RUNNER RUNNER SIGNS WITH EMI’s CAPITOL RECORDS/WORLDWIDE PANTS, INC./ MRV ALLIANCE Band In Studio Recording Debut Album for Summer Release with Extensive Tour on Tap

RUNNER RUNNER SIGNS WITH EMI’s CAPITOL RECORDS/WORLDWIDE PANTS, INC./ MRV ALLIANCE Band In Studio Recording Debut Album for Summer Release with Extensive Tour on Tap

Runner Runner, a dynamic young band hailing from punk mecca Huntington Beach, Calif., will see its debut album released through a new partnership with EMI Music’s Capitol Records, Clear Entertainment/C.E. Music (a new label formed by David Letterman’s Worldwide Pants Inc.), and Jack Ponti’s MRV label. The album, now being recorded in Los Angeles with producer Dave Darling (Stray Cats, Brian Setzer, Soulive), will be the flagship release for C.E. Music in its partnership with Capitol Records and MRV. The self-titled debut will be released in late summer, while the first single, “So Obvious,” will go to radio on June 15. (Check out “So Obvious” here ) Runner Runner kicks off the first leg of an extensive tour beginning in mid-May, with initial dates below.

With more than eight-million total plays on its MySpace page – not bad for a new band – and named a 2009 Band to Watch by Alternative Press, Runner Runner has been described by one impressed industry veteran as a poppier Green Day. They’ve also drawn comparisons to Boys Like Girls, The Maine, Forever the Sickest Kids and We the Kings. The immensely appealing Runner Runner—frontman Ryan Ogren, guitarist Nick Bailey, guitarist Peter Munters, bassist Jon Berry and drummer James Ulrich—combine skillful songwriting and musicianship, punk-infused intensity and humungous hooks with tremendous potential.

Prior to forming in 2008, the members of Runner Runner had been in a variety of other bands – bassist Berry was a founding member of the SoCal pop-punk band Rufio, and Ogren had been the vocalist/guitarist for the New Jersey-based Don’t Look Down. Munters, Bailey, and Ulrich were all members of the Orange County, CA-based by way of northern Virginia skate-punk band Over It. After numerous tours together as three separate entities, the five musicians gravitated towards each other and formed Runner Runner.

Runner Runner has performed more than 175 shows on bills with such prominent left-of-center acts as Fall Out Boy, All Time Low, Gym Class Heroes, Angels & Airwaves, The Higher, The Audition and The White Tie Affair. They’re also veterans of the festival circuit, appearing in 2009 on the Vans Warped Tour, Bamboozle and Tokyo’s Punkspring Festival, as well as the Night of Lights Festival and the L.A. Ink Fest during the previous year.

Runner Runner plans to tour extensively to support the release of its debut, and will hit the road May 20 for an initial run of dates as support for Amber Pacific and for Cartel. The itinerary, taking the band through the western portion of the U.S. as well as into Texas and Louisiana, is as follows:


20 Satyricon, Portland, OR*

22 El Corazon, Seattke, WA*

23 Icon, Pocatello, ID*

24 Kilby Court, Salt Lake City, UT*

25 Black Sheep, Colorado Springs, CO*

26 The Blue Goat, Salina, KS*

29 Luna Bar & Grill, Lake Charles, LA*

30 The Parish @ House of Blues, New Orleans, LA*

31 The Hangar, Wichita Falls, TX**


2 Old Rock House, St. Louis, MO**

3 Chubby Rain – House of Tunes, Poplar Grove, IL**

6 Wasted Space @ Hard Rock Hotel, Las Vegas, NV*

8 Chain Reaction, Anaheim, CA*

9 Ramona Mainstage, Ramona, CA*

11 The Vault, Temecula, CA*

* with Amber Pacific

** with Cartel

We Are The Fallen Announce May U.S. Tour Dates & European Festivals

WE ARE THE FALLEN ADD SPRING/SUMMER TOUR DATES Including Download Festival & U.S. Headlining Shows

Debut Album Tear The World Down In Stores On May 11th
WATF Features Ex-Evanescence Members And American Idol Vocalist Carly Smithson

Universal Republic Records’ compelling new rock brigade, We Are The Fallen, will release their debut album Tear The World Down on May 11th, 2010. The first single from this iconic band ‘Bury Me Alive,’ is already making its way up the modern and active rock charts.

