Cory and John Mayer sit down with their guitars to jam and discuss how they approach playing, songwriting, record-making, and the music business. Click here to subscribeWong Notes is presented by DistroKid.Use this link for 30% off your first year.John Mayer Smacks the Strings | Wong Notes Podcast

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ENVY OF NONE, the new band from Alex Lifeson (RUSH), Andy Curran (CONEY HATCH), Alfio Annibalini and singer Maiah Wynne, will release its self-titled debut album on April 8 via Kscope. The official Jaden D.-directed music video for the LP’s second single, “Look Inside”, can be seen below.

Curran, having a “soft spot” for “Look Inside”, recalls the song’s creation: “I was in my studio late one night, headphones on… a few glasses of red wine deep and thought, wouldn’t it be fun to pull out my bass, blow up the tone, double it and play to a really messed up super slow drum groove. It’s got a real stoner vibe to it. That’s what happens when you mix wine and bass… Mission accomplished!”

With the rough bed track and song name sent to Wynne, her initial thoughts were one of introspection. “Sometimes you have to shine a light on all the ugliest pieces of yourself in order to truly change, and you have to keep slaying that dragon over and over again,” she says. “It is a continuous, slow and painful process. The guitars and bass really drive the grittiness and heaviness I felt when I wrote those lyrics. It feels like an all-encompassing sludge, and that is what I absolutely love about this song.”

Lifeson is no stranger to the concept of evolution. As a founding member of RUSH, he’s been able to explore more musical ground than just about any other guitar player out there — taking rock to new progressive heights throughout the decades and always in the most wildly inventive of ways. His influence can be heard on countless bands around the world, from indie shoegaze and math rock to heavy metal and beyond. Over the last few years, Lifeson has been focusing on a new project that, no matter how well-acquainted you are with his discography, will undoubtedly shatter all seeds of expectation and blow the mind. That project is ENVY OF NONE.

“Envy Of None”‘s 11 tracks — which ricochet between various shades of alternative, experimental and synth rock — throw surprises at every turn, twisting dark melodies against contemporary pop hooks. Lifeson himself is proudly aware of how little of it crosses over with the band that made him famous.

However, it was only when Wynne became involved that this truly started to feel like a band destined to go somewhere. Her haunting melodies and soul-baring intensity is — by the admission of her own bandmates — what truly brought this music to life. All things considered; she is a star in the making.

“I sent over an early version of the song ‘Shadow’,” explains Curran. “When I played what she’d done back to the others they were like, ‘Who is this crazy talented person?!'”

The album’s first single, “Liar”, was released in January. Its industrial beats, driving fuzz bass and atmospheric guitars concoct a seductive swirl indeed — thrilling in ways closer to the darker art rock of DEPECHE MODE, NINE INCH NAILS and A PERFECT CIRCLE than anything these musicians have been known for prior.

“Maiah became my muse,” says Lifeson. “She was able to bring this whole new ethereal thing through her sense of melody on tracks like ‘Liar’ and ‘Look Inside’. After hearing her vocals on ‘Never Said I Love You’, I felt so excited. I’ve never had that kind of inspiration working with another musician. When we say she’s special, it’s because she’s really fucking special.”

“One of my favorite things about these songs is the intimacy of them,” reveals Wynne. “It makes them feel different and more honest. There are some heavier songs too, like ‘Enemy’, and then tracks like ‘Kabul Blues’, that sound completely different to anything else.”

The album closer, “Western Sunset”, which was penned by Lifeson in tribute to his dear friend Neil Peart. It’s a highly emotive piece of music to honor a man deeply missed by the rock community at large, and even more so by those who were lucky enough to know him.

“I visited Neil when he was ill,” says Lifeson. “I was on his balcony watching the sunset and found inspiration. There’s a finality about a sunset that kinda stayed with me throughout the whole process. It had meaning. It was the perfect mood to decompress after all these different textures… a nice way to close the book.”

