities via pairable Bluetooth® input, alongside balanced and unbalanced analog inputs for flexible connectivity. The monitors are equipped with universal voltage and a switch-mode power supply, ensuring reliable performance across international power standards for seamless use anywhere in the world.

Explore the new KRK Kreate Series at: krkmusic.com.

KRK Kreate Series 5 inch monitors debut in a new Latte finish.

The KRK Kreate Series offers entry-level, active two-way studio reference monitors with wide bandwidth, boundary and tuning EQs, new transducer designs, as well as Class AB, and Class D amplification. Acoustic boundary correction and tuning EQ combinations help minimize and resolve environmental challenges, allowing users to dial in voicing for specific applications.

Composite woven glass fiber cone woofers deliver impressive dynamics, effective damping, and deeper modal control—resulting in tight, punchy mid and low-frequency response suitable for both casual and professional playback environments. The heat-resistant glass fiber structure features a high strength-to-weight ratio, ensuring sonic accuracy and adaptability.

High-frequency reproduction is handled by a carefully engineered woven-textile dome tweeter with a neodymium motor, extending the frequency range up to 40 kHz in the KRK Kreate 8 and 5 models, and up to 33 kHz in the Kreate 3. These textile dome tweeters provide a smooth, accurate response and a more detailed sound profile.

System-tuning level control, along with low and high-frequency shelving filters, allows for easy adjustment in various acoustic conditions. Hybrid Class D and Class AB amplification delivers power and headroom with excellent dynamic reproduction. High-performance transducers are optimized for improved accuracy, and the amplifiers drive them efficiently at reduced operating temperatures—ensuring audio integrity during extended sessions.

KRK Kreate Series (L-R) in 8, 5 and 3-inch sizes.

About KRK:

For more than three decades, KRK—part of Gibson Pro Audio—has been synonymous with high-quality design and exceptional performance in studio monitors, subwoofers, and headphones. KRK delivers products that meet the diverse needs of both home and professional studios, regardless of musical style or application. To learn more, visit krkmusic.com.

About Gibson:

Gibson, the iconic guitar brand, has shaped the sound of generations of musicians and music lovers across genres for over 130 years. Founded in 1894 and headquartered in Nashville, Gibson is known for world-class craftsmanship, legendary artist partnerships, and a legacy of innovation that remains unmatched in the musical instrument industry.

The Gibson portfolio includes its flagship Gibson guitars, along with many of the most beloved and recognizable music brands: Epiphone, on stages since 1873; Kramer, the original “Made to Rock Hard” guitar brand; MESA/Boogie, the home of tone; KRK,powering great music for over 30 years; and Maestro, the pioneer of effect pedals.

Gibson is dedicated to quality, innovation, and sonic excellence—ensuring that music lovers for generations to come continue to experience music shaped by all Gibsonbrands.

Explore more at Gibson.com, on the Gibson App, and Gibson TV. Follow us on Instagram, X, Facebook, and Tik Tok and visit us at the Gibson Garage Nashville andGibson Garage London.

By: Rick Landers

Images by: D.A. Peterson

Valeria Stewart

has been making waves in the venues around the Washington, D.C. music scene for years. Although her local haunts are in the D.C. area, Valeria was born in Argentina and pays tribute to her roots with her new album presented in Spanish, and with a bevy of beautiful original and cover songs that highlight her mesmerizing vocals, as well as being grounded in the fine support from other local musicians.

Like many successful singer-songwriters, Valeria, has diligently worked her way performing at open mics, local venues, listening rooms and festivals. Her melodic and lyrical expressions have been recognized by winning 12 Mid-Atlantic Song Contest awards, for such tunes such as, “El Die Man Oscuro,” (The Darkest Day), New Miner’s Blues,” “Our Days in Ordinary Time,” and more.

Other highlights of her career were songwriting awards, that include being a 2021 winner in the John Lennon Songwriting Contest; a two-time SemiFinalist International Songwriting awardee (2021/2024) for her “New Miner’s Blues,” and “Ensueños” (Reveries) songs, respectively. And in 2025  she received an Unsigned Only Semi-Finalist award for her song, “Eyes Mi Amor” (You Are My Love). 

Along with her passion for music, Valeria told us she’s able to find great balance in her “day job,” as a part-time pre-sch00l teacher at Kidstretch, a Falls Church, Virginia, preschool where she works supporting families in transitional housing.

“When I walk into work, I have to drop all pretenses, I am only there to serve the kids and support my coworkers. The phone and social media break, plus working for others is grounding.” – Valeria Stewart

Guitar International magazine is delighted to introduce Valerie and her beautiful music to our readers as her career takes off and her songs gain fans around the world,

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Rick Landers: Let’s start out with your new release and your reasoning behind making it in Spanish. Was the decision based on cultural pride, or the world demographics to reach different audiences than typical here in the States? 

Valeria Stewart: It’s funny, I personally had no plan to go record an album or even an EP of all my Spanish material! I have been collaborating since COVID with my friend singer-songwriter Kevin Dudley, and we had recorded a bunch of material in my home studio, including some of the songs on the new album, to submit to the MASC (Mid Atlantic Songwriting Competition).

About a year ago, when we discussed going to record in a studio at some point, he suggested we prioritize work on a solo EP of all my best Latin songs. He’s been around the music world longer than me and his feeling was that the Latin genre and the songs themselves would really stand out, that is, reach a larger and different audience than some of the Americana style songs we’d collaborated on. Furthermore, I had been performing a handful of these songs in our combined music sets, with always positive praise from mostly American audiences, so it felt like a good next step.

Rick: Who are the players on the album and what did they bring to the table as far as their musical talents, and other strengths that helped make the project more enjoyable or challenging? 

Valeria Stewart: The plan for the co-produced album, which started off as an EP until I added two cover songs, was to minimize recording studio time, and play and record the songs ‘live’ with a quartet of players that would be seasoned enough to rehearse a minimum of two live shows plus a home practice, plus work on their own.

The vocals are central to this solo project of course, and I play the rhythm guitar throughout the album. I am more accustomed to singing while playing, but have recorded separately, as well. For this record the plan was to ‘perform’ the way I usually do at shows, so simultaneously track vocals and guitar, with a minimum of tries to get things right, which is a challenge, but emits more of a live presence.

The lead guitar throughout the album was arranged and performed by Kevin Dudley, who’d been honing his classical guitar chops for a couple years and gave this whole record a distinct flavor which is not totally traditional. He’s a pretty versatile musician and blended a combination of flamenco, elements of blues, and samba rhythms on Raíces. Note his nod to Carlos Santana on the second interlude of Por Qué. I know by the end of the first day at Bias Studios (Springfield, Virginia), he was pretty worn out by the amount of intricate parts he had to perform! We aimed to getting all seven songs done in two days, and by day one had finished five, with a couple re-dos for day two. 

Click here to view the embedded video.

The double bass was important for the style of this album, which is primarily acoustic with strong Latin rhythms. I had recently been performing from time to time with a local jazz guitarist named Pat Mackin, and I asked him one day if he played with any stand up bassists, and whether they’d accompany me on my songs some time, so that’s where I found Eugenio Ibarz.

Eugenio is from Spain, and has been playing in local jazz duos and trios for years, so he had a combination of skills and cultural knowledge to be a great fit for my music. He is a very intuitive player and we immediately got out to perform at cafes nearby, and with Pat’s help, organized the charts for dozens of my songs, including the ones on the album to be. He was enthusiastic from the start and was my first choice for recording.

Percussion is super important to these songs, as well, and I hadn’t yet played or met a ‘Latin’ percussionist so, as it was time to plan our recording a few months out, I went back to my jazz colleagues’ social pages to filter through and YouTube searches for locals who seemed like a good fit.

That’s how I found Jason Walker. He happened to be in a couple videos related to Eugenio, and coincidentally works at the same private D.C. school as him, so that all seemed to be a good sign towards working together on pretty short notice! He came to our first rehearsal at home with every Latin percussion option that could fit in his car probably.

My favorites ,of course, are the conga drums and bongos on the record. That combined with Eugenio’s bass make for some good dancing rhythms! Finally, on the last song, the Argentine “Zamba de Usted”, we tried with a track of clave at first, but the only true Argentine drum for a zamba is the Bombo Ligüero, a large, traditional folk drum made from a hollowed-out tree trunk with a head made of cured animal skin. It’s a fundamental instrument in Argentine folklore, so at the last recording session at Bias a few weeks after the main recording, I brought in local Argentine percussionist, Juan Megna, a colleague of Eugenio’s in the world of local jazz players. 

Click here to view the embedded video.

Rick: Do you come from a musical family or are you the artistic one in the family? 

Valeria Stewart: My parents were always big music lovers. My mother sang and hummed along to radio songs, and dad, I discovered coming home from college, had an extensive vinyl collection, including American folk heroes Dylan, Baez, etcetera and also an eclectic jazz and classical mix I learned to love.

Dad knew a few basic guitar chords and would play some Argentine folk tunes during parties at home in Maryland. We grin at those memories because he couldn’t really sing in tune, but it never stopped him! My maternal grandmother was a good pianist, and performed in what were basically house concerts, sometimes with singers in her neighborhood of Buenos Aires. I began as more of a visual artist, and studied Graphic Design in college, but was never far from my guitar since about age 12.

Rick: I’d guess that most of your local audiences are English speaking and wonder how your new songs translate emotionally to them when they may not understand the lyrics?

