With a pedigree dating back to the early days of the Electric Light Orchestra, members of The Orchestra continue to tour and perform the music of ELO to generations of fans.
All six group members were once part of ELO II, which formed shortly after the original group disbanded.
On Oct. 7, The Orchestra will bring ELO’s catalog of classic and symphonic rock hits to Easton’s State Theatre for an intimate performance.
Mik Kaminski (violin) is the longest-term member of the group, having not only worked with ELO II and The Orchestra but has also recorded many of ELO’s biggest hits and toured the world with Jeff Lynne and the original lineup from 1973 through the early eighties.
In addition to being a keyboardist and vocalist for The Orchestra, Eric Troyer has contributed his talent as a session artist on monster hits for John Lennon, Billy Joel, Bonnie Tyler and more.
The Orchestra includes Kaminski (violin), Troyer (vocals, keyboards, guitar), Parthenon Huxley (guitar, vocals), Gordon Townsend (drums, vocals), Glen Burtnik (bass, vocals) and Louis Clark (orchestral keyboard, cello, guitar).
I spoke with Mik Kaminski and Eric Troyer about the upcoming State Theatre show, the music of ELO, and more.
James Wood for The Morning Call: What can fans expect from The Orchestra’s performance at the State Theatre?
Mik Kaminski: They can expect to hear all of the ELO hits that I’ve been playing for nearly 50 years. I still get great fun out of playing songs like “Mr. Blue Sky,” “Living Thing” and all the other favorites. As long as the audience is with us we’ll be doing it as long as we can.
Eric Troyer: We’ve been touring all around the world playing the songs the way they were written and recorded by Electric Light Orchestra. Mik was in the original ELO lineup and I’ve been doing it since the ELO II days that started in 1988. It’s an engaging and exciting show to watch. We really enjoy playing this music.
What do you think makes the music of ELO so timeless and special?
Troyer: It’s classic rock, a high point of the rock and roll era that speaks to everybody. These songs are still used in movies and many other things. It carries the torch and becomes familiar to other generations. We have a lot of young people coming out to see us.
Kaminski: Every time you walk into a supermarket there’s an ELO tune playing. It’s embedded in people’s heads. Jeff Lynne’s writing was, and still is, brilliant. He’s a very talented guy.
Ranked by Billboard as the #1 Adult Contemporary Artist of all-time, Barry Manilow’s unparalleled career is made up of virtually every facet of music, including performing, recording, arranging, and producing.
With more than 85 million albums sold, Manilow is also ranked as one of the world’s all-time best-selling artists, with songs that include such timeless classics as “Mandy,” “I Write The Songs,” “Could it Be Magic,” Looks Like We Made It,” “Weekend In New England,” and “Copacabana (At The Copa).”
On Friday, August 12, Manilow will bring his musical legacy and arsenal of hits to PPL Center in Allentown, PA as part of his “Manilow: Hits 2022 Tour.”
Every stop on Manilow’s current East Coast jaunt will also bestow a Manilow Music Project’s Music Teacher Award, where a winning teacher from each city, based on voting, will receive a five-thousand-dollar cash award and another five thousand in “Manilow bucks” to purchase instruments for their school’s music program.
I recently spoke with Barry Manilow about his new tour, music, and some of the most memorable moments of his career in this exclusive new interview.
What can fans expect from your performance at PPLCenter in Allentown?
Barry Manilow: There were years that I was out doing shows with medleys of big band songs and show tunes and album cuts. These days, I know what people want. They want to hear the songs they know and I’m happy to give it to them. I’m very lucky that I’ve got ninety minutes of hit records that I can go to. Every song is familiar to audiences. They sometimes sing even louder than I do at these shows and we all have a great time together. With the world the way that it is being an entertainer is a big responsibility. So, the lights will go down, the doors will close, and I’ll get to take them into a place that feels safe, joyful, and full of music. That’s my job and I love doing it.
