The Blue Room

On The Blue Room, her second Decca recording, Madeleine Peyroux and producer Larry Klein re-examine the influence of Ray Charles' revolutionary 1962 date, Modern Sounds in Country and Western Music. They don't try to re-create the album, but remake some of its songs and include others by composers whose work would benefit from the genre-blurring treatment Charles pioneered. Bassist David Pilch, drummer Jay Bellerose, guitarist Dean Parks, and pianist/organist Larry Goldings are the perfect collaborators. Most these ten tracks feature string arrangements by Vince Mendoza. Five tunes here are reinterpretations of Charles' from MSICAWM. "Take These Chains" commences as a sultry jazz tune, and in Peyroux's vocal, there is no supplication – only a demand. Parks' pedal steel moves between sounding like itself and a clarinet. Goldings' alternating B-3 and Rhodes piano offer wonderful color contrast and make it swing. Her take on "Bye Bye Love" feels as if it's being narrated to a confidante, and juxtaposes early Western swing with a bluesy stroll. A rock guitar introduces "I Can't Stop Loving You," but Peyroux's phrasing has more country-blues in it than we've heard from her before. The use of a trumpet in "Born to Lose" and "You Don't Know Me," with Mendoza's dreamy strings, allow for Peyroux to deliver her most stylized jazz performances on the set.

The Martin Hayes Quartet expands on many of the musical ideas pursued by Martin in his longstanding partnership with Dennis Cahill. The melody still remains central but now with an added range of sonic possibilities provided by the bass clarinet and viola d'amore. The addition of these instruments creates an added aural texture and amplifies the rhythmic possibilities while also allowing a larger role for improvisation. Both Doug and Liz bring a wealth of musical experience that contributes to the spacious, rich arrangements of the Quartet.

On The Blue Room, her second Decca recording, Madeleine Peyroux and producer Larry Klein re-examine the influence of Ray Charles' revolutionary 1962 date, Modern Sounds in Country and Western Music. They don't try to re-create the album, but remake some of its songs and include others by composers whose work would benefit from the genre-blurring treatment Charles pioneered. Bassist David Pilch, drummer Jay Bellerose, guitarist Dean Parks, and pianist/organist Larry Goldings are the perfect collaborators. Most these ten tracks feature string arrangements by Vince Mendoza. Five tunes here are reinterpretations of Charles' from MSICAWM. "Take These Chains" commences as a sultry jazz tune, and in Peyroux's vocal, there is no supplication – only a demand. Parks' pedal steel moves between sounding like itself and a clarinet.

Luke Morley has stood at the very heart of UK rockers Thunder since 1989 as their guitarist, chief songwriter and producer. He's been a lynchpin in their 14 albums' success and served a crucial role in building up these rock heroes' loyal fanbase and enduring popularity. That's helped Thunder enjoy 7 UK Top 10 albums and 18 Top 40 singles:. in the past 5 years alone, Thunder have released no fewer than three UK Top Five albums. In 2022 Thunder sold out a UK arena headline tour climaxing at Wembley Arena. Impressive metrics, but there's more to Luke Morley than most know, and his brand-new solo album 'Songs from The Blue Room' brings other aspects of his talents into the limelight, as he confidently steps into the arena of Rock-tinged Americana. The new album is a tour de force for Luke Morley's multiple talents: songwriter, singer, musician and producer. Not only is he a renowned guitarist, but he plays all instruments on the album, bar drums. 'Songs from The Blue Room' also brings Luke Morley's strong, but nuanced, rock vocals to the fore where he sings lead on all tracks.

It’s back. The debut album that blew up the ’90s blues scene. The songs that announced the touchdown of a major new talent. In modern times, as an established solo star and former member of the globally acclaimed Royal Southern Brotherhood, Mike Zito’s reputation precedes him. But turn back the clocks. Rewind the film reels. Slip through the wormhole to 1998, when a 27-year-old punk kid took his first shot in the studio. “Blue Room,” he reflects, “is the beginning of me becoming an artist.” By 1998, Zito had been around the block. Raised at the sharp end in St. Louis, Missouri, he’d witnessed the lean years of the ’70s, as his father – a union employee at the local Anheuser-Busch brewery – grafted to support five kids in a cramped apartment.