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New Album & Tour
for Ringo Starr

Ringo Starr

Ringo Starr recently celebrated his birthday, in July, at Capitol Records. Family, friends and fans joined Ringo at the front of the Capitol Records Tower in a “Peace & Love” salute.

Salutes and events happened all over the world, including London’s Abbey Road Studios and Liverpool’s Cavern Club. Find out more  at

Ringo's special message rings true for us all.

Give More Love

Sometimes this world can be a hard place
We wonder where we go from here
So many hurting bad
Lost everything they had It’s hard to know what we can do

Give more love
Give more love
It’s what we know we need more of
From the heart, let it start
To flow to everyone

Ringo releases 19th solo album

Give More Love by Ringo Starr

Ringo also reveals details of his 19th solo album, Give More Love, which will be released September 15th, 2017. Recorded at his home studio in Los Angeles, Give More Love has 10 new tracks featuring collaborations with friends including:

We’re On The Road Again - featuring Paul McCartney, Joe Walsh, Edgar Winter, Steve Lukather
Laughable - co-written and performed with Peter Frampton as well as Benmont Tench, Timothy B Schmidt, Richard Page and Amy Keys
Show Me The Way - co-written and performed with Steve Lukather and with Paul McCartney
Speed of Sound - co-written with Richard Marx and featuring Steve Lukather, Peter Frampton and Nathan East
Standing Still - co- written with Gary Burr
King of the Kingdom - including performances by Dave Stewart and Edgar Winter
Electricity - co-written with Glen Ballard and featuring Joe Walsh and Don Was
So Wrong For So Long - co written and performed with Dave Stewart
Shake It Up - co written and performed with Gary Nicholson and including Don Was and Edgar Winter
Give More Love - co-written with Gary Nicholson including Timothy B Schmidt and All Starrs Richard Page and Gregg Bissonette

Ringo Starr

Bonus tracks include: Back Off Boogaloo, You Can’t Fight Lightning, Photograph and Don’t Pass Me By. This version of Back Off Booglaloo is based on the original recording Ringo made when he wrote the song. He recently discovered the tape when he moved houses.

The other three bonus tracks are collaborations based on performances from Starr’s 2016 Peace & Love Birthday event. Alberta Cross performed You Can’t Fight Lightning and Vandaveer performed Photograph and Don’t Pass Me By. Starr loved their renditions and asked them to each record them for his new album, also adding his own vocals.

Ringo Starr

In October Starr will hit the road in the US with his All Starrs, the same beloved line up he has performed with since 2012: Steve Lukather, Todd Rundgren, Gregg Rolie, Richard Page, Warren Ham and Gregg Bissonette. The tour will include a residency at Las Vegas, NV @ Planet Hollywood Resort & Casino.

For more information and for full tour dates visit the website at

Marc Almond Shadows And Reflections

Shadows And Reflections by Marc Almond

‘Shadows And Reflections’ is the new album by Marc Almond released by BMG on 22nd September. Featuring sumptuous orchestral arrangements of iconic torch songs and 60’s Orchestral Pop for which he is beloved, as well as two new original compositions. The album features songs written or recorded by artists such as Burt Bacharach, The Action, The Yardbirds, Bobby Darin, Julie Driscoll, Billy Fury and the Young Rascals.

‘The Overture’, ‘Interval’ and final pivotal track ‘No One To Say Goodnight To’ set and frame the album’s mood - composed and orchestrated by long-time collaborator John Harle. “It’s a sea of lush strings, lilting guitar, choral harmonies and full, panoramic sound. I wanted it to have the feel of a very late 1960s Italian cinema soundtrack,” says Marc.
Everything stems from and returns back to that final track.”

The album thematically begins and ends in an apartment. “It’s about this guy that’s living in a luxury expansive glass apartment overlooking the city, filled with sculptures and beautiful things, an empty soulless shell, surrounded by absurd wealth. He is sitting alone and I imagine listening to this music, possibly the songs that make up this album. He’s rich in the bank but the poorest person you know.”

Marc Almond

The album ‘Shadows And Reflections’ sees Marc delve into the mood music of “orchestral and baroque pop songs with orchestrated arrangements and productions typical of the songs of that time.” The album includes covers of the Young Rascals (also made famous by David Cassidy) ‘How Can I Be Sure’, the gothic pop of The Herd ‘From The Underworld (“Peter Frampton is such a brilliant early songwriter and I thought The Herd had such an intense inventiveness”), The Yardbirds (“I’ve come from listening to a lot of blues based rock from the 60’s”) Julie Driscoll ‘I Know You Love Me Not’ (“It is an incredible song that I have wanted to do for many years but only now found the context”).

The title track ‘Shadows And Reflections’ is based on mod legends The Action’s version, whilst also featured is Burt Bacharach’s ‘Blue On Blue’ (“I sang this song with Burt at the London Palladium”), Bobby Darin’s ‘Not For Me’ and the Johnny Mandel standard ‘The Shadow Of Your Smile’.

“I particularly like the strangeness of many of those 60’s records” says Marc, “the oddness about them, sometimes unsettling, out of the mould, that light psychedelia approach from the early Floyd records, Sgt Pepper and Soft Machine.”

Marc Almond’s deep affection for brilliantly arranged 1960s pop has been prevalent throughout his career and has served him well. His versions of ‘Jacky’, ‘The Days Of Pearly Spencer’, ‘Tainted Love’, ‘Something’s Gotten Hold Of My Heart’, and ‘What!’ have become much treasured recordings from an artist who can take an old song and bring it new life with impeccable style. A look at Marc’s popular 60s Spotify playlists gives insight into the sounds and singers that he continues to be inspired by.

Marc Almond

Marc has announced a new UK tour starting on 3rd October at London’s Royal Festival Hall, and across 18 dates, he will perform with a full orchestra playing songs from ‘Shadows And Reflections’ as well as other known and lesser known gems from the period.

2017 cements the 60th Birthday year for the singer who the Observer noted, “has never stood still” and comes after the great success of the Top 10 album ‘Hits And Pieces’, which was followed by a sold-out Spring tour including a triumphant show at London’s Roundhouse.

Marc says, “My audience may not be familiar with a lot of these songs so I had to bear that in mind. Whereas if you’re an aficionado and you know how brilliant they are, you’ll see I’ve not reinvented them an awful lot because I thought the arrangements are so good in the first place. These songs just need to be put out there again so people can hear them. Me singing them introduces them to a different audience and brings them out into the light.”

