Robert Urban
Rock Widow
© 2003 Robert Urban (603801999926)
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Progressive Art Rock, at times heavy & electric, at times acoustic, sometimes fusion/techno/jazz
tracks
- 1 You Don't Wanna Know
- 2 Compulsion
- 3 My Silent Friend
- 4 No Love in Sight
- 5 Ode to Central Park
- 6 Waiting for Rome to Fall
- 7 The Cage
- 8 Don't Ask, Don't Tell
- 9 The Burning Heart
- 10 Deserted Cities of the Heart
- 11 The Boys from Paradise
- 12 Serenity
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notes
ROBERT URBAN - vocals, guitars, basses, synths, pianos, organs, drums, percussion, orchestral sounds & sound effects
Recorded & Mixed at URBAN PRODUCTIONS, NYC
Recording Engineer - Robert Urban
Mix Engineer & Tech Guru - Edward Douglas
Mastered at ABSOLUTE AUDIO, NYC
Mastering Engineer - Tom Brick
Mastering Ass't - Bruno Opitz
Graphic Design Layout - David Johansson
Artwork Concept by R. Urban
Photos by Morgan Humphries & R. Urban
Produced by Robert Urban for URBAN PRODUCTIONS, NYC
www.roberturban.com
All songs copyright © 2003
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Additional guest performances by:
ANTHONY DeMARCO (drums) "Compulsion", "My Silent Friend", "The Cage", "The Burning Heart"
YOLANDA (gospel choir vocals) "Waiting for Rome to Fall"
MEGHAN CARY (voiceover) "No Love in Sight"
WOLFGANG BUSCH (sprechstimme rap) "Waiting for Rome to Fall"
PETER FARRELL - (sax) "My Silent Friend", "Burning Heart",
(honky tonk piano) "No Love in Sight" (voiceover) "No Love in Sight"
TOM O'NEILL (synths, programming & fx) "Waiting for Rome to Fall"
MARK VOLLENWEIDER (drums/percussion) "Waiting for Rome to Fall"
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Heartfelt thanks to:
NESTOR - for the love sessions
PETER HODGSON - for the long distance tone talks
ED DOUGLAS - for the patience, courage & charm
SOUNDDOGS - for the sounds
BILL CARTHAGE - for the body work
PAT PADULA - for believing I could do this
JOHN CONLAN & BRIAN McHALE - for leading the way
BURTON HATHEWAY - for saving my life
MORGAN HUMPHRIES - for everything
AUNT SYLVIA, Rock Widow Patron - Rest in Peace!
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This album is dedicated to the Boys in the Bands.
R. I. P.
FIRE FROM HEAVEN:
Peter Farrell, Matt Sullivan, Racine Romaguera, Eric Covington, Mark Patton
(Compulsion & Don't Ask, Don't Tell)
THE TEMPTED:
Anthony Tirado, John Ferigno, Dan Gibson, Paul Bacardi, Anthony DeMarco
(No Love in Sight)
ANGRY MEN:
Neddy Boy Bakelman, Greg Mellett, Patrick Heeney, Ronaldo Cardenetti
(The Boys from Paradise)
NEW ENGLAND:
Tom O'Neill, Mark Vollenweider, Lew Kahn, Rusty Hudson
(Waiting for Rome to Fall)
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ROBERT URBAN
Singer-songwriter, composer, guitarist, multi-instrumentalist Robert Urban was born & raised in Fairfield County, CT. In addition to all else listed below, he has been performing in one rock band or another for every year of his life since age 15.
He received a B.S. degree in Philosophy and Music from the University of Bridgeport, CT.
Moving to Manhattan, Robert began composing scores for an array of professional music, dance, theater and film productions. Also a session guitarist, vocalist & producer, he has contributed to the projects of many other musical artists and theatrical organizations.