The formidable five-some is comprised of the original members of multi-platinum trailblazing band Evanescence, guitarists Ben Moody and John LeCompt along with drummer Rocky Gray, joined by breakout American Idol finalist Carly Smithson on vocals. Acclaimed bassist Marty O’Brien (Disturbed and Static-X, among others) rounds out We Are The Fallen’s unique sound.

The group has been on a 28-city tour with Finnish rock band H.I.M., which finishes in New York on May 9th. Following the conclusion of that run, We Are The Fallen will head out on their own two week headlining tour beginning on May 13th in Northampton, MA. In June, We Are The Fallen will return to Europe for performances at the Download Festival and Rock am Ring/Rock im Park. Summer U.S. touring plans are also in the works and will be announced shortly.

Moody left platinum-plus breakthrough rock act Evanescence in 2003 and has since co-written major hits for Chris Daughtry and Kelly Clarkson among others. Evanescence’s groundbreaking 2003 album, Fallen, spent an incredible 43 weeks on the Billboard Top Ten Albums Chart, selling 15 million copies worldwide and 7 million + albums in the U.S. alone.

For Smithson, We Are The Fallen fulfills her destiny as one of rock’s most potent new female voices. She first turned heads as one of American Idol’s more engaging rock candidates, landing a controversial sixth place slot during Season 7 of the landmark television series, but not before gaining traction as one of the show’s most original and uncompromising new talents. The powerful vocalist’s ‘elimination’ sent shockwaves through the ‘Idol’ blogger nation, with her acclaimed performances on the 2008 American Idol Tour cementing her current reputation as a force to be reckoned with – possessing a riveting rock presence that is second to none.

4/27/10 Gothic Theatre Englewood, CO*
4/29/10 House of Blues Dallas, TX*
4/30/10 House of Blues Houston, TX*
5/2/10 House of Blues Orlando, FL*
5/3/10 Center Stage Atlanta, GA*
5/4/10 House Of Blues North Myrtle Beach, SC*
5/7/10 Irving Plaza New York, NY*
5/8/10 Irving Plaza New York, NY*
5/9/10 Irving Plaza New York, NY*
5/13/10 Pearl Street Northampton, MA
5/14/10 The Chance Poughkeepsie, NY
5/16/10 Chameleon Lancaster, PA
5/1710 The Quarter Baltimore, MD
5/18/10 El Mocambo Toronto, ONT
5/19/10 TBD Flint, MI
5/20/10 Reggie’s Rock Club Chicago, IL
5/22/10 Oklahoma City, OK Diamond Ballroom
5/23/10 Tulsa, OK Cains
5/25/10 Little Rock, OK Juanita’s
6/5/10 Rock am Ring Nurburgring, Germany
6/6/10 Rock im Park Nuremberg, Germany
6/11/10 Melkweg Amsterdam, The Netherlands
6/12/10 Download Festival Donington Park, UK



Welsh indie rock three-piece The Joy Formidable is excited to offer their song “Whirring” as an MP3 download. As a track from their forthcoming EP titled A Balloon Called Moaning, “Whirring” exhibits what The Joy Formidable execute so well: crafting uplifting songs with a crashing rock element that melds the huge expanses of its members’ native Welsh countryside with the hectic nature of their new London home.

The Joy Formidable is the first band signed to Black Bell Records, the label founded by Passion Pit’s synth player/sampler Ayad Al Adhamy. The band will release their Black Bell debut, an eight-song EP titled A Balloon Called Moaning, on May 4.

The EP was recorded in the band’s home bedroom studio and was entirely self-produced. The Joy Formidable has sold out multiple UK tours throughout the past year and supported several standout bands including Editors and The Temper Trap. After touring the UK with Passion Pit, the band was invited to join them as the opening act to their shows at New York’s Terminal 5. Additionally, the band played two stateside headlining shows at Brooklyn’s Union Hall and New York City’s Pianos, both of which sold out.

The Joy Formidable will be performing at the following east coast and Canadian venues throughout the first week of May. More dates to be announced.