Album Tracklisting

1. Overture
2. Shadows And Reflections
3. I’m Lost Without You
4. How Can I Be Sure
5. Something Bad On My Mind
6. Blue On Blue
7. I Know You Love Me Not
8. Interlude
9. From the Underworld
10. Still I’m Sad
11. Embers
12. Not For Me
13. All thoughts Of Time
14. The Shadow of Your Smile
15. No One To Say Good Night To

Tour Dates

3 October – London Royal Festival Hall
5 October – Guildford G Live
9 October – Scunthorpe Bath Hall
10 October – Leeds Town Hall
12 October – Portsmouth Guildhall
14 October – Ipswich Regent Theatre
15 October – Oxford New Theatre
17 October – Birmingham Symphony Hall
19 October – Manchester Bridgewater Hall
20 October – Bristol Colston Hall
21 October – Cambridge Corn Exchange
23 October – Southend Cliffs Pavilion
26 October – Poole Lighthouse
30 October – Liverpool Philharmonic Hall
31 October – Nottingham Concert Hall
3 November – Bridlington Spa
4 November – Newcastle Tyne Theatre* New Date Added
5 November – Edinburgh Usher Hall

For more information about Marc Almond visit

See Marc Almond's official Facebook page at 

Get a taster of new album, Shadows And Reflections and listen to Marc singing ‘Not For Me’ at

New UK Dates
for Phil Collins

Phil Collins

Night after night on his incredible comeback tour, Phil Collins has introduced his show to the audience by simply saying that he has missed them. And he wasn't kidding. After postponing two shows of his recent Royal Albert Hall series until November due to an injury, Phil has decided to keep the celebration going by announcing more live dates for the end of the year.

All tickets for the rearranged show from June 8th at London’s Royal Albert Hall will be valid for the same venue on November 26th and tickets for June 9th will be valid for November 27th. But he has also added Nottingham, Sheffield, Manchester, Glasgow, Newcastle and Birmingham to the trip.

One of the great British musicians is back performing, having just returned to the stage for his first live dates in 10 years. His performances have received rave reviews from media and fans alike, with his incredible band storming venues every night, including his 16 year old son Nick taking his dad's place on drums.

"It took just a few moments on stage and singing with the fans to convince me that this was the best idea I've had in years," says Phil of the recent shows, "There's so much love and so much fun. We decided to share that with as many people as we could."

With 100 million record sales to his name, Number 1 albums the world over and songs that have soundtracked millions of lives, Phil Collins is a legend whose work has received growing acclaim as a new generation of artists have discovered and been inspired by an incredible career.

Artists from Adele, to Pharrell, Lorde, Kanye West and Beyoncé have talked of their love for his music in recent times, since Phil announced his retirement from music in 2011. He last toured in 2007.

Phil made his live return at an event for his own Little Dreams Foundation last year, before performing two of his biggest hits at the opening of the US Open tennis in New York in August, inspiring him to announce his first headline tour in a decade.

"I thought I would retire quietly," said Phil at the time, "But thanks to the fans, my family and support from some extraordinary artists I have rediscovered my passion for music and performing. It's time to do it all again and I'm excited. It just feels right."

One the most successful artists of his generation, with more UK Top 40 singles than any other artist of the 1980s, Phil Collins came to prominence first as drummer and then as frontman of Genesis, making his solo debut with 1981's album Face Value, containing smash hit single 'In The Air Tonight.'

He followed this with an extraordinary run as a prolific hit maker. 3 UK Number ones - Easy Lover, You Can't Hurry Love and Against All Odds (Take A Look At Me Now) - as well as 7 US Number 1s and global smashes including One More Night, Separate Lives, Two Hearts, Another Day In Paradise, I Wish It Would Rain Down, Both Sides Of The Story and Dance Into The Light to name but a few.

His long awaited memoir Not Dead Yet: The Autobiography was published in November 2016 by Penguin Random House and after reissuing all of Phil Collins’ studio records throughout last year, a career-spanning selection of hits ‘The Singles’ is available on 2 CD, 3 CD, 4 LP and digital download from Atlantic Records.

Phil Collins Dates:

November 2017

Wednesday 22nd Nottingham Motorpoint Arena
Friday 24th Sheffield Arena
Sunday 26th London Royal Albert Hall (all tickets from June 8th rearranged show valid)
Monday 27th London Royal Albert Hall (all tickets from June 9th rearranged show valid)
Wednesday 29th Manchester Arena

December 2017

Friday 1st Glasgow The SSE Hydro
Saturday 2nd Newcastle Metro Radio Arena
Sunday 3rd Birmingham Genting Arena

For details visit

Long When We're Gone by Druv Kent

Long When We're Gone by Druv Kent

Internationally acclaimed singer-songwriter Druv Kent is back with a new single ‘Long When We’re Gone’, released via his own record label distributed by Horus Music UK.

Following up on last year’s single ‘What It’s All About’, which saw strong support across the board from the likes of Music Week, Music News and Female First, as well as picking up spins on BBC Radio 2, the new offering is a lively up-tempo track produced by Manic Street Preachers long-term collaborator Greg Haver.

Talking about the track, Druv explains, “It is about realising the beauty in the simplest things that surround us in a world that spins so fast and in a life increasingly driven by technology and the digital world.” Powerfully visually depicted by accompanying visuals by TED Fellows filmmaker Puneet Rakhejacapturing B&W frames of the sometimes mundane and ordinary - but always poignant - daily life routines through a sepia-style lens, using visual distortion to obliquely focus on the busyness of our lives.

Recorded at Rockfield Studios - the renowned Welsh recording studios where Oasis recorded their Number 1 album ‘(What's the Story) Morning Glory?’ - the single sees award-winning Greg Haver adding his warm production, drums and percussion to former Mel C collabroator Andy Taylor guitars, longtime Chris De Burghmusic director Nige Hopkins’ keyboards and Thunder’s Chris Childs bass.

Growing up in India, the multicultural songwriter attended a prestigious university in America before moving to Hong Kong where he landed high level positions within the banking and finance sectors. His first releases, the BBC Radio 2-approved singles ‘Little Bit of God’ and ‘Glitter & Dynamite’, made him the first Asian-based musician to be played by the popular radio station in two decades, and catapulted him into the international music scene. His music caught the attention of award-winning producers Tim Bradshaw, Greg Haver, Calum MacColl and Simon Edwards - whose credits include John Mayer, Ronan Keating, Radiohead, Manic Street Preachers and Oasis - who helped in shaping the sound of Druv’s upcoming debut album ‘About Time’.

Based in the international hub of Singapore, Druv Kent’s international career has seen his singles reach radio playlists in UK, Asia and Australia, followed by memorable live performances across the world. With his debut album ‘About Time’ coming out later this year, his new single ‘Long When We’re Gone’, will cement his status in the international music scene.

  Watch Druv Kent sing
Long When We’re Gone

    Click on arrow to watch

For more information about Druv Kent click on



The line-up for Musicport Festival 2017 has now been announced and festival goers can't fail to be impressed. Often referred to as the UK’s biggest indoor festival of “world music” the event includes over 50 acts on 6 stages in the Whitby Pavilion.

