EXOTIC YEMENITE MUSIC GIVEN MODERN SLANT ON DEBUT ALBUM “THE SEAL OF SOLOMON” BY SHLOMIT & REBBESOUL

Posted on February 2nd, 2015 in Uncategorized | No Comments »

Shlomit Levi grew up surrounded by the culture and music of her ancestral home of Yemen. She is a highly respected singer in her native Israel and well known as the voice on “Sapari,” the hit song by Orphaned Land, Israel’s groundbreaking group of Oriental Heavy Metal music. RebbeSoul (aka Bruce Burger), an upstate New York native, is lauded as having created the modern version of Jewish Roots and World Music. His 1995 “Fringe of Blue” release remains one of the best selling Jewish music albums of all time.  On “The Seal of Solomon,” Shlomit & RebbeSoul join the sounds of Eastern and Western music to create a wholly new genre being embraced internationally.

Shlomit adds a Yemenite spice to RebbeSoul’s musicianship, and each brings their unique influences into the mix. As Shlomit sings in Hebrew, English, Arabic, Yemenite and Aramaic, RebbeSoul provides the flavor of instruments from around the world: balalaika (Russia), caxixi and pandero (Brazil), oil can (Yemen) and riq, darbouka, finger cymbals, nev, daf and bender from all over the Middle East.  Furthermore, the pair showed their creativity by utilizing car keys, crowd sounds and silver bracelets for additional percussion!

“The Seal of Solomon” is the debut collaboration of the two multi-talented artists.  Drawing from numerous sources, some of the songs set music to poems by the foremost 17th century Poet of Yemen, Rabbi Shalom Shabazi, acknowledged as one of the greatest Jewish poets.  Other tracks bring modern sensibilities to traditional Yemenite folk songs.

RebbeSoul served as Producer on the album, and he and Shlomit are the principle songwriters.  Coming out on their own Shlomit & RebbeSoul label, the release date is slated for February 10, 2015.  For additional information and an EPK, please visit www.shlomit-rebbesoul.com.  To arrange interviews, contact ISL Public Relations (rsvpislpr@gmail.com, 917-338-6199). 

HOW DO YOU MEASURE THE SUCCESS OF A PR CAMPAIGN FOR A NEW ARTIST?

Posted on December 10th, 2014 in Uncategorized | No Comments »

Frequently, when we interview a potential new client, they ask “How will I know if the campaign is a success?”

 

That’s a question with any number of potential answers that depends on how the goal is defined at the beginning of the campaign.  Every campaign has its own goal: you might want to garner lots of CD reviews, or get tour press, or build a local following, or get a buzz going nationally.  There is no wrong answer to that because it’s based on want you individually want to accomplish.

 

Measuring the degree of success is not always something you can calculate.  A respectable number of media placements may be great but if pumped up CD sales don’t follow, you may feel the campaign was not successful.  But hold on – you’re not looking at the bigger picture.  By getting your name out there, you’ve built a foundation and people have learned your name and discovered who you are.  Next time they hear about you (i.e.: a DJ talks about you on the air, they see an ad for your next concert), your name will light a spark of recognition.  “Oh yeah, that sounds familiar…” they might think, and once someone has heard or read about you, they will sense recognition and be more likely to pay  attention to the information. Perception is half the battle.  If a potential fan knows your name/name of your band, you’re already miles ahead of all the other new bands trying to break into the public’s consciousness.  Score one for you!

 

Another measure of success is getting people in the media – writers, bloggers, editors, etc. – aware of the simple fact that you exist.  You’ve planted in their minds the seed of knowing who you are by virtue of the fact that they have been contacted by your publicist, sent a press release or two about your activities, serviced with a copy of your bio and CD (physical or digital) and had the chance to view your interaction with your fans via social media.  They may not write about you at that time but they have become aware of your existence and may provide coverage next time around.

