Aaron Gillespie, frontman for The Almost (and drummer for Underoath) was in the Capitol Tower in Hollywood on 9/9/09 doing some promo for his upcoming album for The Almost called ‘Monster Monster’ out November 3, 2009.

He had a moment to step away to show us his skills on the new Beatles Rock Band which was released that same day.

The Beatles entire original catalogue re-mastered

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THE ALMOST
Aaron Gillespie: vocalist/lyrics/guitar/drums
Jay Vilardi: guitars
Dusty Redmon: guitars
Alex Aponte: bass
Joe Musten: drums

More about The Almost / Monster album

The Almost’s second album for Tooth & Nail / Virgin Records began taking shape just as soon as the band came off the road after touring for their 2007 debut, Southern Weather, including a stint on that summer’s Warped tour.

That album, which debuted at #39 on Billboard’s Top 200, earned them a Top 10 single at Alternative radio, and a spot on MTV’s Discover & Download, was essentially the work of a single individual—Underoath drummer Aaron Gillespie, who wrote all the songs, played all the instruments and then recruited a band to play them live, starting with fellow Floridian Jay Vilardi, a veteran of several well-known area bands like Metal Blade’s Phoenix Mourning and Orlando-based Hand to Hand.

“My job was to teach everyone the songs,” explains Vilardi, who describes himself as the band’s musical director. The addition of Philadelphia-based guitarist Dusty Redman, himself a veteran of Tooth & Nail bands like Beloved and Dead Poetic and Salt Lake City bassist Alex Aponte rounded out the line-up.

The now thoroughly road-tested band was intent to make their latest a completely collaborative effort, melding their talents into a whole that was more than the sum of its individual parts. The process began with Vilardi, Redmon and Aponte e-mailing files back and forth to Gillespie, who was busy penning lyrics and coming up with musical ideas of his own while touring with Underoath, before all four of them got together in the studio to jam and work out the arrangements.

It was a system that resulted in a powerfully cohesive album that melds their diverse songwriting skills, from the thudding, Raw Power-like stomp of the title track and “Young Again,” to the stark acoustic blues and closing psychedelic jam of “Monster,” the techno-rock laced with tribal drums of “Books and Books” and the melodic Coldplay/U2/Kings of Leon arena-rock anthem, “Hands.”

“It turned out to be a really good process because we wound up with a tremendous amount of material we can use,” says Vilardi.

“We jammed on these tracks for hours before we actually laid anything down,” nods Gillespie. “This now feels like a real band. Everyone gave up a piece of his own agenda for the good of the final result. And that’s how you end up with something special. It was a relief for me because it took a lot of the weight off my shoulders. They supplied the bricks and we built the house together.”

The guys also enlisted the help of steel guitarists Chris Scruggs (grandson of bluegrass legend Earl Scruggs) and John Davis (Superdrag vocalist/guitarist) while in the studio. Both Scruggs and Davis helped they guys broaden their musical pallets on a few tracks like “West” and “Hand Grenade.”

“It was whatever each of us could do for the song,” agrees Redmon. “There were no ego issues, no one screaming, ‘I’m Eddie Van Halen!’”

Gillespie says the songs are about the dark side of the human condition, battling your demons to come out the other side, starting with the album’s title.

“I’m giving in to you,” he roars in “Lonely Wheel,” though in “No I Don’t,” which segues from an acoustic beginning to an anthemic rock chorus, he admits, “I’m learning how to wait.” The hard-hitting “Young Again” and the country-flavored “Hand Grenade” (“Oh to be young/It sounds like so much fun”) are both about lost innocence, while “Souls on Ten,” with its piano flourish and urgent intensity, has a Springsteen feel and the grungy garage-rock of “Summer Summer” offers an elegiac nod to vintage Neil Young with Crazy Horse.

“It didn’t start out as a concept album, but by accident, I think it became one,” says Aaron. “It’s about the ‘monster’ that lives inside of all of us, which we have to fight to get rid of. It’s a battle you live with every day. In the end, when that stops, the question remains, can you now life your life? Can you get all of who you are, can you find a place that makes you happy?”

That catharsis comes across loud and clear in the final song on the album, dubbed “Monster,” which starts with Gillespie alone, accompanied by a single dobro. “Learning how to see/In this weird change of space/I’m learning to believe in this life… I feel you helping me.” The song builds until, about two-thirds of the way through, the rest of The Almost come in, embarking on a spontaneous acid-soaked jam, recorded live, that provides the ultimate release.

“Everybody needs that,” says Gillespie. “For some people, it’s drinking, others run, some throw baseballs. I play music. That’s what I do. That gets rid of the garbage in my life.”