Valeria Stewart: Surprisingly what I noticed in the last couple of years, was that American audience members’ reaction to my Latin songs was “I don’t know what words you’re singing, but the sound and quality of your voice in Spanish, and the music, is something very beautiful/unique, and I want to hear more”.

No one specifically asked for a translation, but I decided to start bringing little handout sheets to shows, like a program, with song titles and descriptions, not word by word translations which is very hard to do. Friends and audience members had a very positive reaction to that, so I’ve used them for many shows since, and provide the download on my website under the “MUSIC” menu.

Rick: What have been some of the most challenging times you’ve had being creative or inventive, learning the business side of music, or figuring out the technical aspects of recording your music? 

Valeria Stewart: The creative and inventive phase, even when I’m not songwriting, goes on through it all, but I have to say while releasing a new record, writing is definitely on hold. For me the techie stuff is not easy but I’d say I enjoy that kind of work. Since I started using GarageBand at my home studio, doing lots of demos with Kevin, submitting to all kinds of song contests etcetera, its been a great skill to learn.

As for the business side of it, I have a Bachelors of Fine Arts (BFA) in Graphic Design and I can’t think of a better space to use those skills now as I promote myself continuously; videos, posters, social media reels and posts, using photography and typography. The other side of music business, album and single releases, radio promotion, constant blowing your horn, I find pretty exhausting and on a good day, exhilarating.

CHECK OUT VALERIE STEWART’S YOUTUBE CHANNEL! 

Rick: It can be tough to break into new territories beyond our local music communities. Have you developed some kind of strategic plan to grow your fan base outside the Washington, D.C., area? 

Valeria Stewart: I have been fortunate to have a great power couple mentoring me – Lynn Veronneau and Ken Avis, who’s Antidote label I was invited to publish under for this album. They have been paving the way for me to get out to more audiences beyond where I’ve been performing. They were instrumental in me signing up for a world music radio promotion via Kari-On Productions, with among other goals, the hope that it will provide a wider audience and the potential to move my shows outside the D.C. an Virginia areas.  I don’t have a strategic plan in place other than to keep playing and accepting as many offers as I can while keeping my part time assistant teacher job I so love.

Rick: What gear are you using when writing your originals, performing them or making them shine in the studio? 

Valeria Stewart: I have gravitated to a couple simple tools – Voice memos always! To talk and record my thoughts while on walks, or write blurbs in one of my journals as they come straight out of my head. I sit for a half hour every day or so and just play guitar. It’s a stress release. I do some latest favorite cover, or polish up an old song if I’m not writing new material. To polish up a song, I use either a blue mic connected to my iPhone, to listen back to things I’m trying, or a condenser Ear Trumpet Delphina model I have plugged in and ready to use with a small wireless Bose S1 right in my office/studio.

That is my preferred practice technique, since it gets my ears into that amplified space, and ready for whatever type of performance. I often move voice memos or Blue mic recordings to GarageBand and EQ them a bit, to have good quality practice tracks to share with band members.

Rick: Singer-songwriters tend to steer toward certain types of guitars when it comes to their sizes, tone woods, or even favored brand names. What are your preferences? Do you use any pedals and what about amps? 

Valeria Stewart: When Steve and I were first married, in 1992, I started playing guitar again after a hiatus. We went to a little shop in D.C. and bought a classical nylon-string Esteve from Spain. I used to show up with it at local CABOMA bluegrass jams—definitely an oddball choice for that scene. It was the only guitar in our house for years. It got pretty worn by the time I shared it with my teenage son, Matt, but by then I had my first Taylor: the BBT. It was beautiful—very bright—and it marked the start of a new phase.

Around our twentieth wedding anniversary, in 2011, we bought my Gibson Hummingbird. That was the first guitar I completely fell in love with. I even had nightmares about it being stolen at music festivals. I brought it everywhere. It has its share of dings from all the travel and gigs, but it still sounds gorgeous. It matched my voice really well—full, but not overpowering. 

Once a year, we travel to southern France, where my father last lived before he passed. While he was alive—and even after—I’d bring a travel-size Taylor Mini along. It was perfect for flying: small enough to store easily onboard. 

In 2023, I went to Nashville for the first time to attend the Americana Music Conference. While I was there, I wandered into Gruhn Guitars and ended up buying what’s now my favorite guitar: a small-body Martin 00-18. Just five months later, I had to undergo major corrective back surgery for a degenerative condition that had finally reached a breaking point.

During the long recovery, the only guitar I could physically manage; light enough, small enough to cradle against my sore body was that Martin. It became part of my healing. I’m 100 percent better now and still gig with it regularly.

About a year before I found the Martin, I’d also picked up a Cordoba, part of the Orchestra CE Fusion series. It reminded me of that old Esteve I started with, and it’s the guitar I used to record the Zamba on the Raices album.

I don’t use pedals, but I always bring my Fishman Platinum preamp for performing.

Rick:There are several types of venues and they all have different “feels,” like listening rooms (house concerts), bars, wineries, festivals and more. Do you have a favorite and what is it that gives you the best comfort level? 

Valeria Stewart: I have had the chance to play at all of these types of venues and I’d say bars are my least favorite because of the obvious; I am not presenting loud bar or dance/party music, and prefer to have audiences who listen to and appreciate lyrics and the groove, which are important. I

had fun playing at a small winery in Markham, Virginia, called Naked Mountain Winery the last couple of years with my Crooked Sparrow trio, and festivals have always been a great experience. Some of the most intimate and meaningful connections I’ve felt with an audience have been during house concerts and, more recently, at the Creative Cauldron theatre. During a sold-out show in that 108-seat venue, I felt completely surrounded—by friends, family, and new followers. It was a truly special night, full of warmth and positive energy.

Rick: Being an “all rounder” musician demands not only having a creative talent, but also developing a stage presence, along with the mundane tasks involved in the business aspects of the job. What elements of being a working musicians have been the most challenging? 

Valeria Stewart: Musically, I’m always preparing, practicing, listening. So, the most challenging has been learning to have a good stage presence, to be in the moment, and totally prepared and relaxed so that the audience comes along for the ride and relaxes too. It’s amazing how effective it is to smile out there at someone while you sing to them if you’re calm enough.

I’ve been an introvert that learned to be extroverted because I wanted to do this art form so badly. I found a method that works for me, just like in songwriting. That is, stay honest, authentic, and vulnerable.

I spend moments before big shows meditating, envisioning myself talking and telling my life stories in front of people, in my style, so I try it all out in my imagination, even using notes and a journal I brought with me on stage at the Cauldron, to keep grounded and read aloud words or stories that I didn’t want to screw up! And when you do mess up it brings you down to earth anyways, I think people appreciate vulnerability in the stage banter as long as when you’re performing you’re in the zone.

As far as mundane tasks involved in the business aspects of the music work, I work 20 hours a week max at my pre-k job for a reason, because it gives me two full weekdays to accomplish the mundane stuff needed for a DIY musician to maintain a presence on and off line, to pursue leads, booking inquiries, promo promo promo!

It feels like you hit a wall some days, but after a few years of getting better opportunities, venues do come back and they reschedule you for presenting good quality programs, being on time and organized, and for doing the ‘work’, promoting on all the channels etcetera.

Rick: I understand that you were born in Argentina. Have you had an opportunity to perform there or is that one of your dreams? 

Valeria Stewart: I brought my travel guitar on my last trip there in 2024 and it had been like 11 years since my last visit. I signed up on line for an open mic in town, and just showed up to play late at night, with the house band. It was a lot of fun and more loud and electric than I’ve ever sounded, but I do think it would be even better to set up a few gigs before hand!

I made contact with a young pianist from Buenos Aires who had performed at Takoma’s School of Musical Traditions stage one night as part of a Tango presentation, and we messaged back and forth about setting something up last visit, but it was December, holiday time, lots of folks leaving town or venues already booked. So I need to get proactive before our next trip.,

Rick: Now that your roots album is released, do you have another group of songs in mind for your next album or single, and do you think you’ll venture into another style of music or working with musicians that may play unique instruments to add a different flavor to your work? 

Valeria Stewart: As a matter of fact I’ve started recording a new batch of songs, both older and new, in collaboration with Leandro Alvarez, an Argentine producer based in L.A. We met by chance in May at a fundraiser in Potomac, Maryland, where I performed a few songs alongside him and legendary accordionist Chango Spasiuk.

Leandro expressed interest in producing an EP of my music for next year. So, we began working together remotely, one song at a time, to explore the potential of the collaboration. This is my first time creating music in this way—without being physically present to discuss and shape a song’s direction—but it’s become an artistic stretch that feels both challenging and creatively rewarding.

It’s also been meaningful to collaborate with someone who shares my cultural heritage, but brings a fresh and different perspective. The songs I’ve focused on share the theme of flight and flying. We’ll see where this all goes…just trying something new!

Rick: Have any shout-outs to friends, family, musicians that have helped you along the way or who’ve given you the confidence needed to sustain a music career? 

Valeria Stewart: Oh, absolutely! In the beginning of the 00’s I started out singing harmonies and playing with my sister in-law Sherry, who is now in a group called Sunny at Midnight. She and I would play at the Reston-Herndon Folk Club and eventually started a band called The Stewart Sisters with bandmate, and your current dobroist, Jim Nagle! Thanks to both of them and Annie Jones our bassist, for a beautiful collaboration and first CD together in 2017, Another Place & Time, at Les Thompson’s Cabin Studios, with all of our gigging cash in hand.

