Roy Orbison

Jerry Lee Lewis to write autobiography

Jerry Lee Lewis to write autobiography

Jerry Lee Lewis to write autobiography

Jerry Lee Lewis to write autobiography. Jerry Lee Lewis is going to tell his incredible story in an autobiography for HarperCollins Publishers. “I have spent my life listening to those who know so little say so much about me and my life,” said Lewis in a statement. “I am ready to say a whole lot about why I lived my life the way I did. People can read it, burn it, or never give it another thought. Either way the truth is about to be told, and I’m the only man still standing who can touch it.”  Jerry Lee Lewis is a living legend and literally the last man standing from the crop that gave is Elvis Presley, Johnny Cash, Carl Perkins and Roy Orbison. “Mr. Lewis personifies the American story, in all its richness and contradiction,” said Cal Morgan for IT Books. “He’s a man of astonishing natural talent, profound belief, and indomitable spirit. What a thrill to have the chance to work with him on this unforgettable book.” Morgan won the rights to the book after an auction. Jerry Lee Lewis signed to iconic Sun Records in the 50s and delivered early rock and roll hits like ‘Great Balls of Fire’ and ‘Whole Lotta Shakin’ Going On’ more than half a decade before The Beatles formed. The Lewis book will be released in 2012.

Soul Circus Cowboys; Country Music’s Hot New Band

Soul Circus Cowboys; Country Music's Hot New Band

Soul Circus Cowboys; Country Music's Hot New Band

Reaction to the new single, “Love’s Like A Rodeo,” has Nashville asking for more from a new band called Soul Circus Cowboys. The band is led by singer/songwriter, Billy McKnight, who first burst onto the country music scene with his knock-out debut album titled “All-American.” Quickly known as a talented songwriter and singer, Billy aspired for more.   Billy utilized the expertise of producers Frank J. Myers and Johnny Garcia along with engineer Kevin Beamish, known for his work with REO Speedwagon, to produce an album featuring the smash hit, “Talk About Love.”   Joining Billy in Soul Circus Cowboys is veteran guitarist, Terry Cole, who had this to say:“After the first round of demos for ‘Love’s Like A Rodeo’ went out to radio stations, the response was very positive.”To hear the song, click the link below:  “In fact,” continued Cole, “we have been asked by Mike Borchetta from our label, Lofton Creek Records, to cut more songs in Nashville. He’s really pumped about it. Of course, his family has music in their blood. Mike’s son, Scott, works with Taylor Swift.”“And that means that Soul Circus Cowboys will be working again with the legendary Henry Paul who produced ‘Love’s Like A Rodeo’ for us,” added Cole.  It is definitely good news for Soul Circus Cowboys. Anyone who knows the music business is familiar with Henry Paul, a front man who made appearances at big venues like the Citrus Bowl when his band was on the bill with Van Halen and the Rolling Stones.  To learn more about Soul Circus Cowboys, go to: 

About Billy McKnight Billy McKnight made an upward spiral on the charts with tracks such as “All-American” and “You Wanna Make Somethin of It.” With a wide vocal range, and impressive stage presence, Billy has become one of the best “crowd pleasers” country music has seen in some time.

Growing up with a mom who sang and played guitar, Billy was introduced to a variety of music – from “fifties” rock and roll to whatever was current at the time including ballads, and country.

That family experience fueled Billy’s desire to pursue his own music career.

His early heroes included Conway Twitty, the Everly Brothers, Loretta Lynn, The Eagles, E.T. Conley, the Righteous Brothers and Garth Brooks; one of his favorite singers was Roy Orbison.

Billy’s musical quest landed him a spot on Ed McMahons’ “Star Search.” Although he didn’t win, he realized then that this was the dream he needed to pursue.

He met the challenge and relocated to Nashville, Tennessee and recorded his first album, “All-American.” After working with some of the best producers in country music, Billy re-mixed and re-mastered several of his songs, and even added a few new songs, including the hit song, “Talk About Love.”

For more information about Billy McKnight, go to:

Bob Dylan to duet with Paul McCartney

bob-dylanBob Dylan wants to duet with Sir Paul McCartney. The ‘Blowin’ in the Wind’ singer – whose latest LP ‘Together Through Time’ is number one in the UK album chart – has named the former Beatles star as the artist he most wants to collaborate with. The 68-year-old musician said: “That would be exciting to do something with Paul. But you know your paths have to cross for something like that to make sense.’ Friends say 66-year-old McCartney – who has previously worked with Michael Jackson, Stevie Wonder and Elvis Costello and recently declared Dylan his favourite living songwriter – would love to perform with Dylan. A source said: ‘This would obviously be a major moment in musical history if Bob and Paul got together and it’s quite likely that Paul will be interested.’ It would not be the first time Dylan has teamed up with a former Beatle. He was a member of supergroup the Traveling Wilburys with the late George Harrison in the 1980s. The band also featured Roy Orbison, Tom Petty and Electric Light Orchestra star Jeff Lynne.

