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Edward Rogers: Rock ‘n’ Roll Never Forgets In New York Metropolis

As this album was coming collectively it became obvious to me that it had a 1970s theme to it… when i learned that Kevin Ayers passed away I obtained a hold of among the last words he’d written which were ‘you do not shine if you don’t burn…’ After that, your complete process of constructing KAYE fell into place. Like a puzzle…”

To coin an angular phrase worthy of the above referenced legend, Edward Rogers is New York Metropolis rock ‘n’ roll’s “Ayers obvious.”

For many of us, to traverse the streets of latest York City in the current tense, especially in singer — songwriter Edward Rogers’ decrease Manhattan Astor Place neighborhood, is to dance among the many ghosts of artists priced out of the environs, the soulless steel and glass structures whereby romantic tenements rued; the rock clubs, mom and pop institutions and record shops changed by telecommunications shops and dear boutiques. To be a rock ‘n’ roll practitioner in this unusual place is to be an iconoclast and a dreamer — like Edward Rogers, and his mentor, Kevin Ayers.

For those of you, and there are understandably many, who’re unaware of the life and work of Kevin Ayers, he was among the most significant British pop experimental recording artists who emerged from rock’s hallowed Canterbury Scene which flourished within the late 1960s-70s. An eccentric, prolific enigma, Mr. Ayers was a founding member of Comfortable Machine, and collaborator with a who’s who list of icons you could have heard of: Brian Eno, John Cale, Phil Manzanera, and Mike Oldfield — among scores of others whom I am certain my readers will admonish me for not citing. Ayers’ imprint on indie and mainstream rock artists of the previous twenty years is indelible — but fame was not in the playing cards for Kevin – not that I feel he cared a lot.

Edward Rogers was born in Birmingham, England. His parents pulled up stakes, and Edward, and migrated to the United States simply as the British rock world was undergoing a historic transformation with Jeff Beck, The Who, Cream, PP Arnold, The Nice, Manfred Mann — all of whom Edward saw on transient summer time trips back to his homeland. “It was the worse time ever” recalls Rogers “every part was taking place in the UK! And I was in Rhode Island, of all bloody places.” Nevertheless there were perks to being a Brummie in America. “I didn’t understand that having slightly longer hair would have such a strong impression — particularly on the ladies! They continually inquired if I knew John, or George, or Ringo, or Paul. It brought me out of a shell, though the unhealthy information was that I became a threat to the jocks and the straight-laced establishment.”

Fortunately for Edward his family finally moved a bit south to New York Metropolis at the daybreak of the punk revolution. When a rocker approached him and declared “you are going to be a drummer in my band” his life changed. Rogers gladly tossed aside his nicely-paying regulation firm job “which financed my velvets and satins, after which some. From then on I copied the whole lot Clem Burke (Blondie) did!” Behind the kit with such bands because the Overnights and Route sixty six, Edward revels in telling warfare tales of early, raucous gigs with the Smithereens, beating out the Stray Cats at an extended Island Battle of the Bands contest, and his shock at gazing out into the audience of the legendary Kenny’s Castaways on Bleeker Road (which is now a sports activities bar) one bleary night only to appreciate that Mick Jagger and Al Pacino were fixated on him.

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Although an accident primarily ended his career as a drummer, Edward was reborn as a singer — which is his natural habitat — Rogers belongs travis scott stone island below the spotlight, not behind it. As was his fate, Edward met the appropriate people at the best time while he “never worked and studied so exhausting in my life” to turn out to be a vocalist. He served a musical conductor for a bona fide (and thankfully still functioning) New York Metropolis rock establishment — The Losers Lounge — based by Joe McGinty (Psychedelic Furs, Kevin Ayers, Ryan Adams, Martha Wainwright, amongst others) which is a unfastened assemblage of musicians who tribute iconic artists starting from Neil Diamond to The Cure. After his bravura performance of The Zombies “I like You,” fellow Lounge performer Pierce Turner hugged him and pronounced “now you are a singer — now you’re one in every of us!”

