Wednesday, August 29, 2007

Get The Shot With Aztec Camera

Aztec Camera
High Land, Hard Rain

by Ned Raggett
Some performers never make a bigger splash than with their first record, a situation which the Ramones and De La Soul know all too well. If that's the case, though, said musicians had better make sure that debut is a doozy. Aztec Camera, or more specifically, Roddy Frame, falls squarely into this scenario, because while he has doggedly plugged away ever since with a series of what are, at times, not bad releases, High Land, Hard Rain remains the lovely touchstone of Frame's career. Very much the contemporaries of such well-scrubbed Scottish guitar-pop confectionaries as Orange Juice, but with the best gumption and star quality of them all, Aztec Camera led off the album with "Oblivious," a minimasterpiece of acoustic guitar hooks, lightly funky rhythms, and swooning backing vocals. If nothing tops that on High Land, Hard Rain, most of the remaining songs come very close, while they also carefully avoid coming across like a series of general soundalikes. Frame's wry way around words of love (as well as his slightly nasal singing) drew comparisons to Elvis Costello, but Frame sounds far less burdened by expectations and more freely fun. References from Keats to Joe Strummer crop up (not to mention an inspired steal from Iggy's "Lust for Life" on "Queen's Tattoos"), but never overwhelm Frame's ruminations on romance, which are both sweet and sour. Musically, his capable band backs him with gusto, from the solo-into-full-band showstopper "The Bugle Sounds Again" to the heartstopping guitar work on "Lost Outside the Tunnel." Whether listeners want to investigate further from here is up to them, but High Land, Hard Rain itself is a flat-out must-have.

Tuesday, August 28, 2007

Even More Surf Coasters!

The Surf Coasters

Waiting 4 The Surf


1 FLY UP:バンザイ・ワイプ・アウト
4 WASTE LAND (Satanic Surf Mix):死界の叫び(サタニック・サーフ・ミックス
6 INTRUDER #1:イントルーダー序曲
7 INTRUDER (Album Version)

Monday, August 27, 2007

More More More Surf Coasters

The Surf Coasters



1 Oracle
2 Twister
3 Magic River
4 ハートに火をつけて :LIGHT MY FIRE
5 Blast
6 Sleeping Princess
7 Lily-anne
8 Aube de VIETNAM
9 Shoutin' Bird
10 GO!
11 Hurry Up The Wait
12 Quarter
13 Star Rider
14 Jetty
15 The Riddle
16 Miracle
17 Legend Of Surf


Sunday, August 26, 2007

Get Your Heads Together

The Monkees

by Tim Sendra
After the release of More of the Monkees, on which the band had little involvement beyond providing vocals and a couple Mike Nesmith-composed songs, the pre-fab four decided to take control of their recording destiny. After a well-timed fist through the wall of a hotel suite and many fevered negotiations, music supervisor Don Kirschner was out and the band hit the studio by themselves. With the help of producer Chip Douglas, the band spent some time learning how to be a band (as documented on the Headquarters Sessions box set) and set about recording what turned out to be a dynamic, exciting, and impressive album. Headquarters doesn't contain any of the group's biggest hits, but it does have some of their best songs, like Nesmith's stirring folk-rocker "You Just May Be the One," the pummeling rocker "No Time," the MOR soul ballad "Forget That Girl," which features one of Davy Jones' best vocals, Peter Tork's shining moment as a songwriter, "For Pete's Sake," and the thoroughly amazing (and surprisingly political) "Randy Scouse Git," which showed just how truly out-there and almost avant-garde Micky Dolenz could be when he tried. Even the weaker songs like the sweet-as-sugar "I'll Spend My Life with You," the slightly sappy "Shades of Gray," or the stereotypically showtune-y Davy Jones vehicle "I Can't Get Her Off My Mind" work, as they benefit from the stripped-down and inventive arrangements (which feature simple but effective keyboards from Tork and rudimentary pedal steel fills from Nesmith) and passionate performances. Headquarters doesn't show the band to be musical geniuses, but it did prove they were legitimate musicians with enough brains, heart, and soul as anyone else claiming to be a real band in 1967. [Rhino's 1995 reissue adds six previously unissued tracks recorded during the Headquarters sessions including an early take of the single "The Girl I Knew Somewhere" and rare demos "Nine Times Blue" and "Pillow Time."]

