A chat with City Weezle’s Simon Fleury

Alternative, Experimental, Folk, Interview, Metal, Prog, Rock

With a new record approaching close over the horizon, and numerous hungry fans to feed, we sat down with City Weezle frontman and founder, Simon Fleury; chatting everything from cabin fever to Japanese pentatonic scales!

AM: What would you say are the key differences between your debut record and the upcoming No.2?

SF: This album certainly has less Primus and Mr.Bungle influence. Even though we can still hear some Patton/Primus/Bungle colours in there. There are certainly more keyboard and piano sounds on this one thanks to the wizardry of Axel Steinbiss and CSL Parker; two excellent players/composers. CSL really encouraged me to get back on the City Weezle stuff and taught me free form improvisation which is super fun and it had been a long time since I’d done a lot of improv. For those things I’m very grateful and, of course, for his parts on the album..

It was so much fun working with Axel, he’s super zoned in and could just do anything. He composed some really cool key lines for the album and pulled really amazing takes out of the bag; all in his stride, He’s also one of the funniest guys I’ve ever met, Germans not being funny is a post-war myth. We’ve just had a Hitler joke we put in our press kit published in a review of German Punk Magazine so I think the proof is in the pudding there ;).

This one was recorded in many different places over a much longer period of time whereas «Taboo» was recorded all in the same place in the space of about a year. I think this one is definitely less chaotic, intentionally so, ‘Cluedo’ is the final track on this album and it fulfils the role of the track that brings the crazy. Of course, there’s a bit of craziness in all our stuff in different ways.

She’s a Stomper’ is our most straightforward rock song and I really dig it. It’s got a very Melvinsy feel. We haven’t really released a straight hard-hitting rock song before and this is certainly a new feel to our catalogue. In any case these are eight new diverse tracks we’re 100% happy with and can get behind and I can’t wait to perform them live.

AM: What do you think you learnt as a musician from writing No.2?

SF: From an educational perspective, I learned to write string quartet lines and it’s given me a better vision of how to approach orchestration for other instruments in the future I’ll definitely be delving into that a bit more on certain tracks.

It’s also given me a second round of collaborating with guest musicians which was also really cool and I’m really grateful to everyone who put a little piece of their magic onto this album.

AM: Did you encounter any challenges while writing/recording No.2? How did you overcome them?

SF: Yes there were many barriers to making this album not least the distance between all the personnel. It’s certainly one of the reasons why it took so long. Mixing this album at distance with Gautier Serre (Igorrr) was a lot of bouncing mixes back and forth and that was definitely the hardest part from my perspective.

But I really want to thank Gautier and think it was worth it as he did a great job, he’s responsible for the album having a great quality of sound. There were obstacles and a lot of flights booked to record this one but as with anything worthwhile it took motivation and perseverance to overcome those obstacles and finally get to the result we wanted.

AM: How would you describe the most dominant emotions coming from No.2?

SF: I’d say like most of our music it has a theatrical energy and there are moments of mystery and emotion. The most personal and emotional song for me is “Even Weezles get the Blues”. It was a very alcohol-fueled part of my life where I’d just split with my GF when I wrote that track and was feeling the solitude of those emotions. So while it seems like a funny upbeat track it actually has a very deep meaning for me.

In a fun way, I guess it’s me singing about my problems back then, therefore the song title makes perfect sense.

AM: Do you have a general songwriting method that you stick to or does it come from within the moment?

SF: Well I have different methods of composing and I don’t like to stick to just one. Sometimes I’ll write mostly the music first and then only have one or two vocal hooks along the way while imagining what the vocals will sound like. Sometimes more recently I’ve been finding vocal ideas first and then just finding the music to suit the vocals and I think it works really well. Like ‘She’s a stomper’ was mainly written like that.

Igorrr has done some composition sections within our tracks on “Taboo”. Sometimes we’ll create things as a band in a rehearsal room and take each other’s ideas and develop them or alter them.