Jen Smith joined the sisters band on fiddle and Niels Jonker on bass to complete our sound. They have each been amazing humans and supportive friends to collaborate with. 

I also met and befriended my future duo partner songwriter, Kathleen Huber, though the Reston-Herndon Folk Club scene. In 2018, we started a collaboration as the duo Luna. By the Fall of 2020 we went on to co-write several Mid-Atlantic Song Contest awarded songs, win an Arlington Arts grant, and publish an EP, The Alchemist’s Journey, before our partnership culminated in Kathleen’s move up north. I am grateful for her fine example as a songwriter and for sharing in this part of my growth journey as an artist. 

Before I mention singer-songwriter Kevin Dudley I have to first thank Val Makepeace and his sweet, spunky, artist wife and music supporter who I got to make friends with first. Val has been the first to hear new songs and is the most excited cheerleader for all of my andour musical endeavors, and, she introduced me to Kevin.

He and I began to collaborate in 2021, started a trio called Crooked Sparrow with Jen Smith on fiddle, and have co-written a bunch of songs, favorites being “New Miner Blues”, “El Día Mas Oscuro”, and “Yellow Flowers”. Kevin also has been a mentor, teacher and collaborator on my journey. He taught me some pretty cool jazz guitar chords after he got tired of hearing me play ‘cowboy chords’ long enough. I’m especially grateful for his suggestion and help in producing this latest album. 

Grey Jacks came into my life at a time when I was needing moral support and friendship, and has been an incredible friend, talented singer songwriter, duet partner with an amazing voice and positive, forward moving spirit that is so intoxicating. When I needed harmonies for this album, I didn’t have to look far. 

Thanks to my mom, ‘Grace’ Graciela, who had such great lines to add to some of the songs on the album. I’ll always remember being with her and giggling happily as we cobbled a phrase together to complete a song I needed help with it in Spanish. It’s not quite the same when she’s not at a show, and at 88 she’s made it to a lot of them! 

Click here to view the embedded video.

Big thanks to my friend Ken Avis and his wife Lynn Veronneau for picking me up on their Antidote label after hearing some rough tracks from the studio. More than that, Ken has been incredibly supportive, curious, and encouraging of me personally as a musician over the past few years. He’s witnessed my transformation and growth, and his belief in me has meant the world. Validation is a gift — and I’m deeply grateful.

Last and most special person I want to thank is Steve, he’s the ultimate partner and friend. Helped me buy the first guitars, trudged along on gigs carrying my heavy equipment, put up with endless hours of practices and people coming and going, gives me honest feedback, and supports my crazy career choice, through thick and thin. There’s a reason so many of my songs are about him, he is the best.

Rick: There are different kinds of success and oftentimes the definition is personable and well-considered. For you, how do you define it and how do you manage to balance everything to reach your goals and not lose sight of it? 

Valeria Stewart: Success is if you are happy doing what you love, and your art reaches people’s hearts in some way. Being paid to do all this is of course a measure of success, and being invited to bigger stages too, but I’m still a believer that you have to bring music to people as a gift sometimes, for spiritual support, and for building community.

I would do it regardless, it’s a sort of calling for me. Some of the moments that stick with me the most have been from quiet listening rooms to assisted living spaces, libraries, and seeing the calm it can bring, even in my littlest; the students I get to work with. I know life is not all about the music business and that is how I try and not lose sight of the joys.

Raíces | Roots Solo Album Out Now!

Press Release

Source:  Gold Atlas PR

Amazon Music today announced it will exclusively livestream the DC-area edition of the 11th annual All Things Go Festival, bringing the celebrated independent music festival to audiences worldwide for the first time. Taking place September 26-28 at the iconic Merriweather Post Pavilion, the festival features an impressive lineup including Noah Kahan, Doechii, Lucy Dacus, Clairo, Kesha, The Marías and more.

The livestream will be available on the Amazon Music channel on Twitch and Prime Video across all three days of the festival. Fans can prepare for the festival by listening to the All Things Go DC Official Playlist exclusively on Amazon Music, featuring music from this year’s performing artists.

“Streaming All Things Go was a no brainer for us at Amazon Music,” said Kirdis Postelle, global head of content, Amazon Music. “All Things Go has built an incredible reputation for showcasing groundbreaking artists and fostering an inclusive community of passionate music lovers. This livestream allows us to extend that special festival experience beyond Merriweather Post Pavilion to audiences everywhere.”

All Things Go Festival, known for its innovative approach to curation and community, has experienced remarkable growth since its 2014 inception, evolving into one of the most anticipated music events in the U.S. that showcases both established and emerging artists, with a particular focus on amplifying women, queer, and non-binary voices in the industry.

The festival has more than doubled in size annually since 2018, featuring prominent headliners like Lana Del Rey, Janelle Monáe, and Hozier. The festival has expanded to three days for 2025 with over 40 artists performing across multiple stages at Merriweather Post Pavilion, drawing an international audience while maintaining its reputation for creating an inclusive, welcoming environment for music fans.

ABOUT AMAZON MUSIC:

Amazon Music is an immersive audio entertainment service that connects fans, artists, and creators through music, podcasts, and culture. Amazon Music brings fans closer to what they love, with curated and personalized playlists, artist livestreams, artist merch, and Amazon Exclusive podcasts. Prime members get access to over 100 million songs in shuffle mode, All-Access playlists, plus the largest catalog of top ad-free podcasts, included with their membership. Customers can upgrade to Amazon Music Unlimited for full, on-demand access to 100 million songs in HD, a growing catalog of Ultra HD and Spatial audio, and the world’s largest selection of audiobooks from Audible. Anyone can listen to Amazon Music by downloading the free Amazon Music app, or wherever they listen to music including Alexa-enabled devices. Learn more at amazon.com/music.

ABOUT ALL THINGS GO:

All Things Go is an independent music festival based in Washington, DC, and New York City, renowned for its innovative approach to curation and community. Since its founding in 2011, All Things Go has showcased an impressive lineup of groundbreaking artists, including Billie Eilish, boygenius, Lana Del Rey, Maggie Rogers, Hozier, Lorde, Laufey, Mitski, HAIM, Janelle Monáe, Charli XCX, MUNA, Carly Rae Jepsen, Bleachers, Tove Lo, and many more. At the heart of the festival is a passionate and inclusive fan community known as “The Besties,” embodying the festival’s commitment to diversity and belonging. Recognized nationally, All Things Go was nominated for Pollstar’s Music Festival of the Year in 2023 and 2025 and has been featured prominently in media outlets such as The New York Times, Variety, Forbes, NME, Rolling Stone, Billboard, CNN, Pitchfork, NPR, and The Washington Post. https://allthingsgofestival.com/dmv/

ABOUT MERRIWEATHER POST PAVILION:

Jimi Hendrix, Led Zeppelin, Miles Davis, Janis Joplin, Dolly Parton, and the Grateful Dead played here! One of the few independently operated outdoor venues in the nation, Merriweather Post Pavilion is one of the world’s most beautiful and storied amphitheaters. Nestled in 40 acres of forest between Washington, D.C. and Baltimore and designed by the legendary architect Frank Gehry – best known for defying architectural conventions – the natural outdoor setting can’t be matched. Rolling Stone, Billboard, Pollstar and USA TODAY all named Merriweather in the Top Three Outdoor Music Venues in the nation, while the fantastic sound system and large video screens make this amphitheater a favorite for bands and fans alike. Recent enhancements include new concession stands, an enormous kitchen that prepares the most delectable cuisines from all over the world, the tripling of restroom facilities, a Music Pinball Arcade, a brand new 50,000 square-foot backstage (with swimming pool!), an expanded stage and elevated stagehouse, new SkyBoxes beneath a first-of-its-kind SkyLawn©, an historic sculpture garden honoring Willie Nelson, Dolly Parton, Jimi Hendrix, Tina Turner, Robert Plant, and Miles Davis by French anamorphic artist Bernard Pras, and the addition of The Chrysalis – an already iconic bandshell in Symphony Woods, built to host its own shows as well as accommodate Merriweather’s festivals. Directions, transportation, and other information is available here: http://www.merriweathermusic.com

Amazon Music:

Website * Instagram * Facebook

All Things Go:

Website * Instagram * Facebook

Gold Atlas represents:

All Things Go festival (NY, DC, Toronto), Angèle, Boys Noize (on tour with Nine Inch Nails), Cerrone, Charlotte de Witte, Christine and the Queens, Haerts, IHEARTCOMIX creative agency, Keinemusik, Nadya Tolokonnikova, Nelly Ben Hayoun – Stépanian, Neon Gold Records / Futures (googly eyes, The Knocks, Mollie Elizabeth, Raissa, Cult of Venus, Gilanares etc), Pomme, Pussy Riot, Soundscape Northwest (A New International Music Festival and Conference Experience in Portland, OR – April 27-May 2 2026), The Wild Honey Pie creative agency and community, Tommy Cash (Estonia’s Eurovision #3 winner), Vendredi sur Mer.

Gold Atlas releases + tour dates (updating weekly)

Press Release

Source: SRO PR

Global power metal giants Sabaton have announced a massive 31-date North American tour set for early 2026. The announcement follows the band’s extensive 2025 international run and coincides with rising anticipation for Legends,, their upcoming album due October 17 via Better Noise Music.

Kicking off February 9 in Fort Lauderdale, Florida, the tour will hit venues across the U.S. and Canada, including major stops in Los Angeles, Chicago, and Boston before wrapping April 20 in Vancouver, BC. Known for their explosive stage presence and signature blend of history and heavy metal, Sabaton will deliver an epic live experience for fans of all ages.