A Sundae Treat

Vanilla Fudge

Psychedelic Sundae


by Steve Huey
Vanilla Fudge was one of the few American links between psychedelia and what soon became heavy metal. While the band did record original material, they were best known for their loud, heavy, slowed-down arrangements of contemporary pop songs, blowing them up to epic proportions and bathing them in a trippy, distorted haze. Originally, Vanilla Fudge was a blue-eyed soul cover band called the Electric Pigeons, who formed on Long Island, NY, in 1965. Organist Mark Stein, bassist Tim Bogert, and drummer Joey Brennan soon shortened their name to the Pigeons and added guitarist Vince Martell. They built a following by gigging extensively up and down the East Coast, and earned extra money by providing freelance in-concert backing for girl groups. In early 1966, the group recorded a set of eight demos that were released several years later as While the Whole World Was Eating Vanilla Fudge, credited to Mark Stein & the Pigeons.Inspired by the Vagrants, another band on the club circuit led by future Mountain guitarist Leslie West, the Pigeons began to put more effort into reimagining the arrangements of their cover songs. They got so elaborate that by the end of the year, drummer Brennan was replaced by the more technically skilled Carmine Appice. In early 1967, their manager convinced producer George "Shadow" Morton (who'd handled the girl group the Shangri-Las and had since moved into protest folk) to catch their live act. Impressed by their heavy, hard rocking recasting of the Supremes' "You Keep Me Hangin' On," Morton offered to record the song as a single; the results landed the group a deal with the Atlantic subsidiary Atco, which requested a name change. The band settled on Vanilla Fudge, after a favorite ice cream flavor. "You Keep Me Hangin' On" didn't perform as well as hoped, but the band toured extensively behind its covers-heavy, jam-oriented debut album Vanilla Fudge, which gradually expanded their fan base. Things started to pick up for the band in 1968: early in the year, they headlined the Fillmore West with the Steve Miller Band, performed "You Keep Me Hangin' On" on The Ed Sullivan Show, and released their second album, The Beat Goes On. Despite its somewhat arty, indulgent qualities, the LP was a hit, climbing into the Top 20. That summer, Atco reissued "You Keep Me Hangin' On," and the second time around it climbed into the Top Ten. It was followed by Renaissance, one of Vanilla Fudge's best albums, which also hit the Top 20. The band supported it by touring with Jimi Hendrix, opening several dates on Cream's farewell tour, and late in the year touring again with the fledgling Led Zeppelin as their opening act.In 1969, the band kept touring and released their first album without Morton, the expansive, symphonic-tinged Near the Beginning. After part of the band recorded a radio commercial with guitarist Jeff Beck, the idea was hatched to form a Cream-styled power trio with plenty of individual solo spotlights. Exhausted by the constant touring, the band decided that their late-1969 European tour would be their last. Following the release of their final album, Rock & Roll, Vanilla Fudge played a few U.S. farewell dates and disbanded in early 1970. Bogert and Appice first formed the hard rock group Cactus, then later joined up with Jeff Beck in the aptly named Beck, Bogert & Appice. Appice went on to become an active session and touring musician, working with a variety of rock and hard rock artists. Vanilla Fudge reunited in 1984 for the poorly received Mystery album, and have since reunited several more times, though only for tours. Their most recent incarnation features keyboardist Bill Pascali in place of Mark Stein.

Wednesday, August 22, 2007

Ground Swell

Dick Dale

Surfer's Choice


"Surf music is a definite style of heavy staccato picking with the flowing sound of a reverb unit to take away the flat tones on the guitar and make the notes seem endless. Very heavy guitar strings are used to elongate the sound from the vibration of the strings, not the feedback qualities of an amplifier. It becomes a very in-depth combination of things that, when put together, spells out true surf music." -- Dick Dale

by Cub Koda
Very few early rock & roll albums were true groundbreakers, but this is one: not only did it single-handedly establish the surf music genre (and Dick Dale's hegemony over it), but also sold the entire concept to mass America, where surfing in landlocked regions was only a state of mind. Largely recorded at the Rendezvous Ballroom in Balboa Beach — Dale's ruling home turf, where one can clearly hear the kids screaming in anticipation at the start of "Surf Beat" — this lays out the vocal highlights from Dick's set list ("Peppermint Man," "Lovey Dovey," "Night Owl," "Fanny Mae," and "Sloop John B.," sounding very odd here with overdubbed strings) up against the instrumentals that truly forged the style. "Miserlou Twist" — a different version than the original Del-Tone single — and the original, pre-reverb single version of "Let's Go Trippin'" appear to be the only studio tracks aboard. But the live takes on "Surfing Drums" (later retitled "Tribal Thunder" on one of Dale's comeback albums), "Take It Off," "Shake 'n' Stomp," and the lowdown stomp of "Death of a Gremmie" just as clearly delineate the wild, reverbed excitement of the new style in its native habitat. Without a doubt, surf guitar's finest hour, the genre's equivalent to Charlie Parker's Dial recordings.

Is It A Shallow Mind Or Just A Surface Impression?

The Surf Coasters
Surface Impression

The Surf Coasters were formed in 1994 by Shigeo Naka in Tokyo, Japan. Their first appearances were on a "Star Search" type TV show which they won by playing their version of Dick Dale's Pulp Fiction hit" Misirlou". Since then, they have released more than 20 CDs for the Columbia, BMG, and Victor labels, with many appearances on film soundtracks and video games and constant touring in Japan. In 1995, rock guitar legend Dick Dale, known as the King of the Surf Guitar, visited Japan and played shows with The Surf Coasters. He proclaimed Shigeo Naka to be The Prince of the Surf Guitar. Shigeo Naka is a guitar prodigy with amazing fretboard ability. His love is for the twangy, reverbed tones of American surf music, and many Surf Coasters CDs feature reworkings of famed surf songs from the 60s alongside their more orignal material. Live, the Surf Coasters command the stage with an athletic stage presence and a crunchy and fast surf instrumentals.

1 Spit fire
2 Tally-Ho!
3 止まったままの時計:Pulser girl
4 Astral circle (Original Version)
5 Thunder wave
6 Adagio
7 風と何処かに:Walking with the wind
9 Twistin' away
10 Computer X-tacy
11 Electric sky
12 Bitter sweet samba:オールナイト・サーフィン
13 月ひとかけら :A piece of the moon

Uh Ohhh! Man Overboard!

The Fathoms



Buzz is that The Fathoms are working on a new album to be released soon. Keep your ears out!

