KYLE PITZER
Wilmington Journal News Contributing Writer

At first, the stage is dark. All is quiet. Then the sound of the bass guitar pierces the silence as a kaleidoscopic image slowly comes into focus on the back of the stage. As the random assortment of colors and shapes twirl and dance about the screen, the familiar introduction of Pink Floyd’s “Money” captivates the audience. Lasers flash, drums echo off the walls and guitars shriek in a symphony of sound. You can almost taste it.

“It’s not just music, its a multimedia experience” said Jon Stankorb, lead vocalist and guitarist of Signs of Life, a Pink Floyd tribute band.

The band returns to the Murphy Theatre for the second time on Saturday, Oct. 22. The show begins at 7:30 p.m.

Signs of Life seeks not to just reproduce the sound of Pink Floyd, but the entire British experience of the original artist.

“It’s not the hard rock mentality of other bands,” Stankorb said. “We want to recreate the flow of Pink Floyd and stay as close to them as possible.”

They don’t play at bars. They don’t scream on stage. They don’t use the same videos over and over. Signs of Life doesn’t want to draw attention to themselves, but to the music. Stankorb explained that “We are more akin to theatre than a rock ‘n’ roll band.”

Signs of Life consists of seven members and a five-man production team from throughout the tri-state area. Stankorb is a Cincinnati native and had been in several other tribute bands, but, he said, none like Signs of Life, which he organized in 2009.

“We want to take the listener for a journey,” he said, “have them listen to the songs in their entirety as they were intended.”

Stankorb started playing guitar late in life, at the age of 21. Pink Floyd was his original inspiration to start playing.

“What really got me was ‘Dark Side of the Moon’. I can’t think of a time I haven’t been listening to Pink Floyd,” Stankorb said.

He remembers looking at David Gilmour (lead guitarist for Pink Floyd) and thinking, “he doesn’t look like a rock star. I could do that.”

Very few are as dedicated to the music as Stankorb. Once, while getting guitar lessons, he wanted the instructor to teach him a Pink Floyd song. When the instructor said that Pink Floyd sucked, he immediately walked out.

“What’s interesting about the music is the space and pacing, the songs have more room to breathe. The music isn’t tied to time, it reflects the experiences one goes through in life. Every generation treats Pink Floyd as their own.”

Stankorb couldn’t think of a better venue to bring that experience to people than the Murphy Theatre. So far it has been his favorite location he has played at.

“It has a very elegant vibe. The Murphy takes you to another time. It immediately makes people more receptive to the music.”

If you happened to have went to the show last year at the Murphy, don’t worry about seeing the same old routine.

“Every production we do is different,” Stankorb said, “different lights and schemes. When you come to see Signs of Life, you know you’re in for a show.

"Pink’s Acoustic Pulse puts acoustic twist on classic Floyd" Don Thrasher Dayton Daily News

There are plenty of Pink Floyd tribute bands performing today, but few take the non-traditional approach of Pink’s Acoustic Pulse. The unplugged group, an offshoot of Cincinnati-based Floyd tribute act Signs of Life, features Jonathan Stankorb (guitar, lap steel, vocals), John Hoerr (acoustic bass, guitar, vocals), Randy Thompson (saxophone, flute, penny whistle, vocals), Julie Ann Martin Bernard (cello, viola, violin, vocals), Tom Bartel (piano, organ, vocals), Daniel Epure (percussion, drums) and Rhnee O’Brien (vocals).
Stankorb took a few minutes recently to answer some questions about his unique group and their Canal Street Tavern debut on Saturday, Aug. 21.

Q Most tribute bands stick closely to the source material, but you’ve taken a different approach. What was the concept?
A “Stylistically we’re treating it a little differently with classical guitar, steel-string guitar, 12-string guitar, cello, violin, woodwinds and that sort of thing. It’s the same songs, but we’re kind of going deeper into the solo material of David Gilmour, Roger Waters, Syd Barrett and Richard Wright. We have a little bit more latitude to interpret the songs. We’re not straying that far from them, but we are giving them a little tweak here and there.”

Q How is that working out?
A “There’s seems to be a thread, a conceptual continuity that runs through all of their solo music and the entire Pink Floyd catalog. That’s what I was thinking about when I put the group together. There are a lot of fans that would like to hear deeper album cuts and some solo material, especially when the tone and flavor is so different.”