 

Sheer quantity is not always the key to success.  Some campaigns might benefit more from placements in a select few media outlets that are “on target” with your goal.  For example, CD reviews in 25 local papers might be great but if you’re touring the North East and all that coverage is from West Coast papers, your potential ticket buyers won’t be alerted that you’re coming to their town.  Better to have a few interviews with outlets along the tour route heralding your arrival.

 

The name of the game is repetition, repetition, repetition for fans as well as journalists.  You want to make sure that you’re sending them only valuable/relevant content to keep your name in the forefront of their mind, but not so much that they feel inundated with irrelevant information.

 

Of course, a cover on Rolling Stone may be worth more than 100 blogs, but be realistic: are you really yet at that level?  Placement in 100 blogs is useful to create a buzz which ripples through the media and captures the interest of writers who want to know “What’s all the fuss about?”  That leads them to looking you up presumably online and seeing all the coverage you’ve accumulated up to that point.  That’s how the PR building blocks work.

 

In the end, your campaign will be considered successful if it brought your name in front of a myriad of people not previously familiar with you, and opened the door for you to move up to the next level.  Now that’s success!

 

ISL Public Relations is a top music PR firm based in NYC with more than 30 years experience in the industry.  For more information about our services, visit islpr.com and make sure to follow us on Facebook and Twitter

Are you ready for a P.R. campaign?

Posted on October 23rd, 2014 in Uncategorized | No Comments »

Embarking on a Public Relations campaign is a big investment, both in time and money.  Therefore, it’s a good idea to make sure you’re fully prepared to get the most out of your P.R. efforts.  Here are some tips that will help you ready yourself for a full P.R. campaign and ensure higher chances of success. 

 

1)  Get A Website – The first place to start is your website.  It is your face to the world and should communicate what you/your group are all about quickly and easily.  Journalists often visit the artist’s website to gather additional information (bio, pictures, show dates, etc.) for a story, as well as to listen to the music.  It’s important to make sure you have a website that is representative of your sound and image. 

 

2)  Establish An Online Presence With Social Media – The second most important tool for success is social media.  This is often where you get new fans, so it’s to your benefit to establish yourself on all the major sites people read for entertainment news and updates (e.g. Facebook, Twitter, Instagram, YouTube, Vine, etc.).  The main purpose of your social media is to (1) get new fans, (2) build rapport with those fans, and (3) drive traffic to your website (or other promotional options such as a music video). 

 

3)  Have A Goal – Often the first thing we ask a new client is “What’s your goal?”  Nothing happens without a clear vision, so it’s important to spend time defining your goals (both short-term and long-term) and write them down!  Putting things on paper (or in a document on your computer) makes them more concrete and allows you to refine and update your plan as your career grows, and can serve as a check list to track your progress. Make sure your goals are reasonable and achievable for your level of career development (i.e. if you’re a brand new indie artist releasing your debut album, a feature in Rolling Stone is probably not realistic). 

 

4)  Have A Plan – Once you have a goal, you need to map out a plan to get you there.  Having a vision is great, but now you need to take practical action steps in order to realize it.  Reading music business books, forums online, and blogs like ours can help you figure out what steps to take.  The most reliable way is to speak to a professional in the music industry who can help you craft your action plan to meet your goals. 

 

5)  Agree On An Image – Your image is very important, and it’s important that all members of your band agree on the image being presented to the public.  If anyone in the group is uncomfortable with the image being portrayed, it will only lead to problems down the road.  As publicists, we help our artists craft an image that is true to who they are and will also present them in the best light to both the media and the public. 

 

6)  Get Great Visuals – “A picture’s worth a thousand words” is a tried, but true, addage.  Your visuals should “look” the way your music “sounds.”  That means everything about your image should be coherent.  An artist who looks like Motley Crue but sounds like John Mayer would be confusing to potential fans.  You need to stay original and remain true to who you are, but make sure the visual image fits with the sonic presentation.  The visuals need to be high quality and you need to look polished.  Photos taken on a Smart Phone by your best friend are not going to make it with media outlets.  Hiring a professional photographer experienced in working with creative artists will work with you to define your public image and make sure you get high quality images. 