I have a method of composing I’m sure other bands like “The Ruins” use too maybe? It’s to record an improvisation and have the other instruments learn it and record over it.

I call it “Comprovising”! So you record an improv and the other instruments record over it in a structured manner. So it sounds tight enough to be written but comes from a completely spontaneous performance. We’ll certainly be fitting it in on future tracks.

AM: Do you have any interesting or funny stories from the recording process?

SF: We tracked the drums and guitars out in this lovely little cottage in a very remote area in the Nyre Valley in Co.Waterford, nearly Bally Macarby.

Many thanks to The Fabie Family and Henstep McGrath of “Crow Black Chicken” for letting us use the place for recording, it was a really nice little drum room in the upstairs of the little cottage called “Gypsies Cottage”out there you get a real old Ireland feel, it’s kinda like going back 50 years in time.

A pub with a shop attached to it and the people to match, it was really cool. So we were very isolated out there, no phone signal, no internet just the basic equipment I had and the tunes to be recorded. We recorded the drums in the space of two days out there with “Ai Uchida”, all credit to him he’s a great guy and an amazing drummer!

I went out there to track the guitars for “She’s a stomper” by myself and it was a completely different ball game. I started getting cabin fever as they call it. It was like the Shining except I didn’t even have my wife or kid! With no internet and no telephone connection, it felt really really weird. I stayed at it for about two days and then got super depressed, scrapped everything and came back to civilisation

But it was very fun tracking out there with the lads other than that whacky experience!

AM: Can you tell us what it was like to work with Gautier Serre a.k.a Igorrr on this project?

SF: When I decided to get making this album I hit him up straight away with the question, ‘Would you be game for mixing and mastering it?’ Cause he’d done our 1st LP “Taboo” and I think he did a great job.

Plus I trust his ear. He’s a guy who’s been making top quality albums since I met him so I trust him on that front. He knows how to balance things well and get really great sounds. So I was delighted when he agreed to do it. Even though we did all of this at distance bouncing things back and forth and I haven’t seen him in ages I’d still consider him a friend. He was always super supportive of us and even jumped in a van to drive us around Europe for the Taboo tour.

He threw in a few little sprinkles of sound on No.2 where he saw fit and I think it worked out really well that way.

AM: How was City Weezle originally formed?

SF: Initially, I met a really wicked prog guitarist, Sylvain Ducloux, AKA ”Cloux” in ATLA music school in Paris where I was taking courses and he made this really insane prog guitar album called “Full Fool” and he invited me to do some vocals on a few tracks.

That was my first time participating on a professional quality recording – up until then I’d just done my own demos on my 8 track where I’d play all the instruments for the most part. From those demos, I had a bunch of tracks that I wanted to make a fusion band with and I selected those tracks to make the 1st demo of CW with “Cloux” on guitar, Eric Carrere on drums and Maxime Gilbon on Bass.

Eric Was playing with Cloux at the time and he’d done drums on my Demos too. Max and I used to mess around playing covers of queens of the stone age and Primus with this other summer. I feel lucky that I’m still very close friends with those guys to this day. They’re great people and great musicians.

AM: How did music first enter your life? Do you have any standout memories?

SF: The first song I remember hearing as a kid is that “Dire Straits” track “Walk of life”; I must have been about four, it was on the radio and my mother was cutting celery. Every time I heard that song after that I would get the smell of celery and, vice versa, every time I’d get the smell of celery it’d bring that famous keyboard line of that song into my head. I only really started getting into music around age nine or 10 when I got into Nirvana.

Before then I’d had a few of those Now compilations. Discovering Nirvana was obviously a life-changing moment as it was for us all. Shorty after I got into Metallica and Alice in Chains, another pivotal moment was discovering Mr. Bungle Age 16; I’d discovered Zappa shorty before then.

There was also a legendary singer song writer named “Warwick Embury”. He wasn’t famous but he really should’ve been.. He was good friends with Donovan and had come from the really thriving music scene in the UK to live in Tipperary, Ireland.

