Founding member Chris Duval describes the band that became A is A as beginning as a dream. A dream that almost came true but fell apart despite having everything going for them and the necessary songs and talent to become a force in the music business. Sometimes you just need an extra piece of luck.
MelodicRock Classics has been working with the band over the past 6 months to put together the complete A is A picture, including tracks recently revamped by the band's founder, plus all studio recordings that reflect changing lineups and studio sessions and some historic original demos. Finally, there are four original tracks recorded when the band started out as Thunderhouse.
This deluxe 2-disc set will be released April 28 via MRC, remastered to perfection again by JK Northrup.
About A is A: After a decade performing in bands throughout western New York state, keyboardist/guitarist Chris Duval relocated to Boston in 1985. Boston's original music scene was thriving, and he was confident that in that environment, he'd be able to create his ideal band; a powerful, collaborative hard rock band focused on well-crafted, melodic songs, strong vocals and great musicianship.
Drummer Steve Shields was the first to join, eventually followed by guitarist/vocalist Dale Stephanos. Chris' brother Tom, a veteran of the Greenwich Village folk scene, relocated to Boston to join on bass and vocals. Completing the lineup was lead vocalist Mitch Jeffers, another transplant to Boston from Pennsylvania. The band began writing and performing as “Thunderhouse” in 1987.
In the spring of 1988, Thunderhouse recorded a self-produced, four song demo at Normandy Sound in Rhode Island. The demo received glowing reviews in the local music press and received local and regional airplay. The material the band began writing after this session started becoming more nuanced and mature. In late 1988, drummer Chuck Schuler was asked to join the band. Despite the risk of losing name recognition, the band decided to re-brand itself “A is A”, after their song of the same name.
With Chuck in place, the quality of the band's songwriting took another leap forward in depth and sophistication. They retired many of their Thunderhouse-era songs in favor of newer, stronger and more collaborative material. Those songs that survived the purge were reworked and revised. The much-improved A is A started performing in February of 1989.
Their second self-produced demo, recorded in April of 1989, was a major step forward from their previous work. These new songs were ambitious, intricate and sincere. Critical reaction was overwhelmingly positive, and “Barriers” was released on a compilation CD of new artists.
A home 8 track demo recording done in the fall of 1989 documented the band's continued growth as songwriters and performers. In late 1990, Chris engineered another two-song demo. The arrangements and performances are sparse, raw, and real. “The Nature Of His Love”, a metaphor for the band's struggle to succeed, received local radio airplay.
A is A had become a creative force, collaborating on ever more interesting and dynamic music, and new songs were being introduced at many of their shows. But despite their growing recognition, the meager pay at local clubs couldn't begin to cover the costs of rehearsal space, promotional material, transportation, equipment and recording time. A is A were living literally hand to mouth, fighting to juggle their day jobs in the face of the relentless financial and time demands of their frequent rehearsals and performances.
Quite suddenly, in early 1991, A is A collapsed under those pressures. Tom left the band, and while auditions were held to replace him, it became obvious that what A is A had become, a deeply integrated, collaborative musical entity, could not exist without the lineup it had. More succinctly, A could only be A.
Twenty years later, unable to get the music out of his mind, Chris tracked several of A is A's unrecorded songs in his home studio and began posting them for prosperity. These, along with “On The Bridge”, recorded by Tom in his home studio, and often used as a closer at A is A live shows, round out this collection.
To see the band recorded live in their heyday, check out this great live recording, which features songs included on “A is A: The Complete Recordings” https://www.youtube.com/watch?v=0LfZeMyg91M
Track Listing:
CD1: The Masters
01. Thin Ice
02. You Get What You Pay For
03. Outside Out
04. Highway
05. A Day Of Liquid Oxygen
06. Time Stands Still
07. The Mental Tune (Inst.)
08. The Box
09. The Nature Of His Love
10. On The Bridge
11. Miracle Plan
12. Get Serious
13. Barriers
CD2: The Demos
01. Thin Ice (Demo)
02. I Don't Need A Drink (Demo)
03. I Was Just Wondering (Demo)
04. I Have A Friend (Demo)
As Thunderhouse:
05. Into The Dark
06. Moth To A Flame
07. A is A
08. I Am Ready
09. I Am Ready (No Intro Edit)
Line up:
Tom Duval: Bass, Vocals, Acoustic Guitar
Dale Stephanos: Guitar, Vocals
Mitch Jeffers: Lead Vocals
Chris Duval: Keyboards, Guitar, Lead Vocals
Chuck Schuler: Drums
TIN MAN is the brain child of Dallas, Texas musician/singer/songwriter Cary Floyd (guitar, vocals).