 

7)  Get Professional Advise – We live in a wonderful world where technology has allowed many musicians to go DIY.  However, getting professional advice can save you time and money in the long run.  We frequently work with artists on a consultation basis in order to prepare them for a full PR campaign.  This way, when it comes time to release your album or go on tour, you’re better prepared and will get the most out of hiring a publicist.  For more information on our services, contact us through our website islpr.com. 

 

 

 

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We’d love to hear from you with feedback on these pointers, and share your own experiences.  Write to us at islpublicrelations@gmail.com.

 

ISL Public Relations is a top music PR firm based in NYC, run by Ida S. Langsam, a seasoned industry professional with more than 30 years experience. She started her career as the New York City Area Secretary for The Official Beatles Fan Club, and has worked with such superstars as KISS, The Ramones, Billy Idol, and Joan Jett.  For more information about our services, visit islpr.com and make sure to follow us on Facebook and Twitter.

SECRETS OF SECURING COVERAGE IN ENTERTAINMENT MEDIA OUTLETS Part 2

Posted on August 19th, 2014 in Uncategorized | 153 Comments »

Last week we introduced you to three secrets of securing coverage in entertainment media outlets: memorable visuals, wow factors, and succinct & concise press materials.  If you haven’t read part 1, you can start here first.  This week in part 2, we’ll continue our discussion with four more points that are sure to put you ahead of the competition. 

 

4: COMPLETE INFORMATION – You only get one chance to make a first impression.  Be sure that everything you send (press kit, CD, DVD, etc.) includes all your contact information: email, phone number, website, direct links to Facebook, Ssonicbids, ReverbNation, and all your other social media sites.  If you’re sending your correspondence via email, make sure your web links are hyperlinks so they are easy to click.  If you have good reviews, you may want to also provide a link to those. 

 

5: FACT CHECK/RESEARCH – No one takes kindly to having their name misspelled.  The first thing you need to do is make sure you have the journalist’s name spelled correctly, the correct name of the media outlet, and the right address.  Just as important is doing research to get a handle on the kinds of music the journalist to whom you’re writing likes.  For example, a writer who’s into hip hop is unlikely to review a country music album.  You don’t want them to feel you haven’t even bothered to research their writing or find out what their publication is about.   You’re wasting your time by sending things to people who aren’t interested, and you’re wasting the recipient’s with material that isn’t relevant to his/her outlet. 

 

6: ELEVATOR PITCH – Perfect the proverbial “elevator pitch.”  Opportunities tend to happen when you least expect them.  Imagine you find yourself in an elevator with a record executive or the editor of Rolling Stone and you have less than a minute to dazzle them with information about your band, and leave a lasting positive impression.  What would you say?  Practice your pitch!

 

7: PROFESSIONAL REPRESENTATION – Why do you need it?  Aside from saving you the time it would take to accomplish all of the above, professional publicists have knowledge, experience, contacts, professional relationships with media, and expertise to present you/your band in the best light.  At ISL Public Relations, we work closely with our artists and help them define their goals, the message and the best way to represent them to the public via the media.  The combination of our insights and know-how, and your talent, is the key to your success.

 

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We’d love to hear from you with your thoughts on these pointers, and share your own experiences.  Write to us at islpublicrelations@gmail.com.

 

ISL Public Relations is a top music PR firm based in NYC, run by Ida S. Langsam, a seasoned industry professional with more than 30 years experience. She started her career as the New York City Area Secretary for The Official Beatles Fan Club, and has worked with such superstars as KISS, The Ramones, Billy Idol, and Joan Jett.  For more information about our services, visit islpr.com and make sure to follow us on Facebook and Twitter.