I imagine he wanted to get away from the hustle-bustle of London and found solace in Tipp. English guy, real deal rock and roll legend who used to come round to our house and sing tunes and improvise lyrics and he was super fun and entertaining. He was a very fun, very cool guy, real heart and soul of the party. He wrote great songs and he was a massive influence on me too. Unfortunately he’s passed away now but he left a lot of great happy memories. His music lives on. I’d advise anyone to go and check out his stuff. Really great songs.

AM: I’ve seen that you’re a Francophile and also becoming fascinated by Japanese culture! Is this something that you think has ever leaked into your music or could do so in the future?

SF: Yes that’s 100% accurate I’ve always been into the french language and now I’m a fluent french speaker. I learned it from having lived over there for years. That’s where City Weezle was initially founded and I still have great friends over there.

Yes it’s worked its way into our music a bit. On our latest album No.2 on the 3rd track Maestro Mafioso, at the intro of the song I have some lyrics in french and I sing them with Pedral and Mina of “Vladimir Bozar ‘n’ ze Sheraf Orkestar” one of my favourite bands!

We also do a rock cover of a french pop song “l’amour a la plage” there’s a version of it on the “Lysergik tea party” EP; there’ll definitely be some more french stuff in future!

Yes, it’s only now I’m starting to learn some Japanese and am very fascinated by Japanese Culture. I feel very lucky to have two great Japanese members in the band and really looking forward to gigging over there with the lads and learning more about the culture. Musically I’ve only learned the Japanese minor pentatonic scale and I wrote a really cool sounding intro with it once – we might break that out of the bag and make it something hopefully. Look forward to learning and hearing more.

AM: How do you believe that City Weezle fits into the prog scene?

SF: We initially come from the underground scene in France where Igorrr, Pryapism Vladimir Bozar and all these bands were kind of our contemporary’s. I think our music is quite diverse and will remain so we can be appreciated by the open-minded members of many different types of audiences.

I could see us opening up for any band we’d cite as an influence and fitting the bill very well, I think we fit in many places; we’re a fun band and we put on a fun show! It should fit right in everywhere. (Probably not in all-metal show line up but we’ve done it before and didn’t get murdered by an axe-wielding maniac, but who knows? Maybe next time it’ll happen 😉

AM: What is the main mission statement of City Weezle?

SF: Our mission is to keep people entertained as fuck and bring this super fun music to as large an audience as possible in this lifetime all while sharing the love of the music we love and the influences we channel through our music.

I believe it was Frank Zappa who said “Music is the Best”.

Words by Alex Mace

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Back at it: Four Crooks Release New EP ”Black Magic.”

Alternative, Indie, Rock

Taking lockdown as their cue to gather their collective talents, West Midlands-based Four Crooks took to a remote farmhouse to write and record their new EP, and are now unleashing the results to the world.

Four Crooks consist of vocalist and guitarist Dave Morris, Guitarist Eamonn Russell, Bassist Toby Barnet and Drummer Dan Quinton-Jones. Having actually met over a bar altercation, Eamon and Dave shared a common Bond in music and how it should be performed.

They formed a band with Toby and Dan and took advantage of the lockdown to record a new, hard-hitting EP.

listened here:

Black Magic by Four Crooks is led by the title track, a meditation on the addictive qualities of women and substances of all kinds – both a warning and a celebration of everything that can get you high and take hold of your senses.

The Black Magic EP also features Feel Alright, a song of redemption which sees someone working their way through a difficult relationship and walking out with their head held high.

Paranoia, a thudding, far heavier track looks at how it really feels to be trapped mentally with feelings of anxiety and doubt.

All in all, Black Magic is a trio of tracks that are honest about mental health and relationship battles.