Apr 30 – Full Moon Resort – Big Indian, NY
May 1 – Mercury Lounge – New York, NY
May 2 – Bamboozle Festival – E. Rutherford, NJ
May 4 – Horseshoe Tavern – Toronto, ON
May 5 – The Green Room – Montreal, QC
May 6 – Harper’s Ferry – Boston, MA
May 7 – Kung Fu Necktie – Philadelphia, PA
May 8 – Jillian’s – Albany, NY

Melissa Etheridge’s Fearless Love is Amazon’s Deal of the Day

Melissa Etheridge’s new album Fearless Love is now available and starting today fans can purchase it digitally on Amazon for a limited time for just $3.99! Produced by John Shanks (Sheryl Crow, Alanis Morissette, Bon Jovi) Fearless Love brings Melissa back to her rockin’ roots.

Upcoming TV Appearances:
Apr 27 – Dancing With The Stars ABC
Apr 30 – Good Morning America ABC
Apr 30 – The View ABC
May 4 – Ellen

Melissa Etheridge’s new single, “Fearless Love,” a bold and soaring declaration for living – and loving – to the fullest, has struck a momentous chord as it soars inside the Top 30 this week on the Hot AC chart, and rises to #10 on the Triple A chart. “Fearless Love” is the title track from FEARLESS LOVE, Melissa’s triumphant new album, arriving April 27th on Island Records.
The “Fearless Love” single and album were produced by John Shanks, whose first producer credit was Etheridge’s Breakdown, her four-time Grammy-nominated album of 1999. Since then, Shanks has risen to the top ranks of rock and pop producers with credits including Sheryl Crow, Alanis Morissette and Bon Jovi, earning him a 2005 Producer of the Year Grammy Award.
FEARLESS LOVE expands on the multiple strengths that have made Etheridge one of the most beloved figures in rock. It follows The Awakening, her revealing album of 2007, with a rousing tone at once tough and tender, as only she can be. It is that force of presence which has earned her, among other accolades, the 2007 Academy Award for Best Original Song (“I Need to Wake Up” from the documentary film An Inconvenient Truth) and two Grammy Awards.
About Melissa Etheridge:
Melissa Etheridge has been a core Island Records artist since the release of her critically-acclaimed eponymous RIAA double-platinum debut album, which led to an invitation to sing on the Grammy Awards broadcast. For several years, Melissa’s popularity built around such memorable songs as “Bring Me Some Water” (from her debut), “No Souvenirs” (from Brave And Crazy) and “Ain’t It Heavy” (from Never Enough), for which she won her first Grammy for Best Female Rock Vocal.
Melissa hit her commercial and artistic stride with her fourth album, Yes I Am, featuring the massive hits “I’m the Only One” and “Come to My Window,” a searing song of longing that brought her second Best Female Rock Grammy. The album went six times platinum and spent more than two and a half years on the album chart. Her highest charting album, Your Little Secret (#6 on the Billboard Top 200), included the hit single, “I Want to Come Over.” Her astounding success led Etheridge to receive the Songwriter of the Year honor at the ASCAP Pop Awards.

Moving Pictures

Moving Pictures

by Garin Fahlman

 Think of the last record you listened to.  To be clear, that means vinyl.  I’m not talking about compact discs or new fangled internet downloads – I’m talking about cold hard, analog vinyl.  If you’ve never listened to a vinyl… well I guess I can’t really blame you.  Just pretend.   

      Now we’re looking at this record.  You’re holding it up at your face and your combing over the cover art.  It‘s a badass watercolour painting: you‘ve got some skeletons, wearing well-worn battle armour, charging at some shirtless spacemen who look slightly homoerotic.  You make your best assumptions about the scene before you, and decide that the skeleton militia most likely stole the battle armour from the now shirtless spacemen.  These are just the foundations of course.  So you open it up, and you are stricken with even more awesome fantasy art.  Now you can see that the scene on the cover was just a part of a larger image, and hovering above the skeletons’ deadly helms, is a flying tank piloted by a bipedal dog/street punk.  There is no direct evidence but you have a hunch that this maverick pooch is working for the shirtless spacemen, running some kind of daring one-man assault on the skeleton militia.  You haven’t even gotten to the music yet, and you have experienced several dimensions of entertainment.  You remove the album sleeve, which is simply etched with an old wizard’s stern face, of whom you can guess is the sovereign conductor of these grisly events. 

      Now after a period of reflection, you are finally ready for the album – that is if you choose to bypass the liner notes, which are sure to contain a transcript of the events in lyrical form.  But you don’t have all day, so you put on the album, and are helpless but to imagine it as the soundtrack to the apocalyptic space opera on the album art.  This, you conclude, must be what music is all about. 