The tour comes on the heels of the release of their latest single, “Crossing The Rubicon,” a high-powered collaboration featuring Jonny Hawkins and Mark Vollelunga of Nothing More. The track is currently hitting rock radio, while the original version will appear on Legends, marking Sabaton’s debut release with Better Noise Music.

TICKETS: Tickets will be available starting with Citi and Verizon presales (details below) beginning Monday, Sept. 15 Additional presales will run throughout the week ahead of the general onsale beginning Friday, Sept 19 at 10am local at LiveNation.com.

CITI PRESALE: Citi is the official card of Sabaton: Legends on Tour in the U.S. Citi cardmembers will have access to presale tickets beginning Monday, Sept. 15 at 12pm ET until Thursday, Sept. 18 at 10pm local time through the Citi Entertainment program. For complete presale details visit www.citientertainment.com.

VERIZON PRESALE: Verizon will offer customers an exclusive presale for Sabaton: Legends on Tour in the U.S – no strings attached, simply for being a Verizon customer. The presale for select shows runs from Monday, Sept. 15 at 12pm ET until Thursday, Sept. 18 at 10pm local time. Visit myAccess in the My Verizon app for more details. Learn more about Verizon Access here.

TOUR DATES:

Feb 09 | Fort Lauderdale, FL | War Memorial Auditorium

Feb 10 | Tampa, FL | Yuengling Center

Feb 13 | Houston, TX | 713 Music Hall

Feb 14 | Dallas, TX | South Side Ballroom

Feb 15 | San Antonio, TX | Boeing Center at Tech Port

Feb 18 | Phoenix, AZ | Arizona Financial Theatre

Feb 20 | Los Angeles, CA | The Kia Forum

Feb 21 | Wheatland, CA | Hard Rock Live

Feb 24 | Salt Lake City, UT | The Union Event Center

Feb 26 | Loveland, CO | Blue Arena

Feb 27 | Omaha, NE | Steelhouse Omaha

Feb 28 | St. Louis, MO | The Factory

Mar 02 | Des Moines, IA | Vibrant Music Hall

Mar 03 | Minneapolis, MN | The Armory

Mar 04 | Chicago, IL | The Salt Shed

Mar 07 | Cincinnati, OH | The Andrew J Brady Music Center

Mar 08 | Detroit, MI | The Fillmore Detroit

Mar 10 | Pittsburgh, PA | UPMC Events Center

Mar 11 | Philadelphia, PA | The Met Philadelphia presented by Highmark

Mar 12 | Boston, MA | MGM Music Hall at Fenway

Mar 14 | Virginia Beach, VA | The Dome^

Mar 15 | Washington, DC | The Theater at MGM National Harbor

Mar 17 | Greensboro, NC | Greensboro Special Events Center

Mar 18 | Atlanta, GA | Coca-Cola Roxy

Apr 06 | Halifax, NS | Scotiabank Centre

Apr 09 | Laval, QC | Place Bell

Apr 11 | Toronto, ON | Great Canadian Toronto

Apr 14 | Winnipeg, MB | Burton Cummings Theatre

Apr 17 | Edmonton, AB | Edmonton Convention Centre

Apr 18 | Calgary, AB | Grey Eagle Event Centre

Apr 20 | Vancouver, BC | PNE Forum

^This U.S. date is not part of the Citi presale.

ABOUT SABATON:

In the more than two decades since the band’s launch, Sabaton has headlined major festivals, sold-out arena concerts worldwide and gained a legion of loyal fans by carving out a reputation for being one of the hardest working bands in the business. Since their 2005 debut album, they’ve earned Gold, Platinum, and multi-Platinum certifications in territories around the world with their 10 studio albums. They’ve also had eight albums score Top 10 international chart status, and six claim the Top 5. The band has earned eight Metal Hammer/Golden Gods Awards nominations, taking home the award for “Breakthrough Artist” in 2011 and “Best Live Band” in three different years, and a Grammis nomination (Swedish equivalent to the U.S. GRAMMY) as Best Heavy Metal band. Sabaton has also accumulated more than three billion streams across all streaming platforms and almost 2 billion views on YouTube.

Press Release

Source: Olivia Long PR

“Green Light” is a powerful anthem about awakening—letting go of old beliefs, transcending fear, and stepping into a more authentic version of yourself. The song tells the story of a man trapped by the comfort of his own thoughts and material possessions, until he’s called to break through illusion and move toward something real.

Inger Nova and Jeff Pevar – photo credit: Mark Arinsberg

The seed of the song was planted on the north shore of Kaua‘i in March 2020, just days before the world shifted into lockdown.

That moment of stillness and global uncertainty became the backdrop for a song that would evolve into a layered, soul-stirring reflection on transformation and choice.

This track features Jeff and Inger trading vocals and harmonizing throughout—a dynamic expression of their two-decade-long collaboration.

The arrangement is lush and expansive: Jeff Pevar plays all the instruments on the track, collaborating with renowned drummer Steve DiStanislao (David Gilmour, CSN, CPR, Donald Fagen) on drums and percussion. Jeff also produced and engineered the recording.

Inger Nova Jorgensen was the primary lyricist and originated the melody during a quiet moment on the north shore of Kaua‘i. She and Jeff began working on the song together while in Kaua‘i, developing its core before continuing the process in the studio. Like all the tracks on the album, it’s a true collaboration—deeply personal, yet universally resonant. Subtle influences from David Crosby, with whom Jeff performed for over 30 years, echo in the harmonic choices and layered textures.

At its core, “Green Light” is an invitation—a reminder that your thoughts are not your identity, and the path forward is always open. With its soulful blend of R&B, folk, and rock influences, the song speaks to anyone standing at a crossroads, ready to move beyond limitation and step into something more.

“This song came from watching how easily we get trapped in our own stories—especially the ones we didn’t even write. ‘Green Light’ is about cutting through all that noise and choosing to move forward anyway. I love what we were able to accomplish with this song, it was so unexpected.” — Inger Nova Jorgensen

“Green Light was Inger’s lyrical vision which sparked a moving bass line in a pseudo-latin groove. In hindsight, I was drawn to approach the guitar part as something Crosby might’ve played. All of our unique collaborative strengths came together and once again, the music became a magical combination of the melding of our influences and our unique vision.” — Jeff Pevar

The new album, “Hear Me Calling”, can be purchased on digitally HERE!

Press Release

Source: V. Stewart PR

Valeria Stewart is a uniquely original voice in the contemporary music scene—a guitarist, vocalist, and singer-songwriter whose multilingual performances draw from a rich tapestry of Latin, folk, jazz, and Americana influences. Born in Buenos Aires and raised in Washington, D.C., Valeria brings a deep sense of cultural fusion and

emotional authenticity to every song she writes and sings. Her new release, Raices-Roots album on the ANTiDOTESOUNDSl label will be released on September 5, 2025. 

Check out Valeria’s performance schedule HERE!

Stewart (née Rodriguez-Rozic) digs deep into her Latin roots on this solo debut produced with singer-songwriter and lead guitarist Kevin Dudley. Her velvety warm, understated voice—carrying a distinct Porteño accent—permeates the seven-song record titled, Raíces | Roots. The all-Spanish album, features award-winning original songs (John Lennon Weekly Winner, Mid Atlantic Song Contest, International Songwriting Contest) plus two covers—from Cuba and Argentina, respectively.

When she’s not on stage or in the studio, Valeria brings her warmth and creativity to young children as a part-time preschool teacher for an organization that supports families in transitional housing. At the heart of everything she does is a passion for connection—using music as a powerful bridge between people, cultures, and stories. 

Three of the five original songs on the album (Tracks 1, 4, & 5) drift through themes of separation and loss, tracing the quiet unraveling of a relationship that vanishes without explanation. No Eres Tu was originally written in English (It Isn’t You by Kathleen Huber) and translated to Spanish by Valeria and her mother, Graciela Valdez. Two are love songs: Eres Mi Amor a dedication to her husband of over 30 years, and Ensueños a poem she originally wrote in English. The latter is a recurring dream (reverie) about someone, posing the question: Is it true? Is it you?

The two covers on the album contribute to the themes of love and loss. Argentine lyricist Félix Luna once set out to find the girl he had met and fallen in love with as a teenager by writing for her one of the most beautiful zambas in Argentine folklore: Zamba de Usted. Veinte Años is a classic Cuban bolero, originally written by María Teresa Vera and Guillermina Aramburu. It is a deeply emotional song that expresses sorrow and nostalgia, asking how someone could forget a love that once meant everything.

TRACKS

1. El Día Más Oscuro (The Darkest Day) 3:03 Valeria Stewart and Kevin Dudley
2. Ensueños (Reveries) 3:11 

Valeria Stewart

3. Eres Mi Amor (You Are My Love) 2:42 

Valeria Stewart and Graciela Valdez

4. Por Qué (Why) 3:31 

Valeria Stewart

5. No Eres Tú (It Isn’t You) 3:21 

Kathleen Huber, Valeria Stewart, Graciela Valdez

6. Veinte Años (Twenty Years) 3:02 

(María Teresa Vera (composer) and Guillermina Aramburu (lyricist)

7. Zamba de Usted (Zamba for You) 4:10 

Ariel Ramírez (composer) and Félix Luna (lyricist)

Social Media Sites

Facebook: https://www.facebook.com/valeriastewartmusic/ 

Instagram: https://www.instagram.com/stewartvaleria/ 

SoundCloud: https://soundcloud.com/valeria-stewart 

YouTube: http://youtube.com/@valeriastewartmusic

ARTISTS

Valeria Stewart (v-aa-l-eh-r-ih-aa) 

vocals, acoustic guitar

Kevin Dudley

acoustic guitar

Eugenio Ibarz (ehw-hehn-yo)

bass

Jason Walker

congas & bongos

Juan Megna

bombo legüero

Grey Jacks

harmony vocals

Check out Valeria’s performance schedule HERE!