For all things Four Crooks, be sure to follow their social media below:

Facebook: https://www.facebook.com/fourcrooks

Twitter: twitter.com/fourcrooksband

Instagram: https://www.instagram.com/fourcrooks/

Soundcloud: https://soundcloud.com/fourcrooks

Spotify: https://open.spotify.com/artist/481eyDyRzknJPYeewo9SKN?si=Pe99LDC3RIq1z8ktrGH36A

Youtube: https://youtu.be/0vaNFaZ3Hag

Vanderocker Releases New Psychedelic Indie EP “The Good Punk”

Alternative, Funk, Indie, Rock

“In my mind, it’s a basic study of humans on different levels, almost from an Alien National Geographic kind of perspective. Here is Earth, a most beautiful place and here are the alluring creatures who call themselves human beings. Let’s observe them when they are just in their bodies. Now look how they change when they interact with other groups’ – like a typical lab observation, right? Which is interesting in itself; but then of course, we have to look at how amazingly powerful humans can be when they disengage from the drama and plug into something bigger than themselves. I find comfort in all of it, when I can step back and observe us the way a newcomer might.”

Vanderocker

Writer, guitarist, bassist and synth player across the new EP, Adrienne Vanderocker collaborates with producer Brandon Eggleston and several noteworthy guest artists such as Federico Pol Jr (Joe Cocker), Peter Holmström (The Dandy Warhols, PIA), and Brendan Bond (Black Pumas) in her new psychedelic EP ”The Good Punk.”

This includes four new tracks (as well as a bonus instrumental) which take the listener on a whole journey of genres from psych to electro pop, touching themes on sex, voyeurism and duality, which solidifies Vanderocker’s role as one of the most exciting recent alternative indie acts.

Among this EP, we are essentially taken on a journey of the human experience and our own battles with desire in our lives. This is highlighted in the track ”Cult for you.” Described as ‘earthly pleasure’ by the artist, the ambience and echos within the song take you on a lesson on the basics of human desire in the most spiritual form possible.

We are then taken into ‘‘Endless City” which brings the human experience out of the singular and into the city at night. It paints a picture of an environment full of the highest highs and the lowest lows, where people become ”lock boxes for sins, secrets, or resilience, or heroism, and they also become the most open, revealing, expressions of themselves on the flip of a dime.” This Endless City is also the place to get mind altering substances which keep us in a state of euphoria. It is emphasised that people on the outside wouldn’t get it, but those experiencing it would get it the most.

“Taking Notes” almost makes you feel like you are at school again. Here, Vanderocker takes a different route with a ”deep funky groove” explaining how as humans we have to push ourselves to almost reach our potential.

I was setting up a kind of 70’s vibe as the foundation and Pete ended up putting some really cool guitar work, creating this brilliant soundscape over the piece. In case anyone wanted to enjoy this piece without the narrative, we included a bonus instrumental on the EP” 

Vanderocker

Finally, the psychedelic journey ends with the track ”Supercell.” Vanderocker describes the tune as something which ”takes a look at how powerful humans are when they come together for a cause. Of course, it particularly speaks to all the unrest and upset around the massive corruption and ongoing systemic racism.

Vanderocker explains that when writing she ”was just thinking about that superpower gene that kicks in when change happens.” When she found out what a supercell was, she says the track ”couldn’t have been more perfect.”

The EP can be streamed here:

This Ep further shows us the wild artist that Vanderocker is and will continue to be, for all things Vanderocker be sure to check out their social media below:

Facebook: https://www.facebook.com/Vanderocker

Twitter: https://twitter.com/VanDeRocker

Instagram: https://www.instagram.com/vanderocker/

Website: http://www.vanderocker.com

Soundcloud: https://soundcloud.com/vanderocker

Spotify: https://open.spotify.com/artist/6nNurDWHIuQBCHOfbQoaNn?si=2guYYtExRD6HXbfmgQEQIg

Youtube: https://www.youtube.com/user/Anamoism/videos

MeMe Detroit Return as “Mean Rock n Rollers” in New Single

Rock, Rock n Roll, Singer-Songwriter

MeMe Detroit’s new single brings about the classic sounds and angry vibes that you would typically get in an archetypal ‘Rock n Roll’ song.