Top billing acts include Afro Celt Sound System. This European and African based, globally-connected collective Afro Celt Sound System have been instrumental in fuelling a far-reaching approach. Over 20 years, they've found kindred spirits across international talent, and forged a reputation for exhilarating shows.

Benjamin Zephaniah & The Revolutionary Minds, pioneering dub poet, writer, social commentator and music maker will be tackling the indigestible topic of the world we live in today, political & economic corruption, global warming, rampant racism, fascist patriarchy.

Trio Da Kali (Mali) is a Malian super group with an impressive pedigree. Singer Hawa is the daughter of the great Kass Mady Diabaté, still one of West Africa's great voices. Lassana Diabaté, formerly with Toumani Diabaté’s Symmetric Orchestra, is a master of the ancient West African wooden xylophone, the balafon.

Kefaya are an stonishing band with their finely crafted blend of ecstatic Indo-prog led by the Giuliano Moderelli & Al McSween both who trained at Leeds College Of Music. Winner of Songlines 2017 Newcomer Award.

Joanne Harris & Storytime Band, acclaimed author of Chocolat brings a new live show to the festival, featuring dark tales from her forthcoming collection and projections, original music and song from the band she has been a member of since college.

Andy Kershaw is a late night DJ set from the broadcaster journalist and foremost advocate of the type of music Musicport promotes.

Pete Williams & His Band features founding member of Dexys Midnight Runners, Pete with his band of merry Midlanders.

Ian Prowse is the all-Liverpudlian musical hero and frontman of both Pele & Amsterdam and a solo artist of renown who has worked with Elvis Costello, John Peel & Christy Moore amongst many others in his long career.

Grace Petrie is a folk singer, songwriter, and activist from Leicester who first exploded on to the national protest scene in 2010 with the emotive anthem Farewell to Welfare.

For details visit


Sixtyplusurfers Interview

Nick Heyward

Nick Heyward

Interview by Jenny Itzcovitz

Nick Heyward is releasing a stunning new nature inspired album, Woodland Echoes in August. Best known as the lead singer of '80s band Haircut One Hundred, Nick is now moving onto pastures new, and talks about his travels and inspiration in Key West, America, his new love Sarah, and his keen love of photography and the countryside.

I begin by asking Nick about where he comes from and the beginnings of his music career.

"Originally I'm from Beckenham but I've lived in many different places and I continue to do so," he tells me. "In fact, I do lots of moving about. I sing and I write songs, and I take photographs of nature.

"Up until September we're based in Henley which is nice. We played near Winchester the other day, and it was lovely, so we'd like to give Winchester a go. My daughter's moved to Sheffield, so we might give the North a go too. But at the moment we're living in Henley because my son, Oliver runs a studio there. So it's very handy."

We talk about when he first started singing and playing the guitar.

"I was quite young," he remembers. "I discovered music out of my brother's purple bedroom. He had a wall of amplifiers, purple shagpile carpet and purple walls! He just played music, and this amazing landscape of sound used to come out of his room. It intrigued me, s
o I used to go in there and play on the amplifiers and stuff.

"I'd say I picked up the guitar around the age of 14 or 15. I didn't have any lessons, I just picked up the guitar and learned  to play D. And then punk music came out and so I played D for a long time. Then I learned C and then I learned G. And after I learned those three chords I decided that I wanted to be able to sing at the same time. So I stood in front of a wall with my guitar and some headphones on and a little Vox amplifier, and played and played and just sang something. Then Fantastic Day came out of my mouth, then I wrote the rest of the song, and it became my first single."

I tell him that it's one of my favourite songs. It's so happy and uplifting.

"That literally came about by practising really," he explains. "I'm really glad of that period because if you put in the work around those early ages, and you do it a lot, it's really helpful. It means you've got a strong foundation for the rest of your life."

The 1980s was a great time for music, fashion and style. I ask him to tell me more about
Haircut One Hundred, how it was formed it and how the band got its memorable name.

Haircut One Hundred

"Haircut One Hundred was started in the punk days," he reveals. "I heard lots of bands singing at the same time, and then I met Graham Jones who was into the Clash and dressed in full Clash punk outfit. He was going out with Alison Blower, who I'd been out with, and we became friends. We went to Corfu together on holiday, a few of us, and when we came back we realised we had behaved a little bit immaturely. So the girls chucked us!" he laughs.

"And rightly so," he adds, "I think they chucked us for older guys which was a good move on their behalf, but it meant we had loads of time on our hands and we'd just met Les Nemes. So the three of us became quite close and we focused on being a band. This was probably about late the 1970s and we used to hang out together.

"Haircut One Hundred was a name I came up with one day when we used to have lots of meetings around the coffee table in my parent's kitchen. We'd just take a name and then go over to Beckenham to the pub to see our friends and try it out and whatever reaction it got, it either stuck or got binned. But Haircut One Hundred just seemed to get this reaction of "Why?" And I think "Why?" was the key word because it meant it was abstract, so it just seemed to fit. It got the best reaction. I don't know why, we didn't actually think too much about it, it wasn't conscious. It just worked. It seemed to reflect what was going on at the time, and reflected the songs and the fashion.

"It was a time of new sounds and new style, and 'The Face' magazine was just starting. It was this type of magazine that helped launch us. We were standing in Carnaby Street, chatting, and met the Editor of The Face. He said, "I'm starting this new magazine called The Face, do you want to come up to my office now? Have you got any photos?" So being a commercial artist, I had one on me that I'd been fiddling around with, sticking bits of pantone film on, and I gave it to him and he put it in his magazine.

"Little bits like that helped us to get started. We really made it from the press, with NME interviews, being in The Face, being in magazines, getting little reviews. They were always really good reviews for some reason. We seemed to capture the press's imagination. Being called Haircut One Hundred with songs like Lemon Firebrigade and Calling Captain Autumn and Milk Film," he laughs. "Just wordplay. I loved abstract wordplay. I think that came from wanting to be a commercial artist and loving putting typefaces onto pictures. I've always thought 7 inch and 12 inch square are the perfect blank canvas to do interesting things with. So now when I take photographs of anything I want to put typefaces on them and make them into single sleeves or  album sleeves."

I've got fond memories of watching Haircut One Hundred on Top of the Pops, they were such a fun, fresh band with great catchy songs. I ask him what it was like to appear on such an iconic show?

"It was amazing, it was nothing like I'd expected. I'd seen it ever since I was a kid and I never thought that it would ever happen. It was very all of a sudden, you're pulling up in a van to the BBC and it was nothing like I thought it would be. We just drove in and we were told to go to that building over there on the left. It looked quite small, but the size of a small aircraft hangar!