For Brandonio!


by Richie Unterberger
Overboard is such faithful surf revivalism that there's little to distinguish it from many surf records waxed in 1962-1964, other than perhaps inevitable slight sonic differences resulting from more modern recording technology. This faithfulness is both an asset and a drawback; they certainly understand the essence of the surf originators, yet neither do they add particularly new ingredients. They do stand out in the relatively small 1990s surf revivalist scene, however, in their reliance upon original material by lead guitarist Frankie Blandino (with the exception of the cover of the Astronauts' Lee Hazlewood-penned "The Hearse"). Also, they're unusual in featuring raunchy sax (by Dave Scholl) as well as dripping-wet reverbed guitar; raunchy R&B-influenced saxes were actually pretty common in original surf music, but not so much so in latter-day surf bands. Blandino is an excellent and mighty fluent surf guitarist, and an able composer of the minor-keyed, Latin-influenced melodies common to the genre. If there's a point of comparison to the Fathoms' style, they're most often in the dark and echoey bag perfected by the Chantays on "Pipeline." They do break out of that mold sometimes, though, as on the country-flavored gallop of "Tracking Bigfoot," the horror soundtrack creepiness of "The Haunted Shore," and the lounge sleaze of "Cruisin' the Zone."

1 Race Against Time
2 Fathomized
3 Overboard
4 Tracking Bigfoot
5 El Toro
6 Hippo Hump
7 The Hearse
8 Shark Waves
9 The Haunted Shore
10 Flaming Arrow
11 Cruisin' the Zone
12 Cahoon Hollow Hideaway
13 Turquoise Blue (And Primer Gray)

14 Git My Goat

2 parts Make sure to get them both.

Links pulled by request of Art B from MuSick Records.

Get the hard stuff at

Tuesday, August 21, 2007

The Supertones

Cinema Surf


The Supertones, a New York City-based instrumental quartet, have been playing around NYC for the past ten years at places like The Greatest Bar on Earth, Luna Lounge, Wetlands, The Rodeo Bar, Manitoba's and Don Hill's, and recently added a semi-annual tour of Puerto Rico to their performance schedule. The Supertones compositions are also featured in reknowned surf documentarist, Bud Browne's recent movies including Surfing in the 50s, Cavalcade of Surf and Locked In. So belly up to the whammy bar and enjoy The Supertones!

Davy Peckett writes, "They're back - New York's finest - The Supertones. Their new album, Cinema Surf, is chock full of groovy cinema themes played surf style. As usual, The Supertones excel at everything and this will be another indie smash for Golly Gee." Hear classic, memorable tracks such as "Our Man Flint", "Star Trek Theme", "Windy", "The Magnificent Seven" and "The Munsters Theme" played by the twin guitar team of Tim Sullivan and Mike Mandina, supported by the rhythm section of Presley Acuna and Simon Chardiet and the horn section of Dave Hilliard and Rolf Langsjoen.

The Magnificent Seven
Slaughter On Tenth Avenue
The Ballad of Paladin
Our Man Flint
Never On Sunday
The Munsters Theme
My Green Tambourine
Music To Watch Girls By
Paint It Black
And I Love Her
Georgy Girl
Star Trek Theme
Wonderful Land
The Last Walk

Sunday, August 19, 2007

Is It Ozzie? Is It Harriet? No, Not David or Ricky Either It's The Nelsonics!

The Nelsonics

The Nelsonics


Brought to you today by GeorgeW. Merci' G.

Floors are meant for shaking.You can't help but get moving when the Nelsonics take the stage. Their infectious sound combines influences ranging from 60s mod to surf rock into one soulful go-go groove. The Nelsonics formed in 2001, taking audiences by storm with their high-energy live show. The following summer, Tikitone Records released the band's debut LP – which received rave reviews for its blend of instrumental grooves, organ-based R&B, Latin rhythms, big beat hooks and reverb-drenched guitar.A 7" single in 2004 showed the Nelsonics in top form with 3 soulful blasts of irresistible rock: "Mission to Mod," "Go Go Motorscooter" and "Dousman Street." Available now!Look for the Nelsonics coming to a venue near you and check out the new full-length CD 'Ruins Of Rome' available in stores now. Stay tuned!

1. Agent Longboard
2. Chitlin
3. Theme From Miss Fortune
4. Bikini Bullfight
5. Relaxed Ambassador, The
6. 20 Fathoms Down
7. Spice
8. Savage, The
9. Late Date
10. Bongo Beach
11. Dousman Street

Saturday, August 18, 2007

More Surf Coasters

The Surf Coasters

Misirlou 10th Anniversary Best


ミザルー/ Misirlou('04 new recording)('04 REC)
鮫男の逆襲/ Shark man
哀しみのイモラ/ The Clash (album ver.)
ウルトラQのテーマ/ Ultra Q's Theme
怪獣天国/ Beach Monster(single ver.)
パイプ・ライナーズ/ Wave Weapon
チェイシング・シャドウ/ Chasing Shadows('95 live)
ツナミ・ストラック/ Tsunami Struck(album ver.)
麗しのアカプルコ/ Vamos Por Ahi
イントルーダー/ Intruder (album ver.)
ボンボラ/ Bombora(demo ver.)
ブラック・ホール/ Black Hole
ビッグ・サンダー/ Big Thunder
アドヴェンチャーズ・イン・パラドックス/ Adventures In Paradox
ハワイアン・デイライト/ Hawaiian Daylight
サイクロン/ Cyclone
サーフィンNo.1/ Baja
ジャック・ザ・リッパー/ Jack The Ripper
ライディング・ハイ/ Riding High
ハッピー・イースター!/ Happy Easter!
ブラック・サンド・ビーチ/ Black Sand Beach
サーフィン超特急/ Surf Express
ジョーズ・ブレイク/ Jaws Break
バンザイ・ワイプ・アウト/ Fly Up(2000 live)
ミザルー/ Misirlou (album ver.)('94 REC)

楽しみなさい Enjoy

Hide Your Deer Away Again!