 

SECRETS OF SECURING COVERAGE IN ENTERTAINMENT MEDIA OUTLETS – Part 1

Posted on August 11th, 2014 in Uncategorized | 135 Comments »

The proliferation of media outlets today includes blogs and on-line versions of print publications. This has broadened the field of potential outlets that might write about your band, CD, or tour.  At the same time, the number of indie artists and music releases seeking coverage has exploded.  Everyone is vying for that precious two inches of column space, and journalists are inundated with more submissions than they have time to consider.  So how do you make yourself stand out from the crowd?

 

Here is a list of the top considerations; this week we’ll focus on pointers 1 – 3, next week on 4 – 7:

 

1: MEMORABLE VISUALS – We all know the adage “A picture is worth a thousand words.”  It’s absolutely true that a visual communicates a tremendous amount in just the first few seconds.  Think of the iconic imagery of Elvis, the Beatles, David Bowie, Prince, Madonna, Lady Gaga – they say something about the artist that has the viewer forming an immediate opinion without ever hearing a note of their music.  Make sure the image you choose represents the way you want to be perceived, and communicates your sound.

 

2: WOW FACTORS – Every band likes to believe they’re one of a kind.  However, few artists take the time to discover and highlight what makes them truly unique in the eyes of their audience.  Think objectively about what makes you memorable.  Focus on/identify your strong points i.e.: Van Halen’s strong guitar sound, James Taylor’s songwriting, KISS’ image/stage performance, Justin Biebe’sr or One Direction’s appeal to tweens.  Maybe you have an interesting story such as: is your band made up of siblings, are you a 15 year old guitar virtuoso, or have you segued from a totally different profession like nuclear science?  It’s possible your group may have several “wow factors.”  Whatever they are, play them up since these are the things that will help you stand out from the competition.  

 

3: SUCCINCT & CONCISE PRESS MATERIALS – In today’s world of information overload, nobody has the time to respond to all the emails they receive.  If you keep things short and to the point, it’s more likely your missives will be read.  The first introduction a journalist may have to you/your band may well be a press kit or press release.  Who wants to go through pages and pages of information?  To give yourself a fighting chance, make sure that the material you send to journalists is easy to read and gets to the main point quickly.  This holds true for press releases, biographies, and cover letters.  And make sure to have someone proof read before you send!

 

 

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We’d love to hear from you with your thoughts on these pointers, and share your own experiences.  Write to us at islpublicrelations@gmail.com.

 

ISL Public Relations is a top music PR firm based in NYC, run by Ida S. Langsam, a seasoned industry professional with more than 30 years experience. She started her career as the New York City Area Secretary for The Official Beatles Fan Club, and has worked with such superstars as KISS, The Ramones, Billy Idol, and Joan Jett.  For more information about our services, visit islpr.com and make sure to follow us on Facebook and Twitter.

 

Peter Ulrich Explains The Unique Instruments Featured On His New Album “The Painted Caravan”

Posted on November 18th, 2013 in Uncategorized | 128 Comments »

The Painted Caravan by The Peter Ulrich Collaboration is painted using a palette loaded with all kinds of instrumental colors ranging from conventional rock instruments to instruments more commonly found in a symphonic setting to instruments with an ethnic or even esoteric pigment.  It is no wonder that one reviewer described the album as “a wonderful piece of work with the depth of a beautiful painting.”

 

According to former Dead Can Dance percussionist Peter Ulrich, this extensive palette is a function of the storytelling that is integral to The Painted Caravan.

 

“I have a fascination with folk tales, myths and legends that inspire in me a musical interpretation that has a kind of sweeping cinematic feel.  I love collecting instruments and discovering new sounds – continuously adding to the range at my disposal to bring the colours and flavours to my music which bring the stories to life.  I never use an instrument for the sake of being able to say “Oh, we used such-and-such in that song” or to deliberately have an instrument list as long as my arm on completing recording of an album – that would be detrimental to the creative process.  Each instrument is used to bring another dimension to the picture being painted and must suitably embellish the story being told.