      Of course, if you, at that time, were to fast-forward to today, you would be crushed to learn that music has found other agendas.  But the memory holds (unless you were pretending) and whether you are from the year 20XX or not, it is clear that music has slowly become more about music and less about other things.  Let me clarify: in an age where the physical distribution and larger packaging of music has become rarer, auxiliary mediums to carry the experience of an album have accordingly disappeared.  When can you remember recently having an experience surrounding the music of an album?  I bet your answer is either “never” or “well actually I did once“ in which case you have done irreparable damage to my thesis. 

      While the majority of albums nowadays don’t contain any amount of serious artwork, consistent concepts, or other avenues of immersion, the industry is not without those who are more than interested in creating worlds out of their music.  And one would think in a world with the internet, the possibilities for IP expansion would be near-limitless.  I use the word IP – which is to say “intellectual property” – because the expanding budgets of entertainment properties, whether it’s music or not, have ballooned so dramatically that any project that can launch successfully becomes almost required to churn out related sequels, or an aggressive marketing campaign.  Meaning each individual release has its own meta-world of expansive marketing possibilities, making all successful products important individual platforms – or IPs.  And truth be told, it has taken quite a long acclimation period for musicians and corporations alike to get used to the modern possibilities for creative IP expansion.  Most companies are so worried about just having an album or artist get noticed at large, that outsourcing groups to create an extra level of immersion for fans of said artist or album is low on the priority list.  But not only is the currently cluttered musical landscape screaming for diversity, the rise of the unsigned, do-it-yourself indie artist is making a new stand for the all-encompassing musical experience of old. 

      In fact, there are numerous diamonds in the rough who make a strong stand for “music as an experience”.  After the dark ages of the ‘90’s, the internet had finally become a tool which was stripped of its mystical demeanour and joined the ranks of other common household appliances such as the toaster or the can opener.  Which was a good thing.  This level of accessibility was just what was needed to allow one popular 90’s artist to create one of the most entertaining experiences surrounding 16 tracks ever to appear. 

      The artist I’m talking about is Nine Inch Nails, who is Trent Reznor, a rock musician who debuted his industrial sound in the late 80’s and rose to popularity in the 90’s with his album The Downward Spiral.  In 2007, Trent teamed up with creative marketing team 42 Entertainment, who specialised in a form of viral marketing known as Alternate Reality Games, or ARGs, to promote his new album – a concept album called Year Zero.  What Trent wanted to create was a persistent world that grew from his initial concept for the album – a future America that has descended into totalitarian political chaos – through the use of cryptic websites, phone calls, actors, live events, real-world clues, and hidden messages.  Trent funded the Year Zero experience himself, apart from his record company, saying “What you are now starting to experience IS 'year zero'. It's not some kind of gimmick to get you to buy a record – it IS the art form… and we're just getting started. Hope you enjoy the ride.”  The experience consisted mostly of cryptic websites, seemingly sent back in time from a dystopian future to warn us of where our society might be headed.  The URLs could be found in almost any place imaginable – highlighted letters on the back of t-shirts; USB flash drives left in bathroom stalls; fine print scribbled on concert pins; even graffiti left on city streets.  People were led to underground NIN concerts that were preceded by actors giving speeches, posing as the resistance leaders from the Year Zero world, that were then broken up by fake SWAT teams assaulting the audience.  It was an experience that led thousands of fans on an engaging musical and artistic experience for months, and created an album both memorable, relevant and broad in scope. 

      The way Year Zero was marketed caught press and fans off guard.  It was way far beyond any aspirations in terms of marketing that any IP – let alone rock album – had ever even dreamed possible of being allowed to achieve.  It proved that the modern, digital world was hungry for more complex, intimate experiences in the entertainment properties.  Oddly enough, despite incredible success and thousands of people who participated in the ARG, there has been no real answer yet to this type of marketing in any other music release after it.  But Year Zero was a complicated, intricate and painstaking production, which would be very difficult to reproduce; subsequent experiences would be diluted in the wake of too many imitators.  The most important thing Year Zero showed us, is that the ceiling for creating creative experiences for our music is higher than we have ever attempted to reach. 

      Year Zero isn`t the only recent attempt to create more intimate experiences through our music.  Coheed and Cambria is a band who has been able to avoid any extensive media coverage yet holds a large, loyal fan base that is rapidly growing.  Their rising popularity can be attributed to the fact that their music has held a consistent level of quality across five albums, but a more important contributing factor may be the band’s unique approach to album structure.   

