“Especially after the year I’ve had, not releasing anything – but I’ve constantly written since I released my last song.
“The single is about ending a toxic relationship, which I didn’t aim to write about, but when I started thinking about opening lyrics that’s what I came up with and I put myself in that mindset of leaving someone.
“I mainly missed being in the studio most during the lockdown.
“I spent a lot of time writing and recording in there and even though I can work from home, I much prefer being in the studio. “
A big loss for musicians over the past year has been not being able to play their music in front of fans.
Due to COVID restrictions, gigs and festivals haven’t been able to go ahead for over 16 months.
But there is hope on the horizon, and Cameron hopes to be able to be back on stage soon.
He added: “I don’t have any gigs planned yet, but I really hope to have some booked in soon.
“I am aiming to have another couple singles by the end of the year and then hopefully next year an album, but we’ll see what happens.
“That way I will have more music to play live.”
The new single is available to stream now on Spotify and Apple Music and you can find Cameron on Instagram.
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Truework is rolling out Credentials, a new service that lets workers log into their payroll provider to share verified income and employment data with their mortgage lender or other authorized third parties.
Verifying the employment and income of gig-economy workers is about to get a lot easier at more than 15,000 lending institutions that use Truework, an API-enabled verification platform.
Over the next few months, Truework is rolling out Credentials, a new service that lets workers log into their payroll provider to share verified income and employment data with their mortgage lender or other authorized third parties.
Integrations with more than 150 payroll providers and gig economy marketplaces including Gusto, Zenefits, UKG, and Paylocity means “hundreds of thousands” gig workers will be able to share their data in a few clicks.
“It’s always been hard for 1099 employees to get the same access to loans and other financial products as W2 employees,” Truework CEO Ryan Sandler said in a statement. “A big reason is that accessing verified income data for 1099 employees hasn’t been possible for most banks. Truework Credentials will enable the thousands of banks on Truework to expand credit access to underserved 1099 borrowers.”
Sandler told Inman that Credentials is one part of one-stop solution for mortgage providers and other lenders.
“We have a waterfall of logic that verifies your income, starting with the fastest, most seamless way possible,” Sandler said.
With the borrower’s consent, Truework can provide instant employment and income verification for more than 35 million workers through its Truework Instant network, which the company claims is the second-biggest instant verification network in the U.S.
If a worker’s data isn’t available through the Instant Network, Credentials lets them log in to their payroll provider and send it to their lender in a few clicks, without uploading a PDF.
“It’s seamless and digital,” Sandler said.
If a worker’s not covered by Truework Instant or Credentials, Truework will turn to its “Smart Outreach” service, which provides manual verifications by phone or other means. Truework says it can turn 80 percent of manual verifications around in less than 48 hours.
Sandler said Credentials has been live with a handful of banks and lending institutions for a few weeks, and will become available to all of its customers over the next few months.
Mortgage lenders can also take advantage of Truework’s integration with ICE Mortgage Technology’s Encompass loan origination platform.
The Encompass integration, announced last month, “has been a massive success for Truework so far, leading to 48 new customers to date, including one of the largest deals in the company’s history,” a spokesperson told Inman via email.
It’s never easy replacing a recently deceased guitar legend. But for a spell, Brad Gillis did just that after Randy Rhoads passed away in 1982 – lending a hand and helping Ozzy finish his tour commitments and get back on track, as well as being featured on the all-Sabbath Speak of the Devil live release.
However, instead of carrying on with Ozzy, Gillis opted to return to his main band, Night Ranger. And almost immediately, the band hit the big-time – scoring such massive MTV/radio hits as Don’t Tell Me You Love Me, (You Can Still) Rock in America, and Sister Christian.
And Gillis still provides scintillating six-string work for Night Ranger, who released their thirteenth studio effort overall, ATBPO (short for “And the Band Played On”) on August 6 – as well preparing a third solo record (featuring Gary Moon on vocals and Derek Sherinian on keys) and another project (featuring Renan Zonta, Billy Sheehan, Alessandro Del Vecchio and Dann Huff) for release later this year.
Which guitars, amps, and effects did you use on ATBPO?
“As a vintage guitar and amp collector, I’ve got quite a lot to choose from. I used a few of my staple guitars – my ’62 red Strat, my 1971 Gibson LP Custom with Floyd Rose, and my 1957 Strat on the ballads.
“I used my Taylor 12 fret proto acoustic on the record, too. I’m low-key with guitar effects, maybe a little chorus. Other effects were added later in the mix.
“As far as amps, I used my Mesa/Boogie Mark V through Marshall bottoms, Guitar Rig, and a great little box – the Boss GS-10. And going through the Radial Injector, that gives me one input and six outputs – I can combine many guitar sounds at once.”
Which new Night Ranger songs are you most proud of guitar-wise?
“Breakout, which showcases the harmony guitars, and Jack’s slamming voice. And a few other rockers, like Monkey, Cold as December and the ballad, Can’t Afford a Hero, is one of my absolute favorites.”
How did you come up with “the Floyd Rose flutter”?
