Heard this is bangin live.
Sunday, March 30, 2008
Going to the show tonight in Pomona CA. Bound to be a blast! Hopefully some pictures to share.
New album Attack & Release due out April 1st Get it!
by Thom Jurek
Akron's the Black Keys have jumped labels again with Magic Potion. Beginning on their own Alive label, the band established itself internationally with Thickfreakness and Rubber Factory. They appear now with their Nonesuch debut — they share a label with everyone from Pat Metheny and Sam Phillips to Toumani Diabaté and Stephin Merritt. Fans needn't worry that the Black Keys being on a label distributed by Warner has done anything to their sound. Magic Potion is gritty, raw, immediate and sludgy. It was recorded at the band's studios in Akron, and the only real difference is that they've become even better at what they do. Here are 11 tunes rooted in blues and riff-heavy rock, with only guitar and drums ripping through them like a loose power cable in a thunderstorm. Check out the wildly rockist riff that is at the heart of the album's opener "Just Got to Be," or the wily shambolic blues in "Your Touch." If anything, Magic Potion reminds the listener of the late great Red Devils King King except they have a deeper country, south-of-the-Mason-Dixon-line feel to them, even on a ballad such as "You're the One," which feels like it's barely being held together by Dan Auerbach's voice, which unifies the guitar and Patrick Carney's drums. "Strange Desire" is an electric-acid-blues moan disguised as a ballad, whereas "Just a Little Heat" inverts the riff from Led Zeppelin's "Little Loving Maid " to offer a wide-open howl of distorted guitar and a slippery snare and cymbals crash. For those who feel that the blues have nothing to offer in the 21st century — especially electric blues, which has spawned countless cookie-cutter, slick deceptions disguised as the real thing — Magic Potion should satisfy deeply. Here is a future blues that comes right from the groin of history, reinterpreted through garage rock, alcohol, and rage: just check out "Modern Times." In the slow drawling burn, one can hear Junior Kimbrough's ghost possessing Auerbach. "Elevator" closes the set on a feedback-drenched, minimal Delta blues that has more to do with the cagey antics of Charley Patton and Lightnin' Hopkins — and R.L. Burnside, too — than with either the White Stripes or Ronnie Earl. This is vulgar music, completely unsentimental or nostalgic but with a deep, wild, and tenacious heart; it's spooky, un-caged, and frighteningly descriptive of our time and place. It's been a long time since the majors put out a record this savage. This is the door to the blues in 2006; hold on to your hips because they will begin to twitch.
2 Your Touch
3 You're the One
4 Just a Little Heat
5 Give Your Heart Away
6 Strange Desire
7 Modern Times
8 The Flame
9 Goodbye Babylon
10 Black Door
Monday, March 24, 2008
Sunday, March 23, 2008
by Matt Collar
Not unlike one of its lead singer Jay Kay's much publicized Lamborghinis, the U.K. funk band Jamiroquai is primarily a vehicle for its frontman's various fetishes. Which is another way of saying that Kay loves disco and fancy retro sneakers and he wears both well. He has done so ever since he hippie-danced his way out of the acid jazz ghetto of the early '90s with Jamiroquai's revelatory debut album, Emergency on Planet Earth. That album featured Kay's bright and soulful vocals against '70s-style funk and drew obvious comparisons to Stevie Wonder, Earth, Wind & Fire, and sundry other icons of vintage R&B. Not too much has changed in the years since and 2005's Dynamite finds Kay and Co. delving once again into various '70s- and '80s-inspired dance sounds. Similar to 2001's dazzlingly slick Funk Odyssey, Dynamite reveals Kay as a dancefloor eclectic, inclined to grab as much from Chic and Parliament as Kajagoogoo, the Police, and Terry Callier. Keeping to this grab bag aesthetic, Kay makes the most of his experimentation with some "vocal bass synthetics" on the hard funk title track. Also engaging is the melancholy soul-folk of "Seven Days in Sunny June" and the similarly quiet storm-ready ballad "Talullah." On the funky side of things, "Starchild" finds Kay proclaiming the coming of a disco superman while "Time Won't Wait" is an infectious Off the Wall-era Michael Jackson boogie fest with Kay urging people to make their dreams come true over a bed of pulsating disco beats. The Jamiroquai faithful would accept nothing less.