As an original member of the Rock & Roll Hall of Fame band Kiss, Ace Frehley and his Spaceman image inspired legions of fans to pick up a guitar to try and imitate his musical wizardry.
His 1978 release was the highest selling of the four Kiss solo albums. His reunion with the band in the mid-late 90′s helped return the group to sold-out stadium performances. In 2011, Frehley’s autobiography, “No Regrets,” also turned the artist into a bona fide New York Times bestselling author.
As he celebrates nearly 50 years as an artist, Frehley is set to bring an arsenal of Kiss and solo hits to a performance 8 p.m. Friday at Stroudsburg’s Sherman Theater.
I recently spoke with Frehley about his local show, his tenure with Kiss, memorable moments, and even asked him the elusive question of whether he’ll be joining his former bandmates one last time in this exclusive new interview.
James Wood for The Morning Call: What can fans expect from your performance at The Sherman Theater?
Ace Frehley: We talk with fans often and they pretty much tell us which songs are their favorites, so we’ll be performing a variety of Ace and Kiss hits. Songs like “Cold Gin,” “Rip It Out,” “Detroit Rock City,” and “Deuce.” I’ll also be doing my light and smoking guitar effect.
You mentioned the song “Cold Gin,” which appeared on Kiss’ debut album. Can you tell me the origin of that track?
I actually wrote that song while I was on a subway going to rehearsal. I came up with the guitar riff and then the lyrics came. But I don’t have any set formula for how I write. Sometimes I’ll write the lyrics first and the music will come second. There’s no set way of writing songs.
Ann Wilson is one of the premier hard-rock vocalists of all time. Smashing boundaries with longstanding Seattle outfit Heart, she’s enjoyed a decades-long career resulting in more than 35 million albums sold and an induction into the Rock & Roll Hall of Fame.
Wilson recorded much of her new solo album, Fierce Bliss, at the legendary Muscle Shoals Sound Studio in Sheffield, Alabama, and enlisted the company of a trio of guitar powerhouses for good measure: co-producer Tom Bukovac, Warren Haynes and Kenny Wayne Shepherd.
Haynes, who last worked with Wilson on her Immortal solo release, returns for Fierce Bliss, bringing along Gov’t Mule for a pair of original songs: Gladiator and Angel’s Blues.
Shepherd accompanies Wilson on two covers: a monstrous version of the Robin Trower classic, Bridge of Sighs, and an ambitious take on the Eurythmics’ hit, Missionary Man, the latter of which has Wilson backed by a 40-person gospel choir.
An ethereal duet version of Queen classic Love of My Life with Vince Gill is also featured on the album, as well as fantasy art by Roger Dean, renowned for his work designing Yes’s sleeve artwork.
We spoke with Ann Wilson about Fierce Bliss, working with Kenny Wayne Shepherd and Warren Haynes and her favorite memories of Heart.
Was it your desire to create a guitar-driven album?
“Yeah, that’s what I’m comfortable with and what speaks to me. I was blessed to get into the company of Tom Bukovac, Kenny Wayne Shepherd and Warren Haynes. They’re great players who are also great humans. After we got vaccinated, we all put on masks and went to Muscle Shoals, where Tom had put together this band with Tony Lucido on bass and Sean Lane on drums.”
The band 10,000 Maniacs has covered a lot of ground during its 40 years together. From small niche market to international stardom, their current status is among the cornerstones of alternative music.
The band’s live show celebrates their musical legacy by embracing songs spanning its entire catalog and features a lineup still anchored by four of the six original members.
Viola player and backing vocalist Mary Ramsey began touring and recording with the Maniacs more than 30 years ago. She assumed the role of lead vocalist shortly after the departure of Natalie Merchant. Ramsey’s first album fronting the band was 1997′s Love Among The Ruins. The album featured the group’s ethereal take on the Roxy Music hit, “More Than This.”