The Bambi Molesters

Play Out Of Tune


From Chris Pearce's Interview with Dalibor Pavicic

OK, let’s start with the obvious first question and one which I’m sure you’ve been asked to many times; how does Croatia come to be the home of one of the world’s finest contemporary surf bands?

Unfortunately, our country's rating is currently so low and has been too often connected with Balkan war games. For this very reason I'm not surprised that people often ask similar questions. I mean, the right question would be "Is there any kind of music in Croatia?". It is a kind of exotic thing to play a surf music in Croatia but not more exotic than playing surf music in Germany or Italy. It has certainly different feel than the music which comes from US probably because of the fact that we don't surf and don't have an ocean view. I guess you can feel that in our music.

Can you give us a concise history of the Bambi Molesters?

It was back in 1994 when Dinko and I decided to form the band. At first we thought to play only covers but I came up with few originals and than we found Lada (bass) and Hrvoje (drums). In 1995 we released our first tape called The Bambi Molesters Play Out of Tune for an independent label, Listen Loudest. Soon afterwards Plastic Bomb from Germany released our first 7" single with 4 songs (2 of them with vocals). Sometime in 1996 we sent a tape from another recording session to KFJC DJ Phil Dirt and he gave us a very good review. That is when we really decided to play only instrumentals. In May 1997 the band recorded material for their first CD. 16 tracks were recorded in Croatia and then sent to Phil Dirt who did mixing, production and mastering. The CD titled Dumb Loud Hollow Twang was released in October 1997 on Dirty Old Town independent label.

I always liked the name The Bambi Molesters. How did it come about?

It is a sort of an internal joke and it has nothing to do with animals or molesting. The name came as a joke referring to one of our friends who fell in love with a girl nicknamed Bambi. Of course she couldn't care less about him and he didn't want to quit. Not that he was molesting her or something. I think you get the idea. We were mostly into the comic called Hate at that time, so we felt like it was an appropriate name for the band. We often thought about changing the name because it has nothing to do with the music we play, but...


She's So Soft Inside

1000 Songs

Idle Moments

Her Delta's Blues

Good Times


Little Beach Bunny

Cradle Snatcher

I Can't Believe It

Charlie Brown Manson

**Sorry folks. Thanks to the evil eye of Dr Al Zombie who caught that track #6 was missing on this .rar. No excuse, just to much in a hurry. The .rar has been updated and replaced. If you want just track #6 to insert, drop me a note and I will send it to you off-line. Sorry for the sloppyness.

New,complete .rar

No, He Didn't Go Totaly Crazy!

Leopold Kraus Wellenkapelle

Schwarzwald Fieber (Black Forrest Fever)


Leopold Kraus Wellenkapelle Die Leopold Kraus Wellenkapelle existiert seit 1996. Sie spielen seit ihrer Gründung Surf, Beat und Swing. Allerdings verlief, vielleicht aufgrund der geografischen Isolation Freiburgs, die Stilfindung etwas anders als bei neueren Surfbands üblich. Weder bei der Wahl des Equipments, noch beim Songwriting wurde je darauf geachtet, besonders authentisch zu sein. Original '62 Fender Jaguars sucht man hier vergebens und die großen alten Klassiker der Surfhistorie (Wipe Out, Misirlou, Pipeline) ließen sie erst recht links liegen. Stattdessen machte sich Torpedo Tom daran eigene Songs zu schreiben, denen der damalige Gitarrist Flydt Schimpchen, der immerhin schon "Lipstick-Pickups" an der Gitarre hatte, seinen eigenen Stempel aufdrückte.Melodieversessen, sympathisch prätentiös, musikalisch beschränkt, aber hoch ambitioniert kamen die ersten Exponate daher. Als Einflüsse dienten alle Platten (von Miracle Workers über Les Robespieres zu Vampyros Lesbos), die zwischen die Finger zu kriegen waren. Was dabei herauskam, waren Songs, die ziemlich frei in der musikalischen Ideenwelt der frühen 60'ies Teenagermusik herumstöberten. Sie griffen althergebrachte Elemente auf, setzten sie neu zusammen, um sie - mit der Gnade der zu spät geborenen - mit dem Label "Surf" versehen der einheimischen Independentszene entgegenzuschmettern. Mangels Konkurrenz flog der Schwindel so schnell nicht auf und als man zum ersten Mal "echte" Surfmusik hörte und merkte, daß dazu eben auch der "Wetsound" gehört war es schon zu spät. Ein eigener Sound war entstanden und diesen taufte die Wellenkapelle kurz entschlossen "Black Forest Surf".Mit dem Einzug neuer Bandmitglieder sind mittlerweile auch ein McCartney Bass (Willi del Mare), sowie der Wetsound (Tim Düse) zum Bestandteil des Soundspektrums geworden. Jens Dampf macht auch das, was sein Name verheißt, aber nach wie vor ist es nicht das Hallgewitter à la Bambi Molesters oder Jon & the Nightriders dem sie sich verschreiben, sondern die unheilige Allianz aus Duane Eddy und Dr. Klausjürgen Wussow, Link Wray und Ady Zehnpfennig, die sich unter einer Schwarzwaldtanne ein Stelldichein gibt.

