Andrew Appletree
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Andrew Appletree

Littleton, Colorado, United States | SELF

Littleton, Colorado, United States | SELF
Band Rock Singer/Songwriter

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"Review by Alex Henderson"

The more things change and evolve in rock, the more they stay the same. Alternative rock has been rock’s primary direction since the rise of Nirvana and Pearl Jam in the early 1990s, but there will inevitably be contemporary bands that function with a deliberately pre-1990s aesthetic. And Andrew Appletree & the Neptune Riders are such a band. Dragonfly is a 2012 release with a long list of pre-1990s influences, which range from Bob Dylan, the Rolling Stones, Tom Petty & the Heartbreakers and George Thorogood & the Destroyers to Motörhead and AC/DC. Appletree’s gritty, bluesy, whiskey-soaked approach is a blend of hard rock and roots rock/Americana, with hints of punk at times. Punk isn’t a huge influence on this album, but it is an influence nonetheless. And the punk influence is at its strongest on “Devil’s Wife,” “Kentucky Blue” and “QFW America.”

Appletree’s gravely, rugged, gruff vocal style is an interesting combination of Dylan and Motörhead founder/frontman Lemmy Kilmister. That is an unlikely combination of vocal influences, certainly; not many of the headbangers who have been influenced by Kilmister could also claim Dylan as an influence. But in fact, one does hear elements of both Kilmister and Dylan coming from Appletree when he belts it out on edgy rockers such as “Carpe Diem,” “Valley of Death” and “59 to the End.” But unlike Motörhead’s work, Dragonfly is not metal. This 58-minute album is relevant to hard rock, but it isn’t heavy metal. Granted, there can be a fine line between heavy metal and hard rock, and some bands have been a part of both (Kiss, Mötley Crüe, Blue Öyster Cult and Quiet Riot, for example). But when Appletree and his colleagues passionately tear into “QFW America” or “Analog to Digital,” it is clear that they fall on the hard rock side of things rather than the metal side of things. And some of the selections are straight-up roots rock; “Time Go” and “Wishing Wells” (which are among the album’s more restrained tunes) could easily appeal to fans of Tom Petty, John Mellencamp or Bruce Springsteen.

Dragonfly isn’t an overly political album, but it does have its political moments. The Rolling Stones-influenced “Casualties of War,” for example, takes a look at the suffering that war causes those who are asked to do the fighting; Appletree asserts that even if a soldier dies a hero, he/she is still dead. Appletree also comments that soldiers who put their lives on the line should understand exactly why they are fighting. “Casualties of War,” however, makes it point without preaching; the song’s tone is reflective and contemplative, not preachy.

Another political track is “QFW America” (the QFW part is short for “Quit Fucking With”). In contrast to the pensive tone of “Casualties of War,” “QFW America” is raucous and in-your-face; it is also hooky, infectious and very easy to get into. “QFW America” describes some of the problems that the United States is facing in 2012 (including drugs and poverty) and concludes that change is desperately needed. The tune is a political wake-up call.

One of the guitarists on this album is none other than Rick Derringer, who appears on “Casualties of War,” “Time Go,” “Valley of Death” and “Carpe Diem.” And Derringer’s presence on this album says a lot about Appletree’s musical outlook. Derringer, who is best known for his 1970s hit “Rock ‘N’ Roll Hoochie Koo,” has been a part of both hard rock and blues-rock; there has been a lot of rootsiness in his work, and that makes him a perfect guest for Appletree’s album. Indeed, Derringer fits right it on Dragonfly, although he doesn’t appear on all of the selections.

People who expect Appletree to be full-fledged heavy metal will be disappointed because that isn’t where he is coming from musically. But for listeners who hold hard rock and roots rock in equally high regard, Dragonfly is a respectable and worthy listen.


