Clintone
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Clintone

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Apr
30
Clintone @ Camelot

North Andover, New Hampshire, USA

North Andover, New Hampshire, USA

Apr
23
Clintone @ Whippersnappers

Londonderry, New Hampshire, USA

Londonderry, New Hampshire, USA

Apr
16
Clintone @ The Boat House

Dracut, New Hampshire, USA

Dracut, New Hampshire, USA

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Music

Press


Clintone, a group that preformed at the Balloon festival we had in Lewiston today, I was expecting it to be like New Orleans Jazz but its actually this Shredder named Clintone and he's pretty good and they put on one hell of a performance, he's like Vai, and Gilbert, he's very much like them you can definitely tell the influence. he did a solo during the show and it was pretty damn cool.

I really enjoyed his performance and I definitely recommend it to anyone who like's Instrumental Rock/shred.
- Music Addict


CLINTONE - FULL CIRCLE
(11 track CD) LOCOMOTIVE RECORDS
This is the label debut from this New Hampshire guitar wiz. CLINTONE has honed his guitar
shredding skills & has unvailed them for us all to enjoy. The music has a definate Rock Metal vibe
to it & is all instrumental. The hook heavy songs & riffs really grab a hold of you & force you to
listen. The style he has in playing really brings to mind some of the greats like Steve Vai, Joe
Satriani, Eddie Van Halen & others. Any guitar fan would highly enjoy this CD as well as be very
impressed. I'm sure that CLINTONE will become a very familiar name in the guitar world!
www.CLINTONEmusic.com - http://www.beowolfproductions.com/MusicReviewsJun08.html


Loops On Demand D-Day
By Michael Nickolas
For this review we’re getting away from the big established loop content companies and taking a look at a product presented by a new company called Loops on Demand. Its first product is D-Day”, described “a collection of Menacing Drop-D guitar & bass loops”. The style is Metal Rock, and the loops are performed by an artist who goes by the name of “Clintone”. His bio shows him to be a “shred” guitarist—think Joe Satriani and Steve Vai. It appears he also performed the bass loops.
The first thing to point out is the price. The product can either be ordered on disc or downloaded for only $9.99! Granted, the amount of content is less than you’re used to getting, but I like the idea of downloading a small inexpensive product. Often in the music creation business you hear about an opportunity that needs submissions immediately. With no time to wait for delivery of a disc, being able to instantly download content to aid in the creation of your piece is a very useful concept.
So here’s what your $9.99 gets you. 122 MB of 24-bit stereo guitar loops and 60.5 MB of 24-bit mono bass guitar loops—all at a single tempo (120BPM) and a single key (you guessed it, D). The disc I reviewed included both AIFF and WAV formats. There is a total of 73 files for each instrument; they are separated into two folders, one holding loops and one holding construction tools.
The guitar loops are mostly two and four bars long and have what can only be called that Metal Rock “chain saw buzz” sound. The sound is authentic, and not “muddy” as sometimes this type of guitar sound can be. They loop cleanly and there is a definite stereo image to the loops. It sounds like this image is achieved in part by making the right side a bit louder and deeper in tone than the left side.
The performances sound useful, as they are rhythmic beds, not screaming lead lines. A few of the loops have the the pick harmonic sound characteristic of the style. Think of the type of track you hear as background score for one of those extreme sports video clip shows—you know, the ones with the skiers flying off of 100 foot cliffs, or the crazy mountain bikers jumping to near death?
There are 49 loops total in the “120 loops in D” folder. (“120” meaning the tempo, not the number of loops!) I noticed a change in the sound between loops 1–25 and loops 26–49. It seems to be just a volume thing, though; 1–25 are softer, adding three or four dB makes them more similar in sound to loops 26–49.
Thoughtfully included is a Construction Tools folder: 24 files of one-shots and “chugs”. “Chug” is just the right word to describe this content which are loops of a single major chord played with an eighth-note pattern. The root of the chords are diatonic to an F major scale, eight chords are included (the D is offered in two octaves). The chords are performed in both a muted and an open style. I can see the chugs being useful for arranging a chord progression or as transitions between sections created using the main guitar loops.
The one-shots are single hits of the same eight power chords. They ring forever, which is great as you can control the length with editing or envelopes. I would say between the main loops and the construction tools, you have plenty of content to cover the length of a tune.
If that wasn’t enough for your $9.99, you also get a matching bass line recorded to integrate with each guitar loop. If you’re working with “gtr_Loop 023.wav”, simply call up “bas_Loop 023.wav” for the perfect fit. The bass loops repeat cleanly. They are deep in tone but not overpowering. I would only suggest that if you don’t have a subwoofer as part of your studio setup that you check your mixes of songs created using D-Day bass and guitar loops on a system that does, just to be sure of your low end.
With D-day and the right drum library or a real drummer you’re good to go. Nice!

