Maggy Simpson is the brainchild of Bat Kinane and Shane Counter. Having known each other for over 10 years, and sharing a passion for high quality original Rock music, this is the first major work the pair will release. There have been a few collaborations in the past: Shane wrote some music for Bat’s first solo album, ‘A Lifetime to Kill’, and they put together a small library of production pieces in 2009, as The Random Event Factory. However, this is the first time they have been able to commit to something truly substantial over an extended period. With initial discussions taking place in June 2012, the final work steadily came together over a 10 month period, culminating in a mid-2013 release.
Guitarist, Singer & Songwriter Bat rose to prominence as leader of Classic Rock merchants, Glyder. A number of Bat’s musical contributions here started as demos for Glyder albums. Shane has released several Instrumental Progressive Rock albums, and also has a keen ear for the more direct melodic requirements of Production Music.
The album also features Davy Ryan (ex-Glyder) on drums throughout. Renowned for his precision, reliability and versatility, Davy is a top class session player working regularly in both the live arena and studio settings.
Today, we are delighted to announce the first public airing of the opening track from the album ‘Lab Rat and Lobster’. Here are a few words to explain more about the song called ‘High Time to Die’:
Bat: ‘This song is about the old cliché of a drink, drugs and rock n’ roll lifestyle: If you want to get high, you must be prepared to die. It’s often true that the best career move any rock star can make is to die.’
Shane: ‘Rage Against the Machine-inspired riff seeks belting chorus with monster sludge riff to form a meaningful relationship! Based on a song Bat wrote about the ‘value’ of artists once they have passed away, we played around with this one a lot to get the right tempo and key, slowing it down and making it progressively heavier. In the end we made fullest use of a 7-string tuning, taking a C# riff and re-rooting it 14 semi-tones down to a low B. The music is at times dirty and sleazy, and at other times it is buoyant and aggressive (this is Rock ‘n’ Roll, after all!). The outro section features a sick sounding Whammy lead, harmonised with both 1 and 2-octave shifts.’
More info on band