The band will play will perform selections from their vast collection of hits at 7 p.m. April 26 at ArtsQuest’s Musikfest Cafe. Listeners can expect a few surprises during an intimate performance.
Fans can enjoy songs like the aforementioned “More Than This” as well as “These Are Days,” “My Mother The War,” “Rainy Day,” and “Because The Night,” the Patti Smith classic that became a monster hit for the band during its MTV Unplugged special.
10,000 Maniacs is Mary Ramsey (vocals, viola), Steven Gustafson (bass), Dennis Drew (keyboards), John Lombardo (guitar, vocals), Jeff Erickson (lead guitar) and Jerome Augustyniak (drums)
I recently spoke with vocalist/viola player Ramsey about the show and more in this exclusive new interview.
James Wood for The Morning Call: What can fans expect from the 10,000 Maniacs’ performance at SteelStacks?
Mary Ramsey: We have a variety of tunes from the Maniacs catalog over the years to choose from. We’ll be playing the hits as well as a few surprise covers. There’s a song John Lombardo will sing called “My Mother The War,” which goes way back. I have an electric five-string Zeta viola I play so we’ll do some Celtic tunes here and there as well. It’s an interesting blend of different sounds that work nicely together.
The band has been celebrating its 40th anniversary and you’ve been with them for more than 25 years. Can you give me some of the backstory on how you came to join the group?
I suppose it was all fate, John Lombardo had left the group for a while in the 80s and the two of us met and started a duo called John and Mary and were signed to Ryko Records. In 1990, 10,000 Maniacs released the Hope Chest CD. Some of John’s contributions to that CD were a few of the first songs the band had written, and they asked us to open for them. That was when Natalie [Merchant] asked if I’d like to sing background vocals and add strings to their set. That’s how I got on the MTV Unplugged performance. It was a thrill.
Broadway’s Tony Award-winning musical, “Hairspray,” is on a 60-city U.S tour including two performances at Easton’s historic State Theatre on April 16.
The production is under the original guidance of director Jack O’Brien and choreographer Jerry Mitchell.
The show tells the story of 16-year-old Tracy Turnblad in 1960′s Baltimore as she sets out to dance her way onto TV’s most popular program and winds up changing the world. It features a score of hit songs, including “Welcome to the 60′s,” “Good Morning Baltimore,” and “You Can’t Stop the Beat.”
The touring version of “Hairspray” stars Andrew Levitt, who fans know as Nina West (from “RuPaul’s Drag Race”), as Edna Turnblad. The ensemble cast also features Niki Metcalf as Tracy Turnblad and Sandie Lee as Motormouth Maybelle.
I recently spoke with Metcalf about the show’s themes, big hair and more in this exclusive interview.
James Wood for The Morning Call: What can fans expect from the upcoming performances of “Hairspray?”
Niki Metcalf: “Hairspray” is about a lot of things. There’s love, acceptance, dancing and singing as well as a lot of fun, laughs and joy. It’s got something for every kind of audience member. I play Tracy Turnblad. She’s a sixteen-year-old who has big dreams, a big heart and even bigger hair [laughs].
We start off the show with Tracy wanting to be on the Corny Collins show in 1960′s Baltimore. Then she meets a community of incredible people who teach her how to change the world for the better and stand up for what is right.
For more than five decades, the multiplatinum selling group America (featuring founding members Dewey Bunnell and Gerry Beckley), has been captivating audiences with their ubiquitous blend of acoustic-driven, harmony-rich sounds.
Some of their biggest hits, including “A Horse With No Name,” “Ventura Highway,” “Sister Golden Hair,” and “I Need You,” have gone on to become staples of classic rock radio.
Following their eponymous #1 debut album and winning Best New Artist at the 1973 Grammy awards, America went on to work with famed Beatles producer George Martin on a string of hugely successful albums. They’ve toured the world multiple times, performed the musical score for 1982′s “The Last Unicorn,” were inducted into the Vocal Hall of Fame in 2006, and received a Star on the Hollywood Walk of Fame in 2012.