By: Rick Landers

Jon Butcher

The explosive guitar work of Jon Butcher ripped through the airwaves when he arrived on the music scene. And his heavy hitting vocals tied to his hard driving melodies offered, and still offer his fans a full force musical gale to get them pumped and rockin’.

Early on in the ’70s, Jon toured with Johanna Wild, then later hit the road again, accompanying the J. Geils Band’s Freeze Frame Tour At the time, the buzz focused on the Stratocaster playing Butcher as a musician with the guitar licks and flare of the late Jimi Hendrix, although Jon didn’t embrace the notion, but he did pay homage to Jimi, by naming his group, Jon Butcher Axis. The group became the opening act for KISS and Jon’s star continued to rise.

Jon’s group picked up an international record deal with the Polygram label and worked with producer-engineer, Pat Moran who worked with other top acts, including: Rush, Iggy Pop, Queen, Robert Plan, Big Country and Edie Brickell and the New Bohemians.

In 1982, Jon Butcher Axis released its self-titled debut album, that featured the track, “Life Takes A Life,” and the album reached Billboard’s 91 spot for pop albums. And Jon’s Life Takes A Life music video caught the attention of MTV, a success that was a bit of a coup when few Black artists were able to get such traction, other than very few like, Prince, Tina Turner and Michael Jackson.

Having signed with Capitol Records in the early ’80s, the Jon Butcher Axis crew released its album, Along The Axis, nailed down Grammy nominations (Best Rock Instrumental Performance) for the instrumental track, “Rituals”. Other songs gathered well-deserved attention and one, “The Sounds of Your Voice,” hit the Billboard chart reaching the 94 slot, that led to the band being invited on tour with INXS.

During the late ’80s, Jon released two albums, Wishes (1987) and Pictures from the Front (1989), and cuts from the albums were highlighted on the popular MTV show;  “Holy War”, “Goodbye Saving Grace” and “Wishes”.

During the ’90s Jon began to work in the multi-media field, as well as continued to compose and record his music, most notably starting a new group, Barefoot Servants, working with the legendary bassist, Leland Sklar. Butcher continued to be a prolific songwriter-producer, releasing a number of albums during the ’90s and developing expertise as a multi-media/video aficionado. By 2004, he was ready to release his first DVD, Live at the Casbah, a compilation of video from one of his concerts, as well as several songs from his earlier career.

More recently, Jon established his company, Electric Factory Music, where he works on a variety of projects for other musicians and artists, as well as has ventured into the synch arena, music production, film/television work and computer gaming. His work includes developing music for such well-known projects as HBO’S Deadwood series, Star Trek: The Next Generation, My Name is Earl, Hendrix: The Movie and more.

Guitar International caught up with Jon to talk about his multi-faceted career and entrepreneurism, perspectives and lessons learned he’s gathered along the way, his current projects including his recent release, Nuthin’ but SOU, and of course, his select choice of guitars and gear. We are pleased to present to our readers, one of the hardest working and most creative musicians around.

******

Rick Landers: Your work ethic looks to be pretty formidable, not so much that you’ve got your hands in so many pots, but the work you’ve chosen is labor intensive; composing music, developing videos for yourself and others, recording and production, and performing. Although, the work looks like fun, there’s also the tedious administrative and managerial side. What are the most challenging aspects of your work that demand disciplines that may not be part of your creative calling and how do you drive projects home to completion? 

Jon Butcher: That’s a good word, discipline. I’ve met many great players who never had enough discipline to make natural talent into marketable business. It’s probably the left and right sides of the brain in conflict! The truth is, I’ve always had focus – on becoming a better song writer, a better guitarist, a better music producer. I think I get that focus from my Mom, the career drive and craft focus.

Jon Butcher

Rick: I see you’ve recorded 21 albums, with over 230 tracks. What were some of the toughest lessons to learn in the area of engineering and production, as well as keeping up with technological changes along the way?

Jon Butcher: Learning how to produce myself was and is an ongoing process that requires insight and a measure of self-reflection that takes some getting used to. Also, knowing when not to mess something up! On my new album I re-wrote songs sometimes as many as ten times or more. Not because rhyming is hard, but because expressing complex feelings- in simple and digestible ways is a challenge. 

Rick: Let’s get to your latest project. Nuthin’ but Soul, as far as how did you select the songs for the album, who’s on board in the studio with you and what did they bring above and beyond their talents that helped you enjoy the process involved? 

Jon Butcher: I recorded most of Nuthin’ but SOUL by myself, in my own home studio before taking the tracks to Bang-s-Song in Gloucester Massachusetts, my home town.

I have a profound creative relationship with my engineer of the last decade, Warren Babson. We’ve formed a creative partnership which has created at least, at least six albums. But I record all the tracks- guitars, vocals, keys, bass, drums and more alone in my basement.

This record also features some great guest vocalists in Chris Pierce (L.A. singer/ songwriter ), Debby Holiday, Rene Dupuis all contributed their wonderful voices. I also had Danny Borgers and Sandy MacDonald contribute piano and B3 (Hammond Organ) on a couple of songs.

Rick: Did you stick with the Strat on the cover or grab other instruments for Nuthin’ but Soul?

Jon Butcher: That ’63 Fender Stratocaster affectionately named ‘The Fat Man’ has been with me a long time, it’s been used on all of my records since the ’90s. I also use several others; a 1953 Fender Telecaster ‘black guard’, a 2018 Gibson ES-335 and an Epiphone ES-355, a ’63 Fender Precision bass and my fav acoustic guitar, a Martin D-28.

Rick: For newbies to your music, do you have a recommendation of one of your albums you think would prove to be a good introduction to your music? 

Jon Butcher: For anyone stumbling across me I’d immediately suggest Nuthin’ but SOUL as an introduction and then works backwards from there, to Barefoot Servants with Lee Sklar and then to Holy War and Life Takes a Life by my first band, the Jon Butcher Axis.

Rick: Early on a few folks were comparing you to Jimi Hendrix. I’d imagine that it was important to get attention, but did that kind of hype distract from your own creative intentions or did you just ride it for what it was worth, then move to define your own work about your own style(s)?

Jon Butcher: Yes. At first you want to diminish comparisons, especially when they seem so lazy and unthought out. Then you get to a place where you realize there’s no point in trying to reshape someone else’s impressions. You just do what you do and hope that’ll eventually connect with someone, then one day you realize that you found your own authentic voice.

Rick: Many of our readers are musicians who are at various stages of their career ambitions, and I’d think you may be able to categorize your own career in stages and pivotal moments from playing open mics to paid gigs, then other stages of success and set-backs? What might those be and how do you handle success, as well as set-backs? 

Jon Butcher: It’s just life. If you’re a bricklayer or train conductor or musician, there’s going to be some disappointment. Maybe a lot of disappointment. That comes with being alive. It’s the dues we pay to be able to wake up, see the Sun and smell the air. Some of us may develop cancer or heart disease or other health challenges during the journey. The key is to just keep on keepin’ on, as my brother Chris Pierce says. Keep your compass pointed North, toward the music. Failure and success are flip sides of the same coin. In my opinion failure is a much better teacher.

Rick: Has your choice of guitars evolved over time and have you settled on a “go to” guitar while at home practicing, as opposed to studio work? And, what about effects, any favorites or new ones that you’re now experimenting with? 

Jon Butcher: When I was a kid I thought the Fender Stratocaster in it’s factory form was pure genius. Then I got distracted by the ’80s, playing Strat-types with hot humbucker bridge pickups, Floyd Rose trem for super gain, overly processed guitar sounds. At the time I thought that and a couple of Marshall JCM-800’s made for a pretty awesome noise. Which it did.

Then one day on a tour bus I saw Stevie Ray Vaughan’s Live at El Mocambo video tape. It blew me away, not just his playing, but his tone. And I remembered all the things a good Strat and amp platform could do. Gear-wise it brought me back to more traditional guitar tones, pedals, etcetera.

(EDITOR: Jon was kind enough to send me a complete list of his gear, below.)

GUITARS

’63 OLY WHITE STRATOCASTER

’63 FCS SUNBURST STRATOCASTER

’53 TELECASTER w/ a newer neck

’63 GIBSON CS ES-335

EPIPHONE INSPIRED BY GIBSON ES-355

GIBSON CS ’58 LES PAUL

MARTIN D25 1935 model

FENDER ’63 P-BASS

AMPS

MARSHALL 100 PLEXI w/ Marshall 2X12 CAB

FENDER ’63 PRINCETON

FENDER VIBROLUX 

’90s FENDER ’59 BASSMAN

FENDER TONE MASTER PRO

PEDALS

’60s VOX 848 CLYDE WAH

2010 TEESE RMC3 WAH

2012 LANDGRAF DYNAMIC OD

THE ‘UNKNOWN FUZZ’ SILICON FUZZ, no idea who made it

KING TONE miniFUZZ

CHASE TONE SECRET PRE AMP

STRYMON EC-1

R WEAVER FX MIDNIGHT VIBE

Rick: Did you grow up in a family that supported your music ambitions or did you find you had to fight against a tide of traditional expectations to “find a real job” to survive or thrive?