"We pulled up and there were fire exit doors open, and we walked in through the fire exit doors and there it was. But there was nobody there and it was freezing, because it was just before Christmas. So we had loads of jumpers on, and sometimes two because it was cold, and our publisher came in, Brian Morrison, a larger than life character who smoked a cigar and ran a Prince Charles polo club and he turned up and he watched our run through and said, "Keep the jumpers on. You look really good with the jumpers on." So that's what we did. It was just because it was cold, and that's why we were known for wearing jumpers. But we mucked about with it, we had jumpers on, and then other jumpers tied around us. We were just playing it with it really, having fun at the expense of Brian. It was very accidental."

The size of the audience and filming process of Top of the Pops was also a surprise to Nick.

"There were only about 17 or 18 people in the audience, and they were in this cold room, being told to go here or go there. The whole thing was very naive and very innocent. It was very sweet. But then we were suddenly told, "Look into that camera over there," and the guy said, "Don't worry there's only 20 million people looking at you." And I remember thinking, Oh my lord!

"And something kind of takes over when nerves kick in. I looked nervous because I generally was, but I tried to play with that too. I think that playfulness with the camera helped, because this was the first time I had a camera pointed at me. At first an orange light goes on, and that's you, and then it goes off, and I thought, that's okay, it's on over there. So my eyes were following this camera around the room, and that was a first. So it was very naive because it's the first time you do this. There's no training. You get into a cold room, put your jumper on, and follow the orange light. That's your experience of being a pop star, I suppose. You could either do it or not do it.

"Then you wake up the next day, and Top of the Pops gets screened, and because of its appeal everywhere and its popularity, your life is never the same again. From that moment it was all change. My friends just thought, "Oh Wow, he's that guy in Haircut One Hundred." Up until that moment, I was just any guy in a band, as pretty much everybody is in a band when they're young, or knows someone else who is in a band. And that was the key moment when everything changed."

Moving on to the present day, I ask Nick about his new album Woodland Echoes and the theme he was trying to convey.

"I got the title Woodland Echoes from my fiancé's record collection, but I didn't have it until the end, it was the last thing. Sarah is into turn of the century animation music and really early Disney, and there's a period when you hear more scratchings on the recordings than the music. And there's this piece of music and it's almost tearful because it's so sweet. It's of a cuckoo, and the cuckoo is the lead into the song, so you hear the scratches and then you hear this cuckoo bird and then you hear this slightly kind of Swiss mountain top music where it comes in and you're not sure if it's bassoons? Is it a brass section? Or is it strings? You can't really work it out.

"Anyway it's so mysterious, like something peeking round the back of a tree or through a tree, and it draws you into this piece of music, which is so of its time, that it doesn't exist anymore. The colloquial language is not there, the landscape is not there and you feel a sense of loss slightly, like deep nostalgia for that period which is no longer there, and this music encapsulates it, so I kept that sense. But I didn't think this was the title of the album right up until the end when it just seemed to perfectly fit like the cherry on top of a Cherry Bakewell cake. It just topped it perfectly, because the album has a theme of nature just like the photographs I take now, which are all of the celebration of nature and my love of Sarah. We both love nature. So it's about the love of nature, sometimes through romantic love, and sometimes through universal love. But it's also about a love of life, a celebration of life."

I particularly like the new single Mountaintop which is a romantic and joyous song, about love and nature with a fabulous musical texture. I ask Nick about his inspiration.

Mountaintop by Nick Heyward

"Actually that was an interesting song," he explains. "It was written on sea level about a mountain peak and my inspiration was from Goodbye Mr Chips, the Robert Donat version, my favourite version, where love is seen through the mist in the fog, up a mountain top where Mr Chips falls in love. And that was a real moment for me, because that was a time for me when my parents passed away, and I couldn't really grieve. It was almost like I was stunned at the beginning and couldn't really work it out, and it was Goodbye Mr Chips that turned on the taps and made me able to grieve, physically and release all this sadness. It was watching that film, when they fell for each other at the top of a mountain, it was a great moment, when I was able to cry. In the end there were probably about ten moments in the film where I just lost it, but those were the moments where I connected with the film and I'll forever be thankful for that film, and that's why I love creativity and art.

"I ended up writing Mountaintop in Key West, which is a strange place to write and record it, but Ian Shaw who I recorded a song called 'Kite' with in the '90s, had moved there. He had built a houseboat, and he had a little studio on it, and I was visiting him while Sarah and I were going over to see her parents who had moved from Minnesota to Florida. So I popped out to Key West and that was the song I recorded, because I'd played him my song ideas and he picked this one out and said, "I like that," so we worked on it and recorded it.

"Then I walked around Key West to write the lyrics, and I went to Ernest Hemingway's Garden which is filled with his cats, because his house is still there. It's a brilliant house and it's filled with cats, and it was like a sun trap. So I went there to write some lyrics and I sat under this tree with a swing that was like To Kill a Mocking Bird, and I sat there in the shade. It's an amazing place, it's like no other place, it's like a little town on an Island, unattached. So that was the beginning of that recording. I started it with my son in his bedroom, and finished it with my son once he started working in Henley in our studio. So we recorded some of it there too."

Mountaintop has fabulous musical accompaniments, giving the track lively and upbeat country feel. I ask him which musicians he used.

"I used lots of local blues musicians in Key West. There was Gerry Marciano who's a diving instructor and a fantastic drummer. Over here I used Phil Taylor who I've worked with for many years, he's based in Cambridge, so I was hopping over there. It was recorded all over the place. My son, Oliver made it technologically possible, he was overseeing that side of things so that wherever I was I could send him files. So it was like, 'I'm in Cambridge today, now back in Key West, now I'm over here, now I'm next door, we're working together today, it was over quite a long period of time, so thanks to him we kept it all together. He's really good at organising, my son. And that's really important, because you can lose stuff.

"I love working with Oliver. We work a lot together live as well. He does all the production stuff for me. But it's not just me he works with. He runs Jack Starkey's studio which is great. He works with lots of interesting people. The Sex Pistols being one of them. If you'd have said to me when he was growing up that he would be working with the Sex Pistols, I would have said, "Wow!" He'll send me a text  and say, "I've been working with Chris Thomas this morning and Paul Cook". It's strange how these things happen. I then immediately text Graham Jones from Haircut One Hundred, who's from our punk days, and say, "My son's working with Paul Cook" and he says, "Wow, that's amazing". So it's all really sweet and lovely."

I ask if he'll be touring to promote the new album?

Nick Heyward

"Hopefully, it's looking less likely that I'll tour this year. I'm just doing lots of small dates. I'm playing in London and around the country and doing one offs. But I'm hoping to do a proper tour in March next year. It will be small dates around the country first, and then hopefully a tour in the Spring."

We talk about Nick's favourite singers, what he enjoys listening to and his influences from the past.

"I've been listening to Sufjan Stevens' new album, Carrie & Lowell. It's an interesting album, there's a song that he wrote about his mother dying, it sounds like I'm a bit hooked on my parent's death, but it's so beautiful. It sounds a bit like Elliott Smith in its delivery, but it's like his emotions captured of a time, it's absolutely beautiful effortless music. It sounds like he's writing a diary and he's jotting down thoughts and emotions as they come, and putting it in musical doodles. The overall effect is really powerful. So that's my car listening.