Their most recent project is the 50th-anniversary box set, aptly titled, “Half Century,”
The group is currently back on tour, with a lineup that includes Richard Campbell (bass/vocals), Ryland Steen (drums/percussion) and Steve Fekete (guitars/keyboards/vocals). They’ll make a stop at Penn’s Peak in Jim Thorpe 8 p.m. Saturday.
I recently spoke with Dewey Bunnell about the band’s longevity, songwriting and more in this exclusive new interview.
James Wood for The Morning Call: America recently celebrated its 50th anniversary. Looking back now with all this perspective, what thoughts come to mind?
Dewey Bunnell: I don’t think anyone could have expected the kind of success we had in that first decade or how it’s lasted so long. We believed in ourselves and were expressing lyrically some themes and topics that were relevant to ourselves, our generation, and the times. Now we have multiple generations of fans who are still appreciating the music and showing it by coming to shows and listening to the music.
You and Gerry were teenagers when you wrote some of your early hits. How did the songs “A Horse With No Name” and “Ventura Highway” come about?
There’s really no hidden meaning behind “Horse …” It’s a travel log about finding oneself in an isolated place, like the desert. Growing up, our families were in the Air Force, so we traveled a lot as kids. I gravitated toward places like the wilderness, rivers, lakes, and the desert and was trying to capture that. There’s a lot of self-study and figuring out what you want to do with your life when you’re nineteen or twenty and right out of high school. It’s a song about introspection.
“Ventura Highway” was similar in that the lyric was about travel to some degree and about seeing the west coast for the first time. It was the ‘60s when my family lived there, which was a very impressionable time for me. At the time, the surf scene was blowing up; The Beach Boys, sun and surf, free wind blowing through your hair. All of that imagery was what I was trying to capture in that song.
Known for her catchy pop tunes with a tongue-in-cheek take on domestic life, singer-songwriter and actress Brooke Josephson is showin’ up for another round of infectiously honest and hook-laden material.
Josephson’s new EP, Showin’ Up, is the follow up to her acclaimed and female-empowered Sexy & Domesticated, and features introspective songs discussing the shifting energy and acceptance of who we are, the importance of the creative journey and making a difference, and the profoundness of lost relationship.
Self-produced by Josephson, Showin’ Up was mixed and mastered by Grammy winning engineer, Brendan Dekora (Paul McCartney, Foo Fighters, Anita Baker) and features musicians like guitarists Chris Nordlinger,Tim Pierce (Goo Goo Dolls, Crowded House, Phil Collins) and drummer Seth Rausch (Keith Urban, Sheryl Crow, Little Big Town). The EP also includes Josephson’s spin on the Bonnie Raitt classic, “Love Me Like A Man,” and features a radio single as well as an extended jam.
I recently spoke with Josephson about the new EP and more in this exclusive new interview.
How would you describe Showin’ Up in terms of its sound, and maybe how it relates to some of your previous work?
Josephson: I really leaned in with guitars on this one with Chris Nordlinger. When I think about the progression, both artistically and in my life, there’s been a lot of growth. This one definitely has more of a grounded, rock and roll sound.
What was the writing process like?
Josephson:I actually wrote all of the songs before the pandemic and was performing them live for about six months. It started with lyrics and then I put the music down in my home studio, gave it to my band, and the songs grew every time we played them live. Then we had our opening show at The Whisky in January of 2020 and everything came to a halt. I’ve been sitting with these songs for a bit, and they’ve taken on a whole new meaning from when they were first inspired.
Let’s discuss a few of the tracks, starting with “Rainbow.” What can you tell me about it?