“That was a total accident back in the day. Standing in front of my mirror with my guitar, I was trying to come up with some cool stage moves, and when I started banging on my guitar, I noticed a fluttering sound.
“After getting more into the source, I found out that the Floyd Rose was shaking. Now, all my guitars are set up floating, so you can raise the bridge up or down. So, that motion made it shake. I figured out by flicking the end of the whammy bar was an easy way to bring out that ‘cricket noise’.”
What do you recall about the solo in Sister Christian?
“I remember at Image Recording in Los Angeles doing the first couple of records, when we were a young band and excited to get into the studio and cut records. I had always worked off of natural sustain – mainly through a cranked amplifier.
“When I went in and cut the Sister Christian solo, I couldn’t seem to get that sustain without using some type of pedal. So, our producer, Pat Glasser, suggested we max the crap out of the amp, and pumped the speakers in the control room creating a loop effect, where I could stand right in front of the playback speakers, and get massive sustain.
“So, I incorporated that into the solo – and in a lot of other songs in Night Ranger’s history.”
What was it like recording Ozzy’s Speak of the Devil live album?
“I remember going into SIR Studios in New York with Rudy Sarzo, Tommy Aldridge, and me. Because we didn’t use keyboards, Don Airey was not involved in the process.
“We rehearsed for a few days, going over all the Sabbath material, and went right into The Ritz in New York, to record both nights. They took the best performances from both shows, creating the record.
“My guitar tech Mark Newman and I ended up getting a great guitar tone – running two [Mesa/]Boogie Mark IIC amps stereo with a 10-millisecond delay, a slight chorus panned left and right. That’s how we created that sound.”
What are some other memories of your time with Ozzy?
“You have to realize that after the sad death of Randy Rhoads, the band was going through a lot of emotional stress throughout the rest of the tour. So, when I joined the band, it was quite a heavy situation.
“Bernie Tormé was playing guitar at that time in the interim, before a permanent replacement was added. And when I flew to New York for the audition, I basically found out it was just me. So, I did the best I could practicing in my hotel room every day, with a small amp, a boombox and a live board cassette with Randy that had been recorded a few months earlier.
“At night, I would go to the shows to watch the live performance from the soundboard. I was amazed at the large castle, fire, explosives, and the hanging of the dwarf – realizing that in a few days, I was going to be up on stage. I’ll never forget the sound man looking over at me and laughing, saying, ‘You’re next buddy!’
“My first night was quite a horrendous experience – because not only was I scared to death, at soundcheck, we only played seven out of the 18-song set, and Ozzy didn’t even show up. My first gig was sold out in Binghamton, New York for 8,000 people. That was basically my entrance into Ozzy’s world.
“I ended up botching Revelation (Mother Earth), as I ended up coming into the fast section too early, and the whole band looked at me like, ‘What the hell are you doing?’ I stopped playing, regained my composure, and finished out the song and the set – with no other major mistakes.
“The next night before we went on stage, Sharon [Osbourne, Ozzy’s wife] came up to me, saying, ‘Bradley, you’re doing a great job. But tonight… don’t fuck up.’”
Did you ever meet Randy Rhoads?
“I never had that chance. But I did see Ozzy and Randy in 1981 at the Day on the Green in Oakland, California. And at that time, Randy was being touted as ‘the next Eddie Van Halen’. And when I saw that show, I was totally blown away by his performance.
“Around that time, I had a club band called the Alameda All Stars, that I had thrown together in 1980 to keep my chops up, playing locally in the San Francisco Bay area – and we threw in a few Ozzy songs [Crazy Train and Flying High Again].
“I first met Ozzy in the master suite at the Helmsley Palace Hotel in New York. I had my red Strat, no amp, and played him Flying High Again.
“How surreal to be sitting at the edge of his bed, with him cross-legged on the floor singing up to me while I played the song! Once I got through the solo he jumped up, gave me a big hug, and said, ‘Brad, I love you. Pull me through.’”
Night Ranger opened for Kiss on their Creatures of the Night tour – that must have been something special.
“That was a great experience for us. I had just finished up seven months with Ozzy, so stepping into opening for Kiss was comfortable to me getting right back into large venues.
“The guys in Kiss – especially Gene and Paul – were very gracious and gave us good stage room and loved to hang out. At one point, I actually tried on Gene’s 30-pound stage boots!”
“Chart-wise, Night Ranger was doing better than Kiss in the US at the time – Dawn Patrol peaked at Number 38 on the Billboard 200, while Creatures peaked at Number 45.
“We were lucky enough to jump out of the gate with the up-tempo song, Don’t Tell Me You Love Me, which featured Jack’s haunting vocal and twin-guitar harmonies.
“MTV had just come out with a 24/7 format, and they didn’t have enough videos to run all day/every day. So, when we gave them our new video, they were rotating us 25 to 30 times a day – which didn’t hurt us at all, because MTV was the latest/greatest, and it gave the audience a face to put with the music.”
How is it playing with Keri Kelli?
“I love playing with Keri Kelli. He is one of those guys that has pretty much does it all. He’s been in so many bands and has really put 100% in Night Ranger these past 7 or 8 years. He kicks ass on this new record, and we really had a lot of fun doing harmony solos and making this new album shine.”