Google Translator

1. Klinik Unter Tannen
2. California Girls
3. Weißwasser
4. Rinaldo
5. Gitarre süß-sauer
6. Baoumba
7. Hupe
8. Unterwegs zum Beatclub
9. Käpt'n Past
10. Spuren im Watt
11. Draußen am großen Riff
12. Dr. Steins schwerster Fall
13. Junge, ledige Krabben
14. Out Of Horben

Seen Better Days

George Nooks

Better Days


by John Bush
A hotly tipped raggamuffin vocalist with three 1997 Tamika Reggae Music awards to his credit (for Crossover Artist, Outstanding Male Artist, and Vocalist of the Year), George Nooks fell afoul of the law scant weeks before the official ceremony, and was arrested by bounty hunters — authorized by the Immigration and Naturalization Service — for being in the United States illegally. While he was being deported, his wife and three children were forced to accept the Tamika awards in his place at the April ceremony. Nooks had released his self-titled debut album months before, on the back of his crossover hit singles "Real Men" and "One of a Kind Love Affair." It is unknown whether he will continue to record.
1 No One Knows
2 Next Time
3 Queen of the Ghetto
4 Perfect World
5 Those Good Days
6 For Your Love
7 If I Had The World
8 Waiting
9 No Daddy
10 Monetary Substance
11 Terrible
12 Deceiver
13 A Song For Mama
14 Crush Dem
15 Child Molester
16 Put Some Away

Friday, August 17, 2007


Gato Barbiere



by Richard S. Ginell
Gato Barbieri is the second Argentine musician to make a significant impact upon jazz — the first being Lalo Schifrin, in whose band Barbieri played as a teenager. His story has been that of an elongated zigzag odyssey between his homeland and North America. He started out playing to traditional Latin rhythms in his early years, turning his back on his heritage to explore the jazz avant-garde in the '60s, reverting to South American influences in the early '70s, playing pop and fusion in the late '70s, only to go back and forth again in the '80s. North American audiences first heard Barbieri when he was a wild bull, sporting a coarse, wailing John Coltrane/Pharoah Sanders-influenced tone. Yet by the mid-'70s, his approach and tone began to mellow somewhat in accordance with ballads like "What a Diff'rence a Day Makes" (which he always knew as the vintage bolero "Cuando Vuelva a Tu Lado") and Carlos Santana's "Europa." Still, regardless of the idiom in which he works, the warm-blooded Barbieri has always been one of the most overtly emotional tenor sax soloists on record, occasionally driving the voltage ever higher with impulsive vocal cheerleading.

Thursday, August 16, 2007

Why Trustar???

Long, long ago there was a young man who was enraptured by the sounds in this album. As a result, long before Al Gore created the internet, I adopted the nom- de-plume of Trustar. "But what does it mean PaPa?" I was asked by my grandkids today. "It's like this younguns, it means a bright, straight, pure, guiding light. That is a "Trustar". Thank you Todd.

Todd Rundgren

A Wizard, A True Star


by Stephen Thomas Erlewine
Something/Anything? proved that Todd Rundgren could write a pop classic as gracefully as any of his peers, but buried beneath the surface were signs that he would never be satisfied as merely a pop singer/songwriter. A close listen to the album reveals the eccentricities and restless spirit that surges to the forefront on its follow-up, A Wizard, a True Star. Anyone expecting the third record of Something/Anything?, filled with variations on "I Saw the Light" and "Hello It's Me," will be shocked by A Wizard. As much a mind-f*ck as an album, A Wizard, a True Star rarely breaks down to full-fledged songs, especially on the first side, where songs and melodies float in and out of a hazy post-psychedelic mist. Stylistically, there may not be much new — he touched on so many different bases on Something/Anything? that it's hard to expand to new territory — but it's all synthesized and assembled in fresh, strange ways. Often, it's a jarring, disturbing listen, especially since Rundgren's humor has turned bizarre and insular. It truly takes a concerted effort on the part of the listener to unravel the record, since Rundgren makes no concessions — not only does the soul medley jerk in unpredictable ways, but the anthemic closer, "Just One Victory," is layered with so many overdubs that it's hard to hear its moving melody unless you pay attention. And that's the key to understanding A Wizard, a True Star — it's one of those rare rock albums that demands full attention and, depending on your own vantage, it may even reward such close listening.

As the review says, it's not the easiest album to listen to. It takes a bit of work. Set it up to play "gapless" when you have the time to listen to the complete album. I think you will it full of the many talents of Todd.
Sometimes I just don'g know what to feel........

Let's Go Exotic!

The Huntington Cads

Go Exotic!


The Huntington Cads reside in that void between the Tiki-Tones and Surf, where the waves are reverbin' in the structures, and the lounge is adorned with tikis and torch lanterns. The playing is pretty, luscious, precise, and very clean. Many tracks feature that wet surf guitar lead, and acoustic guitar rhythms, while others feature a Martin Denny vibraphone. Oleaje Exotica Deluxe! This is a well-recorded CD full of great listening, either as a main attraction, or as a bed for a bit of the wine & wrestle. Phil Dirt, Reverb Central

1 Far East Fling
2 Ebonite Satellite
3 Lunar Luau
4 Enchantment
5 Al Malaikah
6 Go Exotic
7 Sirrocco
8 Shangri-La
9 El Cordobes
10 M'Bwana
11 Paradise Lost
12 The Corsair
13 Deguello
14 Forbidden Shores

Monday, August 13, 2007

On Target

The Wangs

On Target


French group with very little information. Any help out there???
Don't know much about them, but I like it!
1 Vlah, Vlah, Vlah
2 Pilot
3 Sushi
4 The Shindenkai
5 Firelord
6 Vamos A Praia
7 Nitro
8 Keanu Reeves
9 The Shindenkai Revenge
10 No Brain
11 Birthday
12 Sky Patrol
13 La Course De Manuel
14 Ultimanicat
***Make sure to check out the additional info that Senor Teisco sent regarding this group. Muchas Gracias!