Josephson: “Rainbow” was another one of those songs that was inspired by my daughter. I had picked her up from school one day and she seemed really upset. She put a smile on her face, but I could tell she wasn’t ok. It wasn’t until bedtime that she started crying and said that one of her closest friends had told her to find new friends. It was heartbreaking. So I told her the story of my brother who had a similar issue growing up. Then I remembered that Harry Chapin song, “Flowers Are Red,” and about owning your own color and what makes us special and unique. When she went to sleep I went in and started writing. I wrote it from that perspective and originally planned to release it in 2020. But then the George Floyd trial and Black Lives Matter happened. It was a dark time but there’s been a shift of energy, so when the single finally come out people were ready for something cathartic and bright. It’s a mindful awareness of the differences between us and the humanity that bonds us.
Josephson: I was at a songwriting conference and one of the inspirations was for us to think about writing a song to open our shows with. I thought about what makes doing a live show or going to a show so special, and it’s really all in the power of showin’ up. Not just the audience coming to be present but also as an artist. From the time you pick up your instrument for the first time or start wiring. Having to show up for yourself even when no one else is watching. It leads to the moment when everyone can come together. It’s another song that took on new meaning when I watched the heroes of the pandemic and the essential workers showing up to save lives while we were all stuck at home. It went from a performer’s point of view to something much bigger.
Josephson: That was inspired after my parents divorced after thirty-five years of marriage. Even though I was an adult, it affected me profoundly. My brother and a few close friends also went through divorces well. It’s a song about change but still wanting to hold on to what was. It was my way of writing a song for them.
What made you decide to do a cover of “Love Me Like A Man?”
Josephson: I’ve always been a fan of Bonnie Raitt. That song has so much grit and I’ve always performed it live. In my head I started hearing it with a different rhythm, sort of like the Nine Inch Nails song, “Closer.” We were having so much fun with it in the studio that I just let it keep running. That’s why there’s a radio version and an extended version on the EP. It wasn’t ego driven, we were all just in the groove.
Are there any other projects you’re currently working on right now?
Josephson: In addition to being a mom I’ve been booking things around music and live shows, including acting opportunities that have been popping up. I’ll be in New York in March to film a thriller that centers around the murder of my character. I’ve also been doing the voice of a fairy in a Disney feature that I’ve recently recorded.
Was there something you learned about yourself during lockdown, or a philosophy you’ve taken away from not being able to do the things you normally would?
Josephson: I’ve really had to recognize my struggle with perfectionism, and I didn’t realize how hard I was on myself. I like being productive but also had to be sensitive with two kids taking school on Zoom and my husband, who was also working from home. I’ve been leaning into self-compassions and, in doing so, I have more compassion for others. That was a big takeaway for me.
Now that we’re starting to slowly come out of the pandemic what are you most looking forward to about the future?
Josephson:Collaborating. I still remember when I walked on set for the “Rainbow” music video and saw my band for the first time I was laughing and crying. We were all together making music in the same room again. I’d love to work with other artists, whether it’s writing with them or having other songwriters who are looking for an artist to record their song. I’m really looking forward to collaborating and just being with people.
For three decades, electronic pioneer Howard Jones has been a regular presence on the international touring scene. He’s been performing his arsenal of hits and fan favorites, like “No One Is To Blame,” “New Song,” “Hide & Seek,” and “Things Can Only Get Better” in various band configurations, including his high-tech electronic setup.
But perhaps there is no better way to appreciate the foundational impact of Jones’ music than when it’s stripped down to its barest of bones. Jones will do just that when he brings his acclaimed Acoustic Trio Tour to The Sellersville Theater at 8 p.m. Feb. 20.
Joining Jones on stage that evening will be two of his longtime friends, Nick Beggs and Robin Boult, for an evening of musical fellowship.
Jones will certainly have no shortage of stories to tell. Since bursting onto the contemporary music scene in 1983, he’s sold more than 8 million albums. His monstrous 1985 album alone, Dream Into Action, went platinum in the US and featured four smash hits, including the aforementioned “No One Is To Blame” and “Things Can Only Get Better.”