Describing it as a ”Calling” and a ”Deep Lifestyle” within the lyrics, ‘Mean Rock n Roller’ was written as an anthem to anyone who feels pressurised to adapt and conform to societal ideals.

Mean Rock N Roller is a bit of a tongue-in-cheek song that we had written as a bit of fun but at the same time says ‘fuck you’ to the limiting beliefs that are pressed on us by society as we grow up. You can basically be, do or have anything you want in life when you put your mind to it, so never settle. It’s pointless”.

MeME DETROIT

Mean Rock n Roller can be streamed below:

With 200 gigs under her belt, MeMe Detroit has become known for her highly energetic, immense and furious live shows. However, even away from the live scene MeMe, alongside drummer Kallum McEwen, are still able to give quality music and entertainment for their fans.

They are currently rallying their fans to help put together a music video, whilst keeping them entertained with a constant supply of new music via exclusive streams on social media.

MeMe Detroit continue to gain traction within the UK music scene as they have managed to land regular airtime on Kerrang! Radio, Janice Long’s show on BBC Radio Wales and have been picked for Fresh on the Net’s ‘Fresh Faves.’

For more updates and information on all things MeMe Detroit, be sure to keep up with their social media below!

Facebook: http://facebook.com/memedetroitofficial

Twitter: http://twitter.com/memedetroit

Instagram: http://instagram.com/memedetroit

Website: http://www.memedetroit.com/

Soundcloud: https://soundcloud.com/memedetroit

Spotify: http://smarturl.it/mdsptfy

Youtube: http://youtube.com/memedetroitvevo

Check out the latest episode of The Quite Great Radio Show: 

Nonviolenze Takes Us Deeper In Life With New Album ‘Ghosts of War’

Acoustic, Jazz

Texas based Nonviolenze seems to dabble in all arts.

Whether it be music, paintings and poetry, Nonviolenze continues to amaze and enchant his fans with his many projects. He hopes to continue this with his new album ”Ghost of War.”

Touching upon subjects such as poverty, politics, human rights and equality, “Ghosts of War” combines nine tracks which challenge our social norms and provides an alternative perspective on different aspects of life.

Tracks that stick to mind on this Album are ‘Electron’ and the eponymous title track on the album. The former takes us through the transience of everything around us and explores what everything really means with a really futuristic and astronomic vibe and sound.

It’s unusual yet soothing sound helps the listener to think and take a look at life which is maybe what Nonviolenze wanted.

The video for Electron can be watched here:

Ghosts of War on the other hand explores and questions how religion and scriptures often lead to more division, hate and war.

Again Nonviolenze masters the art of atmosphere with the constant strokes of the acoustic guitar in sporadically spaced timing across the song.

Even though it is intended to be acoustic, it can give the listener nostalgic country vibes which helps to understand and interpret the poignant messages that are in the song.

The highly anticipated album ‘Ghosts of War’ can be streamed below:

For more information on all things Nonviolenze, check out his social media channels below:

Facebook: https://www.facebook.com/nonviolenze

Twitter: https://twitter.com/nonviolenze

Website: http://www.nonviolenze.com/

Soundcloud: https://soundcloud.com/nonviolenze/tracks

Spotify: https://open.spotify.com/album/0g76FqswbKNCWobiocIXip

Youtube: https://www.youtube.com/channel/UCoFr6g6DDwJma6fdL2OW8UQ/videos

Tod Almond releases tantalising tease track in step towards new album

Music, Rock

On September 4th, Tod Almond releases his latest single, ‘Start Again’ in a bid to tease us of the release of his debut album ‘If Only You Could See’ which is set to drop on 2nd October. This is a hugely welcome return to his classic rock song-writing and guitar prowess.