Delivery: DATA CD or download
Format: AIFF, Acidized WAV files
License: Single user for personal use; royalty-free commercial use if modified. Not for use in library music.
Documentation: None
Price: $9.99
More From: Loops On Demand, www.loopsondemand.com.

- Recording Magazine 'August 08 issue'


Loops On Demand D-Day
By Michael Nickolas
For this review we’re getting away from the big established loop content companies and taking a look at a product presented by a new company called Loops on Demand. Its first product is D-Day”, described “a collection of Menacing Drop-D guitar & bass loops”. The style is Metal Rock, and the loops are performed by an artist who goes by the name of “Clintone”. His bio shows him to be a “shred” guitarist—think Joe Satriani and Steve Vai. It appears he also performed the bass loops.
The first thing to point out is the price. The product can either be ordered on disc or downloaded for only $9.99! Granted, the amount of content is less than you’re used to getting, but I like the idea of downloading a small inexpensive product. Often in the music creation business you hear about an opportunity that needs submissions immediately. With no time to wait for delivery of a disc, being able to instantly download content to aid in the creation of your piece is a very useful concept.
So here’s what your $9.99 gets you. 122 MB of 24-bit stereo guitar loops and 60.5 MB of 24-bit mono bass guitar loops—all at a single tempo (120BPM) and a single key (you guessed it, D). The disc I reviewed included both AIFF and WAV formats. There is a total of 73 files for each instrument; they are separated into two folders, one holding loops and one holding construction tools.
The guitar loops are mostly two and four bars long and have what can only be called that Metal Rock “chain saw buzz” sound. The sound is authentic, and not “muddy” as sometimes this type of guitar sound can be. They loop cleanly and there is a definite stereo image to the loops. It sounds like this image is achieved in part by making the right side a bit louder and deeper in tone than the left side.
The performances sound useful, as they are rhythmic beds, not screaming lead lines. A few of the loops have the the pick harmonic sound characteristic of the style. Think of the type of track you hear as background score for one of those extreme sports video clip shows—you know, the ones with the skiers flying off of 100 foot cliffs, or the crazy mountain bikers jumping to near death?
There are 49 loops total in the “120 loops in D” folder. (“120” meaning the tempo, not the number of loops!) I noticed a change in the sound between loops 1–25 and loops 26–49. It seems to be just a volume thing, though; 1–25 are softer, adding three or four dB makes them more similar in sound to loops 26–49.
Thoughtfully included is a Construction Tools folder: 24 files of one-shots and “chugs”. “Chug” is just the right word to describe this content which are loops of a single major chord played with an eighth-note pattern. The root of the chords are diatonic to an F major scale, eight chords are included (the D is offered in two octaves). The chords are performed in both a muted and an open style. I can see the chugs being useful for arranging a chord progression or as transitions between sections created using the main guitar loops.
The one-shots are single hits of the same eight power chords. They ring forever, which is great as you can control the length with editing or envelopes. I would say between the main loops and the construction tools, you have plenty of content to cover the length of a tune.
If that wasn’t enough for your $9.99, you also get a matching bass line recorded to integrate with each guitar loop. If you’re working with “gtr_Loop 023.wav”, simply call up “bas_Loop 023.wav” for the perfect fit. The bass loops repeat cleanly. They are deep in tone but not overpowering. I would only suggest that if you don’t have a subwoofer as part of your studio setup that you check your mixes of songs created using D-Day bass and guitar loops on a system that does, just to be sure of your low end.
With D-day and the right drum library or a real drummer you’re good to go. Nice!

Delivery: DATA CD or download
Format: AIFF, Acidized WAV files
License: Single user for personal use; royalty-free commercial use if modified. Not for use in library music.
Documentation: None
Price: $9.99
More From: Loops On Demand, www.loopsondemand.com.