 

“Sometimes the reason for using a particular instrument will be quite apparent.  For example, in the album’s opening track “In This or Other Skin”, a yuet ch’in (Chinese moon guitar) plays behind a section of the lyric relating an actual incident in China involving the death of young freedom fighters, while elsewhere in the same song, bagpipes give a Scottish flavour, colliery band-style brass an English slant, and Mariarchi trumpet a feel of Mexico to relevant verses.  The trumpet used here is a piccolo trumpet – a favourite of producer Trebor Lloyd’s because it is not just higher pitched than a standard trumpet, but possesses a quality which T calls an “heroic clarity.”  Just as an aside – apparently Paul McCartney was also smitten by the piccolo trumpet and insisted on its use in “Penny Lane.

 

“There are other instrumental voices which clearly fit the nature of the particular songs, such as the Indian harmonium used in “The Desert” which has a raga flavour, and didgeridoo and that ancient instrument the bullroarer which are used to create atmospherics in “Children of the Rain” whose setting is the world’s diminishing rain forests.

 

“On the other hand, there are examples of less obvious instrument selections.  “Starship (Golden Eye)” – a story of a galactic search for eternal love – uses a Native American flute which, although not naturally the first thing that springs to mind when visualising a rocket ship hurtling through space, has the ability to convey the feel of great empty spaces and of loneliness and longing.  In “Fanfare for the Lost Tribe” – a song with a Native American theme – while I went for a traditional sound with the percussion, our instrumentation included the rather rare and perhaps somewhat unlikely Wagner tuba (something of a misnomer as it’s closer to a French horn) because of its distant, pensive quality.

 

“In the album’s closing track “Tempest,” cymbal washes and crashes are clearly used to portray the storm and waves, while the extensive use of hammered dulcimer in this track is perhaps a less obvious selection.  The purpose is to create a contrast, to allude to how love might have been had it not been dashed on the rocks.

 

Another feature of our selection of instrumental voices for the album has been to create some unusual juxtapositions.  Banjos sit alongside Balkan Orkestar-style brass in “Dark Lover” – a re-telling of an old folk tale – and English horns combine with electric guitars in “Drug of War” which references the old Irish folk ballad “Johnny We Hardly Knew Ye”.  In “Love’s Skeleton” marimba is used to represent the bones and create the bedrock of the track, over which various orchestral and rock instruments combine to stretch the song to all points of the compass.   We are actively interested in combining sounds that breathe extra life into our songs rather than following convention.

 

“So, while a cursory glance at the album sleeve notes might note that a lot of instruments have been used, we hope that our audience might be drawn further in to enjoy the soundscapes we’ve created, to appreciate how we’ve tried to craft our stories, and to see that extra dimension in the pictures we’ve painted on our caravan.”

1964 THE TRIBUTE CONTINUE TO ROCK IN 2012; “BEST BEATLES TRIBUTE ON EARTH” – Rolling Stone Magazine

Posted on March 1st, 2012 in Uncategorized | 143 Comments »

  February 29, 2012: 1964 THE TRIBUTE has been greeted by cheering audiences and sold out crowds wherever they have appeared world wide, headlining over 120 shows around the globe each year.  Fans from eight to 80 have been enthralled by the band’s accurate re-creation of a Beatles concert performed live, with exact detailed reproduction of the songs, voices, instruments, suits, haircuts and even the iconic “Beatle Boots” made famous by the Fab Four.  Accolades from press and celebrities alike have been enthusiastic.  Beloved music historian and TV host Dick Clark said “1964 creates the magic of The Beatles.”

 

  Now that magic continues through in 2012 as 1964 THE TRIBUTE prepare to appear at a venue near you!