Andrew Appletree & the Neptune Riders

Dragonfly

Review by Alex Henderson - Alex Henderson


"Review by Rhonda Readence"

Dragonfly is the 2012 release of Andrew Appletree and the Neptune Riders, and it’s a good one, without doubt. Appletree’s gritty, whiskey-soaked vocals are reminiscent of George Thorogood and the Destroyers and the album itself is full of blues rock guitar chords and catchy rhythms. Classic rock with a dash of folk, a pinch of punk, and some roots rock is how to best describe Dragonfly, but whatever you want to call it, there is no denying that it simply rocks.

The album opens with “Carpe Diem,” and it has a contagious beat that will have fans tapping their feet and dancing along. Appletree’s vocals sound like Bob Dylan on steroids combined with Thorogoood, and the overall effect is one of a honky tonk bluesy sort of vibe that will endear itself to listeners from the opening notes. Other notable tracks that follow in this vein are “Devils Wife” and “Shining For Me,” both of which carry a bluesy edge coupled with roots rock that melds into a unique blend of classic rock that only Appletree can attain.

Many of the songs on Dragonfly have an element of the blues to them, but several standout pieces like “Kentucky Blue” and “Plastic Signs (Part 1)” are based mostly in the blues with traces of folk rock thrown in to give it more flavor. Appletree’s vocals remain constant throughout, and although he occasionally ventures out of key, his delivery is strong and his gravelly voice lends itself well to the overall rustic vibe of the album.

Bob Dylan and Tom Petty come to mind during the title track, “Dragonfly,” especially with regards to the vocal delivery and the guitar work. Listening to this offering, one is intrigued at the thought of seeing this band perform live in a bar somewhere, probably with sawdust on the floor and raw wood tables heaped high with half-empty beer bottles and overflowing ashtrays. It’s good music for a good time.

Andrew Appletree and the Neptune Riders aren’t all about a good time though. They have several politically motivated offerings on the album that are rife with intelligent lyrics and skilled instrumentation. “Casualties Of War” and “QFW America” are both such tracks, although they are very different instrumentally. “Casualties Of War” is a more reflective offering with a sense of melancholy, while “QFW America” is more in-your-face and aggressive. In any case, both are highlights on the album.

There is a slightly softer aspect to this band, and “Wishing Wells” is one such piece. The guitar work is light and elegant, the rhythm is slower paced, and Appletree’s vocals are more restrained, although still gritty. There are a few rough notes within this track, as Appletree seems to be out of his comfort zone, but this only adds to the overall charm of this graceful track. “Time Go” is also a slow number and the piano playing is really what catches the ear here. It’s a great touch and adds an essential essence to the melody of this piece.

Dragonfly closes with “59 To The End” which is exactly how this album should end. Nitty, gritty rock ‘n’ roll. Andrew Appletree and the Neptune Riders have brought several eras and genres together in this album and they have done it well. Despite a few rough spots, listeners should have no trouble getting into this music and enjoying it for what it is: Good music for a good time.


Artist: Andrew Appletree and the Neptune Riders

Album: Dragonfly

Review by Rhonda Readence - Rhonda Readence


"Review by Gary Hill Artist: Andrew Appletree Album: Andrew Appletree Rating: 3.5 Stars (out of 5)"

Andrew Appletree’s debut disc is certainly an album that benefits from repeated listening. First time around Appletree’s vocals often feel awkward. As a familiarity with the material grows, some, but not all, of that disappears. There are still moments where Appletree wanders off key and at times he seems to be pulling against the rhythmic structure of the song. Those moments are in-frequent enough to avoid seriously marring the album, though.

“Angels and Movie Stars” opens the disc. It features a roots rock meets singer/songwriter arrangement. The spoken vocals call to mind Lou Reed a bit. The chorus includes female backing vocals and other elements that bring it closer into an almost country music sound. At points Appletree’s vocals are a bit hard to take on this number, but overall, it’s a piece that gets further into the listener’s psyche with each subsequent spin.

As “Flying” first drifts across the ears, the mostly spoken vocals feel a bit awkward. Still, there’s a Bob Dylan sort of sound on hand. It works out to a more full arrangement and a lot of charm is contained on the more rock oriented sections. The backing female vocals call to mind Pink Floyd’s “Dark Side of the Moon” album. Some saxophone at the end reinforces that leaning, but there is also some country styled guitar in the track.