ENVY OF NONE is:

* Alf Annibalini – Guitar, Keyboards, Programming
* Andy Curran – Bass Guitar, Synthesized Bass, Programming, Guitar, Background Vocals, Stylophone
* Alex Lifeson – Guitar, Mandola, Banjo, Programming
* Maiah Wynne – Lead Vocals, Background Vocals, Keyboards

“Envy Of None” track listing:

01. Never Said I Love You [04:06]
02. Shadow [03:21]
03. Look Inside [04:44]
04. Liar [03:13]
05. Spy House [02:23]
06. Dog’s Life [04:36]
07. Kabul Blues [03:12]
08. Old Strings [05:15]
09. Dumb [04:19]
10. Enemy [04:16]
11. Western Sunset [02:25]

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In a new interview with The Metal Voice, drummer Gil Moore of Canadian rock legends TRIUMPH discussed the first-ever feature documentary about the band’s dramatic career, “Triumph: Rock & Roll Machine”, which was made available last month for streaming in Canada, only on Crave.

Produced by Emmy and Peabody award-winning Banger Films, “Triumph: Rock & Roll Machine” is a Crave original documentary that has been described as “a celebratory, exhilarating thrill ride through the history of one of rock’s most unsung acts.” The film covers TRIUMPH’s humble beginnings as staples of the GTA circuit in the mid-’70s to their heyday as touring juggernauts, selling out arenas and stadiums all across North America with their legendary spectacular live shows — and way beyond.

Moore said (as transcribed by BLABBERMOUTH.NET): “Just to clear the fog a little bit on the distribution, which is something the band obviously doesn’t control. But the deal up here in Canada right now is this Saturday night, the movie’s gonna play on the CTV network, coast to coast, in prime time, 8 p.m., at whatever your local CTV affiliate is, wherever you are. As far as it streaming on Crave, it is continuing to stream on Crave and will be there for years. And film festival-wise, we also, after the Toronto International Film Festival, the film premiered at the Philadelphia Film Festival. We’re now scheduled for the Sarasota Film Festival as well; I don’t have a date on that. But I think there’s gonna be some announcements coming up fairly soon about U.S. distribution as well. So it’ll probably be a Video On Demand play and then probably a streamer as well — similar to [the way it is] here [in Canada].”

Regarding the overwhelmingly positive reaction to the documentary so far, Gil said: “It’s a story of ups and downs and right turns and left turns. The fans are kind of part of the film too, their life experience with the band and some of their stories, both sad and happy, that blend in.

“People have asked me why we’ve gotten such a good response to the film, and I said I think it’s because you never know what’s coming next,” he continued. “It’s not a consistent story — it doesn’t go A, B, C, D, E, F, G. It’s all leaping all over the place. One minute somebody’s crying, the next minute someone’s yelling — it just goes to so many places and there are so many people that are commenting from different lenses that I think it makes it interesting. And I give the credit to the directors; they are the ones that created something with [our story]… It’s a series of stories. It’s woven together into one story, but really what it is is you open the next door and you go, ‘Oh my God. What’s on the other side of this door?’ I don’t know whether it’s a house of mirrors or a house of horrors or what it is. There’s a surprise every minute — that’s how I feel about it anyway. Otherwise I don’t think I could watch it; I would just be, like, ‘I don’t wanna see this stuff. I was there and I know what happened.’ But it’s kind of fun for us to watch it because all the characters and things they say and everything, it really makes it.”

Last September, TRIUMPH guitarist/vocalist Rik Emmett told The Metal Voice about “Triumph: Rock & Roll Machine”: “First of all, Banger Films made it, and they’ve done this before — they’ve done it for IRON MAIDEN, they’ve done it for RUSH, they’ve done it for Alice Cooper and ZZ TOP. I mean, these guys, they’re experienced. But they’re telling their perspective of the story. They’ve done their research and then they decided, ‘Well, this is the angle we’re gonna take.’ So that’s the first lens you’re getting. The other thing is it’s not my story, because I was only a part of TRIUMPH. And, in fact, I don’t actually own that brand; Gil owns that brand. So you’re gonna get a little bit more of Gil’s angle of it than Rik’s. And that’s fine — I’m cool with that — but in truth and in fairness, I think people need to know that. That’s what you’re gonna see — you’re gonna see something that’s been passed through those filters.”

He continued: “So, is this okay? Have all three guys signed off on this? Yes. But you’re not getting my story… Truth is perspective. Truth is a point of view. And everybody understands that; it’s just everybody also has this sort of ego thing where they go, ‘Yeah, but my truth is better than his.’ ‘My truth is way more important than hers.’ And that gets back to that vanity thing again about how you have to let go. So the documentary, you’re talking about trying to find truth from an integration, and I’m saying compromise and collaboration, yes, you get a kind of an integration, but what I’m showing you here, that’s only two dimensions. There’s more to this than just what you see.”