Lil' Ed & The Blues Imperials



by Jim O'Neal & Sandra Brennan
Lil' Ed and the Blues Imperials are among the premiere party bands to have come out of Chicago during the '80s. Often compared to Elmore James and Hound Dog Taylor, fiery, flamboyant slide guitarist Lil' Ed Williams and his group play dedicated, rough-edged and hard-rocking dance music and have established an international reputation. A native of Chicago, Williams was first inspired by his uncle, renowned slide guitarist J.B. Hutto, with whom he studied as a young teen. Hutto not only taught him slide, but also introduced Williams to bass and drums. Williams' half-brother, James Young, was also a student of Hutto, and later became the bassist for the Blues Imperials. The brothers co-founded their group in the early '70s and went professional in 1975, playing at Big Duke's Blue Flame on the West Side. The gig earned them a whopping six bucks, which the group members split evenly. In those early years, Williams worked days at a car wash while Young drove a school bus. Despite their humble start, Williams and the Blues Imperials kept performing at night and by the early '80s had developed a substantial regional following. Signing to Alligator in the mid-'80s, they released their debut album, Roughhousin', in 1986 and found themselves receiving national attention. They began playing urban clubs and festivals all over the country and eventually toured Canada, Europe and Japan. They released their second album, Chicken, Gravy & Biscuits, in 1989, and the success continued as the Blues Imperials began appearing with such artists as Koko Taylor and Elvin Bishop during the Alligator Records 20th Anniversary Tour. They released their third album What You See is What You Get in 1992. If Ed, half-brother Pookie Young, and the latest members of the revamped Blues Imperials never did much to modernize their blues or develop a new sound, that was just fine with the band's followers ("Ed Heads," no less), to whom the raucous, rocking slide guitar heritage of Hutto, Hound Dog Taylor, and Elmore James is blues nirvana. Following their third album, the group went on hiatus for a few years during which il' Ed Williams released two albums on Earwig, 1996's Keep On Walking with Dave Weld and 1998's Who's Been Talking with Willie Kent. In 1999 the band reconvened and released Get Wild. They followed it up with Heads Up, their fifth Alligator record, in 2002. Their sixth, Rattleshake, appeared in 2006. From AMG

Sunday, August 12, 2007

Runabout 3 Neo Age

The Surf Coasters
Runabout 3 Neo Age Original Soundtrack


Theme from "RUNABOUT"

Thursday, August 09, 2007

Find Your Way To The Sun

Insect Surfers

Reverb Sun

Track by Track Review by Dr Phil Dirt

First studio album for the Insects since Dave left DC in the early eighties. This is one of the most inventive and original instro surf bands. They came from eighties pop roots, passed through the Southwest where they picked up a unique variation on the mysterious sounds of the desert, and landed on the Southern California shores, where the surf instro ethic was added to the mix. the result is a wholly unique sound, infectious and readily identifiable. One of the keys is the perfect counter-playing of the two lead guitars, which create wonderful offsets and complimentary ambiances in which great tracks evolve. One of my favorite modern surf bands.
Picks: Meteorite Shower, Ghost Train, Polaris, Mojave, Grunion Run, Outsider, Halley's Beach, Pleasure Point, Hot N' Glassy, Insect Stomp, Bouzouki
Meteorite Shower ****
This is an infectious tune with a strong melody. It has a driven magnetism about it. The optimism is clear, but so is the energy. There's something uniquely Insect Surfer about it, with the trademark twin lead guitar interplay that defines the Insects. It displays more watery fun and desert delight than just about any tune on disc. It was originally titled "Electric Dayglow Meteorite Shower.
Ghost Train ****
This locomotively driven tune sports whistle chords, and a melodic power line that shouts "train a-comin'." Grinding, cool, and ready for the tunnel.
Polaris *****
This is one perfect instro. The melody line features the kind of hooks that stay with you, the arrangement is nearly magical, and the imagery is stunning. This is a mid tempo beautifully written and played tune with subtle drama and picturesque guitar tones.
Mojave *****
This is one of the most spectacular middle eastern surf tracks around. It hollers bazoukies and belly dancers, yet it also displays ample southwest desert edge and mystery. A highly energetic, melodic, and absolutely infectious track.
Gary Busey ***
A choppy fairly unmelodic number dedicated to those who ride without helmets, crash, and then say "shuck, it didn't hurt much" as they drool out of the side of their face. Actually, I think that requiring helmets is stupid. What is needed is indemnity for the other driver against recovering when available protection hardware is not employed. That goes for seatbelts, air bags etc. You can't legislate protection of people from themselves, but you can limit their ability to blame others for their actions. OK, I'm off my soapbox.
Zuma Slam ****
This is one of two vocals here. It's a leftover from the days just after DC, when songs like "Barricade Beach" were still in the set. I usually loathe surf vocals, but the Insects' craft work with the words always transcended my self-imposed limitations. I dearly miss "VOA" and "Up Periscope." Any way, this is a fine song about doing the Zuma slam... as well we all should. It's not a pick because it's a vocal and this is an instro web site, but I love this chunky track.
Grunion Run ****
A high energy instro with numerous changes, infectious guitar noodleage, dribbling notes, and magnetic joy. The Halibuts have a song called "Grunion Run," but this isn't a cover of that tune.
Outsider *****
This is all about waiting on your board for that long thin dark shadow-line that appears on the horizon, and builds until someone shouts "OUTSIDER!" It shreds, it double-pick pounds, it growls, it groans, and it's killer!
Halley's Beach *****
This is among the early Insect Surfers instros. It has a truly fine melody, infectious and joyous. The track displays a major amount of coolness, using harmonics perfectly. This is just plain great!
Pleasure Point ***
Named for the Santa Cruz surf spot, this sax lead track has a more ominous edge than most of their work, but also sports their fun and fluid guitar sounds.
Hot N' Glassy ***
I think this is among the least melodic of the Insect Surfers songs, but even as such, it is a fun jam with plenty of flair.
Insect Stomp ****
A sax lead number, driven by an almost ska backtrack, with an infectious rhythm that almost demands body movement. The guitar leads dribble off perfect notes sputtered at great speed. Bluesy, tropical, and energetic.
Bouzouki *****
This tune is dedicated to the fabled classic Greek instrument that inspired Dick Dale 's double picking. It combines the trad Greek ethic with surf guitar and bits of "Miserlou." A very strong track.
Surf Sun And Sound ***
An eighties pop chord structure, an enthusiastic beach lyric, and a bit of surf 'n' spy and blues.