      Coheed and Cambria’s lead singer and guitarist Claudio Sanchez is a self-professed nerd.  Which is an accurate statement.  Much of Claudio’s spare time is spent writing a comic book series he`s worked on since before Coheed and Cambria formed, called the Amory Wars.  It is (get ready) a space opera about a network of planets and stars governed by a council of space-mages, who fight a resistance comprising of (among others) a racist-against-white-girls sniper, a fallen angel, and an ex-pro boxer – all of which is actually just a story written by a deranged love-sick author who is tormented by his demon-bicycle.  The comics Claudio writes aren`t just kept in his head either.  The stories of each chapter are explored in each album the band releases.  The elaborate titles of each album are references to the comic book issues, and the lyrics to each song is a counterpart to the dialogue of the characters.  The band name itself is a reference to two characters from the story. 

      Interestingly, the concept has been a great success for the band.  Claudio is now producing a full-fledged comic series about the Amory Wars, has already released a graphic novel, and in the deluxe edition of their most recent album, included a 400 page novel he co-authored.  Their live shows incorporate imagery related to the story, and most media released for the band – like Nine Inch Nails` – gives the music an extended presence long after you’ve taken the CD out of your drive, or left the concert hall. 

      It is music experiences like these that prove that, more than pop music would lead you to believe, music and art are made to go together.  Of course, if you are a record company it is difficult to take the dive investing lots of money in untested marketing waters.  Certainly there are many more bands like these whose efforts did not equate to commercial success.  But the ways a group can make their music stand out artistically does not need to necessarily extend to long, progressive concepts that deviate from the music.  Gorillaz is a band comprised of cartoon characters, complete with fictional backstories, personalities, and live appearances.  The “real“ band is mostly a mystery, and this has spawned considerable interest and intrigue in the band.  Of course, drawing some cartoon characters on the album art is a fairly cheap way to make your music artistically engaging and sustainable in the event that it is not initially popular.  Simple ideas like this are all that is needed to elevate a musical experience. 

      While the cost of selling and promoting music increases, the chance that a company will push to invest money in an unassured marketing campaign decreases.  It is clear that music can be more powerful when the experience relevantly extends beyond the disc, and there is evidence to support that when its done right, it greatly improves the work itself.  Album art is a relic of the past.  Comics, ARGs, and fleshed out worlds are the medium for a generation of sounds that will break the mould.  It is the moving pictures around these sounds that will decide which rise above and which stay below the waves.

Born Ruffians break new ground with video for ‘What To Say’.

Born Ruffians break new ground with video for ‘What To Say’.

Toronto — Born Ruffians and Paper Bag Records are pleased to announce the video debut of “What To Say”, the lead single from Say It, out June 1 on Paper Bag Records.

Born Ruffians are no strangers to entertaining and innovative videos (see “Hummingbird” and “I Need A Life” from Red, Yellow and Blue). However, the band has upped the ante with “What To Say.” The groundbreaking clip is a collaboration between director Jared Raab and artist/computer programmer Rob Bairos. The video was culled from footage recorded entirely off of a vintage oscilloscope. Oscilloscopes are used in the sciences, medicine, engineering, telecommunications and industry but this is the first time one has been used to create an original music video. The primary use of the instrument is for viewing voltages and is made up of a single point of light, moving quickly across a screen in order to draw images – that means the entire Born Ruffians video for “What to Say” displays vector images made from only one continuous line. The footage was shot once on video, edited, converted for use on the oscilloscope and then shot again directly off the vintage machine. Though other people have reprogrammed oscilloscopes to display images in the past, this “video to scope” process is the first of its kind.

Born Ruffians – Hummingbird video

“There was a great deal of trial an error involved in finding what worked and what didn’t,” explains Raab. “We were constantly experimenting to try to make the best use of the scope’s eccentricities.”

The scope you see in the video was actually built in the ’40s and the imagery and atmosphere created in the video is the result of a collaboration between this machine and a computer system built 70 years later.

In addition to the video and album, Paper Bag Records will release the “What to Say” single digitally on May 4th . The single includes the a-side title track along with a previously unreleased b-side “Plinky Plonky”. To celebrate both the release of the single and the album, the band has scheduled a North American tour. The trek kicks-off May 28th in Toronto at Horseshoe Tavern and wraps up June 25th in Peterborough at Red Dog. Full details (LP/single track list, tour dates) below.