Q What are some of those threads?
A “If you’re a fan from the early days, in the middle or in the later stuff, listening to all of it, there seems to be an interesting humanitarian slant, like an empathy towards man’s inability to treat each other well. But then some of the music is slightly abstract and left up to the imagination. We’re trying to incorporate all those elements. The acoustic thing, I think, is very appealing to a lot of people because it’s not as bombastic.”

Q What can folks expect at Canal Street Tavern?
A “We wanted to provide something for the people who wouldn’t normally go to a Pink Floyd tribute. Maybe they’ll check this out because there’s not many places you can go to see this kind of instrumentation playing these songs. In some ways it’s kind of like a chamber group, but playing Pink Floyd stuff. It’s a completely different vibe.”

Contact contributing arts and music writer Don Thrasher at donaldthrasher8@aol.com.

Eastside Vibe Magazine Summer 2009 Interviews Jon Stankorb

EV: Where have you guys been playing (locally/nationally)?

SOL: We played our debut show to a sellout standing room only crowd at the 20th Century Theatre. We are looking at a few agencies to book us in the Ohio/Kentucky/Indana/Michigan area this fall.

EV: What prompted the band to dedicate your show to Pink Floyd?

SOL: Besides an obvious love for the music, I put the band together with the idea of presenting the Pink Floyd material in a dynamic way utilizing the areas finest musicians, with a reverence for the visual and sonic quality of the typical Pink Floyd show. I researched many of the other Pink Floyd Tributes and while I enjoyed many... .I felt that there was still room for another perspective.

EV: What do you bring to the show that gives the audience the true Floyd experience?

SOL: The vocal and instrumental arrangements have been carefully scrutinized for performance authenticity.... including the special sound effects and spoken word elements. We cover multiple guitar parts, intricately layered vocals/keyboard arrangements... performing the songs with passion and clarity without “grandstanding”. Our lighting and video team also provides a strong element in our shows

EV: How “deep” do you go into Floyd album collection on your set lists?

SOL: We include lesser known deep album cuts such as “Fat Old Sun”, “Set the controls for the heart of the Sun”, “Fearless” as well as the classic and post-Roger Waters Floyd.

EV: Name a few of your all time favorite tracks to play.

SOL: Shine On You Crazy Diamond is a personal favorite. The finest 4 notes in the rock n roll pantheon.

EV: We love how the band Dark Star (Dead tribute) plays a specific Dead show from start to finish exactly as it was played on that date. It’s also amazing that they play the same instruments and use many of the same amps and speaker cabinets the Dead used as well. Do you use any of the same instruments/equipment like the original band played with to capture that authentic sound & feel?

SOL: I use Fender Stratocaster guitars with modified pickups and bridges like David Gilmour uses... although I favor Dr. Z handmade amplifiers to the original Hiwatt amps the Floyd used. Our keyboardist thoughtfully replicates the same tones used on the live and studio recordings while preferring the modern keyboard technology for its flexibility and roadworthy-ness.

EV: How do you describe the “magic” that made Pink Floyd one of the all time greatest bands and best selling album collections to this day.

SOL: The magic came from the fact that the band played to their strengths and worked together as a collective to forge a unique sound. David’s melodicism, Roger’s thought provoking lyrics and concepts, Rick’s harmonic leanings and Nick’s laid back “pocket”. Dark Side of the Moon documents a band in the truest sense of the word. They also surrounded themselves with wonderful engineers and producers like Alan Parsons and Chris Thomas. Pink Floyd “arrived” in a time in music, when audiences and record buyers had the capacity and patience to accept a piece of music that took time to unfurl and develop unlike typical 2-3 minute hit singles. Many of their songs were meant to be listened to in the order that they appeared on the record as a continuous thought. Unlike the a la-carte MP3 ITunes format that much of today’s music is consumed.

EV: Cincy has our fair share of Floyd Heads that’s for certain. Fans trek all over to see great tributes like Wish You Here and The Machine. Your shows  are bound to be successful,  are you confident the 100’s of Floyd Heads will feel like they’re in concert with the real deal?

