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The Last Of The Analogues

by WilsonTKing

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Lute FP
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Lute FP I almost passed this by towards the end of the first guitar solo, pegging him for a proggy guitar wanker. But then his vocals caught my ear, and slowly the songwriting crept up on me. And out of the blue, the guitar solos struck me as brilliant.

This is some sublime music. Hard to peg it- at times it’s Stevie Ray Vaughn, and others it’s almost late Floydian. At times I hear Mugison in the vocals and artistry. Whatever it is, it’s a slow burner that hooks you deep if you give it time.
Michael Stevens
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Michael Stevens Amazing! This guy is just a BRILLIANT guitarist.
Bucky
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Bucky Like another 'bandcamper' mentioned, totally blown away when I first heard this. These blues don't make you cry, they make your ears gush with sweet eargasmic nectar. Hope you don't have white carpet.... Favorite track: Like The Turquoise In A Crashing Wave.
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29.10.71 04:38
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Broken Son 03:00

about

The Last Of The Analogues

RECENT REVIEWS

Guitar Player Magazine "A Psychedelic Tour De Force"

Classic Rock Magazine 8/10 "Have we found the 4th King ? "

Total Guitar Magazine 4/5 "Arrestingly original vision of 21st century blues"

Blues Rock Magazine, Best of 2012, 8/10 "King is a mind blowing guitar player, take this man seriously." "The blues genres needs it's mavericks to survive, and right about now Wilson T King may be the best rule breaker out there"

Rock Guitar Daily "Blade Runner Blues" Album of the Year LIst 2012"

Music-News 5/5 "He is saying things that I have simply not heard before."

BluesRock Review 9/10 "Every genre has its movers and shakers, and Wilson T. King may be one of the most important revolutionaries of modern blues – The Last of the Analogues proves this."

Blues Matters "Probably the landmark Album of 2012"

Alternative Magazine On line 8.5/10

Hidden Track " Like Bukowski, King is breathing new life into an old form "

Metal Discovery 10/10 "here we have Hendrix's attitude reborn in a guitarist who not only transcends established expectations of blues music but is, indubitably, also set to redefine the genre's parameters and what it means to be a genuinely innovative blues player in the twenty first century"

NOW IN THE WORDS OF WTK

“This second solo album really defines my Future Blues Vibe. Like the first record there is a deliberate artistic avoidance of the cliché ridden karaoke modern blues scene.

The title refers to the oncoming Kurzweilian Singularity as we are the last to be free of bio-tech innovation, it also is an analogy for the crossroads music is at where we have computer corrected music and real music that maintains the soul and heart of the human performance.

After finishing the record I realized that some of my other influences such as Floyd / Grunge and Talk Talk’s Post Rock bled into the Future Blues Mix on this record.

The hypnotic bass outlines from the first record were developed further on such tracks as “Born Into This’ and “Like a Turquoise in A Crashing Wave” where the Miles Davis modal approach to the harmony is self-evident.

Meanwhile the tracks “Edge of Forever “, “Mountain of Fire “ and “Like a Turquoise In A Crashing Wave’ really demonstrate the ability to mix blues in with modern songwriting.

In terms of solos and tones I love the fact there is such a diverse collection from the Fuzz Tone Billy Corgan/Hendrix inspired solo on “This Mountain of Fire, the brutal solos on “Born Into This’ and the liquid style playing on “Like a Turquoise in a Crashing Wave’.

The album feel is very dark as reflected in the title but at the same time to me shot through with bursts of light while the sound is very wide and super dynamic.

Although I recorded and produced the record the help and performances of Mastering Engineer Brian Lucey (Black Keys), Wayne Proctor (Drums), the senior drummer on the European Blues Scene, and East Coast Indie Legend Josh Lattanzi (Bass) of Norah Jones/Lemon Heads/Albert Hammond Jnr on a few tracks were crucial.

In addition Dan Whitley brother of the late blues genius Chris Whitley cut some whip saw harmonica on the Pschya/Blues of “Bury Me With The Bible” and Ben Reid brought his Jazz modulations to my homage to Duane Allman on “29.10.71.”

The record is hopefully pushing the concept of Future Blues forward and showing what can be done in the blues idiom when you push the envelope and look forward instead of back.”

credits

released October 1, 2012

Vocals, Guitar, Bass and Keys Tim Wilson

Drums Wayne Proctor

Additional Bass Josh Lattanzi

Additional Keys Ben Reid

Harmonica Dan Whitley

All Songs Tim Wilson

Produced And Recorded By Tim Wilson

Additional engineering Jim Hartley and Andy Banfield

Mastered by Brian Lucey

Artwork Giovanni Scavetta

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