Turner’s proclamation was seconded when Edward passed an audition before his heroes Tony Visconti (David Bowie, T. Rex), Clem Burke, and Tony Shanahan (Patti Smith Group), amongst others for a Marc Bolan and T. Rex tribute. “When Tony checked out me in the eye and stated ‘you’re in mate’ I delved deeper into my singing classes.” Edward’s progression as songwriter arrived at the possibility assembly of George Usher (The Decoys, Beat Rodeo, The Bongos, House of Usher) with whom he still collaborates.

As well as to 2 highly acclaimed albums as a member of the Bedsit Poets with Amanda Thorpe and Mac Randall (The Summer That Changed, Rendezvous), Rogers’ solo cannon is sort of impressive. Sunday Fables (2004), You haven’t Been Where I have been (2008) displayed promise aplenty. Yet Rogers’ partaking Sparkle Lane (2010) assortment, which drew inspiration from his Birmingham cultural and familial roots and emigration to the USA, and the glam moxie of Porcelain (2011) which was fueled by the artist’s love, surrender, and devotion to all things early 1970s Brit rock – is the stuff of observational genius within the tradition of Ray Davies, Ian Hunter, and Colin Blunstone — the latter two of whom at the moment are Edward’s beloved colleagues. “Music has been fantastic to me — the individuals who I used to be fans of are now buddies of mine.”

To converse with Edward about his new album KAYE is to witness a man on a mission. “I devoted this album to Kevin Ayers because he is one of those individuals who haven’t obtained his simply rewards. A few of it was his personal fault,” Edward continues, “he definitely had a self-destructive facet to his persona and life. Nonetheless, he was one among the good songwriters of his era with a tremendous physique of labor — he deserves to be on the market!”

Produced by Don Piper, whom Edward reveals “pointed me in the suitable route 9 out of ten times,” the assemblage of musicians on KAYE created the right storm to deliver Rogers’ vision to fruition. KAYE is a fierce track-cycle with tender moments tempered by sonic outbursts which ebb and move from observe to track. Much praise have to be afforded Rogers’ cadre of co-gamers: guitarists Piper, James Mastro (Ian Hunter, Bongos) Pete Kennedy (The Kennedys) Don Fleming (Velvet Monkeys); bassist Sal Maida (Roxy Music); keyboardist Joe McGinty, and cameos by George Olson on trumpet, and legendary downtown vogue denizen backing-vocalists Tish & Snooky, amongst others.

“Road Trend” evokes the trashy art-rock stuff of bassist Maida’s former ensemble. As is the responsibility of many an artist, Rogers spits out truth to energy within the scathing “What’s Occurred to the News At the moment” — to which Edward lectures to this author “the place do the Kardashians even benefit a mention in my life!” Says Edward of the monitor “My Road” — “I wished to put in writing a track like Ray Davies — I used to be thinking ‘Dead Finish Road’ as I assumed I was going to spend the rest of my life on Edgewater Highway in Birmingham – many of my friends did.” The maddest minimize on KAYE stems from a late evening jam which was edited from 28:00 to eight:00 entitled “Peter Pan’s Dream” wherein McGinty, Mastro, and Maida tear into a bitches brew of angular counter-melodies as Rogers croons melancholy over the mayhem — “we cut it considering how would Kevin Ayers would sound if he were alive today.”

Edward’s rendition of Kevin Ayers’ “After the Present” stays faithful to the original — accurately — although Mr. Ayers would have welcomed Tish & Snooky’s backing vocal support which quotes the legendary Thunderthighs (Lou Reed’s “Stroll on the Wild Side,” Mott the Hoople’s “Roll Away the Stone”) in spirit and execution. The title monitor, with its waltz groove, intones Ayers’ dying mantra “you do not shine if you do not burn…

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