SOL: Each Pink Floyd Tribute band has a slightly different element to their show. A Signs of Life concert faithfully recreates the “Sound & Vision” of Pink Floyd but most importantly strives to connect on an emotional level which I personally feel is the most compelling. Our audiences have been overwhelmingly loving and vocal in their appreciation at our show. The emotion and passion certainly comes through each performance.

EV: Tell us where we can see more on the band (website) and check out any audio or video from your shows.

SOF: You can check us out at www.signsoffloyd.com We look forward to seeing everyone at the show!

"Signs of Life Found in Oakley April 10, 2009"  by Mike Due

The marquee of the 20th Century Theater in the heart of Oakley (suburb of Cincinnati, OH) shimmered in reflection against the puddles that snaked across the sidewalk below. Even in the watery reflection, you could make out the message that Signs of Life, a Pink Floyd tribute band, would be performing at 8 p.m. And perform they did, quite remarkably, to keep a throng of aging Pink Floyd fans happy for a few hours.

Let's not kid any one; the realm of Tribute Bands has a great capacity for comic relief. I've endured a number of such shows that left me in stitches, including a Rush tribute featuring a Geddy Lee wanna-be who lost his pony-tailed wig while working out on "Working Man." I knew there was potential for this kind of thing going into the Signs of Life (SoL) show and was prepared for what could have been something of a farce. But I also had prior knowledge of some of the players in this band and I knew there would be respect given to the music of Rock-n-Roll hall-of-famer, Pink Floyd.

Jonathan Stankorb, the leader of SoL, has quite a well established reputation for honoring monolithic musicians and doing so with taste. Previously Jon had pulled off a Steely Dan Tribute band, Beatles Tribute as well as a Joe Satriani Tribute, appealing to musically astute fans throughout the mid-west where Jon’s tours traversed. Rick Fields on keys and guitar, who exuded a "Musical Director" air about him during the SoL show, is the kind of guy who could probably pick up any instrument and play it well within a half-an-hour. And lastly I was also familiar with two of the three background singers. Despite my familiarity with these people, there was still considerable room for error in their handling of one of classic rock’s favorite outfits.

As for the show itself, the band played two sets with a 30 minute break in the middle. The volume level was perfect; loud enough to enjoy without sending cock-roaches scurrying for the exits. I'll give SoL a B- for the first set, and a solid A for the second set. I think the B- was attributed to nervousness more than anything else, as this was the first public performance for SoL. There were some missed cues, syncing problems between musicians, and some equipment struggles as well (neglected settings changes on foot pedals, missed readjustments of volume knobs, that kind of thing). Despite the jitters, this generally did not negatively impact the quality of the music or the overall performance; non-musicians probably did not notice any of this.

Sometimes with these tribute shows there is a danger of fan disdain if their favorite group's catalog is not well represented. This was not a problem here, the band was wise in their selections. Prior to the start of the SoL show, I asked someone sitting next to me just how much of the 1960's pop fare might be covered (such as "See Emily Play" or “Apples & Oranges”), which I asked in jest. I'm glad they avoided that era; I think that would have come off as very campy. But while early pop hits were ousted, early Floyd psychedelic was not forgotten. The band sprinkled the audience with archeological artifacts such as "Fearless," "Fat Old Sun," and "Set the Controls for the Heart of the Sun." The later piece truly captured the psychedelic period quite well, reminding me of The Door's "The End" in its build towards a chaotic middle-section followed by a soothing finale.

It should be no surprise that "Dark Side of the Moon" received heavy treatment, being Floyd's greatest commercial success. Despite this, I was disappointed that SoL didn't attempt "The Great Gig in the Sky" given the powerhouse female vocal talent they had on stage. Easier said than done, perhaps, but this would have certainly been the pinnacle of the show if they had let the ladies stretch out a bit on that one. Perhaps patrons in other cities later in the tour will get such a treat.

Second up in terms of representation was the "Wish You Were Here" album. "Wish You Were Here," "Shine On You Crazy Diamonds," and "Have A Cigar" were all included, with spectacular keyboard and saxophone treatments. The rest of the Floyd catalog was only slightly represented; two songs from "The Wall", one from the Division Bell, etc. There was nothing to be found from "Animals" or "The Final Cut," but the sheer quantity of what was covered in 3 hours simply left no room for anything more.