- Recording Magazine 'August 08 issue'


During the late 80s and early 90s, there was indeed a guitar hero' over saturation, as it seemed like every month there was a new six string shredder who was following in the path of either Steve Vai, Joe Satriani, or Yngwie Malmsteen. But by the mid 90s, the guitar hero seemed to be all but extinct, as grunge and punk-pop bands brought back the importance of songwriting over instrumental chops. But someone has apparently forgotten to tell this to a gentleman named Clintone. Many could be fooled into believing that his 2008 debut, 'Full Circle,' was actually released in 1988, as the all-instrumental release certainly contains the same feel and sound as Satriani's Surfing with the Alien' release. As evidenced by such guitar solo-fests as "Return to Me," the title track, and "Dead Lines," Mr. Clintone has obviously spent countless hours practicing his scales and picking techniques backwards and forwards. And as a result, Full Circle' will probably be worshipped by shredders and fans of guitar-heavy instrumental rock worldwide. ~ Greg Prato, All Music Guide - All Music Guide


During the late 80s and early 90s, there was indeed a guitar hero' over saturation, as it seemed like every month there was a new six string shredder who was following in the path of either Steve Vai, Joe Satriani, or Yngwie Malmsteen. But by the mid 90s, the guitar hero seemed to be all but extinct, as grunge and punk-pop bands brought back the importance of songwriting over instrumental chops. But someone has apparently forgotten to tell this to a gentleman named Clintone. Many could be fooled into believing that his 2008 debut, 'Full Circle,' was actually released in 1988, as the all-instrumental release certainly contains the same feel and sound as Satriani's Surfing with the Alien' release. As evidenced by such guitar solo-fests as "Return to Me," the title track, and "Dead Lines," Mr. Clintone has obviously spent countless hours practicing his scales and picking techniques backwards and forwards. And as a result, Full Circle' will probably be worshipped by shredders and fans of guitar-heavy instrumental rock worldwide. ~ Greg Prato, All Music Guide - All Music Guide


Known only as Clintone, the New Hampshire native has released a Hard Rock, guitar heavy instrumental CD entitled, Full Circle (Metro City Records). Instant influenence of George Lynch are Joe Satriani are abound and are the basis of the shredding contained within.
Full Circle is an 11 track CD that is a fairly easy listen with songs that are constructed to show off Clintone's lead playing. And his playing is quite good, allowing himself to play within the song rather than against it or just on top of it like so many shredfest guitar players out there. Clintone shows a nice songwriting touch that isn't always the case with guitar players of this day and age. Clintone uses some really nice phrasing and restraint and often opts for the nice wide bend than to go for the all out Malmsteen speed and the result is an enjoyable, musical journey.
While this is not a "Surfing With The Alien" type of guitar instrumental record, it is a nice example of songwriting and chops all rolled up into one. If any of you are familiar with Gary Hoey, it is more along the lines of his work. A lot of Full Circle is on the laid back and reflective side with accenting riffing, but there are song rockers in there too. Check out the Satch-like "Touching On Taboo" or the flat out shredder, "Go Hard or Go Home". Clintone can play and he's not afraid to show it, even though it is sometimes more downplayed than in your face.
Clintone's Full Circle is an overall good CD, but if you are looking for a more Metal-fused shredder, this isn't it. This is, however a decent Hard Rock instrumental CD from a quality player. Clintone is a good musician and that's obvious here.
- Butch Jones - http://www.seaoftranquility.org/reviews.php?op=showcontent&id=6894


Known only as Clintone, the New Hampshire native has released a Hard Rock, guitar heavy instrumental CD entitled, Full Circle (Metro City Records). Instant influenence of George Lynch are Joe Satriani are abound and are the basis of the shredding contained within.
Full Circle is an 11 track CD that is a fairly easy listen with songs that are constructed to show off Clintone's lead playing. And his playing is quite good, allowing himself to play within the song rather than against it or just on top of it like so many shredfest guitar players out there. Clintone shows a nice songwriting touch that isn't always the case with guitar players of this day and age. Clintone uses some really nice phrasing and restraint and often opts for the nice wide bend than to go for the all out Malmsteen speed and the result is an enjoyable, musical journey.
While this is not a "Surfing With The Alien" type of guitar instrumental record, it is a nice example of songwriting and chops all rolled up into one. If any of you are familiar with Gary Hoey, it is more along the lines of his work. A lot of Full Circle is on the laid back and reflective side with accenting riffing, but there are song rockers in there too. Check out the Satch-like "Touching On Taboo" or the flat out shredder, "Go Hard or Go Home". Clintone can play and he's not afraid to show it, even though it is sometimes more downplayed than in your face.
Clintone's Full Circle is an overall good CD, but if you are looking for a more Metal-fused shredder, this isn't it. This is, however a decent Hard Rock instrumental CD from a quality player. Clintone is a good musician and that's obvious here.
- Butch Jones - http://www.seaoftranquility.org/reviews.php?op=showcontent&id=6894


