RHYS FULBER

Photo by Olaf Heine

* Your musical inspirations?  

Music is unique in its many qualities.  Emotions made into something others can feel.  I try and express the feelings I get from a special place, from the awe of nature or wanting to escape the disdain our modern life at times presents us.  So my inspirations for music can come from almost anywhere.  

 * Favorite CD's, songs, or musicians?

There is so much music I like its hard to say.  I also go through new releases very quickly as well.  I'm enjoying the latest Elbow album, but artists who have influenced the sound of Conjure One would have to be stuff like old OMD, SPK, Moody Blues, Pink Floyd, Massive Attack and Dead Can Dance among many others.

 * Has music helped you thru a difficult time in your life?

Given that music occupies so much space in my life, yes.  It always has been a place I can be through good or bad times and feel content and with purpose.

BIO

Music has been basically incorporated into Rhys Fulber's DNA...With hip parents, he was in the womb for a Led Zepplin concert and at age 6 they carried him along to a Kraftwerk show during their Autobahn era. Instruments were always in the house as well as weekend jam sessions where he would rest his head on the pillow inside the kick drum. After the luxury of growing up around his father's excellent record collection (influenced by the blues and psychadelia of the Dutch and German scene of the late 60s and early 70s - where they lived on and off) and starting to play drums and whatever else was lying around at an early age, the original Vancouver punk scene had profound impact. Music as a lifestyle, art and political statement.

The dawn of the eighties and the discovery of electronic music came next. Helped by the familiarity with Kraftwerk, and Pete Shelley's Homosapien album, Rhys embraced groups like OMD and later, through local innovators Skinny Puppy, the first wave of industrial culture - european electronic underground and experimental music.

Meeting Bill Leeb at a local alternative fashion store was the gateway to an exclusive record and tape collection and collaborations with a couple of synthesizers and a portastudio. Rhys' drum kit now pretty much replaced by a synthesizer and drum machine. Eventually joining Leeb's Front Line Assembly as a teenager, they gradually rose from cassette only releases, to european vinyl, to Melody Maker buzz act by 1990. Tours of europe and the US cemented Front Line Assembly's position in industrial dance, as a myriad of side projects spun off of down time from FLA.

The rise in profile began to create other opportunities. Remixes and eventually, production of more rock based groups, looking to add the modern flourishes of programming to their sound. Most notably was Fear Factory, and the underground metal classic Demanufacture.

As the industrial scene seemed to be burning out, a side project called Delerium began making somewhat accidental inroads to a more mainstream audience. An outlet for more ambient textures than those of FLA, the addition of female vocals to the soundscapes, struck a chord with record buyers. The best known of these being the Sarah McLachlan voiced Silence. Though released in 1997 on the Delerium album Karma, a progressive house remix two years later, took the global club scene by storm. Add a couple more remixes and it ended up on charts across europe (notably #3 in the UK) and produced gold and platinum sales in several countries.

By this point Rhys had left already FLA and Delerium, to open new chapters. After years of production work, the desire to compose new material returned. The Conjure One project is born
.
www.conjureone.com
Rhys/Nettwerk

JULIANNA RAYE

* Your thoughts on the connection between music and healing--

I believe music's highest purpose is healing, especially emotional
healing. Music uncovers beauty and meaning in all life experiences,
especially the most challenging. In this way music is truly life affirming
and has the potential to rejuvenate our spirits and deepen our ability to
give and receive love. Through music we are given permission to feel the
full range of our emotions and I believe there is a strong link between
our emotional and physical well being.

THREE CROWS MUSIC BIO

New York born and east coast raised, Julianna Raye grew up with a creative talent that sought every opportunity for expression. Her early years included singing lessons, local theater and musical theater, but for this daughter of two family therapists, a career in the arts was not considered a viable option. She attended Duke University as a psych major because, she recalls "It seemed like the responsible thing to do, but when I went to a summer theater workshop" Julianna continues, "I felt like I was breathing again. It was then I realized where my passion lay and I wanted to pursue it at all cost." Julianna relocated to Los Angeles. She began demoing her songs, and she pursued acting opportunities. It wasn't long before she got a break guest starring on an ABC series.

A few months later, she got a record deal. Julianna's debut project was as a solo recording artist for Warner Brothers. Entitled Something Peculiar, it was produced by Jeff Lynne (producer for Tom Petty, Roy Orbison, Paul McCartney, George Harrison...) and received a great deal of critical acclaim.

Restless Night , her current project, another solo effort (save a duet with Rufus Wainwright,) was produced by Ethan Johns. Ethan has worked with such notable artists as Ryan Adams, The Counting Crows, Whiskytown, Emmylou Harris and Linda Ronstadt. Julianna can also be heard on Mr. Adams' current release, "Gold."