Say It – North American Tour Dates
May 28: Toronto, ON – Horseshoe Tavern
June 03: Los Angeles, CA – Echo (All Ages)
June 04: San Francisco, CA, – Rickshaw Stop (All Ages)
June 06: Portland, OR- Holocene (21+)
June 07: Seattle, WA – The Vera Project (All Ages)
June 08: Victoria, BC – Alix Goolden Hall
June 09: Vancouver, BC – The Biltmore Cabaret
June 11: Edmonton, AB – Starlite Room
June 12: Calgary, AB – Republik,
June 13: Saskatoon, SK – Amigo’s
June 14: Winnipeg, MB – West End Cultural Centre
June 15: Minneapolis, MN – Turf Club (21+)
June 16: Chicago, IL – Lincoln Hall (18+)
June 17: Cleveland, OH – Beachland Tavern (All Ages)
June 18: Brooklyn, NY – The Bell House
June 19: New York, NY – Santos Partyhouse
June 20: Allston, MA, USA – Great Scott (18+)
June 23: Montreal, QC – Il Motore
June 24: Ottawa, ON – Mavericks
June 25: Peterborough, ON – Red Dog

“What To Say”
Digital – May 4, 2010
Track list:
1. What To Say
2. Plinky Plonky

Say It
CD – June 1, 2010
Track list:
1. Oh Man
2. Retard Canard
3. Sole Brother
4. What To Say
5. The Ballad Of Moose Bruce
6. Higher & Higher
7. Come Back
8. Nova-Leigh
9. Blood, The Sun & Water
10. At Home Now

Born Ruffians – What To Say video

Born Ruffians – I Need A Life video

NEIL YOUNG: 5-Decade Career of Rock’s Most Influential and Endearing Trailblazer Celebrated in 1st Complete ‘Illustrated History” Book


By Daniel Durchholz & Gary Graff




MINNEAPOLIS — Voyageur Press has joined forces with renowned rock journalists Daniel Durchholz (Rolling Stone) and Gary Graff (New York Times) for the brand new book, NEIL YOUNG — Long May You Run: The Illustrated History. This lovingly assembled tome — the first complete illustrated history published about this legendary Rock and Roll Hall of Fame Inductee — arrives May 15, 2010 to coincide with Young’s Summer 2010 tour and celebrate five decades of genre-spanning work, perfectly mixing expertly researched text and many never-before-seen photos. This heavy duty 224-page volume follows Young’s long-and-winding career, from the early days of Buffalo Springfield, on through CSNY, and of course, his unpredictably exhilarating solo career.

Born and raised in Canada, Neil Young is equally best known for acoustic/folk hits (“Heart of Gold,” “Old Man”) and raunchy garage rock (“Cinnamon Girl,” “Hey Hey, My My”) — not to mention stops with the harmony-driven CSNY (“Ohio”) and the psychedelic pop of Buffalo Springfield (“For What It’s Worth”). This thoroughly enticing book will certainly appeal to fans of all eras of “Neil.” And in addition to countless photographs from the 1960s all the way to the present, also included are concert posters and memorabilia from around the world, complemented by commentary from notable musicians around the world, as well as an extensive discography.

Interest in Young’s music remains at an all-time high — as evidenced by the recent emergence of vintage archival releases from throughout Neil’s career, including the mammoth box set, Archives Volume One, as well as Dreamin’ Man: Live ’92, Live at the Riverboat 1969, Sugar Mountain: Live at Canterbury House 1968, Live at Massey Hall 1971, and Live at the Fillmore 1970. NEIL YOUNG — Long May You Run: The Illustrated History will serve as the perfect visual accompaniment the next time you bust out one of the aforementioned titles, as it is without a doubt the most comprehensive book about Neil Young to be released to date.