Recently, Robert composed the music score for the internationally released film-documentary "Ticket to Freedom: Woodstock", which also featured original songs by Richie Havens. Music from his "godless" album is featured in the indie art film "Paradise Attempted" produced Resolute Pictures, Inc., released in early 2000. The film also includes music by new-age artist Enya. Most recently, Robert composed the instrumental musical score to the new Todd Russell/Alex Dove horror films "Dead Guys" & "DAS HAUSE".
Robert owns & operates his own independent music production facility URBAN PRODUCTIONS, where he records & produces both his and other artists' music.
There are four Robert Urban CDs available - the 1997 critically acclaimed "godless"; the award-winning 2000 Elegies; the 1980s retrospective who i was (also released in 2000); and the new 2003 Rock Widow.
Robert performs everywhere, including various outdoor music festivals, with his own progressive art-rock group - The Robert Urban Band.
Recent Career & Performance Highlights
- "URBAN PRODUCTIONS BOLDLY PRESENTS" - self-produced, ongoing concert series featuring new & established musical artists from all over the U.S.(hosted by Robert Urban)
- Winner - StoneWall Society 2003 "Pride Song of the Year" Award for DON'T ASK, DON'T TELL from the ROCK WIDOW cd, StoneWall Society 2002 "Pride Song of the Year" Award for THE WAITING SONG from the ELEGIES CD.
- Listed as one of ten IMPORTANT VOICES IN MODERN ROCK -Vol. 2, No. 3, March 2001 - THE PROGRESS REPORT
- Winner of Two 2001 OUTMUSIC OMA AWARDS
1. Outstanding Live Performer of the Year
2. Outstanding Recording ("Elegies")
- Nominee - 2001 NY Regional INDEPENDENT MUSIC AWARD presented by The MUSIC RESOURCE GROUP organization and sponsored by THE MUSICIAN'S ATLAS
U.S. Music Festivals - NYC Pride Festival (2001), Connecticut Pride Festival (2001 & 2002), Atlanta Pride Festival (2000), Virginia Pride Festival (1998)
- National Tour (including performances in Atlanta, New York City, Chicago, Boston and Philadelphia) (1996 thru 2000)
- LADYFEST 2002 NYC Festival
- listed in "Award Winning Men" 2002 book.
For more information visit: www.roberturban.com
reviews
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A beautifully rich album that speaks to me on so many levels
author: Gordon Smith - RUBBERLEGS - New York CityI've been listening to this CD constantly these days, and like all of my most favorite music, I didn't get it at first. The songs, the music, all seemed straightforward enough, not out-there strange, inaccessible or unpleasant in any way, and so the first several listens didn't really sink in. I'm glad I kept at it though, because I am now rewarded once again with appreciation for an album that is not only wide and deep, but has infiltrated my musical headspace in a really nice way. Yes, we've all been victimized by popular music that gets its hooks into you in a most annoying way, with songs that you'd pay to have surgically removed from your brain. When Robert's songs play in my head, they make me smile and want to listen to them again. And like the deepest music, each song makes itself known to me in its own time. I've always loved the first track, "You Don't Wanna Know." It's the first one I remembered, and it gives me a wonderful wistful feeling. Lately other goodies have surfaced, especially the lovely, yearning "Ode to Central Park," and Gentle Giant-like treatments of two Charles Ives pieces. The CD holds together nicely as a concept album, with at least two themes running through it that speak particularly to me. The main theme of "Compulsion," in all its good and bad manifestations -- the unstoppable drive to great creative achievement as well as the single-minded pursuit of baser desires, and the entire spectrum in between -- is played out again in the polar opposites of "No Love in Sight" and "Ode to Central Park," and returns in different guises throughout the remaining songs. I'm especially taken with the overall Rock Widow concept, being very familiar myself with what it's like to be the "keeper of the flame." It's a bittersweet mix of feelings, of pride, awe, accomplishment, anger, loss and mourning, that