Almond is based in Huntingdon, Cambridgeshire and has stuck true to the maxim, “do what makes you happy!” Teaching himself guitar as a teenager, he became hugely attached to his first acoustic guitar, then moving on to electric guitar, bass and drums – developing and understanding of each instrument intuitively and learning by ear.

“My children keep asking me, ‘When will you be on Spotify?’ I said, ‘It won’t be long. They just want me to be something. I really want them to hear, see and feel my happiness”

Tod almond

The single is a true, raw, down to Earth example of a classic rock tune – filled with searing solo’s and hard-rock hooks, you will be drawn to listen again and again.

Make sure to follow Tod on social media to be the first to hear about the release of ‘Start Again’ on September 4th and album ‘If Only You Could See Me’ on October 2nd.

Facebook: https://www.facebook.com/todalmondmusic
Instagram: https://www.instagram.com/todalmond Website: https://todalmond.com
Soundcloud: https://soundcloud.com/todalmond/11-start-again-radioedit/s-X7kHmfdkEWA
Spotify: https://open.spotify.com/artist/4LmYtGq5ZeOlWWYYwXhObc
Youtube: https://www.youtube.com/channel/UCwqxnC6nZ9_FX7py0ntJYnA

Lui Krieg Makes It Crystal Clear On Remaining Stress & Worry Free

mens health week

For many of us during lockdown, it’s been difficult to fill the void and escape our thoughts from time to time. Musician and therapist, Lui Krieg has been exploring new coping mechanisms for this – which we can all make a note of.

This has seen us exploring and finding plenty of different ways to take our minds away for a while – endless banana bread, Joe Wicks’ workouts, TikToks that will last a lifetime; whatever it is, I am sure that crystal and sound therapy wasn’t up there!

Lui Krieg has had 20 years of working with crystals in sound as a therapist and musician, where he has earned a vast amount of experience of many conditions whether physical, emotional or mental.

‘I have helped many clients.. by getting them to work with the right minerals and to the time to meditate.. once people connect deeper to their spiritual selves they will automatically become more health conscious.. and will interact with their environment in a different way.’

Lui krieg

It is believed that Quartz has the ability to store data for up to 3 MILLION years, meaning that if it works for you it might definitely be a long-term option.

Crystals in sound is another area that we could all access, from crystal singing bowls, pyramids, shamanic drums, Tibetan singing bowls and the King of the sacred sounds – a Paiste gong. This sound therapy is said to clear and activate people’s energy fields – if this helps you to feel clear and empowered , I would say we should all be giving it a try!

LESSER GLOW: Cvlt Nation Debuts Nullity Full-Length From Atmospheric Doom/Sludge Metal Practitioners

Rock

Cvlt Nation is currently streaming Nullity, the latest full-length from atmospheric doom/sludge metal practitioners LESSER GLOW in its confounding entirety. The debut comes in of the eve of the LP’s official release via Pelagic Records.

With Nullity, LESSER GLOW rips open a massively wide and confident blend of traditional doom meets melodic metal, paired with the likes of hardcore, post hardcore, noise rock, post rock, and beyond. Molding all these into one cohesive mix, LESSER GLOW stands out as a refreshing and unapologetic ally brutal take on heavy music.

Issues the band, “Nullity was a chance for us to expand ideas we began with Ruined. There was never a finite idea in mind, neither for the band nor the record, and throughout the writing process we tried to explore that; follow the excitement, pull from all angles of influence, and push the dynamics and sounds to new territories.”

Adds Cvlt Nation,“There may have been a time in human history where, as a species, we understood ourselves as part of a whole; one part of a symbiotic relationship with the planet. But those days have been lost to most of us. Now we’re a scourge; parasites that feed off the corpses of every other living thing on earth but most of all, ourselves. That idea is what breathed diseased life into the new album from LESSER GLOW, and the dissonance and wrath wash over me in waves while I listen to this filthy slab of sludge!”