“Everything” comes in with a lot more of a rock sound. Appletree’s vocals on this cut have almost a punk rock sound to them. In many ways this piece feels more like a punk rock take on roots rock. “Leave'n Soon” is definitely the best piece of the set. Appletree’s voice doesn’t wander into difficult territory, which helps, but the arrangement is the real winner. It features a jazz meets Latin musical style. A duet with Aimee Trachtenberg brings emotion and charm to the piece. It’s pretty and a little sad. It’s also very dramatic and powerful. There’s a more rocking section later in the piece that still works incredibly well.

While Appletree’s vocals again seem a little awkward on “Caught in the Middle,” the main musical elements are still quite strong. The lyrical content feels little too personal in some ways, but that’s more a matter of personal taste. It’s still one of the stronger pieces on the set. A slower, dramatic, movement later in the piece, almost feels a bit like progressive rock. The female vocals have a bit of a non-lyrical solo and then the cut launches out into a killer guitar solo. From there it really works into some seriously Pink Floyd-like sounds.

The vocals on “Deal” certainly have that Lou Reed-like awkwardness, making the track a little hard to take. It’s more of singer songwriter number at first. The arrangement gets more involved and progressive rock like later, though. It would feel stronger if it followed a weaker number. As it is, it has trouble standing alongside the power of the closing sections of “Caught in the Middle.” “Faith” is one of the most ordinary songs on the set. It feels a bit like a cross between Bruce Springsteen and Lou Reed. It’s sort of middle of the road and a little forgettable.

“You” benefits from one of Appletree’s best vocal performances and a killer arrangement. In a lot of ways it’s just a straight-piece, but the female vocals and layered instrumental sounds bring a lot of drama and charm to the piece. Springsteen is again a valid reference point, but there are some hints of country music in the mix, too.

“Getting Away” is another strong number. It features a lot of that country music mixed with some great guitar playing and a Pink Floyd oriented sound. The vocals are strong, with even the spoken ones working quite well. It does extremely well in the closing position, enticing the listener to hit the “repeat” button. There’s even some Roy Orbisson oriented sounds at times on the piece.

In the final analysis, it appears that Appletree’s musical arrangements are strong. He lacks a bit in delivery in terms of the vocal performance. Still, the disc works remarkably well despite that shortcoming.

Review by Gary Hill
Rating: 3.5 Stars (out of 5)
- Gary Hill


"Review by Alec Cunningham Rating: 4 stars (out of 5) Artist: Andrew Appletree Album: Andrew Appletree"

Andrew Appletree has done a good job at making a first impression with his first release, a 9-song self-titled album. And yes, Appletree’s cover art for his album is in fact a photo of an apple tree – that’s one sure fire way to get people to remember your name. Donning a leather jacket and long side burns, his look is a cross between Elvis and Meatloaf, but his voice has a deeper, huskier tone to it like that of Leonard Cohen or Tom Waits. Other than Appletree’s Elvis-like appearance, very few other parallels to the rock and roll era are created. Instead, Appletree exemplifies a sound that is very much his own.
His self-titled album opens with the sound of a movie reel, which is perhaps a fitting beginning for a song titled “Angels And Movie Stars.” Appletree transfers from “movie stars” to “shooting stars” in the middle of each chorus to suggest that the life of a movie star is short-lived and will more than likely fizzle out not long after it begins.
Some of his songs are sung in a sort of whispered singing that could sometimes verge on being deemed spoken word, especially in “Flying,” where he uses this tone throughout most of the song. His songs have an all-around soft, quite tone to them; Appletree’s voice flows and mingles with each melody. Though his music does have a decidedly rock air to it, the instruments and melodies used point the songs in a more soothing, more tranquil direction.
As the shortest song on the album, “Everything” does not contain too many intricacies in the form of verses. In fact, the chorus gives most of the detail as to the meaning of the song. The song slowly progresses from the beginning of a relationship to the revealing of the relationship’s downsides. The chorus goes from “You know I wanted everything . . . Yeah, I want to give her everything” at the beginning of the song to, “Then she came and took everything; now she expects everything,” at the end.
In “Deal,” Appletree asks for a new start to a relationship. Though the song uses an electric guitar as well as an acoustic, the melody is surprisingly soft and delicate, which meshes well with the song’s lyrics. He sings almost pleadingly, “I don’t know how you deal with what you do . . . darlin’, let’s start over.”
In the first five songs on the album, Appletree makes use of background singers – he also uses them later on in “Faith,” a song that poses the question of what to do to increase faith. Those background singers, however, are actually from Uruguay, where Appletree recorded more than half the album. Appletree was the only one to record any part of the album in the United States; each background artist he employees for the album recorded their sections in Uraguay.
Appletree uses an all-around somewhat darker, macabre sound that makes the whole album seem as if it could be turned into a musical, much like that of the musical The Rocky Horror Picture Show, perhaps without the whole “sweet transvestite from Transexual, Transylvania” spin, though. This musical utilizes female background vocals and typical jazz instruments, much like Appletree does with much of this album.
The album Andrew Appletree has a very unique sound to it; you may even call the sound odd. His music may take two listens to truly get into, but as soon as you do you’ll have a much better appreciation for his sound.