drives us to want to present an almost-lost art to the world. One feels honored and grateful to be the sole remaining conduit and voice for something magnificent, yet somewhat betrayed by beloved co-creators who for one reason or another couldn't hold the vision long enough to see it through with us. These are very powerful motivators to drive the creative process, giving us gems like Rock Widow. I was delighted to discover that the entire album was recorded in Robert's apartment, played and sung largely by him. Being a big fan of home productions myself, I nevertheless was not prepared for the incredible clarity and rich, full sound that Robert has achieved on this recording. It has an undeniable warmth that fits the songs like a glove. I loved hearing Robert explain how he meticulously arranged the drums and other parts, nudging them around slightly in time to give them a more human feel. Not to say that they were played by a machine -- in fact, I know that Robert played the drum pads and keyboards (and of course the guitars) himself -- but that in spite of the fact that most were overdubs, he was able to bring the parts together into a cohesive whole that sounds and feels like a live band. "Don't Ask, Don't Tell" is a great example. It cooks like four guys feeding off each others' energy, even down to the classic "band falling apart together" ending. Kudos to Robert, the effect is very real. It's always fascinating to me to meet another progressive rock afficionado -- we are both big fans of Yes, ELP, Gentle Giant, Led Zeppelin, etc. -- who is clearly influenced by those great musicians of the '70s, but has chosen his own particular synthesis of styles for his musical expression. You won't hear any retread here, no attempt to play "tribute band." Robert has his own voice, from his singing style to his guitar playing, his songwriting and production, all of which cover a broad and beautifully integrated range from sweetly introspective to hard-rockin' and funky. I love how Robert can bring these diverse moods and styles together so seamlessly in one song, without calling attention to its cleverness or turning it into a 20-minute epic. Not that I'm against 20-minute epics, I'm just always impressed by stylistic adventurousness that serves the mood of the song, rather than the other way around. "Ode to Central Park" is a clear winner in this regard. I just love how Robert underlines the sweet acoustic verses with his vibrating electric and slide guitar lines, and so smoothly segues them into rockier ensemble sections and a cool sparse poetic break. And I have to say that until recently, I thought there could only be two or three gay YES fans in the world. How delightful that Robert has proven me wrong! And how wonderful it is to have Rock Widow occupying a prominent place in my musical universe.
This album just shines with tastefulness and mastery and, being both definitely
author: VITALY MENSHIKOV - PROGRESSOR Uzbekistan Progressive Rock PagesROCK WIDOW REVIEW - 5/1/03 - Stylistically, the music on “Rock Widow” is almost kaleidoscopically diverse – like that of Queen, as everything that is presented on this album is distinctly original and can’t be compared to anything. This is not Classic Progressive rock, yet this music is definitely progressive. What’s central however is that this album is both very bright and impressive. It is impossible not to appreciate such high-quality music as is presented on “Rock Widow” by Robert Urban. This album just shines with tastefulness and mastery and, being both definitely progressive and accessible, should please a large audience. Recommended. -
Rock Widow' is a triumph of composition, arrangement and playing - Highly recom