 

  In the past, 1964 THE TRIBUTE has performed at the Red Rocks Amphitheater in Denver, CO nine times to sellout crowds of 10,000.  Their 11 appearances at New York City’s Carnegie Hall – site of The Beatles’ first concert in New York in 1963 – have seen all seats in the venue filled to the brim, with the audience dancing in the aisles, singing along as grandparents introduce their grandchildren to every well known song, and parents recall their own teenage fandom. 

 

  1964 THE TRIBUTE is Mark Benson as John, Graham Alexander as Paul, Tom Work as George and Bobby Potter as Ringo.  Each musician is an expert at playing his own instrument, singing and performing completely in character as the Beatle he represents.  The show is true to an actual early Beatles concert with wardrobe and set list accurate to the time period.  1964 THE TRIBUTE has appeared on TV programs such as Fox News, CBS Early Show, Imus In The Morning and PM Magazine.  Countries in which they have performed include England, Chile, Austria, Germany, the Cayman Islands, Mexico and Canada as well as all over the U.S., in concert halls as well as stadiums and arenas including Shea Stadium in NY and Busch Stadium in St. Louis.

 

  For more information, please visit www.1964site.com.  To arrange an interview with the band please contact Ida S. Langsam (islpr@aol.com) or Stephen Thornton (stephenislpr@gmail.com) at ISL Public Relations: 1-917-338-6199.

 

          

1964 THE TRIBUTE CONCERT SCHEDULE FOR 2012 +

 

March
3/9 (Friday)            The Mahaffey Theatre – St. Petersburg, Fl
3/10 (Saturday)      Immaculate Conception Church – Melbourne Beach, Fl
3/23 (Friday)          Hamilton Place Theatre (w/Orchestra) – Hamilton, Canada
3/24 (Saturday)      La Crescent- Hokah-Community School – La Crescent, MN
3/31 (Saturday)      Beaufort Town Center – Beaufort, S.C.

 

April
4/13 (Friday)          Blue Ocean Music Hall – Salisbury, MA
4/14 (Saturday)      Fitchburg State College – Fitchburg, MA
4/20 (Friday)          The Benedum Center (w/Orchestra) – Pittsburg, PA
4/27 (Friday)          The Saroyan Theatre – Fresno, CA
4/28 (Saturday)      The Sunset Center – Carmel, CA

 

May
5/5 (Saturday)        McAuley Performing Arts Center – Cincinnati, OH
5/27 (Sunday)        Birchmere Music Hall – Alexandria, VA 

 

June
6/1 (Friday)            Capital One Theatre at Westbury – Westbury, NY
6/6 (Wednesday)     Woodlands Auditorium – Hot Springs Village, AR
6/7 (Thursday)       Woodlands Auditorium – Hot Springs Village, AR
6/15 (Friday)          Rockin Rib Fest on the grounds of Anheuser Busch – Merrimac, NH
6/30 (Saturday)      New Bern Auditorium – New Bern, NC

 

July
7/2 (Saturday)        Lock 3 Live – Akron, OH
7/6 (Friday)            First Energy Park – Lakewood, NJ
7/20 (Friday)          Meadowbrook Music Festival – Auburn Hills, MI
7/21 (Saturday)      Centennial Terrace – Sylvania, OH
7/26 (Friday)          The Ted Mann Hall – Minneapolis, MN
7/27 (Friday)          Tulsa Performing Arts Center – Tulsa, OK

 

August
8/3 (Friday)            Bass Hall (w/ Orchestra) – Ft. Worth, TX
8/4 (Saturday)        Bass Hall (w/Orchestra) – Ft. Worth, TX
8/10 (Friday)          The Tennessee Theatre – Knoxville, TN
8/24 (Friday)          Red Rocks Amphitheatre – Golden, CO

 

September
9/6 (Thursday)       The Zwermann Theatre – Robinson, IL
9/14 (Friday)          Bronson Centre – Ottawa, Canada
9/20 (Thursday)      St. Joseph County Fair – Centerville, MI
9/22 (Saturday)      The Majestic Theatre – San Antonio, TX