“It’s about how terrible we can be at times,” says Vilardi. “It’s hard to be a person today who stands for something. It doesn’t make you better… sometimes it even makes you worse.”

On “Hands,” the band prove they can create an arena- and radio-ready rock anthem, with its martial beat, chiming keyboards and lush ‘80s new wave fizz

“It’s like an Achtung Baby vibe,” nods Dusty. “That song came out of nowhere. We demoed it, then got into the studio and started playing it and just got real excited.”

“I like working with a song structure,” says Gillespie. “In Underoath, that’s not what we do. We create moments, which is important, but The Almost is something different.”

“Monster Monster” and “Young Again” demonstrate Jay and Dusty’s love of classic garage punk, like the Stooges and the Velvet Undergound. “We really want to put the middle finger back in rock,” says Vilardi. “We love the attitude of bands like Guns N’ Roses.”

And that’s strange, because it turns out that rebellion doesn’t conflict with being on Tooth & Nail, where the support of community is almost as important as the religious implications.

“Music should reflect who you are,” says Aaron. “I believe there’s hope in finding who you are. That’s my conviction. At the same time, I want anybody, no matter their affiliation, to react to the music in the same way. I don’t want people to feel they’re being judged.”

With the addition of drummer Joe Musten (Gillespie played all the drums on the album), The Almost is ready to hit the road and do what they do best, play for their increasing fan base around the country.

“We plan on hitting it as hard as we can,” laughs Vilardi. “We’d like to leave and not come back for two years.”

“We’re just beginning now to establish our identity,” concludes Dusty. “There were a lot of people now who are finding out about Underoath through The Almost.”

Now there’s a transformation for you.

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Paolo Nutini looks destined for No.1 come Sunday with his stunning new album ‘Sunny Side Up’. The record was top of the midweek’s and looks set to carry on in the same vein.

Paolo sets off on a 15-date tour in September and has summer festival shows booked in Isle of Wight, Glastonbury, T in the Park, Oxygen and V. He also plays the iTunes Live Festival, July 10, 2009 at the Roundhouse.

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Kasabian are also taking part in the month long iTunes Festival at the Roundhouse, July 22nd. The band kicked off their 20-date sold out tour with a trio of emphatic hometown gigs in Leicester and played the first of their 9 massive stadium dates with Oasis in Manchester last night.

Their eagerly anticipated new album ‘West Ryder Pauper Lunatic Asylum’ is out on Monday. The band’s new single ‘Fire’, which was released on Monday is No.1 on the iTunes Chart and riding high at No.3 in the midweek’s.

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Sir Paul McCartney and Ringo Starr appeared on stage for the first public viewing of Beatles Rock Band, released September 9th. The karaoke-style game lets users use adapted game controllers – lead guitar, bass guitar and drums – to play along to various songs. George Harrison’s widow, Olivia also attended the premiere.

The Beatles: Rock Band on amazon.com

The Beatles: Rock Band on amazon.co.uk

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Jersey Budd is setting himself up for a royal summer. He supported his mates Kasabian last weekend in a trio of raucous hometown shows on the opening nights of their tour and plays support to The Enemy, Somerset House, July 11th. Jersey also has 5 festival shows booked including Isle Of Wight Festival and Glastonbury.

He releases his anthemic single ‘She Came Back’ next month, which features guest vocals from Kasabian’s front man Tom Meighan.

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Just Jack kicks off his short UK tour in Liverpool on Sunday, which features a show at the Electric Ballroom on Thursday (June 11th). No doubt he will be showcasing tracks from his impressive new album ‘All Night Cinema’. Jack also plays Glastonbury this month and supports Lily Allen at Somerset House, July 11th.

Jack was DJ for the night at the Glamour Awards on Tuesday as part of the aftershow party in Berkeley Square.

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Mark Ronson was also at the Glamour Awards on Tuesday, presenting Adele with her solo artist of the year award. Mark plays the Southbank Centre’s Meltdown Festival, June 14th alongside Yoko Ono Plastic Ono Band, Sean Lennon and special guests.

Pearl Jam premiered their track ‘Got Some’ from their eagerly anticipated new album ‘Backspacer’ on the debut of the Tonight Show with Conan O’Brien on Monday night. The band’s ninth studio album is set for release in the autumn.

Pearl Jam performance on the Tonight Show with Conan O’Brien June 1, 2009:

Watch Pearl Jam on The Tonight Show video:

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Vagabond release their free download single ‘Sweat (Until The Morning)’ as an iTunes/Bebo exclusive next week. This will be followed up by ‘Don’t Wanna Run No More’ (August 3rd), which has already received airplay by Radio One’s Jo Whiley from their debut album ‘You Don’t Know The Half Of It’ (August 17th).