Their sound is the pinnacle of high-tech melodic rock in the vein of Mr. Mister, Toto, 3rd Matinee and even The Police. Joining Cary on all tracks are Keith Carlock (Drums), Pete Drungle (keyboards) and LaDelle Farrell (Bass). Guest musicians across the recordings include Doyle Bramhall – Guitar (Eric Clapton, Sheryl Crow, Roger Waters, Arc Angels); Andy Timmons – Guitar (Danger Danger, Winger, Steve Vai, Joe Satriani, Olivia Newton John) and Tim Minor - Producer/Background vocals, Piano (Steve Perry, Paula Abdul, Al Green, Brian McKnight).
Making their debut with in indie release in 1993, Tin Man made waves in their native Texas and received a lot of local radio airplay. In 1994 the band took on board star producer Tim Minor, who re-recorded a couple of the band's debut album tracks as well as a host of new material to create the 1994 release, which was also self-titled. It is with this record that the new 'Anthology' kicks off.
As a bonus track, Disc 1 contains the previously unreleased last song recorded by Tin Man.
Disc 2 sees a remaster of the 1993 release, with the addition of 4 live tracks taken from a Dallas radio broadcast at the time. These songs have never been officially released until now.
Besides being the backbone of TIN MAN, musician/singer/songwriter Cary Floyd (guitar, vocals) produced the Great Wall of China Concert with Alicia Keys, Cyndi Lauper, Doyle Bramhall, Boyz II Men and the Live at the Alamo Concert with Gipsy Kings, Lyle Lovett, Los Lobos, Arc Angels and host Paul Rodriguez and is currently involved in the Film/TV business.
Pete Drungle has worked with Sean Lennon, Ornette Coleman; legendary drummer Keith Carlock has of course worked with many, including Steely Dan, John Mayer, Sting, Toto and James Taylor.
Original Danger Danger Guitarist Andy Timmons has also worked with Winger, Steve Vai, Joe Satriani and Olivia Newton John.
Producer and musician Tim Minor has worked with Steve Perry, Paula Abdul, Justin Bieber, Al Green, Brian McKnight amongst many others.
Other album credits include Mark Matejka (Guitar) Lynyrd Skynyrd, Charlie Daniels Band and Dave DeShazo (Bass) Bobby Kimball.
Mastering engineer JK Northrup has provided a fresh and bright remaster of all the material.
MelodicRock Classics is proud to team up with Tin Man to present their complete recordings on one double CD, which will be released April 28.
Surely this is the heaviest project I have heard Heatland/The Distance vocalist Chris Ousey front to date?
Some furious drumming from Saxon’s Nigel Glockler and the heaviest guitar work I’ve heard from FM’s Jim Kirkpatrick leads the sonic assault. Add in Bass supremo Billy Sheehan, who delivers his trademark sound and keys from former FM man Didge Digital and you get a truly accomplished lineup at work.
With the material all composed together by Chris Ousey and Jim Kirkpatrick, this is a true band project. The only way to have a natural mixing of minds and styles, is to have those involved write their own material and that’s exactly what you get here.
Fans of Ousey’s unique writing style will see the usual rewards come with repeated listens. He’s never been someone to make hooks and melodies obvious or over the top – instead he embeds them within the songs and choruses. And as usual, patience brings them all to the fore.
The opening ‘Dangerous Dawn’ and ‘The Devil He Don’t Care’ showcase the hard rocking approach, while ‘Can I Call It Home’ is a classic Ousey style heartfelt ballad.
The sheer pace of the album is almost unrelenting. It has that The Distance meets Mr. Big vibe, just with added punch.