author: Phil Jackson - Madasafish Records for ZEITGEIST WEBZINERECOMMENDED RELEASES OF 2003 - ROBERT URBAN - ROCK WIDOW If you haven't heard Robert's music before the 5 minute opener 'You Don't Wanna Know' is as good a place as any to start. The supplicatory vocal, the subtle acoustic guitar and percussion, a cathartic, challenging ballad sensitively and beautifully played and arranged. 'Compulsion' asks some big questions (Don't listen if you're not into thought provoking lyrics but then again- why would you not be?) and is a rockier number with some nimble drumming from Anthony DeMarco and flowing electric guitar licks from Robert. An excellent sax player Peter Farrell is introduced on 'My Silent Friend' (which he also wrote) and also plays on the catchy 'Burning Heart' but mostly this is the work of an extraordinarily talented and passionate New York multi-instrumentalist and composer. This passion is encapsulated perfectly on 'No Love in Sight' where Robert manages to deliver his serious message with a touch of sardonic humour- Farrell's honky-tonk piano and the cell phone fight are ingenuous touches. The masterpiece of the album for me though is 'Ode to Central Park' on which Robert does everything- guitars, organ, synths you name it- a very intense and personal statement- the lyrics are once again brilliant and the 'orchestral' arrangement is most apposite. 'Waiting for Rome to Fall' begins with a piece of Sprechstimme by Wolfgang Busch (who does a little 'eins, zwei, drei, veir' and appears periodically throughout the piece as well!) and this is the nearest Robert comes to a full band with two backing musicians (who also co-compose) and a 'gospel choir vocalist' to create a quite 'funky' soul-like ambience that includes a memorable one-liner 'Revolutions come and go, but diamonds are forever'- quite! I hadn't realised just how similar Robert's voice is to Jack Bruce's and hearing a splendid 'unplugged' version of one of my favourite Bruce-Brown compositions 'Deserted Cities of the Heart' led to make other connections between the vocal styles of Bruce and Urban. Intriguingly there are interpretations of two Charles Ives numbers on this album the first of which is the all too short 'The Cage' with some half spoken half sung lyrics in the finest jazz 'skat' tradition- think Hatfield and the North for a nearest 'rock' equivalent- seriously! I did a little research on Ives and crave your indulgence for a moment. Ives was one of a line of composers ranging from Louis Gottschalk and Stephen Foster to Aaron Copland that put American classical music on the worldwide map. The larger than life Ives (1874-1954) was also one of the most enigmatic. Harold Schonberg in 'The Lives of the Great Composers' (A must read!) expresses the opinion that 'So advanced was his (Ives') idiom, so convulsively dissonant and complicated, so full of unusual textures and devices, that hardly anybody could grasp its significance'. So well done to Robert for even attempting this! Anyway, the second Ives 'tune' is 'Serenity', a haunting psalm. The penultimate track 'The Boys from Paradise' is another of my favourite Urban compositions so far. It tells the unsettling tale of Bobby who is 'locked inside his music box'. The amazing thing about this track is that it has such a full sound and yet it is only Robert playing!'Rock Widow' is a triumph of composition, arrangement and playing that should put Robert Urban on the map as one of the foremost singer/ songwriters in the U.S. and beyond. Highly recommended.-
Here's to unexpected pleasures
author: Joey DiGuGlielmo - OUTPUB, Pittsburgh, OHROCK WIDOW - Here's to unexpected pleasures. This 4th disc from rocker Robert Urban is a varied and top-notch artistic statement that blends rock gusto with a pop sensibility. Urban, who's practically a one-man band with the 8 or so instruments he's credited with playing, possesses a smart, experimental personna and a radio-ready tenor reminiscent of Gino Vannelli. The disc occassionally does get too pretentious (two Charles Ives tunes, no less), but Urban's far-ranging talent - and the polish and dare of the record more than compensate. Standout elements abound, like the rich melody of "You Don't Wanna Know" and the pop bounce of "The Burning Heart". "No Love in Sight" - which explores loveless hetero-relationships, features ferociously-good guitar/keyboard interplay, while the cd's first single - "Waiting for Rome to Fall" endears with a whirly-gig organ and a soul-flavored gospel outro.
"Hey Man, GREAT TUNE!"
author: JON P. YARGER, Host, Progressive Rock Radio Network, NYCWAITING FOR ROME TO FALL - "Hey Man, GREAT TUNE!"