Vagabond support The Script at Shepherd’s Bush Hall, June 17th. Check the live schedule for more Vagabond live dates.

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Tom Hickox was in scintillating form at Earl’s Court Troubadour on Tuesday. He impressed the crowd with his captivating live show and quintessential charm. Tom releases his beautiful track ‘The Pretty Pride Of Russia’ as a limited edition demo, June 15, 2009.

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Elvis Costello released his new album ‘Secret, Profane & Sugarcane’ on Monday, which has garnered many glowing reviews. He releases the lead single from his record ‘Complicated Shadows’ next Monday (June 8th).

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The Fray return with their single ‘Never Say Never’, next week, the second single from their UK Top Ten self-titled album, which went straight to No.1 in the US.

Photo Session, 1965, © Apple Corps Ltd, 2009

Apple Corps Ltd. and EMI Music are delighted to announce the release of the original Beatles catalogue, which has been digitally re-mastered for the first time, for worldwide CD release on Wednesday, September 9, 2009 (9-9-09), the same date as the release of the widely anticipated The Beatles: Rock Band video game.

Sgt Pepper’s Lonely Hearts Club Band, © Apple Corps Ltd, 2009

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Each of the CDs is packaged with replicated original UK album art, including expanded booklets containing original and newly written liner notes and rare photos. For a limited period, each CD will also be embedded with a brief documentary film about the album. On the same date, two new Beatles boxed CD collections will also be released.

Photo Session, 1962, © Apple Corps Ltd, 2009

The albums have been re-mastered by a dedicated team of engineers at EMI’s Abbey Road Studios in London over a four year period utilising state of the art recording technology alongside vintage studio equipment, carefully maintaining the authenticity and integrity of the original analogue recordings. The result of this painstaking process is the highest fidelity the catalogue has seen since its original release.

The collection comprises all 12 Beatles albums in stereo, with track listings and artwork as originally released in the UK, and ‘Magical Mystery Tour,’ which became part of The Beatles’ core catalogue when the CDs were first released in 1987. In addition, the collections ‘Past Masters Vol. I and II’ are now combined as one title, for a total of 14 titles over 16 discs. This will mark the first time that the first four Beatles albums will be available in stereo in their entirety on compact disc. These 14 albums, along with a DVD collection of the documentaries, will also be available for purchase together in a stereo boxed set.

Within each CD’s new packaging, booklets include detailed historical notes along with informative recording notes. With the exception of the ‘Past Masters’ set, newly produced mini-documentaries on the making of each album, directed by Bob Smeaton, are included as QuickTime files on each album. The documentaries contain archival footage, rare photographs and never-before-heard studio chat from The Beatles, offering a unique and very personal insight into the studio atmosphere.

A second boxed set has been created with the collector in mind. ‘The Beatles in Mono’ gathers together, in one place, all of the Beatles recordings that were mixed for a mono release. It will contain 10 of the albums with their original mono mixes, plus two further discs of mono masters (covering similar ground to the stereo tracks on ‘Past Masters’). As an added bonus, the mono “Help!” and “Rubber Soul” discs also include the original 1965 stereo mixes, which have not been previously released on CD. These albums will be packaged in mini-vinyl CD replicas of the original sleeves with all original inserts and label designs retained.

For the latest news and information, go to:

The Beatles Official Website

Additional information:

The Stereo Albums (available individually and collected in a stereo boxed set)
The stereo albums have been remastered by Guy Massey, Steve Rooke, Sam Okell with Paul Hicks and Sean Magee
All CD packages contain original vinyl artwork and liner notes
Extensive archival photos
Additional historical notes by Kevin Howlett and Mike Heatley
Additional recording notes by Allan Rouse and Kevin Howlett
* = CD includes QuickTime mini-doc about the album
Please Please Me* (CD debut in stereo)
With The Beatles* (CD debut in stereo)
A Hard Day’s Night* (CD debut in stereo)
Beatles For Sale* (CD debut in stereo)
Help!*
Rubber Soul*
Revolver*
Sgt. Pepper’s Lonely Hearts Club Band* (also includes 1987 notes, updated, and new intro by Paul McCartney)
Magical Mystery Tour*
The Beatles*
Yellow Submarine* (also includes original US liner notes)
Abbey Road*
Let It Be*
Past Masters (contains new liner notes written by Kevin Howlett)