Stream LESSER GLOW’s Nullity via Cvlt Nation HERE.


LESSER GLOW’s Nullity will be released on CD, LP, and digital formats. For preorders, go to THIS LOCATION

Northern Irish rock band Ash launch new merch

Rock

While their recent tour ground to a premature halt, many ASH fans cried in woe as shows were postponed and the opportunity to pick up their fancy new merchandise seemed to fade into a distant, far off future. 

But rejoice! Thanks to their merch fairies, all the new range of T-shirts, Hoodies and some older tour beauties are now available online

What are you waiting for? Get yours now!

David Crosby Will Reissue CPR’s Two Studio Albums, Plus Two Live Album Via BMG

News

After being a part of two of rock & roll’s most foundational bands (the Byrds and Crosby, Stills & Nash, respectively), and four years removed from a life-saving liver transplant, David Crosby channeled the creative frustration he had been feeling into CPR’s 1998 self-titled debut. Joined by noted session guitarist Jeff Pevar and Crosby’s recently reunited son James Raymond, the trio crafted smart, heady, jazz-indebted rock that showcased their stunning harmonies. They followed that three years later with 2001’s Just Like Gravity, an album that refined the burgeoning trio’s sound. On May 15th, BMG will reissue CPRJust Like Gravity and the group’s two live album – Live at Cuesta College and Live at the Wiltern. All four albums will be available digitally, and CPR and Just Like Gravity will be available on CD July 31st, with liner notes written by Steve Silberman, the award-winning science writer who hosted the illuminating Freak Flag Flying podcast with Crosby from earlier this year.

“CPR was me realizing that the world of CSN and Y was getting old and stuck in its place and that I needed to still keep moving,” says Crosby. “That I had more and different music in me that needed room to grow and stretch. CPR was me finding my son James and realizing pretty quickly that he was an even better musician that I was, and that he was rapidly becoming the best writing partner I’d ever had. CPR was a wonderful chemistry that has now become the Sky Trails band. I don’t think very many people heard these records, and I do think that they are some of the best work I’ve been involved with. Enjoy.”

Still on the road with CSN – but as Crosby says merely “turning on the smoke machines and playing the hits” – the two-time rock & roll hall of famer wanted an outlet for his still churning creativity. After meeting Raymond for the first time shortly after his liver transplant, the pair discovered a creative chemistry neither saw coming. They went on a songwriting spree, and after recruiting Pevar, went on to make CPR. After a series of successful tours, they went back into the studio to record Just Like Gravity. And by opening himself up to working with younger artists to help stoke his creative fires, Crosby’s recent late-career resurgence – highlighted by 2014’s Croz, 2016’s Lighthouse, 2017’s Sky Trails and 2018’s Here If You Listen – can really be traced back to working with Raymond and Pevar in CPR.

CPR was very much a precursor to Crosby’s acclaimed Sky Trails album and the ace live band that grew out of that album, both of which feature Pevar and Raymond. Spin called Sky Trails Crosby’s “most stylistically diverse and sonically lush solo album,” while the Associated Press called it “an excellent batch of tunes.” In many ways, CPR and Just Like Gravity were albums that pushed against what was popular in rock at the time – CPR going up against the nu-metal wave of the late 90’s, and Just Like Gravity coming at the beginning of the turn of the century “rock revival” led by acts like the Strokes and the White Stripes. Crosby, Pevar and Raymond weren’t chasing after the flavor of the day or trying to recreate old glories, they simply followed their muse, trends be damned.

As Silberman says in the liner notes for the Just Like Gravity reissue, “CPR and Just Like Gravity were two of the most powerful and personal records Crosby made in his celebrated career, but they flew under most critics’ radar and quickly went out of print. The lessons that Crosby learned by opening up his creative process, however, made possible later collaborative breakthroughs like Croz, Sky Trails, Lighthouse, and Here If You Listen. Far from done at this point, his best work was still ahead of him.”