In between recording projects Julianna has developed her live show. In addition to dates across the country and an appearance on Mountain Stage, Julianna has performed extensively in L.A clubs. She has also performed in remarkably diverse venues including Toronto's NXNE music festival, Gallery openings hosted by the directors Mike Figgis and Harold Becker, a fashion show featuring Barrish & Nicholson designs, and for a private party held by Lawrence Kasdan. She has headlined a Conde Nast sponsored event at the beautiful D'Angelo Estate, as well as Details magazine's "Mondo Hollywood" party. Most recently she opened for The Counting Crows' Adam Duritz, and Remy Zero, at a 9/11 relief benefit in L.A.'s Sunset Room, hosted by the Independent Artists Cooperative.

Two of Julianna's original songs can be heard in the film "The Contender" starring Jeff Bridges and Joan Allen. Her songs have also been featured in the inde-film "Better Living," starring Angelica Huston, "Live Nude Girls," starring Dana Delaney, and Kim Cattrall, the NBC movie "Hunt for the Unicorn Killer," "Shake Rattle and Rock" starring Renee Zelweger, and MTV's "Real Sex."

She has co-written songs with composer Paul Haslinger (Tangerine Dream) and Kiki Dee, for their releases. Says Raye of Restless Night: "This is a collection of truly intimate and revealing songs. I've loosened up a lot over the years. Growing up has it's advantages. I think my songs are more sensual now, and they hit you on a deeper level. I'm more comfortable in my own skin and I think it shows."

www.juliannaraye.com
CD BABY/Julianna

RICHARD SOUTHER

* Your musical inspirations?

Steve Winwood, Hildegard von Bingen, Bjork, Prefab Sprout, Mouth Music, Ivan
Lins, Thomas Newman, Claude Debussy, Bernard Herrmann. There's many more but
those come immediately to mind.

* Favorite CD's, songs?

Dancer In The Dark (soundtrack), Arc Of The Diver, The Moderns (soundtrack),
A Feather On The Breath Of God, Oscar And Lucinda (soundtrack).

* Favorite musicians?

Lyle Mays, Keith Jarrett, Billy Preston. Those guys are the real deal.
 
* Has music helped you thru a difficult time in your life?
 
 I had an accident back in 1981 which changed the course of my life. In the
several years of recovery that followed, I had to relearn a lot of things
that I took for granted prior to the event. One was how to express myself in
completed thoughts musically and at times verbally. I didn't want to do
anything for a long time. Just working on my motor skills was challenging
enough for me to deal with. Relearning to play the piano was ongoing and
very frustrating. During that "dark period" I discovered a primitive music
computer called a Roland MSQ-700 Digital Sequencer. A very simple to use
device that interfaced with a synthesizer. A person could type or slowly
play a musical part into the box and it would digitally record it and allow
you to play it back at any speed you wanted. This box became my short term
memory and a way to start expressing myself again musically. I was excited
about composing music again and in turn about life. In 1985 I released my
first solo album "Heirborne" which was a collection of music ideas written
with that little computer.

Oddly enough through a series of events, I also released my first solo piano
album that same year: "Songs Unspoken" by Douglas Trowbridge (my middle
names). The style was minimalist (lots of pregnant pauses!) but very
heartfelt. It's been been re-released twice over the years now.

* Your thoughts on the connection between music and healing--

I believe God used music (and some wonderful doctors at UCLA) to heal me.
The doctors helped to kick start my body but music gave me a reason and
purpose to get well. Listening to music can have an immediate effect on how
we physically and mentally feel. It's something that goes right to the heart
and then to the brain and always in that order. Music can trigger both
sadness and joy in the same thirty-two bars. A song can be associated with a
landmark moment in your life (I was listening to "Arc of The Diver' when I
decided to buy that little computer). Think about the different times in
your life when you've been down or depressed and you put a favorite song on
or even better, it "mysteriously" comes on the radio, and next thing you
know you feel better and more hopeful.

Richard Souther short bio

Composer Richard Souther is a four time Grammy nominated recording artist
who's music has been used recently in the HBO/Golden Globe Award winning
film "Iron Jawed Angels", NBC Dateline: Secrets behind 'The Da Vinci Code',
and Mercedes & Renault car commercials internationally. Richard is best
known for his groundbreaking 1994 album "Vision: The Music Of Hildegard von
Bingen", which won the Billboard Classical/Crossover album of the year
award.

Richard Souther website
:www.richardsouther.com

HENRY GROSS

Favorite song. Bob Dylan, A Hard Rain's Gonna Fall.

My mom was my musical inspiration. I still sing to her wherever she is! Love Elvis, Chuck Berry, Bo Diddley, Little Richard, Muddy Waters, Beatles, Little Anthony, Fats Domino, Rolling Stones, Joe Brown, Ry Cooder, Randy Newman, Paul Simon, Art Garfunkle, James Taylor, George Harrison, Prince, did I mention Bob Dylan?