"And all my new stuff is old stuff, as I'm still discovering things, so it's new to me. I'm discovering so much music as I get older because when you're growing up you're more in the culture and you're listening to music of the time and you don't venture anywhere else. So being older now, music can go anywhere and mostly I'm discovering all of Mozart, Gustav Mahler, and Gabriel Faur
é. I'm delving into classical stuff, I can't believe how beautiful this music is. At the moment I'm playing Gabriel Fauré - In Paradisum and it just feels like the best music ever recorded."

We talk about the music influences from his youth.

"When I was younger I went from rock straight to punk. So first it was punk, then it was New Wave, then Mod and then Ska. The new romantic stuff I just watched go on, but I wasn't really a part of it, I didn't really play the music. Then it was gradually beautiful songs like 'New England' by Kirsty MacColl, and  'Each and Everyone' by Everything But The Girl from the album 'Eden', what a fantastic album that was.

"So this takes you back to the early days where my first gig was to see Ray Charles, Oscar Peterson and Count Basie at Hammersmith Odeon with my dad, but you realise this has been such a strong influence. Then you realise you've been to see Elton John when he was doing the Captain Fantastic Tour and you realise you've got to hear beautiful songs like Rocket Man at the times they were actually out.

"You realise that you've driven through the Gorges of Verdon with your family and your brother said, "Stick this eight track on," and it's Diamond Dogs by David Bowie, and it's just come out and you listen to that and that's an influence and that goes in, and you connect the song with the landscape outside. So I'll always connect Diamond Dogs with those Gorges that went on and on, and the turquoise blue water at the bottom of the gorge, that you hoped that you weren't going to go hurtling off the cliff and down, because my dad was driving very close to the edge.

"And then you've got Dave Brubeck because dad wants to put that on, and then mum wants Rick Wakeman, The Six Wives of Henry VIII album and you get this eclectic mix. And then you buy your first record. But before you buy your first record you're playing everyone else's, so you're playing The Carpenters, and then you're playing Stan Kenton and Woody Herman, and then you're playing The Move and Status Quo and all the stuff that's on the radio, and then you're playing Marc Bolan and you can't believe it, you've never heard anything like it. What's Jeepster about? What on earth is he saying? I've never heard anything like it in my life. I really like that new Bee Gees song because it's so romantic and then you send it to your girlfriend, and your girlfriend chucks you anyway!

"And that's music. It just gets into your life so much. It's there as a life raft in times of trouble and times when you need to ground yourself. It's there in a tent in the middle of nowhere. It's always there. So it's an honour to still be making music, and that's why I make that the most important thing I do, to always be able to make music. Releasing it hasn't been such an important thing for me, just to make it. But now I've got my own label
Gladsome Hawk, it will forever be released."

I ask him about his leisure time and how he unwinds and relaxes.

Nick Heyward

"It's always in nature, going into the middle of nowhere, wherever that may be. We were right next to a wilderness forest when we were in Florida so going in there and being with nature and getting away from human culture, because you're pretty much bombarded now, was nice. It's not because you're not into humans, it's just that you need a break from them to spend time with other creatures and just feel nature grow around you. And knowing these trees are being looked after, they're not just being chopped up for wood. It's nice. It's a place where you know there's no houses. It's not that I'm not into houses, because they're beautiful things, but it's just lovely to know that it's in its original state, that you're in and around it, and when you have that, then you can go back to human culture and enjoy it. Once you get that feeling of wilderness, then you can go back in the human jungle and be a part of it."

I ask him if he's met any interesting musicians over the years, and if he has had any collaborations?

"I've had a few music collaborations. I've played guitar with a band that was put together by a designer friend of mine, Simon Halphern, and he said, "Do I want to play guitar on it? We're probably going to get George Michael to sing on it." It was just a favour really, and it turned out to be quite a good recording, and it was really nice to be a musician. I really liked funky guitar, and it was nice to be called up as a guitarist and recorded.

"I made an interesting album with India Dupr
é, we made a funky album in LA, and I made a poetry album with Greg Ellis, that was an interesting collaboration. And around the same time, Paul McCartney said, "Come round and write some poetry," I was so gobsmacked that he offered, I didn't really believe him. So that was funny."

I ask him what happened with Paul McCartney and he muses that he was just too awestruck to let it happen.

"When somebody you idolise makes you that kind of offer, you think, "No, he doesn't really mean it. No he's just saying that." It's like when Johnny Marr said, "Do you want to join my band, Electronic?" I was thinking, he doesn't really want that.

"I got some collaborations that I did say yes to, and some that I was so dumbfounded by that I didn't. I was literally stunned. I definitely enjoy playing with musicians, and playing in bands is my favourite thing, because music comes alive and it's that unique ingredient of a band they can differ so much with just a different ingredient. I find that fascinating, mixing up all the spices, you get some amazing food!" he laughs.

"Music is similar to food, there are just so many ingredients. And it can be the same ingredients, but you get different meals. It's just mixing it all up. You never get the same meal twice, even using the same kind of things. Sometimes it's the way you cook it which makes it different. No meal is really the same, even when you go to a French restaurant, they can cook up the same dish but it's always slightly different. When you have people involved it's always going to have the best ingredient which is human error, which is also where the goodness comes from, and you get happy accidents. Things that aren't really planned but you just go with them. That wasn't really planned and that's the way an album is put together, that randomness of life, that chaos that just comes together. That's the creative process and sometimes it can come out quite surreal, even if you hadn't even planned it to be surreal, but it's what you meant at the time.

"I find the creative process fascinating and something you can't force. It's a bit like a wedding speech, when you want to be funny, but trying to be funny is not being funny. It's when you stop trying to be funny that people laugh. It's the same with music, when you're not trying to write a hit or be impressive, then you suddenly find yourself being quite impressive, and it's a hit. My turning point was the song 'Kite', when I suddenly realised. Because initially when you first start making music you have no idea how to make it or why you're making it, you're just doing it. So that's healthy. And then when you're doing it for a long time you think you know what you're doing. But a lot of the time it's accepting the fact that you don't know, you really don't know.

"There's a brilliant clip of Edward Elgar on YouTube at the Albert Hall, and he's standing in front of an orchestra about to conduct Pomp and Circumstance, and he says, "Play this like you've never heard it before." It's such a famous piece, that the orchestra will probably just play it, like they know it, really well, so they probably won't think about it. But he wanted that spontaneity that you get the first time you play it and you don't know it, when you come to it quite naively. There's something about that first take, that that has that special ingredient."

I ask Nick if he has any special music souvenirs or treasures that he has picked up over the years.