Girl Talk

girl_talkGirl Talk knows he won’t necessarily get your money, but anything you could spare would be greatly appreciated. It shouldn’t come as much of a surprise that Greg Gillis (AKA Girl Talk) has an impressive record collection, surely the envy of audiophiles and compulsive hoarders the world over. Just listen to the first minute of Play Your Part (Pt. 1) from his latest album, Feed The Animals. You don’t make a song that samples Roy Orbison, Twisted Sister, Outkast, Temple Of The Dog and Pete Townshend without a vast wealth of vinyls and CDs. Skimming the top of Rolling Stone’s Hot List just won’t do.

I envision Gillis’s Pittsburgh apartment with records spilling out of every shelf, nook and cranny, in various states of organization and categorization reminiscent of Rob Gordon’s hovel in the film High Fidelity (or, of Rob ‘Fleming’, if you’re one of those staunch literary elitists who never believe a screen adaptation could surpass the book… well, screw you, Jack Black takes his snobbish musical nazi character to new heights, and Cusack’s plays a pretty convincing self-loather… while we’re on the subject, the ending in the film version Fight Club was better too, so there). Where were we? We’re talking about the buying practices influencing the creation of mash-up masterpieces from Girl Talk, music that’s almost as fun to listen to and play ‘spot the sample’ as it is to generate or build-up a party.

“I love going to the record store, because I buy a lot of mainstream music, Top 40 stuff,” he says, validating my theory that Greg is, at the centre of it all, a pop fan that just wants to hear things in a different way. “But I also get my a lot of stuff at the local independent stores, there’s one close to me called ‘Paul’s’, that’s where I get my more underground things.”

“Whenever I’m on tour,” he adds, “I’m always picking up new music, even at Walmart or Best Buy or something. Always stopping in on tour, picking up whatever I can. I don’t really collect digital music; I only have a few mp3’s on my computer. Any chance I get to walk into a CD store, I have a hard time walking out empty handed.”

2008 may well go down in musical history as the year that music makers, promoters, vendors and companies at large subtly began to admit that they no longer have any idea about how to make money from music. Institutions closed, record companies folded and big bands began taking their livelihood into their own hands, cutting out the middleman and selling their product straight to the listeners. Radiohead’s ‘pay what you feel’ system for In Rainbows was more of an experiment than a runaway success, (ok, it was late 2007… but work with me here) while Trent Reznor’s free downloadble ‘album’ was effectively 27 minutes of ambient noise, a thinly-veiled promotion for the next album and tour.

It’s all well and good for these two acts to rally against the corporate machine of music after a decade of support from their labels, but applying the same honour system to release Girl Talk’s Feed The Animals (fans could download the entire album for free of his record label’s website as long as they gave a reason, but they could also pay US$5 for a FLAC download or US$20 for a physical copy) took guts, balls, and whatever else people who make brave decisions possess. I’m sure Greg isn’t going hungry tonight, but he’s never made a chart-topping money-raker like OK Computer or Downward Spiral to fall back on if it all fell to shit. Are you mad, sir?

“The initial idea was from the label, Illegal Art, and when they threw it out to me I thought it was great,” he says. “I am all about being upfront with the people who buy my music and come to shows; it just seemed to acknowledge reality.”

“I know as soon it gets online, whether I’m selling it for $10 or zero dollars, people can get it for free, so why not acknowledge that?” he poses. “We said ‘ok, we know you can get it for free, but, if you want throw some money at us, that’s fantastic. That’s what music’s becoming anyway, even releasing a CD in 2008 is asking for a donation. You know that anyone with a computer can get it for free, so why not basically say what it is, and maybe have people respect you for that?”

When you see Girl Talk live coaxing the audience to join him onstage – because, when you get down to it, watching one skinny computer kid bounce around a laptop is not as much fun as it sounds – having 50 years of popular music distilled down to 30 second chunks has an effect that circumvents the cerebral and goes straight for the body.

But listening to it at home in isolation, through headphones or car speakers, picking out the sources of each snippet is just as entertaining. Musical trainspotting is the phrase an associate applied to it, which is as eloquent as he normally gets without dropping a profanity in there. Well Greg, which one works best for you? The venue or the verandah? The club or the couch? The party or the party that no-one else attends?

“It’s funny, I’ve heard that a lot, but I never really think of it like that,” he says with a chuckle. “I completely understand that now, but when I put it together, I think the influence of moving so quickly was from the electronic music I was listening to, like Squarepusher where it’s always moving but it’s cohesive.

“I’ve heard stuff like drinking games revolving around spotting samples and things like that, so that makes sense now,” he laughs. “I think there are so many different angles you can take with sampling, you can use it as an instrument. An example is the difference between my work and The Avalanches, they’re doing something amazing, I’m a big fan of their work…There’s not that many people focusing on it, so when you see the success that they’ve had, I get really excited.”

You read correctly, he even knows The Avalanches, home-grown electronic maestros who’ve been working on the follow-up to Since I Left You for eight years. I hope they’re not still looking for an album title, because Chinese Democracy has been taken. Either way, Girl Talk is a party in the head, and in the booty.

Girl Talk will bring the party to the Melbourne leg of The Laneway Festival, taking place around the Caledonian lane/Lonsdale St precinct of the city on Sunday February 1 and hits The Prince Bandroom for a sideshow on Thursday February 5. Of course, however, it’s sold out. In your face. So, you better go see him at Laneway. Feed The Animals is out now through Illegal Art/Inertia.

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