Review by Alec Cunningham
Rating: 4 stars (out of 5)
- Review by Alec Cunningham


"Review by Jim Testa Artist: Andrew Appletree Album Title: Andrew Appletree"

Floridian Andrew Appletree claims influences ranging from Pink Floyd to the Grateful Dead, but his self-titled album’s appeal draws from the strain of country-influenced singer-songwriters who emerged from the L.A. scene of the Seventies. Appletree’s engaging voice recalls the mellifluous Glen Campbell and his melodies echo the easy-going rambles of artists like Jackson Browne and the Eagles.
Recorded in both Uruguay and the United States, and using some Uruguayan session players, Andrew Appletree doesn’t really display much Latin influence, but there are soulful backup singers, funky sax, and chunky power chords that do serve to broaden Appletree’s musical palette and reference artists like Tom Petty and Bruce Springsteen.
Appletree does fine when he sings; his one misstep comes on those occasions when he tries to accentuate his lyrics by dropping into a speaking voice, or an exaggerated Dylanesque drawl. It doesn’t really work and detracts from the fine melodies he’s crafted.
The album opens with the grinding sound of an old movie projector, introducing “Angels And Movie Stars.” Pedal steel and female backing vocals nicely accentuate the loping tempo and Appletree’s deeply pitched lead vocal. The cinematic quality of the arrangement and the twangy country vibe of the melody can’t help but conjure fond memories of the hits that Jimmy Webb wrote for Glen Campbell.
Appletree gets more topical on “Flying,” complaining about how the bad news of the day can drain the joy out of life. It’s a strong, relatable sentiment and nicely augmented by the backing vocalists and some jazzy saxophone, but this is one of the songs where Appletree sometimes speaks the lyrics for emphasis rather than sing them, and the effect is a bit off-putting. Still, the song boasts another strong country melody.
“Everything” kicks off with chunky guitars and a nice rock ‘n’ roll groove, and Appletree’s emphatic vocal here is reminiscent of Dramarama’s John Easdale. Aimee Trachtenburg shares lead vocals on the sultry and passionate “Leave’n Soon,” a romantic duet with a tango rhythm and evocative r&b sax.
“Caught In The Middle” opens with an interesting film noir vibe, jazzy and a bit mysterious, which expands into a Tom Petty-ish chorus, as Appletree and his female backup singers repeat “caught in the middle again.” This track segues back and forth between several different styles and provides a nice change of pace, especially as it crescendos into a big dramatic finish.
“Deal” brings us back to Malibu with that Californian gentle easy-listenin’ vibe, and one of Appletree’s strongest vocals, as he romantically beseeches his lady love, “darlin’ please surrender to me” to pealing guitars and pleasingly funky drums.
The spiritual “Faith” finds Appletree looking for “a little faith in my life,” to a slow-tempo country melody. The female chorus here makes a lovely addition, adding a fervent gospel flavor to the track.
The addition of mandolin and accordion graces “You,” another of Appletree’s Jimmy Webb-like ballads with a strong taste of the heartland. Stephanie Holm’s second vocal here is just enchanting, recalling Emmylou Harris’ contributions to Neil Young and Gram Parson. This is a very strong and likable country-flavored track that seems perfect for the radio.
The six-minute “Getting Away” finishes up and, in a way, epitomizes the collection, a perfect summation of this album’s strengths and occasional weaknesses. The lilting melody is romantic and evocative, the arrangement perfect with its gentle use of pedal steel and soulful backing vocals. Appletree’s vocal perfectly conveys the wistful regret of the lyrics, with its repeated chorus of “I need you more everyday.” But when he narrates rather than sings, the song falters; it’s a shame he doesn’t trust his singing voice enough to let it carry the song without adding unneeded emphases.
For a first album, by a non-professional musician, Andrew Appletree displays ample songcraft, a strong grasp of studio dynamics, and an excellent ear for arrangements. These songs will appeal to the country and AOR fan who appreciates a strong melody and heartfelt sentiment.