1 Feels Just Like It Should
3 Seven Days in Sunny June
4 Electric Mistress
8 (Don't) Give Hate a Chance
9 World That He Wants
10 Black Devil Car
11 Hot Tequila Brown
12 Time Won't Wait
Saturday, March 22, 2008
by Stephen Thomas Erlewine
Cadillac in the Swamp is a torrid, steaming album, powered by the gutsy, powerful songwriting and singing of harpist Anthony Thompson. Smokehouse reworks the deep, swampy groove of New Orleans and Delta blues, adding the electric energy of Chicago blues. Thompson is a raw, greasy harmonica player, evoking the classic licks of Little Walter. He's not as good a singer — his range is quite limited — but he is a forceful and emotional vocalist and he's one hell of a songwriter; unlike many of his contemporaries, he is not afraid of tackling big social issues. Guitarist Robert Thomas is equally impressive, spitting out firey solos and muscular riffs throughout the record. That musical dexterity and sinewy energy shines throughout Cadillac in the Swamp, a first-rate modern blues album.
1 Nice 'N' Round (355 Lbs.)
2 Hoodoo Woman Blues
3 Mr. So and So
4 American Dream
5 Peepin' Through the Knothole
6 Cadillac in the Swamp
7 Hoodoo You?
8 Low Down Rider
9 Mississippi Quickie
10 Crack Smokin' Blues
11 Martin Luther "The King"
Hillbilly Voodoo Dolls evolved from a
series of jam sessions which included members
of some of the Minneapolis/St. Paul
area's top acts. Paul Mansky (Boogiemen),
Paul Bergen (Molly and the Heymakers),
Tony Kamana (G.B. Leighton) and Tom
Coursolle (You and Who's Army) chose
Hillbilly Voodoo Dolls as their name based
on the band's penchant for country, rockabilly
and various Louisiana musical styles
Playing an energetic blend of Rock, Rockabilly, Blues,
R&B, Country and Zydeco has led to the band being
described as "Rickpile jamming with Ray Charles at an
after-hours party in New Orleans." If you are a fan of
raw, rockin' grooves, pounding boogie piano and twangin'
guitar, Hillbilly Voodoo Dolls will have you saying,
"Hubba, Hubba!" in no time. The band has released two critically acclaimed CDs, Hubba Hubba and Rhythm
Disease. They have opened for such
diverse acts as Los Lobos, (former Rolling Stone) Bill
Wyman & The Rhythm Kings, Lonnie Brooks, NRBQ,
Sonny Landreth, and Eddie Money, in addition to two
1 Red Hot Boogie Woogie
2 Jivin' Me
3 Bad Luck Streak
4 Sometimes You Don't Know Me at All
5 Woman Trouble
6 She Don't Want You
7 The Last Thing on My Mind
8 Lights Out
9 No More Doggin'
10 Hurricane Rag
11 West Memphis Three
12 Bam (Dickeman's Theme)
by Bill Dahl
Living links to the immortal Robert Johnson are few. There's Robert Jr. Lockwood, of course — and David "Honeyboy" Edwards. Until relatively recently, Edwards was something of an underappreciated figure, but no longer — his slashing, Delta-drenched guitar and gruff vocals are as authentic as it gets. Edwards had it tough growing up in Mississippi, but his blues prowess (his childhood pals included Tommy McClennan and Robert Petway) impressed Big Joe Williams enough to take him under his wing. Rambling around the south, Honeyboy experienced the great Charley Patton and played often with Robert Johnson. Musicologist Alan Lomax came to Clarksdale, MS, in 1942 and captured Edwards for Library of Congress-sponsored posterity. Commercial prospects for the guitarist were scant, however — a 1951 78 for Artist Record Co., "Build a Cave" (as Mr. Honey), and four 1953 sides for Chess that laid unissued until "Drop Down Mama" turned up 17 years later on an anthology constituted the bulk of his early recorded legacy, although Edwards was in Chicago from the mid-'50s on. The guitarist met young harpist/blues aficionado Michael Frank in 1972. Four years later, they formed the Honeyboy Edwards Blues Band to break into Chicago's then-fledgling North side club scene; they also worked as a duo (and continue to do so on occasion). When Frank inaugurated his Earwig label, he enlisted Honeyboy and his longtime pals Sunnyland Slim, Big Walter Horton, Floyd Jones, and Kansas City Red to cut a rather informal album, Old Friends, as his second release in 1979. In 1992, Earwig assembled Delta Bluesman, a stunning combination of unexpurgated Library of Congress masters and recent performances that show Honeyboy Edwards has lost none of his blues fire.
by Scott Yanow
One of the underrated greats of country blues, Honeyboy Edwards is heard on this superior release at the beginning and in the later part of his long career. A very authentic blues singer and guitarist who occasionally played harmonica, Edwards grew up in Mississippi and was captured by Alan Lomax in Clarksdale in 1942 for the first 14 selections on this CD. Already distinctive at the age of 27, Edwards was in Chicago during the 1950s but, despite being quite active, he hardly recorded at all until the late '70s. The final 13 selections on this CD are mostly from 1991 and they find Edwards being featured both solo and with Sunnyland Slim and Carey Bell in an excellent quintet, still singing and playing guitar with power. He also tells a few stories about the distant past. As of this writing in 2006, the 91-year-old Honeyboy Edwards, nearly the last link to Robert Johnson and Charley Patton in the 1930s, is still performing at blues festivals. Delta Bluesman remains his definitive release.