I don't normally have much use for instrumental albums. I'm a vocals first kind of guy, so while I certainly admire guitar talents like Joe Satriani or Steve Vai, they're not artists I tend to get excited over. That's why I'm more than a little surprised at just how much I'm enjoying Full Circle, the debut CD from instrumental rock band Clintone.

Full Circle is at heart a melodic rock album, and a good one at that. It brings to mind Journey and some of Ten's less epic material. There are some seriously infectious melodies here. Perhaps the best quality of this album is that it never really seems like the guitarist is showing off, and you know how rare that is with this kind of music. The songs feel like honest to goodness SONGS, not just vehicles for flashy solos, and the album as a whole has a cohesive feel and emotion. I'd love to hear what the band would sound like with a great singer (someone like Jeff Scott Soto or Steve Augieri perhaps), but these songs don't need vocals to get their spirit and message across.

It goes without saying that Full Circle will appeal to fans of Satriani, Vai, Masi and other guitar heroes, but I can see this album reaching AOR/melodic rock fans as well. It hooked me right from the start.

- Justin Gaines "Corporate Rocker" (Atlanta, GA)


I don't normally have much use for instrumental albums. I'm a vocals first kind of guy, so while I certainly admire guitar talents like Joe Satriani or Steve Vai, they're not artists I tend to get excited over. That's why I'm more than a little surprised at just how much I'm enjoying Full Circle, the debut CD from instrumental rock band Clintone.

Full Circle is at heart a melodic rock album, and a good one at that. It brings to mind Journey and some of Ten's less epic material. There are some seriously infectious melodies here. Perhaps the best quality of this album is that it never really seems like the guitarist is showing off, and you know how rare that is with this kind of music. The songs feel like honest to goodness SONGS, not just vehicles for flashy solos, and the album as a whole has a cohesive feel and emotion. I'd love to hear what the band would sound like with a great singer (someone like Jeff Scott Soto or Steve Augieri perhaps), but these songs don't need vocals to get their spirit and message across.

It goes without saying that Full Circle will appeal to fans of Satriani, Vai, Masi and other guitar heroes, but I can see this album reaching AOR/melodic rock fans as well. It hooked me right from the start.

- Justin Gaines "Corporate Rocker" (Atlanta, GA)


If you like your guitars electric and in extreme mode, then Full Circle by Clintone may be a drug of sorts. The album’s eleven songs are high-powered guitar solo-works that point back to the guitar solo-works of the ‘70s. And there won’t be any vocals to get in the way. The best part of Full Circle is that it’s pretty good stuff. Just good structured guitar with drum and bass to assist. Check out their website for more.


- Front Page Review


If you like your guitars electric and in extreme mode, then Full Circle by Clintone may be a drug of sorts. The album’s eleven songs are high-powered guitar solo-works that point back to the guitar solo-works of the ‘70s. And there won’t be any vocals to get in the way. The best part of Full Circle is that it’s pretty good stuff. Just good structured guitar with drum and bass to assist. Check out their website for more.


- Front Page Review


The 2008 debut album "Full Circle" is a fully instrumental album by an artist known simply as Clintone. (Try as I might I was not able to locate the artist's full name so I guess Clintone will have to suffice.) I typically do not like these type of albums for two reasons. The first is having a great lead singer can add so much more to a band's composition. Secondly, in today's musical landscape the individual musicianship is greatly lacking with much more attention to paid towards catchy and annoyingly hip songwriting. Does Full Circle suffer from the aforementioned or does it somehow break the mold?

Full Circle begins with a uniquely titled first track called "Abduction". This is seemingly appropriate considering that it sounds like you are being abducted by aliens with strange and mysterious noises. However, where you are abducted to is not a hostile alien ship, but rather a cool jam session. This album has many good qualities and thankfully I can say that the musicianship and songwriting are two of the finer points.