‘The Beatles in Mono’ (boxed set only)
The mono albums have been remastered by Paul Hicks, Sean Magee with Guy Massey and Steve Rooke
Presented together in box with an essay written by Kevin Howlett
+ = mono mix CD debut
Please Please Me
With The Beatles
A Hard Day’s Night
Beatles For Sale
Help! (CD also includes original 1965 stereo mix)+
Rubber Soul (CD also include original 1965 stereo mix)+
Revolver+
Sgt. Pepper’s Lonely Hearts Club Band+
Magical Mystery Tour+
The Beatles+
Mono Masters

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Re-mastering the Beatles catalogue

The re-mastering process commenced with an extensive period conducting tests before finally copying the analogue master tapes into the digital medium. When this was completed, the transfer was achieved using a Pro Tools workstation operating at 24 bit 192 kHz resolution via a Prism A-D converter. Transferring was a lengthy procedure done a track at a time. Although EMI tape does not suffer the oxide loss associated with some later analogue tapes, there was nevertheless a slight build up of dust, which was removed from the tape machine heads between each title.

From the onset, considerable thought was given to what audio restorative processes were going to be allowed. It was agreed that electrical clicks, microphone vocal pops, excessive sibilance and bad edits should be improved where possible, so long as it didn’t impact on the original integrity of the songs.

In addition, de-noising technology, which is often associated with re-mastering, was to be used, but subtly and sparingly. Eventually, less than five of the 525 minutes of Beatles music was subjected to this process. Finally, as is common with today’s music, overall limiting – to increase the volume level of the CD – has been used, but on the stereo versions only. However, it was unanimously agreed that because of the importance of The Beatles’ music, limiting would be used moderately, so as to retain the original dynamics of the recordings.

When all of the albums had been transferred, each song was then listened to several times to locate any of the agreed imperfections. These were then addressed by Guy Massey, working with Audio Restoration engineer Simon Gibson.

Mastering could now take place, once the earliest vinyl pressings, along with the existing CDs, were loaded into Pro Tools, thus allowing comparisons to be made with the original master tapes during the equalization process. When an album had been completed, it was auditioned the next day in studio three – a room familiar to the engineers, as all of the recent Beatles mixing projects had taken place in there – and any further alteration of EQ could be addressed back in the mastering room. Following the initial satisfaction of Guy and Steve, Allan Rouse and Mike Heatley then checked each new re-master in yet another location and offered any further suggestions. This continued until all 13 albums were completed to the team’s satisfaction.

New Notes/Documentaries Team

Kevin Howlett (Historical and Recording Notes)
Kevin Howlett’s career as an award-winning radio producer spans three decades. His music programmes for the BBC have included many documentaries about The Beatles, including ‘The Beeb’s Lost Beatles Tapes.’ He received a Grammy nomination for his involvement with The Beatles’ album ‘Live At The BBC’ and, in 2003, produced the ‘Fly On The Wall’ bonus disc for ‘Let It Be… Naked.’

Mike Heatley (Historical Notes)
Mike entered the music business via HMV Record Stores in 1970, transferring to EMI Records’ International Division three years later. He eventually headed up that division in the early Eighties before joining the company’s newly created Strategic Marketing Division in 1984. In 1988, he returned to International, where he undertook a number of catalogue marketing roles until he retired in December 2008.

During his career he worked with many of EMI’s major artists, including Pink Floyd, Queen, Kate Bush and Iron Maiden. However, during the last 30 years he has formed a particularly strong relationship with Apple, and has been closely involved in the origination and promotion of the Beatles catalogue, besides solo releases from John, Paul, George and Ringo.

Bob Smeaton (Director, Mini-Documentaries)
Bob Smeaton was series director and writer on the Grammy award winning ‘Beatles Anthology’ TV series which aired in the UK and the USA in 1995. In 1998 he received his second Grammy for his ‘Jimi Hendrix: Band of Gypsys’ documentary. In 2004 he gained his first feature film credit, as director on the feature documentary ‘Festival Express.’ He subsequently went on to direct documentaries on many of the world’s biggest music acts including The Who, Pink Floyd, The Doors, Elton John, Nirvana and the Spice Girls.

Julian Caiden (Editor, Mini-Documentaries)
Julian has worked with Bob Smeaton on numerous music documentaries including ‘Jimi Hendrix: Band of Gypsys’ and the ‘Classic Albums’ series, featuring The Who, Pink Floyd, The Doors, Elton John and Nirvana among others. He has worked on documentary profiles from Richard Pryor to Dr. John to Sir Ian McKellen, Herbie Hancock and Damien Hirst and on live music shows including the New York Dolls and Club Tropicana.