"Yes, I've got a souvenir from a Linda McCartney photography exhibition, and it's got "From Paul and Linda," written on it. It says "To Nick Nick. Lots of love from Paul and Linda." It's from when I met them as a couple, and they were the loveliest couple you ever wanted to meet, and their family. It was so lovely. What a fantastic family. I've sadly watched Linda pass, and I've seen how the family are still there and how well Paul has brought his children up. So that's a souvenir of family togetherness, because even though things happen, he's still kept them together. I've learned strong leadership from that. So that's my souvenir from there."

We talk about the present day and the other projects that Nick is working on, including another album and a television appearance.

"I'm going to work on the next album now, because it was so long between the last ones. I just want to carry on and keep them flowing, now they're up and running. So that's the most important thing to do.

"I've been getting into a bit of TV work. I appeared in a travel programme, in the last few weeks, when I went around the country in Scotland and Wales in a campervan, which was interesting. Because I was in the campervan for one week with Melvyn Hayes and it was hilarious, what a lovely man. If you'd have told me when I was watching 'It Ain't Half Hot Mum' that I would be spending a week in a campervan with this man, I would never have guessed it! A bit of this kind or work might be interesting, but I'll see how it goes. The TV company said I'm a bit of an unknown quantity, so I suppose I'll either work on TV or not. So that's quite an interesting thing to do.

"I also really love writing, so this year or next year is the time to write my children's story down, and have it published. That's my goal."

I wish him all the very best of luck with it. And then ask him if he has a final special message for readers of Sixtyplusurfers?

Nick Heyward

"I think just keep coming at life with that innocence you've had as a child. If you've got any cynical stuff that's crept in, because we do when we get older, just keep working at it somehow.  Use anything to get rid of it. Be the blade of grass that's blowing in the wind. Go with the wind, be supple and keep blowing in the wind." he laughs.

"It's one of the hardest things to do sometimes. Sometimes the thing you really feel most is the hardest thing to do, and is the very thing to do. Everything around you is telling you to "keep hold of your stuff", when actually if you let all your stuff go, you'll feel amazing. I remember how attached my dad got to his desk, like it was the most important thing ever, but it was so not! He'd have probably been really relieved if I had taken his desk and thrown it over a cliff. At first he would probably have gone, "No" and then he would have gone, "Ahhh, I feel so much better. Thank you."

I laugh and tell him he can throw my desk over the cliff as well.

"I dropped my phone in the bath once," he admits, "and I went, "Oh no." And I thought of all the things that were in it and then suddenly I went, "Ahhh in relief." And then I didn't get another phone for a year. And I had a good year."

I agree we're too tied to technology these days, and although it makes our lives easier,  we sometimes need to take a break.

"I know it makes things easier," he muses. "But sometimes we have Magic Breakfasts where we don't take our phones to breakfast, or if we're out or in a hotel we don't bring our phones with us. And then we meet people and talk to them. We did it at one breakfast and a hummingbird flew in through the window and we ended up chasing this hummingbird around the room and enabling it to fly away free. And I just thought that if we had brought our phones with us, it would have been more important to photograph it. You haven't even saved the hummingbird because you're too busy photographing it. So, it's nice to have magic, technology free breakfasts." He laughs.

I tell him I'll have to do that sometimes, and wish him all the best with the new album. He's been a delight to talk to, so warm, honest and friendly. And I encourage you to listen to his great new album Woodland Echoes.

For more information and to pre-order your copy

Nick Heyward also has his own website at

   Sixtyplusurfers Competition

Win Woodland Echoes
     by Nick Heyward

Win Woodland Echoes by Nick Heyward

Sixtyplusurfers has teamed up with Gladsome Hawk to offer two lucky readers the chance to win Woodland Echoes, the new album by Nick Heyward.

Nick Heyward unveils his first single in eighteen years, the double A-side ‘Mountaintop’ and ‘Baby Blue Sky’, set for release on 30th June via Gladsome Hawk. The single is first offering from his eagerly anticipated solo album ‘Woodland Echoes’ on 4th August. A-side ‘Mountaintop’ is inspired by a poignant mountaintop scene in Sam Wood’s 1939 film ‘Goodbye, Mr Chips’, but was written at sea-level and infused with his love for the rootsy sound of Americana.

While on the flip side ‘Baby Blue Sky’ The infectiously sunshine-infused 'Baby Blue Sky' is inspired by living and recording on a houseboat in Key West. Featuring ABC guitarist Matt Backer on guitars. Nick describes working with him as a chance to "express their mutual love of the Rubinoos, Big Star and 70’s guitar power pop."

The accompanying video for ‘Baby Blue Sky’ was filmed entirely on Nick and his fiancée's mobile phones. Featuring footage of Nick's American band, it gives us a snapshot of his life in Key West, where he recorded much of the album. "I love the sense of freedom," Nick enthuses, "here we are in 2017 and we can make a video ourselves on our phone and edit it on our computer. I loved the whole process and the lack of rules or formulas." Trained as a commercial artist, Nick's eye for framing an image means he has not only shot much of the video, he has also captured the aesthetic behind the album and single artworks.

Prior to his hugely successful and prolific solo career, Nick came to prominence as the frontman of percolating pop-funk new wave group Haircut 100, a foundational part of the 80s-pop explosion. They released four UK Top 10 hit singles, with their debut album ‘Pelican West’ reaching no. 2 in the UK album charts, no. 31 in USA’s Billboard 200, and ending up being certified platinum by BPI, with Nick gracing the cover of pacesetting style magazine The Face.

His recent solo set at this year’s Great Escape Festival - praised by Drowned in Sound as “one of the finest we heard all weekend, his second coming is imminent” - was just a taste of the upcoming full band headline show at 229 in London on Wednesday 19th July. Nick’s return to the music scene and to the live circuit has already seen support across the board from the likes of Classic Pop magazine and Record Collector, while the single already picked up plays on BBC Radio 2 from Vanessa Feltz, whilst BBC London’s Gary Crowley made ‘Baby Blue Sky’ his ‘Record of the Week’.

Nick Heyward might just be back from a long hiatus, but 'Mountaintop' and ‘Baby Blue Sky’ look to firmly consolidate his songwriting credentials among the greatest, and with a brand-new album ready for pre-order through the direct-to-fan platform PledgeMusic and a tour in Autumn, he is here to stay.

 Listen to Nick Heyward
      sing Mountaintop

Click on arrow to watch

 For Your Chance to Win

Tell us the name
of Nick Heyward's
new single

    a) Hilltop
    b) Cliff top
    c) Roof top
    d) Mountaintop

  To Enter the Competition

Tell us the name of Nick Heyward's new single? Then send in your answer together with your full name, address and telephone number to the Sixtyplusurfers email address as shown below:

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Watch Out for
Aubrey Logan

Aubrey Logan

US singer/songwriter/performer, Aubrey Logan, is no stranger to global fame, regularly amassing close to 2.5 million hits whenever she delivers one of her unique swing-tinged, trombone-enriched, pop covers for the almighty Postmodern Jukebox. Now the girl who was ‘too jazzy’ for Simon Cowell in American Idol and who won the Montreux Jazz Festival in 2009, takes a charismatic step into the solo limelight to release her debut album ‘Impossible’ on 1st September.