Music gets me through every moment of every day!

Henry Gross

I'm Hearing Things

Henry was born on April 1st, 1951 in Brooklyn, New York. His older sister, Sarah, was a huge Rock & Roll fan, so Henry's introduction and subsequent addiction to it came at a very early age. His mother Zelda's life long love of music, which included a brief stint with the Metropolitan Opera Chorus, encouraged his pursuit of a performing career so strongly that by age fourteen he was playing regularly in local clubs all over the New York area and spending his summers playing at Catskill Mountain Resort hotels. At age eighteen, Henry was a founding member of the world famous Rock & Roll revival group, SHA NA NA, wearing on-stage the "Greaser" clothes he wore in high school "because he thought they looked good". The groups' popularity took a giant step after legendary performances in the Fillmore Auditoriums, East and West and at the Woodstock Festival. With the groups' appearance in the movie "WOODSTOCK" their popularity became a worldwide phenomenon.

Henry left the band in 1970 to pursue a career as a singer songwriter signing his first solo deal with ABC DUNHILL RECORDS in 1971. The albums lack of commercial success did not discourage him and in 1973, after performing at colleges and clubs all over the country, he was signed to a production deal by Cashman and West, legendary producers of Jim Croce, who almost immediately placed Henry on A&M RECORDS.

His first A&M album, "HENRY GROSS" sold very well and had several large regional hits including "Simone", "Come On Say It", "Skin King" and a near gold cover of Lindisfarne's European hit "Meet Me On The Corner".

Henry's second A&M album "Plug Me Into Something", sold just short of gold and garnered him a huge following as an exciting performer and he began to achieve national recognition in publications like Rolling Stone Magazine and The New York Times as a great Rock & Roll guitarist.

For his next album he was moved to Cashman & West's new label, Lifesong Records. His first single release on the label, Shannon, a song written about the passing of Beach Boy Carl Wilson's Irish Setter of the same name went gold and became a worldwide hit. Sales of the album called "Release" were big and the second single, "Springtime Mama", sold just short of gold.

On his next album, "Show Me to the Stage", Henry mixed Rock & Roll songs with Phil Spector and Brian Wilson influenced production. While the album had strong sales it produced no "hit" singles.

Henry's recording career continued with albums on CBS Records with " Love is the Stuff" and on Capitol Records in 1981 with The Bobby Colomby produced LP, "What's in a Name". Henry feels his best work of that period, an unreleased record wallowing in Capitol's vaults, produced by Anthony Battaglia (studio guitarist and re-mixer of the latest N' SYNC single) and Ed Machal (engineer of all the Eagles records) will someday see the light of day.

In the Eighties Henry performed in the road company production of "Pump Boys and Dinettes," with a cast featuring Jonathan Edwards, and the late Nicolette Larson. Henry moved to NASHVILLE in 1986 and signed a publishing deal with Pic A Lic Music, a company owned by legendary songwriter Roger Cook and the multi talented Ralph Murphy. A record deal in Europe soon followed through Murphy's efforts and two albums, "I Keep on Rocking", and "She's My Baby", were released by Sonet Records all over Europe and Japan.

Henry continues his song writing and recording career in Nashville. In 1993 he released a CD of twenty-two songs, called Nothing But Dreams, on his independent label, ZELDA RECORDS, about which his motto is, "Not only am I the president, I'm a client as well.".

I’m Hearing Things is Henry’s latest release on Zelda Records. Henry wrote or co-wrote all 14 songs on the CD and serves as the producer. His co-writers include Roger Cook, Clive Gregson, Sam Lorber, Garry Tallent, Henry Paul, Anthony Battaglia, Tommy Rocco and John Brannen. Musicians include Dennis Locorriere (Dr. Hook) on background vocals; Garry Tallent (E-Street Band) on bass; Clive Gregson on guitar; Philip Aaberg on keyboards and Henry Gross on vocals, guitars, ukulele, electric sitar, kazoo and percussion. He is constantly writing with a marvelous cast of world-renowned songwriters. In 1995 he and longtime friend Henry Paul, of Blackhawk and Outlaws fame, co- wrote Blackhawk's top fifteen country hit, Big Guitar. With songs recorded by artists as diverse as Judy Collins, Mary Travers, Cindy Lauper, Sonny Burgess, Ronnie Milsap and All The Kings Men, Henry, his wife Marilyn, a Realtor, and their four dogs and four cats live happily in lovely and creative Nashville Tennessee, pursuing their dreams.