Review by Jim Testa
Rating: 2.5 Stars (out of 5)
- Review by Jim Testa


"Review by Jim Testa Artist: Andrew Appletree Album Title: Andrew Appletree"

Floridian Andrew Appletree claims influences ranging from Pink Floyd to the Grateful Dead, but his self-titled album’s appeal draws from the strain of country-influenced singer-songwriters who emerged from the L.A. scene of the Seventies. Appletree’s engaging voice recalls the mellifluous Glen Campbell and his melodies echo the easy-going rambles of artists like Jackson Browne and the Eagles.
Recorded in both Uruguay and the United States, and using some Uruguayan session players, Andrew Appletree doesn’t really display much Latin influence, but there are soulful backup singers, funky sax, and chunky power chords that do serve to broaden Appletree’s musical palette and reference artists like Tom Petty and Bruce Springsteen.
Appletree does fine when he sings; his one misstep comes on those occasions when he tries to accentuate his lyrics by dropping into a speaking voice, or an exaggerated Dylanesque drawl. It doesn’t really work and detracts from the fine melodies he’s crafted.
The album opens with the grinding sound of an old movie projector, introducing “Angels And Movie Stars.” Pedal steel and female backing vocals nicely accentuate the loping tempo and Appletree’s deeply pitched lead vocal. The cinematic quality of the arrangement and the twangy country vibe of the melody can’t help but conjure fond memories of the hits that Jimmy Webb wrote for Glen Campbell.
Appletree gets more topical on “Flying,” complaining about how the bad news of the day can drain the joy out of life. It’s a strong, relatable sentiment and nicely augmented by the backing vocalists and some jazzy saxophone, but this is one of the songs where Appletree sometimes speaks the lyrics for emphasis rather than sing them, and the effect is a bit off-putting. Still, the song boasts another strong country melody.
“Everything” kicks off with chunky guitars and a nice rock ‘n’ roll groove, and Appletree’s emphatic vocal here is reminiscent of Dramarama’s John Easdale. Aimee Trachtenburg shares lead vocals on the sultry and passionate “Leave’n Soon,” a romantic duet with a tango rhythm and evocative r&b sax.
“Caught In The Middle” opens with an interesting film noir vibe, jazzy and a bit mysterious, which expands into a Tom Petty-ish chorus, as Appletree and his female backup singers repeat “caught in the middle again.” This track segues back and forth between several different styles and provides a nice change of pace, especially as it crescendos into a big dramatic finish.
“Deal” brings us back to Malibu with that Californian gentle easy-listenin’ vibe, and one of Appletree’s strongest vocals, as he romantically beseeches his lady love, “darlin’ please surrender to me” to pealing guitars and pleasingly funky drums.
The spiritual “Faith” finds Appletree looking for “a little faith in my life,” to a slow-tempo country melody. The female chorus here makes a lovely addition, adding a fervent gospel flavor to the track.
The addition of mandolin and accordion graces “You,” another of Appletree’s Jimmy Webb-like ballads with a strong taste of the heartland. Stephanie Holm’s second vocal here is just enchanting, recalling Emmylou Harris’ contributions to Neil Young and Gram Parson. This is a very strong and likable country-flavored track that seems perfect for the radio.
The six-minute “Getting Away” finishes up and, in a way, epitomizes the collection, a perfect summation of this album’s strengths and occasional weaknesses. The lilting melody is romantic and evocative, the arrangement perfect with its gentle use of pedal steel and soulful backing vocals. Appletree’s vocal perfectly conveys the wistful regret of the lyrics, with its repeated chorus of “I need you more everyday.” But when he narrates rather than sings, the song falters; it’s a shame he doesn’t trust his singing voice enough to let it carry the song without adding unneeded emphases.
For a first album, by a non-professional musician, Andrew Appletree displays ample songcraft, a strong grasp of studio dynamics, and an excellent ear for arrangements. These songs will appeal to the country and AOR fan who appreciates a strong melody and heartfelt sentiment.