Wednesday, August 08, 2007

You Cad!

The Huntington Cads Introduce the New Sound


Review by Scott Hefflon

While it's difficult for me to review instrumental surf/samba/spy/etc., perhaps I can get it off my chest that, for all practical purposes, the casual fan really needs know only two bands: The Huntington Cads and The Bomboras. Most have probably heard of The Bomboras due to their signing to the high-profile Zombie A Go-Go Records, head-cheesed by none other than Rob Zombie, and funded by Geffen/DGC/Dreamworks. Legend (or, at least, the Cads' bio) has it that both bands were originally one - the seminal surf band, The Finks. When they split, The Bomboras went for in-your-face antics while The Huntington Cads went for subtlety. While Introducing the New Sound still has wisps of surf beat and spies-like-us giddiness, there is a wonderful weepy quality, filled with romance and sadness. Introspective and thoughtful like watching the world through a rain-spattered window, certain songs creep into your bloodstream like sipped wine. That's not to say it's a slow, boring album, but if Sunday Morning Jazz plays in the next room as you sip the gourmet coffee you save for rare mornings, wondering why you let the rat race get to you so much, well, this album is for you. It has the same magic.

Tuesday, August 07, 2007


The Bambi Molesters

Dumb Lound Hollow Twang Deluxe


by Ned Raggett
Not many acts that continue for a few albums get a chance to go back and take care of what they might see in retrospect as mistakes or tentative starts. But there are always glorious exceptions — thus, the course of events that led to the Croatian surf-rock quartet the Bambi Molesters re-recording their 1997 debut, Dumb Loud Hollow Twang, in a "Deluxe" edition, with special guests, bonus tracks, and more besides. What might have seemed a quixotic exercise gets explained in the liner notes — Dumb Loud Hollow Twang's original run, though popular in surf-rock obsessive circles, had not resulted in a reprint, while the group's growing popularity resulted in further demand and attention for the album. The bandmembers themselves felt the debut was far too rushed — it was literally recorded in three hours as a one-take rip with instrument leakage and bad mixing ruining the impact — so with more time to spare and a chance to flesh out the sound, the result was 2003's Deluxe. The quartet's command of the surf vernacular is unparalleled — guitarists Dalibor Pavicic and Dinko Tomljanovic have the reverb down and rhythm section Lada and Hrvoje Zaborac shift between mania and mood-out with ease. The guest musicians add just the right touches — keep an ear out for Neven Franges' piano on the late-night menace of "Pearl Divin'," as well as on the smoky Euro-spy vibe of "Sun Stroke" and a trumpet/sax duo on a variety of songs adding some further sting. If the overall effect is pleasantly reverential rather than a striking new reworking of surf and garage roots, it's still a solid result that works beyond being a mere genre exercise. The bonus tracks are all covers, and winners they are — the Molesters' collaborator in the Strange project, Chris Eckman, adds whispering menace to "Restless," the album's sole vocal track. Best song title of the bunch — "Beach Murder Mystery."

Monday, August 06, 2007

Get Ready

Rare Earth

Get Ready


by Paul Collins

Rare Earth's Motown debut is as well-oiled as a new V-8, and so are its liner notes: "In this age of ego-tripping freak bands, Rare Earth has stood pretty much alone. Each cat stands handsomely tall as if from a fashion rack at Carnaby. They do their gig; do it well — and split." Smirking aside, the band turns in a smoothly harmonized "In Bed" and a chugging rhythm section for "Train to Nowhere." But the core of this release is a live side-long monster version of "Get Ready." It's as driven by the crowd's rapturous response as by the various solos, and the snake-charmer sax improv by Gil Bridges is easily the highlight of the album.

Everybody Wang Chung Tonight

Wang Chung

Points on a Curve


by Kelvin Hayes
If Japan's Tin Drum album of 1981 sought to redefine the similarities between Oriental melodic structure and Occidental music, then Wang Chung's Points on the Curve pushed the boundaries further toward the mainstream ("Even If You Dream," "Don't Be My Enemy"). It is baffling, then, that such an album should prove a more substantial hit in the States, where "True Love" was memorably adapted as a score to an incestuous rape scene on Miami Vice. Several tracks lend themselves fervently to film; the underlying menace of "Wait" reared its head in To Live and Die in L.A.. Far from the commercial tones of "Dance Hall Days," the song for which they are best known in the U.K., is the dramatic landscape of "Devoted Friends," a stark memo to a companion. Since the album's original release in 1984, it has seen many reissues with as many running orders, and although the sound is a little dated, its craftmanship still holds true.

