Supermoon reminds me of a great 1970's rock album with plenty of grit, fabulous guitar tones and solos, and Hammond B3. The result is an album with lots of character, killer hooks and Niles voice, an instrument that's obviously been honed to blue-eyed soul perfection from listening to the masters of classic blues and R&B. My favorite cut is the slow-burn of "King of All Kings," which sounds like Niles channeling the ghosts of Jimi Hendrix, John Lee Hooker, Bo Diddley and Muddy Waters. The song has that great vibe the Rolling Stones could sometimes conjur, with the dry, surreal and witty shotgun-poetry Howlin' Wolf, Hooker and Diddley were so good at. I mean, you have to be schooled and steeped in that tradition to be able to write like this:
"Analog thunder and digital rain ... I got the magnetic movement, I got the binary pain ... I take bullets in my coffee, I pull the slugs from my chest ... Messages from my loved ones I never get ... Jesus is the king of all kings ..."
Not only righteous, but really, really real. I don't think I'll ever get tired of this track.
- Mark J. Miller (March 5, 1962- Christmas Day 2016)
I was born and raised in the upper Ohio Valley into a musical family. My brothers, cousins, and I grew up listening to our Dad’s bluegrass band play mountain songs, traveling songs, hymns, and even versions of seventies and eighties Pop music. Some of my best childhood memories were of them performing at our kitchen table. Cousin Harold Dailey on his Hagstrom electric bass and my Uncle Ned's smooth as silk banjo riffs and rolls, my Dad's signature open-chord power strumming and all of them singing super tight vocal harmonies. Occasionally, they would take us kids to Bluegrass festivals where my dreams of performing on stage were being blueprinted and built. Years later, in the summer before my senior year of school, I had the opportunity to sit in with The Porter Brothers when they needed a mandolin player for a festival performance. Peter Rowan and Allison Krauss and Union Street Station were the headliners. Bill Monroe was scheduled to perform but had fallen ill and couldn’t make it. I am truly grateful to have shared the stage with my musical heroes, The Porter Brothers.
During my high school time, the music of Jimi Hendrix, Stevie Ray Vaughan, Bob Dylan and Howlin’ Wolf was calling me out. I began performing the local bar scene when I was 15, along with some school mates we formed a band called Legacy. We played Classic Rock and early 90’s band’s, and even wrote a few of our own. After a brief time in Memphis, TN, I returned to the Ohio Valley in 1996 and formed the Adrian Niles Band with Brice Foster on drums, and bassist Jesse Britton. ANB released our debut record Manumit in ’98 before quickly disbanding. Since Manumit, I have released five studio albums, a live album, and in 2007, a successful debut record, entitled Deadtown, with roots-rock group The Trainjumpers.
Having had songs licensed for television by CBS’s long time running daytime series The Young & The Restless and on FX Network’s hit series Justified I feel extremely grateful for the many unique opportunities. We've also had the pleasure of opening shows for legendary Rock & Roll Hall of Fame artist Dave Mason of the band Traffic, Texas trio Los Lonely Boys, Stevie Ray Vaughan’s widowed rhythm section Double Trouble as Storyville, among others. In 2012 I opened a show with a solo set for The New Riders of the Purple Sage at BB King’s Blues Club in Times Square, NYC.
In the summer of 2015, me and drummer Clint Landis were in Studio L with Producer Rick Witkowski recording Supermoon. It’s a record with a strong lyrical narrative, vintage-tone heavy guitars, big drums, and loud bass, Fender Rhodes, and Hammond organ. Supermoon is Classic Rock, Punk Blues, Garage, and Soul, it has all the markings of a great rock album.
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