‘Impossible’ is a diverse, eclectic collection of genres and sounds, many creatively and smoothly incorporating Aubrey’s highly acclaimed signature trombone-playing. Aubrey had always been told it’d be impossible to successfully create a cross-genre album – guess she’s just proved everyone wrong!

This debut album from Aubrey Logan is the epitome of ‘defying the impossible’; hence the very apt title of ‘Impossible’. Eccentric, eclectic and enthused, Aubrey Logan doesn’t adhere to genre rules, she would if she could, but she can’t. Just isn’t her way. This smart, sassy lady has an insatiable appetite for entertaining her audience and doesn’t believe that our joy should be confined by genre parameters.

Being jazz trained, Aubrey garners enviable attention for her creativity with the trombone, successfully making it relevant and sexy in modern music. Ingeniously delivering pop trombone horn lines and trombone stacked tracks, which weave the instrument through the music as part of his core fabric, Aubrey Logan pioneers the trombone as a pop essential, rather than just a solo instrument as we’re used to seeing. Which is why her debut album is a musical journey through exuberant entertainment.

Aubrey Logan

‘Impossible’ is an album loaded with x12 unique tracks, each worthy of single status, jig-sawing beautifully together to create a work of perfect musical engineering. Produced by Dale Becker, son of mastering engineer Bernie Becker, the challenge was to ‘recreate Aubrey’s live charisma on the synthetic medium’; a challenge masterfully achieved.

The title track from the album depicts Aubrey’s musical mission in life, to deliver a non-genre fitting sound, which others said simply couldn’t be done. Aubrey knew that if other’s think it’s impossible, then she must be onto something! ‘Impossible’ exposes Logan stripped back and raw, delivering dark verses interspersed with bright hopeful choruses. The cheeky dominance of ‘Gossip’ reveals our human need to rumourmonger and sees Logan fusing flecks of big band swing with a very modern defiant vocal sound.

The brass intro of ‘Louboutins’ is an autobiographical tale depicting a metaphorical picture of appearances, written after Aubrey was told that she needed to wear the red-soled Louboutins if she wanted to be successful. From the highs of these up-tempo numbers, Logan also has the unnerving ability to weave heart-wrenching emotion through her ballads. ‘Don’t Wanna Tell Nobody’ is a track which Aubrey sings at every live performance its ability to touch everyone is that strong. This track is applicable to a myriad of situations – it’s about the feelings evoked from decisions, rather than being simply about a love breakdown.

You’ll find arias amongst this delicious musical mix too, but Aubrey-style, as Logan gives us the classic ‘Habanera’ from Carmen. Aubrey felt this was a fun cover with all the rules she’d been reared on broken – don’t sing an aria, don’t change an aria, only a mezzo soprano can sing this – rule book out of the window – Habanera delivered Aubrey style. Beautiful.

Aubrey Logan was placed on this planet with the sole vocation to perform. The daughter of music-teaching parents, Logan turned down a spot at the Montreux Jazz Festival Voice Competition to diligently accept a place at Berklee College of Music. Three years later she found herself winning Montreux, whilst also being told by Simon Cowell on American Idol that she was ‘too jazz for the pop world’.

At the age of 22, Aubrey moved to Los Angeles and began her relationship with Hollywood. Aubrey became the hired gun on many high-profile tracks and live performances and suddenly the talent of Aubrey Logan started to shine through. In 2015, Shoshana Bean of Postmodern Jukebox introduced Aubrey to the PMJ founder, Scott Bradlee. Logan’s fast rap/swing version of Taylor Swift’s ‘Bad Blood’ was an instant online phenomenon, amassing close to 2.5million YouTube hits. Aubrey rapidly cemented her place with PMJ, becoming the band’s sassy fire-cracker touring the globe relentlessly with them.

'Impossible' by Aubrey Logan

Now Aubrey Logan steps into the limelight as a solo artist with her debut album, an album which proves that the impossible CAN be achieved. A fiercely passionate serving of defiance which sounds audibly divine. So if you think you love music enough to step beyond genre-boundaries then ‘Impossible’ is an album for you. Deliverance of the impossible is here, Aubrey Logan-style!

The solo debut album from Aubrey Logan ‘Impossible’ is released on 1st September on Knight Music Inc via Right Track/Universal.

  Listen to Aubrey Logan
           Sing 'Pistol'

     Click on arrow to watch

For more information on Aubrey Logan, please visit


McGoozer Releases Falling Out of Love


The voice of Glaswegian-born McGoozer is one you’ll have heard a million times before – whether it’s bouncing from the McDonald’s ‘I’m Lovin’ It’ TV and radio ads, on stage with The Blues Brothers or supporting the likes of Phil Collins or Mike & the Mechanics around the world.

His older brothers are Brian McGee one of the founding member of Simple Minds and Owen Paul who had a Top 3 UK chart hit, with “You’re My Favourite Waste Of Time”, in the late 80s. Now singer/songwriter McGoozer steps into the limelight as a solo artist with his debut album ‘Songs From The Mirror’ released on 15th September. With a string of single releases for 2017, the latest of which, ‘Falling Out of Love’, stormed into the iTunes Singer/songwriter charts at No3, proving that McGoozer means business!

A culmination of songs drawn from McGoozer’s sparkling and vivid career, ‘Songs From The Mirror’ is a collection of tales from around the world, fused in one musical nomadic storybook. Being someone who’s spent his entire adult life on stage and on tour, the sentiment he shares is compelling. Injecting his signature positive McGoozer vibe throughout a sound-bed of enticing melodies and blow-away vocals, his sound is one that will inevitably leave you contented to the core.


The title track from the album ‘Song From The Mirror’ is inspired by who or what we see, when we look directly inside ourselves. Our strengths, our weaknesses, and importantly our hopes and dreams for the future, however sure, or unsure we are about it. McGoozer’s debut single, ‘One and Only Girl’ whips up a cocktail of the most idyllic paradise imaginable with a heart melting voice, a ukulele and a generous slice of joy.

Songs like ‘Walk Run Fly’ and ‘Stand Up’ come from a positivity that’s always present in McGoo’s writing. Even in the final track on the album, when contemplating a ‘Last goodbye’ he rounds it all off by noting the importance of appreciating and remembering where you came from, where you are now, as well as looking ahead to where you want to be in the future; with the line……….”here’s to the future and the past”.

Each track worthy of single-status in its own right, ‘Songs From The Mirror’ is an album bursting with happiness from first to last. The album was recorded between London, Nashville, New York and The Maldives.