1 Dance Hall Days
2 Wait
3 True Love
4 The Waves
5 Look at Me Now
6 Don't Let Go
7 Even if You Dream
8 Don't Be My Enemy
9 Devoted Friends
10 Talk It Out

Cadillac Angels

Cadillac Angels

Nobody Sings Or The Guitar Gets It


The Story So Far ...
Hubcap-stealin' rock 'n' roll with the CADILLAC ANGELS, the Santa Barbara, California-based Americana band with a high-energy beat and dynamic presence that evoke rockin’ good times!
The Cadillac Angels have one tooled leather boot in the roots and rockabilly camp, and the other foot testing the surf. With numerous CD releases and close to a million miles of touring under their belts, the Cadillac Angels stir up the music scene and leave folks hummin' and shakin' along to their firebrand roots/rockabilly/surf hybrid for days after the band pulls outta town.
They have performed at such venues as L.A.'s House of Blues on Sunset Strip and the Blockbuster Pavillion, as well as Seattle's Bumbershoot. Their show at Austin's South by Southwest (SXSW) Music Showcase was sold out with standing room only.
The Cadillac Angels have shared the stage with such music legends as Dick Dale, Santana, Carl Perkins, The Violent Femmes, Etta James, Jerry Lee Lewis, Cowboy Mouth, Bo Diddley, Dwight Yoakam, Wanda Jackson and Link Wray. The band's single, "Feel Like Rockin'," was named Best Roots Rock Demo by the SXSW Music Showcase panel. Another single "A Bop A Baby," was featured on the soundtrack of the motion picture "Deuce Coup."
In 2003 HeartTrouble by Wanda Jackson took the #9 spot in the Top Ten Albums by the Associated Press featuring the Cadillac Angels along side The Cramps, Rose Flores, Lee Rocker, Dave Alvin & Elvis Costello.
The band contines to record and to tour including regular visits to Europe.
So stagger, stroll, sway or sashay your way out to hear the Cadillac Angels - you'll be hummin' and shakin' for days too.

1 Wray Gunn
2 Have Cadillac, Will Travel
3 Bongo Bucks
4 Caballo Blanco
5 Thane's Theme
6 Apache
7 Chowa Timba
8 Hey Ray
9 Motor Fiend Boogie
10 Cadillacs Out West
11 Angel Serenade

Get Some New Everything

Big Lazy

New Everything


by Hal Horowitz
Best known in 2002, if they were known at all, for providing incidental music to several episodes of the television show Homicide: Life on the Street, Big Lazy is an instrumental trio that could only come from New York City. Influenced by the ambient jazz and dark rhythms the city conjures up, the combo is led by guitarist Stephen Ulrich, whose lonely, terse, reverbed leads sound like the menacing back alleys and threatening tunnels so common to life in the Big Apple. On their third album, the three-piece augments their stark, often ominous sound with occasional horns (used to striking effect on the opening "Train Travel"), percussion, and even eerie wordless vocals on "The Hill," but generally sticks to the bass-drums-guitar format. A romp through Charles Mingus' "Meditation (For a Pair of Wire Cutters)" pushes them even further outside the confines of a traditional three-piece, but the band is most comfortable walking the dimly lit side streets that inform the work of Tom Waits, especially on the evocative shadows created by the slow-boil tom-toms of "Our Lady of the Highways." The austere and ghostly black-and-white photos of the group that adorn the disc perfectly capture their offbeat atmosphere on this superbly played and conceived album. Few bands create music this dramatic, striking, and powerful, especially with only three instruments and no vocals. Creepy and captivating.

1 Train Travel
2 Go Go Prison
3 Tavern Life
4 Homesick
5 The Hill
6 Meditation (For a Pair of Wire Cutters)
7 Our Lady of the Highways
8 Tel Aviv Taxi
9 Starchild
10 Lullaby
11 Gone.
Kindly brought to you in wonderfull 320 by Trou Macacq.

Sunday, August 05, 2007

Mas Moods

Surfer's Mood Vol 3

The Bob Simmons Memorial Album

Simmons was a legendary Surfer and mysterious loner who invented the "Skeg", or triangular tail fin on a surfboard that prevents slippage.What does that have to do with this compilation? Nothing! Hang ten!!! From Klang und Kleid
Side One:
THE LIVELY ONES: Night and Day
THE STARTONES: Harlem Nocturne
Side Two:
THE VIBRANTS: The Breeze and I
THE COUNTS: Surfers Paradise
JERRY & THE CATALINAS: The Arabian Knight
LOS MOCKERS: Children Of The Sun
THE TEMPOMEN: Midnight On Pier 13

Wellwater Conspiracy

Wellwater Conspiracy

Brotherhood of Electric:Operational Directives


by Greg Prato
On their second album, 1999's Brotherhood of Electric: Operational Directives, lo-fi masters Wellwater Conspiracy offer another intriguing collection of 60's-tinged ditties. Again, guitarist/bassist John McBain and drummer Matt Cameron are present, but singer Ben Shepherd is not, so Cameron handles the vocal chores this time around (both have very similar singing styles anyway). And despite the defection of Shepherd, the songs are still strong and memorable - all the while rocking and spaced out. Like it's predecessor, 97's Declaration of Conformity, it takes a few listens to fully grasp and comprehend, but once it does, you're hooked. Highlights include the instrumental "Hal McBlaine," as well as "Compellor," "Teen Lamchop," "Born With A Tail," "Red Light Green Light," and the heavy Black Sabbath-riff monger "Van Vanishing." As heard on Brotherhood of Electric, Wellwater Conspiracy continue to specialize in authentic sounds of yesteryear (The Who, The Creation, Pink Floyd, etc.). Highly recommended.

1 Destination 24
2 Compellor
3 Teen Lambchop
4 Hal McBlaine
5 Born With a Tail
6 Destination 7
7 Red Light, Green Light
8 B.O.U.
9 Psycho Scrimm
10 Van Vanishing
11 Right of Left Field
12 Ladder to the Moon
13 Dark Passage
14 Good Pushin'
15 Dr. Browne Dr. Greene
16 Jefferson Experiment