Review by Jim Testa
Rating: 2.5 Stars (out of 5)
- Review by Jim Testa


Discography

Andrew Appletree & The Neptune Riders
Dragonfly
1. Carpe Diem 4:41
Andrew Appletree: Guitar, Vocals, Music & Lyrics
Bryan Thompson: Drums
Barry Waddell: Guitar
David Mcgough: Guitar
Koko Ray Hanson: Sax
Rick Derringer: Guitar
Stephen Jacob: Piano
Stephen Paul Connelly: Pedal Steel, Bass Guitar

2. Kentucky Blue 4:50
Andrew Appletree: Guitar, Vocals, Music & Lyrics
Barry Waddell: Guitar
Bryan Thompson: Drums
Koko Ray Hanson: Sax
Stephen Paul Connelly: Dobro, Bass Guitar

3. Plastic Signs [Part 1] 4:09
Andrew Appletree: Slide Guitar, Vocals, Music & Lyrics
Angela Washington: Vocals
Barry Waddell: Guitar
Betty Gibson: Vocals
Bryan Thompson: Drums
Henry Lawrence: Vocals
Jenda Derringer: Vocals
Stephen Paul Connelly: Bass Guitar, Vocals

4. Devils Wife 3:56
Andrew Appletree: Guitar, Vocals,Tambourine, Music & Lyrics
Barry Waddell: Guitar
Bryan Thompson: Drums, Maracas & Mad Man sounds
Stephen Jacob: Organ
Stephen Paul Connelly: Bass Guitar

5. Valley Of Death 3:40
Andrew Appletree: Acoustic Guitar, Vocals, Music & Lyrics
Barry Waddell: Guitar
Bryan Thompson: Drums
Rick Derringer: Guitar
Stephen Paul Connelly: Bass Guitar

6. Dragonfly 6:56
Andrew Appletree: Guitar, Vocals, Music & Lyrics
Angela Washington: Vocals
Barry Waddell: Guitar
Betty Gibson Vocals
Bryan Thompson: Drums
David Mcgough: Guitar
Henry Lawrence: Vocals
Jenda Derringer: Vocals
Maddy Lou Turner: Harmony Vocals **
Stephen Paul Connelly: Bass Guitar Vocals

7. Shining For Me 3:36
Andrew Appletree: Acoustic Guitar, Vocals,Music & Lyrics
Angela Washington Vocals
Betty Gibson: Vocals
Bryan Thompson: Drums
David Mcgough: Guitar
Koko Ray Hanson: Sax
Henry Lawrence: Vocals
Tony Farina: Bass & Lyrics
Stephen Paul Connelly: Guitar