In addition to the Neil Young book, Voyageur Press will be issuing other music-related titles this fall in their ongoing “Illustrated History” book series: Phil Sutcliffe’s AC/DC: The Ultimate Illustrated History, and Greg Kot and Jim DeRogatis’ THE BEATLES VS. THE ROLLING STONES: Sound Opinions on the Great Rock n’ Roll Rivalry. These titles arrive on the heels of last year’s trio of popular “Illustrated History” releases: Jon Bream’s NEIL DIAMOND IS FOREVER: The Illustrated Story of the Man and His Music, Phil Sutcliffe’s QUEEN: The Crown Kings of Rock, and Jim DeRogatis’ THE VELVET UNDERGROUND: An Illustrated History of A Walk on the Wild Side. All are jam-packed with photos, artifacts, and comprehensive histories of each artist.


Since 1972, Voyageur Press has published high-quality books and calendars in a variety of subjects, including nature and science, regional interest and travel, American heritage and country life, crafts, sports, and more.


Daniel Durchholz’s byline has appeared in Rolling Stone, the Washington Post, and many other publications. His weekly music segment is on The Carney Show on KMOX-AM (St. Louis). Daniel lives Wildwood, MO. Gary Graff is a regular contributor to the New York Times Features Syndicate and other publications. He is the editor of The Ties That Bind: Bruce Springsteen A to E to Z. Gary lives in Beverly Hills, MI.



Norway’s Biggest Band Heads Home For Summer Shows After North American Release of “Edendale’ and U.S. Tour

Fender Musical Instruments Corporation and Norway’s biggest band, Bigbang today announced an online competition to win an autographed Road Worn™ Fender® Telecaster® guitar via the band’s website. Only one entry per person, multiple entries will be deleted and the winner will be selected at random shortly after the contest closes on May 31, 2010. Partnering with Fender® and Bigbang will be the website Ultimate Guitar who will be running the contest from their site as well.

Bigbang and Fender® began working together promoting their latest CD Edendale that was released in the U.S. & Canada in January of 2010 on Oglio Records/Grand Sport. Rolling Stone’s David Fricke called Edendale “modern classic rock”, gave it 3.5 out of 5 stars and traced their musical roots to Big Star, Tom Petty, R.E.M. and The Raconteurs.

“I want to thank the Fender people for making fantastic instruments,” said Øystein Greni of Bigbang. “Road Worn Telecasters have been my favorite for years. I’m glad the Fender people wanted to help us with this giveaway and wanted to hand out a really, really good guitar. I hope whoever wins it will enjoy it and play it a long, long time.”

Bigbang will spend the Summer touring Norway and will return to the U.S. in Fall for another tour of the states before the end of the year. Summer tour dates are as follows:

5/01 @ Hemsedal, NORWAY
5/07 @ Landstreffet 2010, Ålgård, NORWAY
6/24 @ Opera House Rooftop, Oslo, NORWAY
6/25 @ Steinkjerfestivalen, Steinkjer, NORWAY
7/02 @ Skudefestivalen, Skudeneshavn, NORWAY
7/10 @ Kystkulturuka, Furøya, Tvedestrand, NORWAY
7/15 @ Buktafestivalen, Tromsø, NORWAY
7/23 @ Malakoff, Nordfjordeid, NORWAY
7/24 @ Maanefestivalen, Fredrikstad, NORWAY
8/20 @ Kartfestivalen, Gvarv, NORWAY
9/04 @ Verket Festival, Mo i Rana NORWAY

Bigbang have also launched a blog from their site with exclusive video content, contests information and additional information. It can be found at: A 35mm concert film shot last summer in Norway while on tour is being edited and will be submitted to film festivals internationally in 2011.

Bigbang was formed when Øystein Greni, a young skateboarder on the verge of turning pro, shattered his knee – and thus his chances at making a career on his board. Greni’s father, Thor, was a soul musician in The Undertaker’s Circus, who toured with the New Yardbirds (a.k.a. Led Zeppelin) in the late ’60s. This classic rock foundation was met head-on with the adolescent Greni’s love of punk & alternative rock, forging the band’s distinctive sound.

With several full-length albums released in Europe having sold over 500,000 units, Bigbang performs at up to twenty-five European festivals per year, rocking 20,000 seat capacity venues at a time. Their raucous live show is such a hot ticket that the band’s 2003 double CD release “Radio Radio TV Sleep” is best-selling live album in Norwegian history. In 2006, Bigbang played the main stage at the Roskilde Festival with The Who, The Flaming Lips and The Red Hot Chili Peppers, and in 2007 toured the UK with The Raconteurs. BigBang is: Øystein Greni – vocals, guitar; Olaf Olsen – drums; Nikolai Eilertsen– bass.