A few of his other credits include performing solo at the piano at the Live Aid festival in 1985 and touring as part of Ringo Starr’s All-Starr Band.
I recently spoke with Howard Jones about this and his upcoming performance in Sellersville.
James Wood for The Morning Call: What can fans expect from your upcoming performance in Sellersville?
Howard Jones: We had been halfway through an original run of the trio tour when COVID struck. Everything was being canceled and we had to get home pretty quick. These dates are fulfilling the ones we didn’t get to do. It’s the trio tour with Nick Beggs on the bass end (he plays an instrument called the Chapman Stick and double bass), Robin Boult plays guitar and I’m on piano and vocals. Nick and Rob are two of my best friends in the world. Touring with them is a total pleasure and I hope that gets reflected in the music that we present. It’ll be the three of us enjoying ourselves on stage.
Being filled with emotion, I was having difficulty deciding what to say. I mean, how can you put into words the passing of a teacher who meant so much to you? So, what follows is the Facebook message I sent to Ed Milisits on November 10th, 2021. It was shortly after a group of about 75 singers, composed of several generations of students and friends, got together for a last minute flash mob in his back yard. It was our way of telling Ed how much we loved him.
For those who may not know, Ed Milisits played a huge role during my high school years. He was larger than life and, at times, almost felt like a celebrity to me. Blessed with perfect pitch and a love of choral music, Ed taught this fledgling rock guitarist the ins and outs of music theory and life lessons. Even though I’d find myself struggling, Ed was always there with encouragement or to answer any question. Often times we’d have deep conversations about the rules of part writing, and how that stuff didn’t jive with the music I wanted to play. But Ed said something that still sticks with me: “I know part-writing doesn’t line up with rock music, but you’ve got to first learn the rules before you learn how you can break them.”
I was fortunate to have connected with Ed again many years after high school was over. This was after he’d retired as a teacher and began conducting an adult choir which, to no one’s surprise, was comprised mostly of past students. My best memory of those days was requesting a piece for us to perform called “Os Justi.” It was one we’d done in choir my senior year and one that really resonated with me.
When I first made the suggestion to Ed, he said he’d put it up for consideration. Then, in the Spring of 2017, 30 years after last performing it, I received this message from Ed:
“Hey Jim…thought you’d be interested to know that Os Justi is ON THE WINTER PROGRAM LIST! We WIN…hahahahahahaha!”
I don’t normally share private email messages but this one seems fitting. It’s our last conversation, and Ed ended it with a heart/love emoji.
Godspeed, Ed. The best teacher / maestro I ever had. Save a spot for me in the bass section of the heavenly choir.
Hi Ed –
When they asked if I’d be interested in being part of a flash mob for you, I just couldn’t say no. You mean a lot to so many people, myself included. You may not know this but you played a big and important role during my formative years of high school. It took me a long time to “find myself,” but the choir and music theory classes meant everything to me.
Your teaching style and encouragement [“Talk to Me”] helped me to not only learn theory but also how to become a better person. Even the old lady smoke filled bingo nights we used to work for the concert choir were fun — ok, maybe that’s pushing it… lol.
You were the main reason I wanted to become a music teacher. I even remember you letting me shadow you one day while I was a student at West Chester. Sadly, I never wound up finishing college at all because I dropped out. Then last year, I finally decided to go back. I started taking classes at NCC and now have only one more class to take to obtain a degree in General Studies. It won’t do anything to help me get a better job but at least I can finally say I finished.
I’ve attached a photo from our choir trip to Ottawa back in 1987, one of the best times of my young life. I keep it in a large scrapbook along with programs and photos of my musical achievements and bands throughout the years. It’s my musical biography. Something very important to me all these years later, and it wouldn’t mean anything without you there.
I hope you enjoyed our little mini concert and wanted you to know that I think about you often and how much I love you.