Clintone pays great attention to detail and exerts a certain passion in his music which can be felt. His guitar playing is very reminiscent of the golden age of shredding of the 1980's where having technical playing ability was king. You can tell immediately that he is very skilled and versatile with his song palette. Tracks like "Full Circle", with its hard and heavy metal feel to it, and "Touching the Taboo", with its wild and untamed guitar rifts, are perhaps the best songs on the album as well as the most memorable.

Final Verdict
Although there is no singer, this album does offer a good variety of songs with Clintone showcasing his accomlished guitar playing. He definitely brings back vibes of Stevie Vai and Yngwie Malmsteen with his attention to chord structure and melodic precision playing.

Rating
8 out of 10

- Reviewer: James - www.reviewbusters.net


The 2008 debut album "Full Circle" is a fully instrumental album by an artist known simply as Clintone. (Try as I might I was not able to locate the artist's full name so I guess Clintone will have to suffice.) I typically do not like these type of albums for two reasons. The first is having a great lead singer can add so much more to a band's composition. Secondly, in today's musical landscape the individual musicianship is greatly lacking with much more attention to paid towards catchy and annoyingly hip songwriting. Does Full Circle suffer from the aforementioned or does it somehow break the mold?

Full Circle begins with a uniquely titled first track called "Abduction". This is seemingly appropriate considering that it sounds like you are being abducted by aliens with strange and mysterious noises. However, where you are abducted to is not a hostile alien ship, but rather a cool jam session. This album has many good qualities and thankfully I can say that the musicianship and songwriting are two of the finer points.

Clintone pays great attention to detail and exerts a certain passion in his music which can be felt. His guitar playing is very reminiscent of the golden age of shredding of the 1980's where having technical playing ability was king. You can tell immediately that he is very skilled and versatile with his song palette. Tracks like "Full Circle", with its hard and heavy metal feel to it, and "Touching the Taboo", with its wild and untamed guitar rifts, are perhaps the best songs on the album as well as the most memorable.

Final Verdict
Although there is no singer, this album does offer a good variety of songs with Clintone showcasing his accomlished guitar playing. He definitely brings back vibes of Stevie Vai and Yngwie Malmsteen with his attention to chord structure and melodic precision playing.

Rating
8 out of 10

- Reviewer: James - www.reviewbusters.net


Discography

FOR IMMEDIATE RELEASE:

GUITAR-HEAVY, ALL-INSTRUMENTAL HARD ROCK MAKES A COMEBACK ON CLINTONE’S ‘FULL CIRCLE’

Think the ‘guitar hero’ is dead? Guess again!
The early 21st century has seen a resurgence in guitarists who have perfected their shredding skills, and six-string wiz Clintone certainly fits the bill – especially on his debut recording for the Metro City/Locomotive label, ‘Full Circle.’
Instantly bringing to mind the guitar heroics of Steve Vai and Joe Satriani, the Salem, New Hampshire native can certainly hold his own with the best of them – able to show off his chops while also penning memorable and hook-heavy songs (which are entirely instrumental – harkening back to the heady days of ‘Surfing with the Alien’).

“I started out as a guitarist, but then over the years, moved onto a more singer-songwriter role,” explains Clintone.
“In 2006, I had recorded several instrumental songs and started playing them for people. Very quickly, people were reacting in a way I've not seen in my ‘singer-songwriter’ stuff. So I said, ‘What the hell, lets take it all the way and finish a full-length.’ I figured at least I'd have a kick ass demo to maybe land a gig with a well-known established national act. So that's where the title comes from. I started as a guitarist, left for a while, and then came full circle again. The wayward son had come home.”

As evidenced by such standout tracks as “Dead Lines,” “Touching on Taboo,” and the title track (all of which are currently available for streaming on Clintone’s Myspace page), it appears to only be a matter of time until guitar mags worldwide start making him a cover star. And this appears to only be the beginning, as Clintone points out that a whole new wave of talented guitar heroes are on the horizon.

“Look at some of the younger bands that have come out recently - like Trivium and Atreyu. They remind me of bands like Iron Maiden - as far as the dual lead harmony lead stuff, which paved the way in the late 80's for guys like Satriani and the explosion of shred. I feel the industry as a whole has changed so much and fans really want more out of a band than just the latest fashion or hair cut. They really long for quality musicianship.”

It certainly appears as though Clintone is onto something, and he couldn’t have picked a better time to have come ‘Full Circle.’