In 2020, Emmett told The Metal Voice about the making of “Triumph: Rock & Roll Machine”: “There’s a surreal nature to it — you’re going back in your life, and they’re reminding you of things that you’d completely forgotten,” he continued. “And you’re going, ‘Oh, yeah.’ And then they’re digging deeper, and they’re going, ‘So, when the band broke up…’ And you’re going, ‘Okay, this hurts, actually.’ I don’t wanna have to go back to that, because the rise and the fall and the rise again, it’s the fall that hurts. I don’t wanna go there. I thought I’d put all this behind me. It was ugly, heavy baggage.”

Emmett also talked about a “really extraordinary thing” Banger Films did while working on “Triumph: Rock & Roll Machine”. “They flew in fans from all over the world,” he said. “They created an event. And the fans didn’t know that we were gonna actually play three songs. So, they brought ’em all to the warehouse, and they’re wandering, and they’re looking at this TRIUMPH museum-y kind of thing. They’ve got dummies with my old spandex jumpsuits on. And then they send them down and they were gonna show them a few little clips on a scrim. The scrim drops and there we are and we play. And these are the people that love us the most. And there was only a couple of hundred of ’em. But it was so intense; it was so amazing. And, of course, they’ve got, like, 15 cameras around the room capturing every angle of this. And then you go, ‘Oh my God. This is heavy duty.’

“So it’s really good,” Rik added. “It really gets to the heart of, you’re a band, you create some music, you make a connection to people, and then here’s these people, you’re the soundtrack to their lives, and it matters to them. So they love you. I could get up there and fart, and they would go, ‘Yeah! Great!'”

The aforementioned invite-only event was held in November 2019 in front of 300 “superfans” at MetalWorks studio in Mississauga (a suburb of Toronto), Ontario, Canada. Emmett, bassist/keyboardist Mike Levine and Moore played a three-song set that marked TRIUMPH’s first performance in 11 years, as well as its first as a pure three-piece power trio in 31 years. The tracks played were “When The Lights Go Down”, “Lay It On The Line” and “Magic Power”.

Moore, Levine, and Emmett formed TRIUMPH in 1975, and their blend of heavy riff-rockers with progressive odysseys, peppered with thoughtful, inspiring lyrics and virtuosic guitar playing quickly made them a household name in Canada. Anthems like “Lay It On The Line”, “Magic Power” and “Fight The Good Fight” broke them in the USA, and they amassed a legion of fiercely passionate fans. But, as a band that suddenly split at the zenith of their popularity, TRIUMPH missed out on an opportunity to say thank you to those loyal and devoted fans, a base that is still active today, three decades later.

Back in 2016, Moore and Levine reunited with Rik as special guests on the “RES 9” album from Emmett’s band RESOLUTION9.

After 20 years apart, Emmett, Levine and Moore played at the 2008 editions of the Sweden Rock Festival and Rocklahoma. A DVD of the historic Sweden performance was made available four years later.

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“Missionary Man”, the new solo single from HEART singer Ann Wilson, can be streamed below. The track is taken from Ann’s upcoming album, “Fierce Bliss”, due on April 29 via Silver Lining Music.

One of the premier hard rock vocalists of all-time, Wilson smashed boundaries with her band HEART, the eight-times platinum, 35-million-plus-selling Rock And Roll Hall Of Fame trailblazers who formed in 1973. During a decades-long career, Wilson rode the roller coaster of fame, fortune and madness, learning both joyous and hard, hard lessons along the way. Fast forward to summer 2020 and a meeting with legendary veteran “artist’s lawyer” Brian Rohan provided the catalyst for “Fierce Bliss”‘s creation.

Ann says: “Brian recommended people to me that knew people in Nashville, so I met these guys like [famed Nashville session guitarist] Tom Bukovac and Tony Lucido at those Muscle Shoals Sound Studio sessions. I’d never met them before, and they really inspired me. It was like a big door opening.”

With the musical chemistry organically established, “Fierce Bliss” came together quickly. “I had originally intended to go in, record a few songs and see what I had, but it just took on this life,” remarks Wilson. “At Sound Stage in Nashville, Kenny Wayne Shepherd came in and played on a couple songs. He was a whole other influence coming in. He just played his butt off, and with the gospel singers and everything else coming together, the whole project just started to grow.”