Steubenville native Bernadette Milewsky Mullenix and her husband, Joe, look forward to class reunion and performance.
STEUBENVILLE — While it’s not unusual for former area residents to come home for a high school class reunion, few if any return to have a local singing gig to boot.
For singer-songwriter Bernadette Milewsky Mullenix of Warner Springs, Calif., however, that’s a reality.
The 1971 graduate of Catholic Central High School is not only looking forward to her 50-year class reunion on Saturday, which is her birthday, she and her husband, Joe, will perform as Slow Traffic on Sunday at the Spot Bar, 217 S. Fourth St., from 3 p.m. to 7 p.m.
Because of COVID-19 pandemic delays that impacted the class reunion for CCHS Class of 1970, Saturday’s reunion will be a combined one for CCHS Class of 1970 and Class of 1971, Bernadette explained in an e-mail correspondence.
“I am very excited to be able to attend this once-in-a-lifetime opportunity and perform at the Spot Bar,” she said of a trip to her hometown that combines memories and music.
“We like the venue because it has a spacious outdoor patio where we will be performing, and it is a local favorite,” she noted. “I especially like it because it brings back memories of the once bustling South End and historic downtown Steubenville, where I used to play in Beatty Park and shop at the Hub Department Store.”
Born and raised in Steubenville, the daughter of the late Thomas and Jane Milewsky attended Cathedral Grade School, where she first performed in front of her first-grade peers. After high school, she began performing in different bands in the area, moving in 1975 to California where she has continued her musical pursuits to this day.
Becoming a musician, however, wasn’t something she envisioned for herself.
“I just always had a deep love for music and would participate in grade school and high school musical events whenever I could,” she explained. “I played a few instruments, but they never stuck. I do play, though, several percussion instruments. I was always a singer and was drawn to musical people.”
She and Joe — Joseph Robert Mullenix — met in Hermosa Beach, Calif., in the summer of 1975 through their friend Michael Hall — M.D. Hall. — who also is from Steubenville.
“I moved to California to be in Mike and Joe’s band,” she noted. “We named it ‘Steuben Park.’ Joe and I hit it off from the start, but we decided not to date since we were performing together. After several years of playing together, we all went our separate ways,” she explained.
Ironically, the two reconnected in 2008 and got married on Sept. 9, 2013. “We tell people we dated for 33 years before we got married, to make sure we got it right,” she quipped.
“We now play in our own band called Slow Traffic,” she continued. “It is a passion we love and share, an essential part of our relationship. Periodically, we come back to my beloved hometown, visit family and friends and play music. Mike usually sets up an event or two, so that we can all play together again.”
Music, she explained, makes her happy.
“It is a great way to be active and involved in the musical community. I enjoy socializing, meeting new people, performing, singing, song writing, being on my feet, dancing, playing percussion, or just having a beer and hanging out with friends,” she noted.
“Joe and I have been fortunate in that we perform and play wherever we go. We once packed up our pickup truck with sound equipment and guitars and hit the road on a trip across the United States, from California to Ohio. We played along the way, including Dallas, Texas and Nashville. In fact, we ended up playing at the world-famous Spot Bar! Full circle, baby,” she wrote.
“We also had the opportunity to perform in Norway. Our friends there have a band and wanted us to play with them, so we went on two different occasions and played several different venues. We played some of the gigs as a duet and others with their full band. When we play as a duet, Joe plays acoustically on his 9-string guitar, which is a rare instrument. When we play with a full band, Joe switches to his electric guitar,” she explained.
Slow Traffic regularly plays in the wineries and winery-related venues in the Temecula Valley, SoCall and San Diego areas. The two are songwriters and perform an array of popular country, country rock and classic rock with a few originals in the mix. They’re partial to the works of artists such as Dwight Yoakam, Linda Ronstadt, Rolling Stones, George Strait, Jimi Hendrix, the Beatles, Johnny Cash and Miranda Lambert. Randy Green does percussion.
Joe and Bernadette perform as a duo with larger bands and various musicians. They are two of the principles in the weekly Chords and Vines/LA TalkRadio show.
Bernadette said her father was a World War II veteran and her mother, a stay-at-home mom to nine children. “When time allowed, mom also worked various jobs as a cashier at different stores throughout the town. Mom and dad worked together at the True Value Hardware store on Sunset Boulevard when dad retired.”
She keeps in touch with grade school and high school friends who still live in Steubenville. “Whenever I come to visit, I make sure to visit everyone, and it is always a very special treat to see them. Friends were always something I treasured, and it was very important for me to not lose contact with them,” she noted.
She was last in the area in 2019. Her husband is from Parkersburg. “We were there for Joe’s 50th class reunion. Joe lived in Steubenville for a few years while I was still in high school, and he played music in the town with his buddy, Michael Hall, whom he met at Ohio State University. I didn’t get to meet Joe until I moved to California to be in the band with him and Michael. After I got out of high school, I played in a band with Michael and Andy Tonsky, who recently passed (a few years ago now),” she explained. Their trio was BAM.