Jon Butcher: My mother saw something in me and supported it, I think my Dad’s thought I was losing my mind. That was all through high school, then I chose Boston almost on a whim as a place to go to college, to ‘have something to fall back on.’ One day I announced to my parents visiting my Boston dorm room that I was leaving school to become a professional musician. This was not met well by Bill Butcher. Several blows landed, Mom trying to pull him off and the rest of my college career pretty much ended there. But, it was the beginning of my Boston adventure…which led to everything.

Rick: Were you surprised to be nominated for the New England Hall of Fame and/or the Grammy nomination? 

Jon Butcher: I think I was just grateful for being recognized. 

Rick: I see you have a video production side of your “brand”. What video services do you offer and do you target various budget interests of clients? For example, straight lyric videos versus videos with story lines demanding more complexity and higher pricing? 

Jon Butcher: My company Electric Factory Music was born out of a tv show commercial I was hired to provide music for in the early ’90s. That show was The Simpsons and the commercial was seen by millions. Since that beginning we’ve provided music for a litany of Network and Cable programming, from Ugly Betty for ABC to Star Trek for FOX. In recent years our focus is on making video for budget conscious clients who understand  how important it is to visualize your message. These don’t have a proscribed script and I think more can be accomplished than just lyric videos for those on a budget. 

Rick: Early on were you hoping for or chasing labels or did you have more interest in having your own company, to develop multiple revenue streams? And, is there any need to keep your identity as a creative versus a businessman separately or is this dicing your personal interests up unnecessarily? 

Jon Butcher: Early on we were desperate to get on a major label, like all of my musical colleagues were at that time. To us that was how we’d ‘make it’, the door through which all hopeful rock stars passed. Nowadays that right of passage is mostly gone. The Internet, from the perspective of releasing, distributing and monetizing music is both the good news and the bad news.

We’ve all learned that simply posting your new song at your website means almost nothing without a plan to bring vast numbers of people to your website. I don’t think I consciously identify as a creative, I feel like I am one and make no separation from a public perspective. This of course doesn’t negate being ready and equipped to do the business at hand.

Jon Butcher

Rick: Where are you generally happiest, studio, stage, or at home noodling to get some creative traction?  

Jon Butcher: Yes!

Rick: After writing, doing the studio work and you’re ready to package an album, I’m finding it hard to come up with an album cover design. What process or feel do you go by to nail down the cover art and format of your albums? 

Jon Butcher: It might be different for others, but I find marketing myself,  in other words my visual image to be the best avenue for getting my message out. I’ve chosen to be on the cover for many of my albums so music seekers know immediately what and who they’re looking at. There are certainly iconic artists who’ve chosen different images for their album covers, Led Zeppelin comes to mind. But, those Led Zeppelin album covers were created in a time where the artistic pallet was the size of an LP. These days this is often not the case.

Rick: Have you ever had a need to find a session player from afar, like from the FIVERR site? Is it important to actually know the session players personally? 

Jon Butcher: I think it helps to have close relationships with those you work with, particularly on the road and in the studio. Those environments can be tough physically and psychologically. I don’t think I’ve ever hired a stranger or solicited someone online for a project I was working on. It’s always among my list of colleagues and friends.

Rick: When tough or awkward decisions need to be made, what have been some of your toughest ones and the outcomes, especially when it comes to relationships with others? 

Jon Butcher: There’s a musician in the Boston area who I’ve known personally for many years, worked with that person on records and generally had a positive and rewarding relationship with until recently. That relationship appears to now be on hold and I’m not exactly sure why. I think these things happen sometimes and I don’t think there is a good way to avoid awkwardness. No one likes it, we all struggle with trying to find balance in our relationships, but sometimes *#&# happens”. How to successfully navigate that ? I honestly don’t know the answer.

Rick: I saw you were once looking for someone to draw stick figures for a project. A few weeks ago I suggested to one member of my songwriter circle to watch Nick Drake’s “The Shed” video, so the guy could develop an inexpensive yet effective video. I’ve also suggested Elliott Smith’s bathroom video for “Between the Bars” with over 10 million views, as a way to focus on the song first – What was the result of your stick figure idea and where do you get your ideas for various kinds of videos?  

Jon Butcher

Jon Butcher: Great question! Before I started Nuthin’ but SOUL I had a record completed and in the can ready for release. That album was called Electric HollowHead, a character I dreamed up to describe how I was feeling at that time in 2022-23. I began to develop some artistic ideas to represent that character. Anyway the Electric Hollowed album was mixed, mastered and ready to send to replication… and then I pulled the plug. I’d spent dozens of hours writing, recording, re-recording and on and on. But it wasn’t right. It wasn’t the message I was prepared to underwrite and promote. So, just as I was looking at stick figure drawings to represent the character I was realizing it was time to start over.

Rick: What can people expect from your live shows? And do you ever offer unplugged shows where you rely solely on an acoustic guitar? 

Jon Butcher: In my opinion my electric shows speak for themselves, meaning I think we present a very engaging and dramatic live electric show. I also do a number of acoustic shows a year and I really think that’s where I shine best these days. There’s something truthful in an acoustic performance. There’s a connection that can be made that can be deeply personal. I’d like to do more acoustic shows a year.

Rick: With the release of Nuthin’ but Soul, knowing artists tend to have many ideas or projects in the fire, what’s next for you and do you have many more projects you’ve been planning, but finding it challenging to begin? 

Jon Butcher: I’m going to promote Nuthin’ but SOUL until the wheels fall off the wagon for the foreseeable future! Recently I recorded a version of, “All Along The Watchtower,”  which turned out really well, but I’m not sure what I’ll do with it yet. I’m hoping and encouraging all Indie film makers reading this to reach out to me. I love the relationship of film and music and have always been interested in expanding those lines of collaboration. Film makers hit me up!

BONUS VIDEO!

Press Release

Source: Hello Wendy PR

In 2012 John McCutcheon released an album honoring Woody Guthrie’s 100th birthday.  In 2015 he released an album in memory of the 100th anniversary of labor songwriter Joe Hill’s execution by the state of Utah.  Then in 2019 he honored Pete Seeger’s 100th birthday by gathering a boatload of his music friends and putting new twists on Seeger classics.  These recordings were interspersed with albums of songs from his own prolific catalogue.  So, it should come as no surprise that this year John McCutcheon has mounted another centenary project, this one remembering an iconic fiddle contest in the small Appalachian town of Mountain City, TN.

“I was introduced to Mountain City as an 18-year-old, thanks to a Folkways recording, Old Time Music at Clarence Ashley’s.  I was a fledgling banjo player and this sounded like the kind of music I wanted to play.”  He traveled South a couple of years later, fell in love with the region, and never left.  But it took him nearly forty-five more years to finally get to Mountain City.  “My wife, children’s author and storyteller, Carmen Agra Deedy had been there and planted the seed for an Arts Center in the town.  She brought me there to do a benefit to raise money for the Center.  It was love at first sight and I’ve been back there many times since.”

The 1925 convention brought together some of the most prominent country musicians of the time.  The nascent recording industry stumbled on to old-time fiddling when Fiddlin’ John Carson surprisingly sold a million 78’s in 1923.  The recording companies and radio stations signed up fiddlers by the dozens.  And many of them showed up in early May of 1925 to compete for a $10 gold piece.

“There’s a famous photograph taken that day that almost every fiddler knows,” McCutcheon said.  “It was like the Woodstock of early county music.  Seems like everyone was there: Carson, Clarence Ashley, GB Grayson, the Fiddlin’ Powers Family, Uncle Am Stuart, the Hill Billies, Charlie Bowman, Dud Vance, and more.  There’s a giant mural of that photograph on the side of the Arts Center.”

It wasn’t difficult to enlist the many talents that agreed to participate.  Stuart Duncan was the first ask.  Then Tim O’Brien came on board.  Old Crow Medicine Show not only signed on but offered their studio to record many of the tracks.  IBMA Fiddler of the Year Becky Buller, blues man Sparky Rucker, guitar phenom Molly Tuttle, Jake Blount, and Bruce Molsky lined up.  The wild banjo duet, Tray Wellington & Victor Furtado and Mountain City native Kody Norris offered their music.  And Cathy & Marcy’s Old Time Coalition and the Earl White String Band rounded out the lineup.  Finaly, McCutcheon added the piece of music that first captured his attention decades ago, Clarence Ashley’s Cuckoo.

What’s unique about this recording is that, like his other centenary projects, this one is anything but a museum piece.  Each cut offers an exciting new interpretation of music made famous by those musical ancestors of a century ago.

Click here to view the embedded video.

“An inconvenient truth about the 1925 convention is that is was co-sponsored, in part, by the local chapter of the Ku Klux Klan.  That famous photograph contained no Black or female fiddlers,” McCutcheon observed.  “But this collection shows just how much things…everything!…have changed.  Here we have nearly equal numbers of men and women featured.  Black and white musicians playing together.  This is a picture of the old-time and bluegrass music community today.  Song titles are changed, lyrics are rewritten, and some songs are simply excised from the repertoire because they are outdated, offensive, or just plain wrong.  This is what happens in culture.  It grows and changes, evolves and resurrects.”

So, this is a project about continuity and change.  It honors the past, but lives and breathes today.

And this is also a project about tomorrow.  All the musicians agreed that any profits generated by this recording would benefit the Arts Center in Mountain City, celebrating their past while building their future.