8. Analog To Digital 5:35 ***
Andrew Appletree: Slide Guitar, Vocals, Music & Lyrics
Barry Waddell: Keys, Guitar
Dennis Ristow: aka Dr. Samurai Keys & Drum Programing
Khris Kang: The Word Digital
Stephen Jacob Sound Effects & Keys
Stephen Paul Connelly: Bass Guitar? Guitar
Programed: Drums “Sorry Bryan”

9. Casualties Of War 4:12
Andrew Appletree: Vocals, Guitar, Music & Lyrics
Barry Waddell: Guitar
Bryan Thompson: Drums
Rick Derringer: Guitar
Stephen Paul Connelly: Lap Steel, Pedal Steel & Bass Guitar

10. QFW America 4:57
Andrew Appletree: Guitar, Vocals, Music & Lyrics
Barry Waddell: Guitar
Bryan Thompson: Drums
David Mcgough:Guitar
Koko Ray Hanson: Sax
Stephen Paul Connelly: Guitar & Bass Guitar
Stephen Jacob Sound Effects & Keys

11. Wishing Wells 4:28
Andrew Appletree: Acoustic Guitar, Vocals, Music & Lyrics
Bryan Thompson: Drums
Stephen Paul Connelly: Guitar, Pedal Steel, Keys & Bass

12. Time Go 4:39
Andrew Appletree: Acoustic Guitar, Vocals, Music & Lyrics
Barry Waddell: Guitar
Bryan Thompson: Drums
Rick Derringer: Guitar
Stephen Jacob: Piano
Stephen Paul Connelly: Guitar, Bass Guitar
Music Box & Door Opening Recorded by: Andrew & Steve

13. 59 To The End 3:20
Andrew Appletree: Guitar,Vocals, Music & Lyrics
Aimee Trachtenberg: Vocals
Barry Waddell: Guitar
Bryan Thompson: Drums
Stephen Paul Connelly: Guitar Piano, Bass Guitar

Produced by Andrew Appletree / Mark Stephenson
CoProduced by Stephen Paul Connelly
CoProduced in conjunction with Barry Waddell***
Recorded Live in the Studio @ Zen Recording
Also @ ***Level-D-Green
Mixing By Stephen Paul Connelly
Engineered/Edited By Stephen Paul Connelly Also Barry Waddell***
Dennis Ristow *** & Bon Flores on Dragonfly. Mastered @ Sound Lab
Nikki Devereux Cover & Illustrations. Cover Model: Tasha Chamberlain
Cover layout & Design by Andrew Appletree & Nikki Devereux
Special Thanks to Donn Foster for all his preproduction help.
And Junk Yard Rehearsal Studio - Skully’s Boot Camp .Rock Will Never Die!
& Liliana,Dean,Samuel & River for the love that you give me. R.I.P Mother...
All songs are copyright © 2012 & are the sole property of Andrew Appletree / Mark Stephenson all rights reserved... Love, Peace & God To All. Andrew Appletree

1 ANGELS AND MOVIE STARS 03:22
Words Music melody Vocals Guitar Andrew Appletree **
Guitar: Steve Connelly
Drums: Bryan Thompson
Bass: Ricardo “Lechuga” Rodríguez *
Acustic Guitar: Germán Varela *
Hammond: Martín D’Alessandro *
Chorus: Sthephanie Holm and Elizabeth Rodríguez *
Strings Arrangments: Facundo Luna *
Tambourine: Martín D’Alessandro *
Acustic Guitar: Ricardo “Lechuga” Rodríguez *

2 FLYING 05:49
Words Music, ,melody Vocals Guitar Andrew Appletree **
Music, Guitar Pedal Steel Guitar: Steve Connelly
Drums: Bryan Thompson
Horns Sax ,flute ,clarinet : KOKO Ray Hanson
Chorus: Elizabeth Rodríguez *
Rodes: Martín D’Alessandro *
Bass: Ricardo “Lechuga” Rodríguez *

3 EVERTTHING 02:47
Words Music, melody ,Vocals Guitar Andrew Appletree **
Guitar: Steve Connelly
Drums: Bryan Thompson
Bass : Ricardo “Lechuga” Rodríguez *
Chorus: Elizabeth

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