"Rock Widow" is a verification that rock is alive and well
author: LEN, Rainbow Radio, Stonewall Society, Baton Rouge, LA"OK, let's see if I can do it." are the first words on Robert Urban's newest release, "Rock Widow". It is immediately known by the listener that Robert can do it and do it very well! "Bravo!" would be the first reaction to this classic rock creation, fused with warm jazz tones throughout. Urban takes us on a personal and somewhat introspective musical journey through his eyes and world. As a complete work, "Rock Widow" very much carries like the score to a rock opera. Each song is independent yet connected. Either connected in spirit or by theme, and or the compelling and unique style that is Robert Urban. "Rock Widow" brings memories of days when a new album was reason for gathering and party. Rooted solidly in classic rock, the influences are there. The Who, Yes, Les Dudek, the Beatles, and several more. It is Robert Urban's artistic ability to take influence from each while making the finished work truly his own. The familiar feel of Robert's music adds to the overall enjoyment of "Rock Widow". The individuality is not lost nor hard to pinpoint. Great solos, trios, endings, and a myriad of special moments abound. "Rock Widow" consists of twelve songs. Ranging in style and theme, with deep personal interpretations and social statements. Some like "The Boys From Paradise" and "No Love In Sight" are veritable rock anthems. The phone fight in "No Love In Sight" by MEGHAN CARY and PETER FARRELL bring an unexpected reality to the song. The amazing musical and lyrical talents of the anti-war “Waiting for Rome to Fall” are just awe inspiring. Film director WOLFGANG BUSCH contributes a unique, poetic combination of German & English spoken word - "sprechstimme rap" - as Robert Urban calls it. YOLANDA contributes an over-the-top SATB gospel choir for the song's rousing finale. The techno bed for "Rome" was supplied by groove-meisters MARK VOLLENWEIDER & TOM O'NEILL. "Waiting For Rome To Fall" has quickly risen into the top five requested songs on the Rainbow World Radio Playlist as selected by Internet listeners. "Rock Widow" also includes three covers. Two by Charles Ives; "The Cage" and environmental protest song and "Serenity" both brought forth with the unique interpretation of Robert Urban talent and style. The third, is an acoustic cover from Cream's "Wheels Of Fire" called Deserted Cities of the Heart" inspired by the relentless TV coverage of villages and homes wrecked by current Middle East conflicts. All songs are strong, poignant, and brilliantly delivered. Make no mistake, "Rock Widow" is a verification that rock is alive and well. The title also makes a statement about Robert Urban's view of rock today. "Rock Widow" is a significant CD not just to the GLBT music community but to the rock community in general. Sure some of the songs are very "out" in their meaning, however the musical appeal is universal. The only downside to "Rock Widow" for this listener was that it was over. Thank goodness for replay! In my book, this CD could easily and fittingly been called Rock Messiah!
What a wonderfully-produced and great-sounding track!
author: GREG GORDON, Coordinating Producer, "This Way Out" Radio Show,Greetings Robert - We ran your "Waiting For Rome To Fall" (in its entirety) on this week's "This Way Out", (and thanks for making it available earlier this week online) -- what a wonderfully-produced and great-sounding track! "Waiting For Rome To Fall" was an excellent "companion feature" on the show this week, as our focus was anti-war and the U.S. military. Thanks
A great track, and very timely
author: V*I*R*G*O*, recording artist, NYCCongratulations on the new single - "Waiting for Rome to Fall"! A great track, and very timely. I really love to hear artists using their talent to say something meaningful. Thanks for that
Rock Widow Rocks!! Need I say More?
author: JOANNE LYNN, WKJCE Radio Host PennsylvaniaIt's a privilege to be playing your music on my show. WKJCE GLBT RADIO Has its copy of Rock Widow and we love it. We have been playing some tracks off it like "Dont Ask Dont Tell" ,"Deserted Cities of the Heart" and of course many more like "Waiting for Rome to Fall". Thank you Robert Urban for making songs us GLBT activists can get into as well as many of our other listners. Rock Widow -Rocks!! Need I say more?
a masterpiece of intricacies, a bouquet of sonic compassion.