Wilson continues: “I’d known Warren Haynes from GOV’T MULE for a while. We’d written a couple songs together with GOV’T MULE playing, and those rounded out the record. So all of a sudden, where there was no record before, suddenly I had eleven cool songs that I really liked.”

“Fierce Bliss” is classic rock comfort food of the finest ingredients, carrying a richness and light that allows you to escape into timeless nostalgia. 11 perfectly weighted and selected songs ranging from Wilson’s own co-penned originals to breathtaking covers and collaborations. “A Moment In Heaven” could easily apply to anyone who has seen their career suddenly bathed in a bright beam of glory before the spotlight is abruptly moved elsewhere. There is a deeply spiritual air about Ann Wilson 2022, and both “Black Wing” and “Angel’s Blues” show different facets of that soul and ethos. Furthermore, Wilson brings new life and verve to classic songs, such as QUEEN’s “Love Of My Life”, EURYTHMICS’ “Missionary Man” and Robin Trower’s “Bridge Of Sighs”, and has helped fashion definitive versions of each which stand toe-to-toe with the originals.

To cap it all, the album artwork comes from the mind and hands of celebrated fantasy artist Roger Dean, who aside from his work in fantasy art is also renowned for his YES sleeve artwork.

Wilson will soon be hitting the road with her new band, and make no mistake, she’s a performer at heart thus her excitement is palpable. Ann Wilson seems to be more comfortable with herself (and her art) than ever before with both “Fierce Bliss” and the band she’ll be touring with. “I think that for someone who’s been through as much as I have, and has lived to tell the tales, it’s okay to share my experiences,” says Wilson sagely. “I’ve heard from a lot of younger musicians and listeners too who have thanked me for staying around and for just keeping upright, just making it through, making the concessions once but not twice, and being able to live through it all with dignity.”

Last month, Ann released the first single from “Fierce Bliss”, a song called “Greed”. At the time, Ann stated about the track: “‘Greed’ is that thing in our animal nature that makes us want MORE. Whether it be money, sex, power or ecstasy, it fires our craving. It happens with all of us. When you turn around and catch yourself making decisions because you want the money, or because you’re caught in the headlights of glory, well, those are greedy moments.”

Wilson continued: “I think people who claim to have made every decision from a root of pure idealism, and never done anything dark or greedy, is lying. I think everybody who ventures into especially the music industry hoping for a career with big success, ends up making these Faustian bargains at some point even if only briefly. It’s an aggressive song and I think I write best when I’m angry.”

“Fierce Bliss” track listing:

01. Greed
02. Black Wing
03. Bridge Of Sighs
04. Fighten For Life
05. Love Of My Life (feat. Vince Gill)
06. Missionary Man
07. Gladiator
08. Forget Her
09. A Moment In Heaven
10. Angel’s Blues*
11. As The World Turns

* Available on CD and digital formats only

Ann Wilson – Vocals
Tom Bukovac – Guitar
Tony Lucido – Bass
Sean T Lane – Drums, Percussion & Bike
Gordon Mote – Keyboards
Tim Lauer – Keyboards

Produced by Ann Wilson and Tom Bukovac
“Gladiator” and “Angel’s Blues” produced by Ann Wilson and Warren Haynes

Mixed by Chuck Ainlay
Recorded by Chuck Ainlay at Fame Studios, Muscle Shoals, AL and Soundstage, Nashville, TN
“Gladiator” and “Angel’s Blues” recorded by Joe Paterno at Power Station, Waterford, CT
“Black Wing” recorded by Sean Walker at Uberbeatz, Lynnwood, WA
Mastered by Greg Calbi at Sterling Sound, Edgewater, NJ
Executive producer: Jim Zumwalt

Musicians who appear on “Fierce Bliss”:

Vocals – Vince Gill on “Love Of My Life”
Lead Guitar – Kenny Wayne Shepherd on “Bridge Of Sighs” and “Missionary Man”
Guitar – Warren Haynes on “Gladiator” and “Angel’s Blues”
Guitar – Tyler Boley on “Black Wing”
Keyboards – Danny Louis on “Gladiator” and “Angel’s Blues”
Keyboards – Dan Walker on “Black Wing”
Bass – Jorgen Carlsson on “Gladiator” and “Angel’s Blues”
Bass – Andy Stoller on “Black Wing”
Drums – Matt Abts on “Gladiator” and “Angel’s Blues”
Choir – The Rev Nathan Young Singers on “Missionary Man”

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