Visually speaking, the group did a nice job of capturing the signature Hipgnosis imagery of days gone by, somehow acquiring original Floyd video for display on a large movie screen behind them. This wasn't done for all of the songs, but maybe half were accompanied by the visuals. Realistically, for a production of this size, nothing more could have been expected, although it would have been a real treat to see an inflatable pig or two. And while it was all tremendously nostalgic, the film quality of some of the visuals, as well as the fashion sense of some of the people in those videos, left me with a startling realization that I'm getting older (like I didn't already know that.) In fact, age was a common denominator for most of the crowd; there was more gray hair in that theater than you could find on a chinchilla ranch.

The musicianship was top notch, all the way around the stage. With three guitarists on many of the tunes, it was possible to emulate the overdubed brilliance of David Gilmour quite effectively. The Keyboard player managed to trot out a few classic analog synth pads to conjure up the magical richness of the late Richard Wright. The bass duties included a convincing "Hey You" run (that had been accomplished by Gilmour, not Waters, on the original recording), despite this bass player not having a fretless bass. The drummer had quite a loud, solid presence, which felt good having him up in the mix. And, as mentioned before, the sax player was incredible; while holding to many of the familiar melodic lines on original recordings, he mostly supplied improvisational solos that added freshness to these classic tunes without violating them.

Of all of the musicians to take solos, it was Jon himself who took center stage, both literally and figuratively. Not only did he capture Gilmour's style, nearly note for note on many songs, he also had the tone. And for Floyd fans, anything but that true Gilmour tone would have been unacceptable. And like the drummer, Jon was well up in the mix, leaving nothing to the imagination...if his guitar playing were a human voice, you'd have been able to hear him breathing.

Lastly, die-hard tie-died Floyd followers will appreciate the sprinkling of audio effects that was also used throughout the show: the cartoon music teaser prior to "Wish You Were Here," the rowing effect from the opening strains of “Signs of Life", the classic alarm clocks on "Time"… they were all used to great effect.

All told, when you take stock of the sheer volume of authentic Floyd devices employed during this show, both audible and visual, you would be hard pressed walk away without thinking SoL was a fitting tribute to the original band, if not with a big smile upon your face for having gotten to enjoy some great music from some very talented musicians. If I had any words to share with Jon, it would have to be "the band is just fantastic, that is really what I think, and by the way, that’s good Pink!"

"Signs of Life recreates Pink Floyd landscapes
Cincinnati band performs songs from the Floyd's 'golden era'"
Richard O. Jones
Hamilton JournalNews

Signs of Life, a Pink Floyd Tribute, 8 p.m. Friday, April 10, 20th Century Theatre, 3021 Madison Rd., Cincinnati.

Jon Stankorb always loved music and always had a desire to learn to play guitar, but none of his friends and family played, so he never quite found the motivation he needed.  He was 20 years old when he found his inspiration. It was in row six of the Cincinnati Gardens, and no coincidence that David Gilmour of the band Pink Floyd was playing just a few yards in front of him.  “I was a huge fan at the time, but seeing David Gilmour in concert just leveled me,” he said. “There was a real connection between the heart and the head, and his playing was so emotive that it touched me a profound way.”  So he set out to learn to play guitar like Gilmour, which turned out to be a bigger problem than he realized.  “There’s no one in the area who could play like that, much less teach me to play like that,” he said. “They all have their methods, but they don’t really teach someone how to get out of the instrument what they desire.  “I had to absorb the records and concerts and get as much of his playing style that I could assimilate that way.”

“We all love or respect the Pink Floyd and come together to present their music, to get to the heart of the spaciousness of it and the Britishness of it,” he said. The Signs of Life repertoire covers the entire Pink Floyd catalog, but focuses mainly on what Stankorb calls “the golden era,” mainly the 1970s, from the “Meddle” album to “The Wall.”  “We listen closely to the records and capture them note-for-note, but also with the right feel and reverence for the parts.  “The most important thing about Pink Floyd is knowing what not to play, to leave holes for the music to breathe,” he said. “Most pop songs are three or four minutes long, but with many Pink Floyd songs, it takes that long just to set up the mood of the piece.”