author: SCOTT FREE, Leather/Western Records, Chicago, ILROBERT URBAN, a leader in today’s burgeoning New York music scene with his "Urban Productions BOLDLY Presents" rock shows & concerts, has released his fourth CD, entitled ‘Rock Widow’. He has, once again, created a masterful melodic epic, but this one is a more painful search for meaning amongst rock & roll’s ruins. The opening track - ‘You Don’t Wanna Know’, a pure pop gem. This seductive song, in fact, could have been called ‘Rock Widow’, with its painfully honest lyrics about a gay rocker in the straight world of rock & roll. But ‘Rock Widow’ also refers to Robert’s view on the state of rock today. This CD is solidly grounded in the progressive rock of the 1970’s, complete with rolling r’s and keyboard arpeggios. It is a grandiose style, yes, and one that is rarely heard today, but its grounded lyrics and careful production make the CD touching, compelling, and human. And, although progressive rock and jazz are its starting points, Robert’s ability to write brilliant pop hooks makes this a timeless CD. Shining moments of brilliance are discovered in segues, bridges, and even song fade-outs. Each song is meticulously crafted, which shows a love and respect for the music. This is a masterpiece of intricacies, a bouquet of sonic compassion. The highlight of the CD is the triumphant ‘Ode to Central Park’, a musical tribute to the anonymous sexual encounters in the core of Manhattan Island that have continued unending for centuries. This gem, soon to be a queer classic, is treated with utmost reverence, a musical homage to desire which crescendos to an emotional climax. One of the most interesting additions to the CD was the inclusion of two songs written by Charles Ives, ‘The Cage’, and ‘Serenity’. Robert’s handling of these two completely unique songs shows the mastery of his art – his ability to bring out the right emotion through careful instrumentation and production. This impeccably produced CD was done in Robert’s own Urban Productions recording studio, where musicians Yolanda, Marshal Zarne, and Rainbow Flava have recorded their music. With radio’s obsession with boy bands and forced rap, you may have forgotten the joys of the power-rock anthem. When done correctly, as ‘Rock Widow’ is, it is thrilling
You've got a great sound on this one, nice guitar work
author: RICK RAY, Neurosis Records, Cleveland, OHWAITING FOR ROME TO FALL - "Sounds like Ziggy Stardust goes AWOL and takes refuge at Eno's house! You've got a great sound on this one, nice guitar work"
Rock Widow is a powerful and innovative collection
author: JEREMY BLUE, DreamBorn Productions, Pawling NY"Robert Urban’s new release, Rock Widow, is a powerful and innovative collection. Weaving in and out of the traditional sounds of rock, it allows for Urban’s intricate mastery of the song as an art form to create an exciting and provocative juice. Full of high-energy performances by Urban himself, and a collection of other first-rate musicians, I listen to the program thankful that rock ‘n roll is far from dead in Urban’s able hands. You wanna rock when you hear this. And yet, with meaningful tracks like “Don’t Ask Don’t Tell”, be prepared to go on some well-crafted, journeys as well. Robert is a musician’s musician who makes music for those willing to think."
Robert Urban's "Rock Widow" is a terrific contribution to rock!
author: Bob Young, KCLA-FM, American Radio Network, Hollywood, CA"Makes me feel like grabbing people on the street, shaking them by the lapels and shouting in their faces, "Listen to this man, you fools! This is what rock can still be!" Okay, so here's the problem: How ya gonna top this, Urban? Flat out faves, so far: "Waiting for Rome to Fall" - Most amusing vision of the apocalypse on record, with a really catchy tune. "Don't Ask, Don't Tell" - Best flat out rocker I've heard in a while, especially considering the lyric. Like hell it's confined to the military. Foolishness pervades all levels of society! "Compulsion" - Stunning. All those beautiful, unexpected guitar & drum riffs tied to a brilliant lyric line. Robert Urban's "Rock Widow" is a terrific contribution to rock" - BOB YOUNG, KCLA-FM, American Radio Network, Hollywood, CA