The Nashville sessions gave McGoo the opportunity to work with some serious industry heavyweights like double Grammy winning writer/producer Gary Nicholson and Grammy winning engineer Randy Kohrs. The New York sessions introduced McGoo to Loren Toolajian and the team at Sandblast Studios, who produce and compose music for endless major TV and film projects for HBO, Showtime and various other US networks. Also with a very cool studio, just off Times Square.

The UK recordings took place in various studios all over London like Metropolis Studios, Premises Studios and Renegade Studios run by one of McGoo’s friends and co-writers, Fred Abbott, of Noah and The Whale fame. Fred Also helped get Will Hicks involved to mix the current single Falling Out Of Love. Will produced a number of Ed Sheeran tracks on both his previous and current earth shattering albums. And the Maldives…..well that was just damn good fun!

Glaswegian, Paul McGee (aka McGoo), grew up surrounded by musicians, so it was no surprise when the teenager’s first musical job took him around the world to tour with ‘The Official Tribute To The Blues Brothers’, which ran for over 3 years. McGoo also recorded and toured with Mike and the Mechanics, singing on their studio album ‘Rewired’, performing to festivals and stadiums of over 70 thousand people at a time, including being the opening act for Phil Collins’ world tour.

In late 2015, McGoo signed a management deal with Shipwright Productions, headed by Steve Shippee, previously the CEO of Broadway Video, the production company responsible for the iconic American comedy show Saturday Night Live. McGoo’s wonderful nomadic lifestyle had exposed him to a world of influences and the new batch of material which he brought to his management deal is the result of his many musical adventures; stretching from Nashville and New York, right through to the Maldives, the Caribbean, Europe and beyond – all via London and his home town of Glasgow.

McGoo has also been writing with a catalogue of high profile songwriters and producers, all of whom have contributed to ‘Songs From The Mirror’. 2017 has seen McGoozer deliver a debut single which quickly notched-up over 200k FB hits and a debut EP which immediately garnered attention from Yamaha, seeing him instantly signed to one of the brand’s first ever pioneering live web sessions – now the mighty McGoozer delivers his highly-anticipated debut album.

Songs From The Mirror by McGoozer

The music of McGoozer is immediately relatable and speaks from the heart and for the heart. Creating positive music about universal experiences, filled with astonishing soaring vocals and beautiful melodies, McGoozer’s voice will make your soul smile. Enjoy!

The debut album ‘Songs From The Mirror’ will be released on 15th September on Right Track Records.

 Listen to McGoozer sing
      Falling Out of Love


      Click on arrow to watch

For more details visit:

Some Kinda Wonderful Enjoy the Music of Stevie Wonder

Mesmeric vocalist, Noel McCalla

         Mesmeric vocalist, Noel McCalla

Celebrating the life-time genius of Stevie Wonder, the mesmeric vocalist, Noel McCalla, and award-winning saxophonist, Derek Nash, with a band of top musicians, will be playing a wide-ranging catalogue of classic hits, guaranteed to appeal to anyone who loves great music. The concert will take place on Wednesday August 30th at the Pizza Express Jazz Club, Soho.

From “Signed, Sealed, Delivered” through to hits “ Innervisions,” “ Songs in the Key of Life” and “Hotter than July” and playing hit after hit, from the classics “Isn't She Lovely” and “Superstition” to beautiful arrangements of “My Cherie Amour” and “Overjoyed”, audiences are thrilled by the compositions by Stevie with which he and others had massive hits.

Derek Nash, Saxophonist

             Derek Nash, Saxophonist

Noel McCalla’s long association with the brilliant Morrisey Mullen Band earned him acclaim as “one of Britain’s best Soul Singers” (Blues and Soul Magazine) and, for more than 19 years, Noel's searing, soulful vocals were featured with the iconic Manfred Mann's "Earth Band".

Derek Nash has played in Jools Holland’s Rhythm and Blues Orchestra since 2004 and is also a member of the Ronnie Scotts Blues Explosion. He has won several British Jazz Awards throughout his career fronting Sax Appeal, his Acoustic Quartet and the funk band, Protect the Beat. Derek has performed live, on record and on television with Gregory Porter, Chaka Khan, David Sunburn, Eric Clapton, Jack Bruce, Amy Winehouse and many, many more.

The all star band supporting Noel and Derek are Neil Angilley on the piano,  Orefu Orakwue playing bass and Nic France on the drums.

For details visit the Pizza Express website at  

Or call: 0207 439 4962

Jarrod Dickenson

Jarrod Dickenson

Jarrod Dickenson announces the release of his long awaited album ‘Ready The Horses’ as September 29th and reveals his new single ‘California’.

Storytelling is something of a Texas tradition. Tall hats and even taller tales are woven into the fabric of The Lone Star State, and singer-songwriter, Jarrod Dickenson can spin a yarn with the best of them. Hailing from Waco, now based in Nashville, Jarrod spends most of his time on the road bringing his own particular brand of soulful Americana to a wide variety of music loving audiences around the globe.

Jarrod's critically acclaimed album 'The Lonesome Traveler' and his subsequent EP 'Songs From Willow St' paved the way for him to tour the UK, Ireland and Europe extensively over the last several years. Breakout performances at Glastonbury and Larmer Tree Festival, along with recent tours supporting legendary artists such as Bonnie Raitt, Don McLean, The Waterboys and Jools Holland have earned Jarrod a formidable and loyal fan base across the globe, including BBC radio hosts Dermot O'Leary, Cerys Matthews, Huey Morgan, Janice Long, Robert Elms and Alex Lester.

The past few months have been quite a ride for Jarrod. With ‘Ready The Horses’ originally due for a March 2017 release, early reviews from a substantial spread of music magazines had proved the album a critical success. Jarrod was all set to reveal the fruits of his labours to the public when, after his fifth headline UK tour, he caught the attention of Decca Records and ‘Ready The Horses’ was picked up by the label.

Jarrod said of the news, “I think we've found a great home for the new album with Decca Records. It's an honour to be working with such an iconic label, and to be a part of their rich musical history. I'm very proud of 'Ready The Horses', and I am excited to send it out into the world.”

All tracks on the album were recorded with the core band live onto 2” tape, with Jarrod recalling, “I've found that getting a group of musicians all together in the same room, and playing the songs live allows you to capture the energy and feel of a live performance, because it's just that; a performance.

“You feed off each other, and create a much more honest and meaningful thing in my opinion. Recording to tape produces that warm sound we all love, but also affords you less room for error. I think it forces you to give each take your all."

Following spots at Harvest Festival and Bestival over the summer, this October he will embark on a UK headline tour celebrating the release of ‘Ready The Horses’.

For more information visit Jarrod Dickenson's website at

Listen to Jarrod Dickenson sing at Glastonbury at