The Abbey Road Team

Allan Rouse (Project Coordinator)
Allan joined EMI straight from school in 1971 at their Manchester Square head office, working as an assistant engineer in the demo studio. During this time he frequently worked with Norman (Hurricane) Smith, The Beatles’ first recording engineer.

In 1991, he had his first involvement with The Beatles, copy­ing all of their master tapes (mono, stereo, 4-track and 8-track) to digital tape as a safety backup. This was followed by four years working with Sir George Martin as assistant and project coordinator on the TV documentary ‘The Making of Sgt. Pepper’s’ and the CDs ‘Live at the BBC’ and ‘The Anthol­ogy.’

In 1997, MGM/UA were preparing to reissue the film ‘Yellow Submarine’ and, with the permission of Apple, asked that all of The Beatles’ music be mixed for the film in 5.1 surround and stereo. Allan requested the services of Abbey Road’s senior engineer Peter Cobbin and assistant Guy Massey and, along with them, produced the new mixes.

Two years later, he proposed an experimental stereo and surround mix of John Lennon’s song ‘Imagine’ engineered by Peter Cobbin. Following lengthy consultations with Yoko Ono, the album ‘Imagine’ was re-mixed in stereo and the Grammy award-winning film ‘Gimme Some Truth’ in surround and new stereo. This led to a further five of John’s albums being re-mastered with new stereo mixes and the DVD release of ‘Lennon Legend’ being re-mixed in 5.1 surround and new stereo.

Further projects followed, including The Beatles ‘Anthol­ogy’, ‘The First US Visit’ and ‘Help’ DVD and the albums ‘Let It Be…Naked’ and ‘Love’ along with George Harrison’s ‘Concert for Bangladesh’ DVD and album.

For a number of years now, Allan has worked exclusively on Beatles and related projects.

Guy Massey (Recording Engineer)
Guy joined Abbey Road in 1994, and five years later assisted on the surround remix for The Beatles film ‘Yellow Submarine.’ This led to The Beatles’ ‘Anthology’ DVD and later, along with Paul Hicks and Allan Rouse, they mixed and produced ‘Let It Be… Naked.’ In 2004 he left the studios to become freelance and has engineered The Divine Comedy: ‘Victory for the Comic Muse,’ Air Traffic: ‘Fractured Life,’ James Dean Bradfield: ‘The Great Western’ and Stephen Fretwell’s ‘Magpie,’ co-producing the last two. Since leaving, Guy is still a vital member of the team, and has been the senior engineer for the re-mastering project and was responsible for surround and new stereo mixes for the DVD release of ‘Help!’

Steve Rooke (Mastering Engineer)
Steve joined Abbey Road in 1983 and is now the studio’s senior mastering engineer. He has been involved on all The Beatles’ projects since 1999. He has also been responsible for mastering releases by John Lennon, Paul McCartney, George Harrison and Ringo Starr.

Paul Hicks (Recording Engineer)
Paul started at Abbey Road in 1994, and his first involvement with The Beatles was assisting engineer Geoff Emerick on the Anthology albums. This was followed by ‘Yellow Submarine Songtrack,’ ‘Anthology’ DVD and ‘Let It Be… Naked.’ Like Guy Massey, he has also become a freelance engineer and since leaving the studios he has been responsible for the surround mixing of Paul McCartney’s DVD ‘The McCartney Years’ and The Beatles’ ‘Love.’ Paul has been in charge of the mono re-masters.

Sean Magee (Mastering Engineer)
Sean began working at Abbey Road in 1995 with a diploma in sound engineering. With a wealth of knowledge in analog and digital mastering, he has worked alongside Paul Hicks on the mono re-masters.

Sam Okell (Recording Engineer)
Sam’s first job as a member of the team was in 2006, assisting Paul Hicks on Paul McCartney’s DVD ‘The McCartney Years,’ and during that same year he was responsible for the re-mastering of George Harrison’s ‘Living In The Material World’ CD along with Steve Rooke. This led to him restoring the soundtrack to the Beatles film ‘Help!’ in surround and stereo, in addition to assisting Guy Massey with the song remixes.

Sam has re-mastered ‘With The Beatles’ and ‘Let It Be.’

Simon Gibson (Audio Restoration Engineer)
Simon joined Abbey Road in 1990. He has progressed from mastering mostly classical recordings to include a much wider range of music, including pop and rock, with his specialized role as an audio restoration engineer. Apart from the re-mastering project, his other work includes George Harrison’s ‘Living In The Material World,’ John Lennon’s ‘Lennon Legend,’ The Beatles’ ‘Love’ and the ‘Help!’ DVD soundtrack.