This is nothing short of essential for fans of Ousey and FM – a glorious slice of high energy British melodic hard rock.
This is an extraordinary debut. Well vocal debut at least. Guitarist and YouTube star Martin Miller released a solo instrumental album a decade ago and has been working on this album in between posting his guitar tuition videos and inspired covers.
At 5 tracks, its more an EP, but at 39 minutes in length, it runs longer than many albums I have.
I was tipped off to this by Now & Then’s Mark Ashton, who dubbed the lead song ‘Something New’ as the love child of Dream Theater and Toto. And that’s exactly what it is. Clocking at over 8 minutes, the song has the moody percussion and keyboard feel of Toto’s Seventh Onemeets Falling In Between and the progressive chops and time changes Dream Theater built their career on.
A moody shorter second track reinforces the belief that this guy is a real talent. Tracks 3 and 4 leave the Toto influences behind somewhat and dive full on into Dream Theater territory.
The closing track runs over 10 minutes and brings back some of that Toto feel, while totally rocking out and switching tempo several times.
Imagine Toto’sFalling In Between with Joseph Williams singing or Dream Theater with more melodies. The Images And Words classic ‘Another Day’ keeps popping into my mind.
It’s really quite something. The CD is a very limited edition of 300 units, so grab now at: https://martinmillerstore.com
After the debacle of the House Of Lords’ infamous ‘Power And The Myth’ album, the last record to feature the main names from the band, it must have taken some luring to get Chuck Wright and Ken Mary back on board for this pseudo-HOL project.
As is the case with just about every project on the Frontiers label, it is another Alessandro Del Vecchio produced and co-written affair. I know there are many avoiding these projects now and some definitely need avoiding. But this is one of the better ones.
Yes, the production and large parts of the songwriting remain formulaic and very familiar, but the performances within certainly raise the bar here. Not to mention there’s some decent songs attached to this project.
A good part of what makes this album good is the work of Ken Mary. The added drum fills, the swagger around the songs and the precise percussion, especially with cymbal work is a pleasure to listen to.
The great Jimi Bell is also a major contributor. His rifftastic work doesn’t often get the credit it deserves and he’s the perfect fit here.
I wouldn’t call it a House Of Lords sounding project – despite the players and name – it remains another example of the label’s fondness for Euro-flavoured hard rock.
Vocalist James Robledo (Sinner's Blood) wouldn’t be my first choice for the kind of project. He reminds me of the ill-fitting Skills frontman Renan Zonta, except more likable. Again, it’s another Frontiers style quirk - that familiar raspy metal voice that they seem to gravitate towards. Guitarist Francesco Savino (False Memories) rounds out the band – House Of European’s is more accurate musical description. Robledo sounds best when he turns on the melody with his uncanny Jorn Lande impersonation at times.
Worth checking out of the description appeals.
And what is it with this ridiculous album credit that keeps popping up on the back covers of Frontiers releases - “A Project By Serafino Perugino”?
Talk about strocking one’s ego. Not even the legendary A&R man John Kalodner: John Kalodner inflicted that upon the artists he worked with.
I get the idea…in itself it’s not a bad proposition – three of the scene’s leading male vocalists all appearing intertwined through a dozen new melodic rock tunes. But there are issues from the outset here. Bland songs, sterile production, no real plan to work their voices together and an unfortunate lack of emotional urgency that music of this style should carry.
Fronting up for this latest Frontiers ‘project’ is Kent Hilli – one of the most melodic and popular vocalists around right now, who is in real danger of spreading himself way too thin (Perfect Plan, Giant, Solo Album and TBA fourth project pending); Robbie LaBlanc – the powerhouse singer left powerless with a bland mix of songs; and Toby Hitchcock, the star of Pride Of Lions, who is yet to find consistency outside of that vehicle.
The concept has worked brilliantly when a two pronged approach is used such as with Russell Allen and Jorn Lande, but those albums had the bonus of Magnus Karlsson at the helm, providing some killer songs and intuitive mixing of the vocalists.