 

October
10/5 (Friday)          The Apple Festival – Paintsville, KY
10/6 (Saturday)      The Civic Theatre – Akron, OH
10/12 (Friday)        The Dunn Center for the Performing Arts – Rocky Mount, NC
10/13 (Saturday)     Northside High School – Jacksonville, NC
10/20 (Saturday)     The Rosemont Theatre – Chicago, IL

 

December
12/7 (Friday)          Birchmere Music Hall – Alexandria, VA
12/18 (Tuesday)     Citrus Hills Country Club – Citrus Hills, FL

 

January – 2013
1/12 (Saturday)      Carnegie Hall – New York, NY
1/18 (Friday)          The Weinberg Center – Frederick, MD
1/19 (Saturday)      The Stadium Theater – Woonsocket, RI

2011 JOEY RAMONE BIRTHDAY BASH DETAILS UNVEILED; 10 YEARS AFTER HIS PASSING, THE PUNK-ROCK LEGEND LIVES ON

Posted on May 4th, 2011 in Uncategorized | 133 Comments »


New York, NY: On what would have been his 60th birthday, the life of punk icon JOEY RAMONE will once again be celebrated at the annual JOEY RAMONE BIRTHDAY BASH which takes place Thursday, May 19th at The Fillmore New York at Irving Plaza.  Mickey Leigh, event organizer and brother of Joey Ramone, has announced this year’s lineup and a sellout Bash is expected again.  Net proceeds will go to benefit Lymphoma research.

 

This year’s Bash is the 11th annual event commemorating the life and music of the Ramones vocalist and main songwriter.  Reflecting on the past decade, Leigh remarked: “You would think it the other way around, and normally it is, but the contributions my brother made seem to be of greater and greater value as the years go on.  Even just the fact that his life is still being celebrated ten years after his passing is worth celebrating.  Of course, at the same time some of us will also be celebrating the life of Jeffry Hyman, the guy I grew up with, and still look up to as someone who so dramatically overcame tremendous adversity in order to achieve what he did. That person was not ‘Joey Ramone,’ but was certainly someone most deserving of celebration as well.”

 

The celebration will be headlined by Hugh Cornwell (ex Stranglers) featuring Clem Burke (Blondie) and Steven Fishman (James White and the Blacks).  Also performing at the Bash will be Black 47, Richard Lloyd, The Rattlers, Sunday Masquerade, and The Indecent.  As a special addition, this year’s spectacular party will feature a tribute to Joey performed by the “Joey Ramone Birthday Bashers” who will debut songs from Joey’s much anticipated forthcoming, second posthumous solo album.  Several special guests will also be offering up renditions of Ramones songs written by the band’s much revered and sorely missed lead singer.  Confirmed to participate are Richie Ramone, Tommy Ramone, Richie Stotts (Plasmatics), Bebe Buell, Ed Stasium, Andy Shernoff (Dictators), Ross The Boss (Dictators), Tish & Snooky (Sic F*ck), Ali McMordie (Stiff Little Fingers), Al Maddy, Walt Stack (the Bullys), and Mickey Leigh.  Surprise guest are a normal occurrence at this event, video tributes from artists all over the world are expected, and in what has become a Birthday Bash tradition, Sean O’Sullivan’s Punk Pipers will round out the night with their rendition of “I Wanna Be Sedated” on bagpipes.

 

The Masters of Ceremony for this year’s fete will be Steve Craig (101.9 RXP), Matt Pinfield (101.9 RXP and VH1), and John Holmstrom (Punk Magazine).  Additional surprises are anticipated at the evening’s events.