Henry is currently working on a one man show chronicling the highlights and funniest moments of his life in the entertainment business. The show is called "Oh! Henry" and he tells the story of his generation through his own exploits from second grade to the present. He's written what he considers the best collection of songs he's ever done mixed with some of his most popular oldies. He is currently in dialogue with a very successful theatre production company in New York City and hopefully he will have the opportunity to perform the show off Broadway next fall.
www.henrygross.com

DAVID ARKENSTONE

* Your musical inspirations?  

Everyone from Jean Sibelius to Peter Gabriel to The Chieftains to the Beatles. Jethro Tull, Yes, Emerson Lake & Palmer, and I especially enjoy discovering all the different forms of world music out there, and of course film music. These days, I mostly listen to whatever I'm currently working on. There seems to be little time for anything else. Other than music, I'm also inspired a lot by the natural world. When my kids were small, I got a lot from them in the way of how magical life can be.

 * Favorite CD's, songs, or musicians?

almost anything by Peter Gabriel
First Light by Freddie Hubbard
Ziggy Stardust by David Bowie
1492 by Vangelis
Pavane by Ravel
Jean Sibelius' 6th Symphony
Legend by Bob Marley
Tales From Topographic Oceans by Yes
Napolean's Retreat by The Chieftains
Saint Saens Organ Symphony

 * Has music helped you thru a difficult time in your life?

When my mom passed away in 1993 I was just starting a new recording so that helped a lot. I focused strongly and came up with some of my best pieces, I think, That album was 'Another Star In The Sky.' It helped me grieve, I guess, though sometimes it still hits me.

BIO

Look back at the first 20 years of David Arkenstone’s career and you’ll find his music being influenced by every dimension of his personality: the contemporary-progressive musician; the ethnomusicologist; the Sibelius disciple; the internal time-traveler, the deep-space dreamer.

“I would add adventurer, too,” says David Arkenstone, rounding out a cross-pollinated list of attributes that have helped establish him as one of contemporary instrumental music’s most distinctive composers. I can’t always participate in a real adventure but I usually try to take some kind of mental adventure every day, roll a fresh movie in my mind. It influences my composing.

Arkenstone’s music has had a similar effect on listeners since the release of his debut recording, VALLEY IN THE CLOUDS, in 1987. Described by one reviewer as “one of the most exquisite electronic new age recordings ever produced,” the album launched a career that has yielded two Grammy® Award nominations, two #1 albums, career sales that exceed 1 million recordings, and a dedicated fan base drawn to Arkenstone’s inventive fusion of technology and mythology for its ability to part the mind’s curtains and activate wide-screen imaginations.

A keyboardist who is skilled on guitar, flute, percussion, and other instruments, Arkenstone has explored a variety of sonic textures on his recordings. His versatility is showcased in the interstellar majesty of VALLEY IN THE CLOUDS; the globetrotting diversity in CITIZEN OF TIME (1990); the trilogy-launching, rock-orchestral bravura of IN THE WAKE OF THE WIND, his 1991 magnum opus (with the subsequent QUEST OF THE DREAM WARRIOR and RETURN OF THE GUARDIANS); the traditional power and mystery of THE CELTIC BOOK OF DAYS (1998); the multi-cultural sound paintings of CITIZEN OF THE WORLD (1999); and the vivid colors of CARAVAN OF LIGHT (2000).

One writer once noted that if a person’s imagination could earn frequent-flyer mileage, Arkenstone would have already earned a couple of round trips to Saturn. “A love for travel and adventure is just something that’s embedded in my personality,” says Arkenstone. “Sometimes I get the feeling that I’m painting as much as I’m composing. I tend to envision a place where I would like to go, or an adventure I would like to take, and I let my mind run free. I’ve gotten countless e-mail messages from listeners who love to take these journeys with me. I’m sometimes surprised by how powerfully people respond to my music.”

Arkenstone’s own musical journey began at age 10, when he immersed himself in as much music as he could find. Influenced by his father, who played guitar and his mother who played piano, Arkenstone was 12 years old when he got his first guitar. “From Sears,” he recalls with a smile, “with a huge sunburst pattern and about 300 pickups.”

He studied music in college and, as a fan of acts such as Yes and Emerson, Lake and Palmer, eventually formed his own pop-progressive band. The swift evolution of synthesizers and electronic keyboards opened a new horizon for Arkenstone. “Electronics finally gave me the tools to replicate the music I could hear in my head,” he says. “It was a revelation to me. Magic was finally possible.”

As a long-time fan of J.R.R. Tolkien’s Lord of the Rings trilogy, Arkenstone remains fascinated by all things magical and mystical. Of his many musical excursions into imagined lands, it seems only natural that Atlantis be on Arkenstone’s horizons. “This music is my tribute to the majesty and mystery of the great civilization of Atlantis.”
www.davidarkenstone.com

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 2003-2005