With Tenors, it is Alessandro Del Vecchio, the Frontiers songwriter/producer/mixer/multi-instrument playing machine, responsible here for writing, production, mixing, mastering, bass, additional keyboards, guitars, and backing vocals.
On top of some completely twee lyrics, none of the voices are given any room to breathe. There’s no comradery or sense of a unified mission between the singers. There’s no natural chemistry – just three voices recorded in different studios, singing songs they didn’t write, mixed together at ADV central.
The mid-album Silent Cries is the only song that stands out as anywhere near memorable.
The idea of three singing together as “tenors” should be to create a wall of vocals, rich harmonies, not just three guys singing one line each at a time. It’s way too disjointed. And to be frank, its just plain dull. Lifeless and repetitive and all too familiar to those following along with the endless Frontiers projects.
The Swedes have done it again! Following on from a classy 2021 debut, Seventh Crystal have completely knocked it out of the park with this one.
Seventh Crystal was put together by singer Kristian Fyhr (Perpetual Etude), a guy who has a sensational, soaring, powerful and melodic voice, is perfect here, but it is the sum of all parts that makes this band great.
The album is dominated by big riffs, in a slightly progressive hard rock style that is driven by guitars but accompanied by some brilliant piano and keyboard parts and a hard-hitting rhythm section.
Best of all though – is the quality of the songs. Every single one is a winner, with a strong melody and chorus hook. Nothing better than prog-rock with choruses! More pleasing is that of the albums 13 songs, there is so much freshness and a dynamic production that really blows the songs up.
Its so great to hear something fresh and engaging and original, while still remaining true to the genre of music it represents.
I can’t recommend this one enough. Pure melodic bliss in a hard rocking package that should appeal to many.
Consider mixing the progressive elements of Threshold with the vocals of HEAT and the keyboards of One Desire. A tasty proposition.
Absolutely superb slice of nu-Scandi melodic rock, bathed in synths and keyboards and occasionally delving into some heavier guitar driven tracks. This I think, could be the band’s best album to date – they have grown with each release so far.
And while the style is now fairly well-tread, with a lot of competition in the marketplace, the class of the songs and sonically tight production propel this to the top of the pile.
The album starts with gusto, but the closing ballad/rocker/anthem triple play is hard to beat.
“We are glorious” sing the guys on the opening number. Why yes indeed you are Creye. It doesn’t take a lot of words to describe what’s going on here, so I’ll recommend you just stop wasting any more time and go check this out.
Welcome to full blown musical maturity and congratulations on what will remain one of the year’s best Scandi-AOR albums.
A delightful debut EP of classic AOR here. The British lads FIRST LIGHT is a musical partnership between Dave Hardman (Guitar) and Carl Sharples (Bass), two lifelong friends and lovers of all things Melodic Rock. They are joined on the 7 tracks by New York City based vocalist Warren Passaro, himself of the Journey vein of singers plus FM’s keyboardist Didge Digital and drummer Andy Jakeman.
The production may be an indie – but they’ve done a great job getting it to the level they have and the mix is balanced and even.
Classic 80s influenced AOR and melodic rock is the order of the day, but I’m pleased to say the lads have a sound distinct enough to call their own. The mostly uptempo release features some very fine lead vocals and most importantly, some really catchy songs on hand.
Take ‘Revolution’ for instance – there’s an instant hook if you’ve ever heard one. The opening track ‘Gravity’ is just as good. But all songs have hooks and memorable melodies.
I’m hearing some early House Of Shakira here, plus FM, Journey and the like. Very pleasant listening all-round. Available on digital and a limited-edition CD.
This English melodic rock outfit sound anything but. At times they have that polished American modern rock sound of someone like Nickelback (just with better vocals) and when they really turn on the melodic charm and chorus harmonies, I can hear big Harem Scarem influences and harmonies going on.
Production for an indie release is of the highest quality and while the band skip between harder and more melodic styles, the songwriting holds up and sees this as one very fine debut album indeed.
I personally would eat up their Harem style modern AOR even more if it filled the whole album, but others might prefer the varied approach.
Nickleback meets Harem Scarem with a touch of Bon Jovi is about the closest I can come to describing the sound here.