FOR MORE INFORMATION, VISIT:

www.clintonemusic.com

www.myspace.com/clintonemusic

Photos

Bio

CLINTONE

Shred is certainly not dead. Just a few years ago, it appeared as though the days of ‘the guitar hero’ were long gone. But as quick as you could say ‘sweep picked arpeggios,’ a wave of talented six string wiz kids have come storming on the scene. Case in point, a gentleman who chooses to go with a single word name – Clintone. This Salem, New Hampshire native is picking up exactly where such guitar heroes as Gary Hoey, Joe Satriani, and Steve Vai left off in the early ‘90s – with an all-instrumental album that balances impressive shred skills with memorable and hook-heavy songwriting. For the proof, just give a listen to Clintone’s debut full-length for Metro City/Locomotive – ‘Full Circle.’
After studying such players as George Lynch, Warren DeMartini, and Paul Gilbert as a lad, Clintone turned his back on his guitar skills for a spell, as he focused primarily on “singer-songwriter stuff.” But in 2006, the guitarist returned to his instrument with a vengeance, and has been ripping it up ever since. And just how does the man himself describe his music? “A crossroad of articulation and organic. What I mean is, when I decided to do an all-instrumental record it was for one reason and one reason only - just to do one. I've always wanted to do an instrumental record. I didn't get caught up in trying to make a certain sounding record, I just played. I'd do several takes - not giving anything a second thought. Cut out the crap and move around the good stuff until it started to feel like a song. Doing it this way left a real sense of honesty, as 90% of the lead stuff you hear was not pre-worked out. Sure, there is stuff on that record I could have gone back and done a little tighter but it just didn't capture the ‘feeling.’ I think this is why people have really started to react to the music.”
And react they did – especially Tim Koukos, head of Metro City Records. “I've always worked in the music industry in some way or another. I own a mastering company (Vb Mastering - Clients include Peter Frampton, George Clinton, Tantric, Nuno Bettencourt, Clear Channel etc.). One day, Tim Koukos was in to pick up some discs he had ordered and I just happened to be outside the building taking a break as he was leaving. I knew he was a guitarist and owned a label so I gave him a disc. He told me when he got to the end of the street he opened it up and put it in. Then a few days later, I got an email from him stating it's not left his CD player in days. We set up a meeting. He told me what he had going on and I told him what I had going on and it all made sense. It was a little bit of the right time and right place, but also and most importantly, the right fit.”
As evidenced by such standout tracks as “Dead Lines” and “Touching on Taboo,” Clintone is one of the few rock guitarists that manages to bring to mind several different artists – no mean feat as an all-instrumentalist. “Every song is a snapshot in time and emotion for me. That's how I usually name these songs. They are all instrumental, so I guess I could name them anything – however, when you listen to songs like ‘Poet and the Pain,’ and you know the meaning behind it, you can see where I was coming from. At the time, a very close friend of mine was diagnosed with terminal cancer and I was really upset so I did what any musician does…record! It just turned out to be an outpouring of emotion for how cruel life can sometimes be for people. The song ‘Full Circle’ was the point at which I really realized that I had returned home as a guitarist. A true turning point in my career as a musician. I remember saying ‘Oh yeah, I can really play this stuff. I forgot about that!’ ‘Return to Me’ has a cool story - I had to sell an Ibanez guitar of mine, which I loved but times were tough and I had to do what I had to do to pay the rent. Then one day I walked into a music store years later and there it was. Not the exact one, but it was a stupid one-day sale price. I remember looking around as if I was stealing it at that price but still proceeded to checkout with it and sure enough, it was a one-day sale. So I snagged it up, took her home and recorded ‘Return to Me.’ Her name is Madaline.”
With live shows being planned for the summer of 2008, Clintone is already hard at work on his sophomore effort. “While we hash out plans for a tour this summer, I've been busy cutting tracks for the next record, and I have to say, I'm very excited about it. I've got some great guest appearances by guys like Gary Hoey and Steve Brown [from Trixter], to name a couple.” “I am going after a particular sound, a lot darker and heavier, kinda like Tool meets Satriani but with the brassiness of Motley Crue. Tell me if that's been done before?!”
And lastly, what does Clintone hopes to accomplish with ‘Full Circle’? “I never had any big expectations for this record at all, and I think that's why people have reacted to it. It's a real honest record. However, if I could sell half the discs S