 

RAMONE, who passed away April 15th, 2001, after a seven-year battle with Lymphoma, had a history of encouraging up-and-coming bands in New York’s downtown music scene by showcasing them at his special “Joey Ramone Presents” events.  Since RAMONE’s passing, his brother has carried on the tradition “by featuring bands that make great music and gathering together some of our family, friends, and Joey’s fans to celebrate him on what would otherwise be a sad, somber day,” Leigh explained.

 

This year’s Bash is being sponsored by Manic Panic, the Village Voice, New York Waste, 101.9 RXP and Bravado. 

 

Tickets are $25 and can be purchased in advance through Ticketmaster at http://www.ticketmaster.com/The-

11th-Annual-Joey-Ramones-Birthday-Bash-tickets/artist/1566855.  The Fillmore is located at 17 Irving Place, corner of 15th Street, NYC. Doors open at 7PM.

 

For ongoing updates, visit www.joeyramone.com.  Net proceeds from the Bash go to support the Joey Ramone Foundation for Lymphoma Research.  For more information or to request press and photo credentials contact ISL Public Relations at islpr@aol.com; 917-338-6199.

LIFE ON MARS

Posted on December 10th, 2010 in Uncategorized | 139 Comments »

By:  Sion Smith

DISCLAIMER: THE OPINIONS EXPRESSES IN THIS GUEST EDITORIAL ARE THOSE OF THE WRITER SION SMITH AND NOT NECESSARILY OF ISL PUBLIC RELATIONS.

This morning, iTunes served me up a copy of Japan’s 1977 Adolescent Sex album. As much as I love ‘disposable’ music, sometimes the need to sink your teeth into something deeper calls hard. There’s not been a band out of the UK with this much depth since… well, since Japan really. Both this and their follow up, Obscure Alternatives are what I would call “proper albums”. (For our American cousins, I believe the title of Adolescent Sex was changed to the simpler “Japan” for its release over there – probably something to do with record label worrying about the infamous irony gene being screwed up in your biological code).

 

If you’re not familiar with Japan – or at least their early work – here’s a fine link to that great TV station on the cloud, showing them at their finest:

 

http://www.youtube.com/watch?v=NhgR_LnhKxI

 

Do we really not have the attention span for this kind of band anymore? I know the answer already and it’s a crying shame not only because we’re being deprived of great albums, but long-term, it’s impacted on songwriting and musicianship more than we could ever know. Long-term isn’t a phrase normally associated with music – or me for that matter – and it’s only now that I’ve tipped over that magical age of 40 that I even give a damn. I just want some great band to come and knock me over.

 

This was all prompted by a completely chance sequence of events. Yesterday, I walked in on the middle of an interview with Charlotte Church where she was talking about taking control of her career by not having a record label any more. Whatever your opinion of her, she certainly knows how to manage herself. For her new album, she’s stuck a finger up at the world, written an album’s worth of songs, recorded them exactly how she wanted and run like hell with it.

 

I think for something special to happen much groundwork will need to be done. Not on the internet, but totally offline – and yes, I am totally changing my mind from my previous stance. It will take forever sure, but if you’re going to make a buzz about yourself, get offline. Don’t release anything. Hit the road. Let people bootleg you, but the only way to avoid everybody else who is doing the same thing is to go offline and work at it old school. No myspace, no facebook. ask men Not even a website.

 

Once upon a time, it was essential that you have a website – this probably goes for any artistic endeavour that you’re trying to make work. I’m kinda thinking to myself that now everybody and their dog has a website, it’s not so special anymore.

 

If I heard a buzz about a band that I couldn’t get to online, I would make damn sure I got off my ass to check them out live time and again – and if that band sounded like Japan, all the better. Food for thought huh?

 

Now that would be phenomenally special.

 

Sion Smith is a pop culture writer and author of speculative fiction. You can keep up with his almost daily meanderings at www.zodiaclung.co.uk.

SA’s Dylan is nobody’s fool in The Big Apple

Posted on July 29th, 2010 in Uncategorized | 119 Comments »

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SA’s Dylan is nobody’s fool in The Big Apple