Says McCutcheon, “It’s astonishing to me that stumbling upon an obscure recording as a teenager would come full circle over fifty years later.  It was the joy and the camaraderie of that album that drew me in.  Bringing all these musicians together, celebrating the mastery that each of them brings, was another unexpected joy.  Who knows what comes next?”

By: Rick Landers

One word that helps define multi-instrumentalist, session musician, Knox Chandler, and more is “collaborator”. As a working musician and a superb talent, Chandler has worked with milestone artists that helped form the contours of punk, as well as New Wave music.

Yet, many might be surprised to hear about his music education that required discipline, as well as demanded much more than primal three chord songs. Not only did Knox attend the prestigious Hammonassed School in Madison, Connecticut, but later graduated from Bard College. 

Later, he would earn a post-graduate certificate from the University of Sussex, England, at the British Irish Modern Music Institute (BIMM), where his talents were recognized and he was selected to be the head of BIMM’s guitar department.

Chandler has an in-depth and broad career history that includes his collaborative work with many top singer-songwriters, and well-known groups, including: Marianne Faithful, the Psychedelic Furs, R.E.M., Siouxsie and the Banshees, Ultra Vivd Scene, the Creatures, Natalie Merchant, the Golden Palominos, and the legendary Cyndi Lauper. He also was the music arranger for the 2012 music-drama film, Greetings From Tim Buckley.

As a touring musician, Knox Chandler’s worked with the likes of Eric Mingus, Bobby Previte, Chris Palmer, Mars Williams, and Maggie Estep, where his contributions included offering compositions’ support and more on guitar, cello, bass guitar and others. 

Guitar International is pleased to present our interview with Knox Chandler, a musician and educator who has successfully explored various music career paths to sustain a career for decades.

******

Knox Chandler

Rick Landers: Let’s start out with your current projects, as a session player, as well as your own music, then move to your role as an educator.

Knox Chandler: Thanks Rick. I just spent the past few days in New York City and Woodstock working on some new projects.

One is this project resurrecting Tom Verlaine songs and the other was a session for a talented singer songwriter, David Doobinin, produced by Jeff Lipstein. I’m also in the midst of writing and recording a project with The Bush Tetras singer, Cynthia Sley. Very excited about this one.

But lately, most of my time has been spent on the release of my book/album, The Sound (blue elastic records).

This I refer to as a musical memoir documenting the past three years of my transformation from urban life to rural. The shift of my inspiration from streets to streams, after moving back to the USA after living in Berlin, Germany, for ten years.

The book is the tangible product that you can find on my Bandcamp account as well as my website. The music comes with the book in a Bandcamp redeem code or you can listen to it on all streaming platforms. There have been a series of performances supporting this with my live Soundribbons show, which consists of real time soundscapes manipulating the guitar with no pre-existing audio, combined with real time video manipulations.

There have also been some performances supporting Previte Chandler (sub sound records) an album that I wrote and produced with Bobby Previte that came out last February. Then there is Bursting Blue Bone Bark, an ongoing project with Eric Mingus due to be released within the next year.

While living in Berlin I became the head of the guitar department at BIMM University of West Sussex. Through the university I received my post graduate certificate in education.

My main focus was Threshold Concepts using Problem Based Learning Tasks that I had designed. This was a wonderful seven years of not only developing the students’ autonomy, but my own. Since I’ve moved back here (Connecticut) I haven’t had the time to teach in an institution, but i apply these concepts in my own projects, as well as working with others.

Rick: I’ve found that in order to sustain a career in music you have to have a lot or irons in the fire, not only to make life interesting, but to generate multiple revenue streams. Did you start out with some singular notion and later expand or gather up different skills to build your career?

Knox Chandler: It all just fell into place. I started as a guitar player and in college I took up the upright bass. I studied classical and some jazz but leaned more towards experimental music and writing these 12 tone melodies over funk rock jazz beats. I thought that was the direction I would move in after leaving school, but moving to New York City I was getting more attention as a guitarist.

I took up cello right after recording the Book of Days album with The Psychedelic Furs. Richard Butler talked me into it. From there it led to a bunch of cello work as well as string arrangements. I’ve always dabbled in production and arrangement stemming from early days playing around with a Tandberg reel to reel tape recorder.

Knox Chandler

Rick: How about telling us about how you evolved as a multi-instrumentalist from the early days and are you adding any new instruments to your quiver?

Knox Chandler: Other than what I previously mentioned I enjoy using different instruments as tone generators for my soundribbons. I play around a bit with this pocket trumpet I electrified, as well as banjo, dulcimer and recently a clarinet. Im not good executing any great technique, but the timbre is my focus.

Rick: What’s your go to guitar for sessions, performances and just hanging around the house? I saw a photo of you with a Strat, have you checked out the Fender Strat G5 Roland?

Knox Chandler: My main guitar for most of my career has been this ’59 Strat. It’s really another appendage. Yet, when I was out with Cyndi it was Gretsch (6120 and White Falcon) and Les Paul…sometime some Fenders. Mostly these days i’ve been using a Telecaster with Seymour Duncan antiquities. It all depends on the sound I’m looking for.

It’s Gibson, Fender, Gretsch except a ’70s Herticaster I picked up in Germany. I also play around at home with this wild ’60s/’70s Kent. I’ve gigged twice with it. It’s not very versatile but it has this ONE thing! Probably one of my favourite guitars in my arsenal is my 1930 National Duolian . It’s a clanging tractor of a beast. I drop tune it.

Rick: Do you have any preferences with respect to the “best” construction features for an electric and/or an acoustic?  And what guitars do you noodle around with at home?

Knox Chandler: I really don’t have any preference. Some of the cheaper made guitars sound best for what I might want to hear in the moment. I have guitars out all around the house that I just pick up and play, as well as basses. In bed it’s usually always the Kent.

Rick: I’ve spoken to a few guitarists about strings, and one well-known guitarist told me he only changed strings when one broke, and another said he changed his strings every day….What strings do you prefer  and do you have any technique to prep new strings?

Knox Chandler:  I tend not to like new strings. I usually wait until I can feel the life is sucked out of them, which precedes breaking. I tend to use GHS Boomers 10-46 and I just bend the strings and play.

Rick: You’ve done a lot of session work, so do you have any suggestions for musicians you support as far what they should have ready for session players before stepping into a studio or for virtual work? Any suggestions for what some do that can be frustrating that they should focus on to save time, reduce stress to make a studio session not only productive, but enjoyable?

Knox Chandler: For me, the important thing is that it is always a learning experience. The more you do it, the more you learn. The more you learn the more relaxed you become, which helps with your timing and actually everything. Leave your ego at the door.

Rick: Who have you worked with who surprised you with their creativity or their work ethic/discipline, something that may have also impressed you when you didn’t necessarily expect it?

Knox Chandler: Cyndi Lauper by far was the biggest surprise. In person, her voice is amazing and she works super hard to maintain it. I learned never to take a bunk in the back of the bus because of her 5 am warm down exercises. She works non-stop and is involved with many projects at a time.

I’ve caught her sleeping standing up. She was very creative in the studio making the Shine album. We experimented with all sorts of stuff. Those early days I was with her i was using everything from a Kaoss pad to the Electrix Repeater.

Rick: I found it to be a let down with R.E.M. disbanded, what work did you do with them and what was that project or projects like and are there any particular memories that stand out that made the work uniquely special?

Knox Chandler: I recorded two songs at Bearsville for the Automatic for the People album. They were great to work with. It came from recording “Pink Moon” with Peter Buck and Richard Butler about a year before. Peter called me and said he had come up with a song similar to the cello part I played on “Pink Moon”.

I spent a couple of days at Bearsville then they asked me to go to Atlanta to record with the Orchestra for the John Paul Jones string arrangements.

I had to explain I’m really not a proper cellist. I can’t even read on cello. They put me down as a team leader unbeknownst to me on the contract so when Vanilla Sky had “Sweetness Follows” (R.E.M.) in the film I started getting all this extra money. I actually called up the Secondary Musicians Fund telling them I think they made a mistake . That’s when they told me how generous those guys are.

Rick: Please, tell us about your association with the British Irish Modern Music Institute – I understand you live in Berlin, so are you collaborating with BIMM virtually or do you commute to get the work done? And, tell us about the Institute and how you found your way to that institution.

Knox Chandler: I moved to Berlin mostly because Budgie (Siouxsie & the Banshees) highly suggested it would be a good place for me. He was right. After living there for a couple of years he was approached to teach at BIMM at their new Berlin school. He recommended me for the guitar department. I taught a series of different courses and was the head of the guitar department.

They paid for my extra degree and pretty much gave me a lot of freedom to adjust the curriculum to a more creative aesthetic. I spent all my time at the school until Covid and then it was virtual. Last February, I was back in Berlin for a series of shows and did a workshop at BIMM while there.

Rick: You’ve worked with some top end folks in the music community. What are some of the highlights that you’ve experienced and have you found the genre of music people perform reflects who they are off-stage?

Knox Chandler: Tricky was an amazing experience seeing his creativity working with a sampler. I was already using a sampler at that time but his unorthodox method inspired me. There have been so many, but recording Animus Anima at Siouxsie’s and Budgie’s manor in the south of France stands out as a fantastic way to record. We used all these different rooms and were able to experiment at our freedom.

As far as off stage matching their genre of music scenario, I would say it’s 50/50.

Rick: We’ve all got artists that have inspired us, many who we’d expect to hear about, but are there any obscure artists that have inspired you in some fashion and what about them got your attention?

Knox Chandler: There are so many. Debussy, James Blood Ulmer, Don Cherry, Sun Ra , Mingus, Pete Cosey, Charlie Patton etcetera etcetera. However, when you get to the primal source of a lot musicians you find their inspiration often comes from something other than music.

These days my inspiration comes directly from living in nature, mostly nature connected to bodies of water. The rhythm, timbre, harmony, register have had a profound influence.

Rick: You’ve worked with several artists who’ve made their marks on music, punk, new wave, grunge….What experiences have you looked back on with pride and which ones did you find were just fun to work with and why?

Knox Chandler: I had a lot of fun touring with the Furs and the Banshees and got to experience things I hadn’t before. The Banshees was a challenge that I loved and miss to this day. I put a lot of hard work into the writing and recording of Dave Gahan’s Paper Monsters as well as Maggie Estep’s Love is a Dog from Hell. Both, I am pleased with my work on them. I would say 90 percent of the people I worked with were fun and I learned a lot.

R.E.M. “Sweetness Follows’ with Knox Chandler on Cello.

Rick: I’ve found many creative folks always have far too many ideas for projects and they find it challenging to even get to the start point to get a project, even a dream project out of the starting blocks. What dream projects – that you can divulge – are on your bucket list?

Knox Chandler: I have another project called Sea of Stars that I will put out on my label in the future as well as a Soundribbon record. These projects all come out of a concept usually consisting of a specific liminal space. A lot of the fun is in the design. A dream project would be some futuristic big band/orchestra.

Rick: There are very very talented young musicians in nearly every town and many also have some kind of rock star dream. But, that can be an elusive career goal and the idea of success tends to get redefined as life unfolds good, bad and ugly experiences or challenges. Has your idea of success changed over the years and where are you now with the meaning of it?

Knox Chandler: The business has so changed that a monetary success I have no understanding of. The important thing is one’s intrinsic motivation. What drives you and what do you have to say? You need to have a passion and work very hard. It’s not about money. It has to come from a deeper place in order for it to be sustainable.

Rick: That last question kind of begs the question, you’ve lived a life that many seek or envy…If you could go back and have a conversation with your younger self, what kinds of advice or lessons learned would you convey to yourself?

Knox Chandler: Not to worry so much.

Social Media

Press Release

Source: SKH Music

Eric Gales is set to release his new album, a powerful and moving homage to his late brother Manuel Gales, on A Tribute To LJK. The album will be released digitally on August 29 and physically on October  24 via Provogue and features appearances by Buddy Guy, Christone “Kingfish” Ingram, Joe Bonamassa, Roosevelt Collier and Josh Smith.

There comes a time when every musician must look their past squarely in the eye. And while Gales’ latest release, Tribute To LJK, is a thrillingly modern record for the here and now, it’s also a nod to his bloodline and the roots of his family tree.

“This record has been a long time coming,” he says of the speaker-rattling release co-produced by Bonamassa and Josh Smith. “I wanted it to be the ultimate tribute to my late brother, Little Jimmy King, to keep his memory alive and make sure people remember who he was and still is. All of these songs, except one, are his originals. I wanted to deliver his tunes to the world through my eyes. And I wanted it to be badass – and that’s exactly how it turned out.”

Talking about the first single, “Somebody,” he says, “It’s just a really dope song, man, and I thought it was a great way to end the record. Buddy Guy is a legend, and that idea was actually mentioned by my wife, LaDonna. She said, ‘I think you should see if Buddy is available. We don’t know how much time any of us has, so while you have the opportunity, you should give it a shot’. So we went for it, and he said yeah. He knew my brother, and they played together, so I think it was easy for him to agree to do this song – and the rest is history. Me and Buddy actually did our parts at separate times, but you wouldn’t know it: it seems like we’re in the same room at the same time. And that was the intention, to bridge the gap between semi-old and middle-aged, if you will. That’s an anthological sort of tune, in how it starts off acoustically, blows up big, then comes back down again.”

Out Digitally on August 29 with Physical To Follow on October 24 via Provogue

Pre-order/Stream HERE

The blues is an ecosystem, and it’s a measure of the respect commanded by both Eric – and his fabled older brother, real name Manuel, who sadly passed away in 2002 – that these ten explosive covers are delivered by an all-star cast with deep ties to the project. “Buddy Guy and Little Jimmy played together, so he guests on the track ‘Somebody’,” explains Gales. “Christone ‘Kingfish’ Ingram has gone on record to say my brother was a big influence, so he’s on ‘Rockin’ Horse Ride’.”

r>To understand why Tribute To LJK might be the proudest moment of Gales’ meteoric career, you have to follow the thread back to the late 1970s and a hectic family home in Memphis, Tennessee. “I’m the youngest of five siblings, so I grew up with all my brothers, and everybody played guitar,” he recalls. “Manuel was ten years older, and it was great to have him to look up to. I was so proud when he started his own band and began his career; he was off to the races. And then, after all his years of grinding away at his craft, to hear that he was touring with Albert King’s band in the late-’80s was awesome.”

And while Manuel made his mark in the world – graduating from King’s lineup to front his own ’90s outfit, Little Jimmy King & the Memphis Soul Survivors – Eric and his sibling Eugene signed to Elektra Records for 1991’s debut album, The Eric Gales Band. “I had a deal at 15, and the record came out when I was 16,” he recalls. “Even at that age, I already felt this was what I was gonna do in life.”

In 2002, Manuel died of a heart attack aged just 37 (“It hit me hard, man. It’s still not easy that he’s no longer here”). As for Eric, he recalls a string of “wrong turns” that led to his 2009 incarceration at Shelby County Correction Center for possession of drugs and a handgun. “It was my own decisions that led to that,” he admits.

Gales’ trajectory since those dark days has been dizzying. Revisit the past decade, and you’ll find him working at superhuman pace with an acclaimed run of Provogue releases that include 2017’s Middle Of The Road (featuring Gary Clark Jr and Lauryn Hill), 2019’s Billboard #1 The Bookends, 2022’s Grammy-nominated, chart-topping Crown and the soundtrack of director Ryan Coogler’s 2025 smash-hit horror movie, Sinners.

If you weren’t already familiar with the jaw-dropping life’s work of Little Jimmy King, Eric Gales’ new album lays it all out there for the world to hear.  The album opens with a poignant spoken-word introduction by Danuel Gales (Manuel’s twin brother). Bridging past and present while igniting these masterful songs with his unmistakable delivery, A Tribute to LJK is even more than the sum of its parts – and while the music plays, Manuel Gales lives again. “I foresaw a great record,” considers Eric, “but I didn’t foresee it turning out as amazing as this. My brother is there throughout this whole record – and I can’t wait for it to start turning people’s heads…”

Eric Gales Online

https://www.ericgales.com/

https://nl-nl.facebook.com/EricGales/

https://www.instagram.com/ericgalesband/

https://www.youtube.com/channel/UC0Gpui0DdJccVj_WGHneBmw

Mascot Label Group is a 100% independent record company specialized in guitar-oriented music with a focus on rock, metal and (Blues) guitar. The company has offices in New York, London, Paris, Milan, Cologne, Stockholm and Rotterdam (headquarters).

Artists on the roster and in the catalogue include 10 Years, Ayreon, Kris Barras, George Benson, Black Stone Cherry, Joe Bonamassa, Doyle Bramhall II, Bootsy  Collins, Crobot, DeWolff, Dragged Under, Flying Colors, Eric Gales, Paul Gilbert, Gov’t Mule, Beth Hart, Warren Haynes, Sonny Landreth, Jonny Lang, LEVARA, Steve Lukather, Yngwie Malmsteen, Monster Truck, Otherwise, Maceo Parker, P.O.D., Shaman’s Harvest, Kenny Wayne Shepherd, Jake Shimabukuro, Quinn Sullivan, The Georgia Thunderbolts, The Rides, Walter Trout, Robin Trower, VOLA, Volbeat, Leslie West, and more.

Owned and operated labels include Mascot Records – Provogue – Music Theories Recordings – Cool Green Recordings – The Players Club – Funk Garage.

Press Release

Source: J. Butcher

Grammy-nominated rock and soul guitarist Jon Butcher is one of a select handful of influential recording artists who emerged from the legendary Boston music scene during the 1980’s. Butcher, who also was recently inducted into the New England Music Hall of Fame, has enjoyed a five decade long career marked by major worldwide tours, MTV videos, eclectic radio releases, collaborations with other major artists and incendiary live performances that continue to this day.

Said Butcher recently, “Last summer I recorded a lot of music for a new album, but didn’t like where it was going. I scrapped the whole thing and started over, threw some shapes and boom – Nuthin’ but SOUL! Nuthin but SOUL is classic R&B inflected Roots Rock, at once fresh and familiar. It’s also Jon’s best songwriting to date. “I love the blues…. Otis Rush, Freddie King and the soul of Otis Redding and Wilson Pickett. But the 70s era, Hendrix, Sly Stone and that whole thing was pivotal for me. That music represented a chaotic time in America. It also produced some of the most memorable music the world has seen. That for me was the eternal groove.Nuthin but SOUL rides that groove.”

Scheduled for release on July 1, 2025, Nuthin’ but SOUL might be the apex of Jon Butcher’s long career and he views this as a signature album, rich in cinematic stories and intense in groove, guitar and raw performances by Jon and his cast of players.

“I’m every proud of this album and hope my friends and fans dig it as much as I do.”