1 Alan Lomas Introduces David Edwards
2 Roamin' and Ramblin' Blues
3 I'm from the Library of Congress
4 You Got to Roll [A Cappella]
5 You Got to Roll [version]
6 Water Coast Blues
8 Just a Spoonful
9 Spread My Raincoat Down
10 Hellatakin' Blues
11 Wind Howlin' Blues
12 Worried Life Blues
13 Tear It Down Rag
14 The Army Blues
15 They Called It Big Kate
16 Big Katie Allen
17 Black Cat
18 I Met Peetie Wheatstraw in '39
19 Number 12 at the Station
20 When I Came to Memphis
21 Rocks in My Pillow
22 We Used to Sing That When I Was a Kid
23 Decoration Day
24 Who May Be Your Regular Be
25 I Studied Up That Song Myself
26 Eyes Full of Tears
27 Bad Whiskey and Cocaine
Friday, March 21, 2008
Susan and the SurfTones is an American surf instrumental band. The band is considered part of the “third wave” of surf-revivalist bands that formed the 1990’s. The band was started in 1993 in Rochester, NY by lead guitarist Susan L. Yasinski, one of very few female lead guitarists in instrumental surf music. Influenced also by early Beatles, ‘’60’s garage and 70’s punk music, their sound incorporates traditional surf with elements associated with these other genres, such as the use of the combo-organ. The band’s first recording deal was with Gee-Dee Records in Hamburg, Germany who released their first CD, WIthout A Word, in 1995. Subsequent releases on Gee-Dee and two other European labels, Surf Waves (Belgium) and OmOm (Italy), and four European tours, earned them a fan base in Europe as well as the US. Susan relocated to the west coast in 2000, and reformed the band in Portland, Oregon. They continue to release albums both on CD and as digital releases.
Nissan (Italy) used two of their tunes, their cover of Ghost Riders in the Sky and Moon Woman ‘42, in a promotional DVD in 2005. They performed a showcase at the ROCKRGRL Music Conference in Seattle in 2005 and have played halftime shows for the NBA Portland Trail Blazers. In 2007 two of their original tunes (Tiki Kiki and The Blue Hammer) were used in MTV’s The Real World: Sydney. In addition to ten full-length album releases and a vinyl EP, Susan & The SurfTones appear on compilation albums released in the US, Italy, Australia, Russia, and Germany. Their recordings have received airplay on numerous radio stations in the US and abroad. Wiki
Thursday, March 20, 2008
It Don't Mean Nothin'
Wake Up Call
Last Good Nerve
Big Step Back
Devil's On The Phone
Linus And Lucy
3 Skimboard Fever
4 Flim Flam
5 Zydeco Boogie
6 Coast Highway
8 Sea Shanty
10 Metal Man
11 Weekend Honey
12 Pony Ride
13 Dolphin Rodeo
14 Baja Noches
15 The Spider Man
Friday, March 14, 2008
The Three Stooges
Enjoy this Saturday Morning treat from the boys.
Monday, March 10, 2008
Date & Time:
Saturday, March 15, 2008 - Saturday, April 5, 2008
SurfBEAT group art show!
Don't miss this EPIC group art show that will feature original artwork from over 70 prominent SURF, HOTROD, TIKI and other "outsider" artists. The show opens MARCH 15 at The Light Gallery in Costa Mesa. Please check out the flyer below and watch for show updates at www.myspace.com/surfbeatgallerySome of the amazing group of surf, outsider and tiki artists who have committed so far: The Pizz, Rick Reitveld, Jeral Tidwell, Drew Brophy, John Bell, Candy, Miles Thompson, Damian, BigToe, Mr.G, Doug Dorr, Grimb, Steve Caballero, Ken Ruzic, Dave Lozeau, Bamboo Ben, Fudemae, Max Grundy, Aaron Kraten, Fudemae, Squindo, James Mcleod, Keith Ciarmello, The mysterious 13:11, Dirk Hays, Buddy June, Crazy Al, Scott Aicher, Chongolio, Doug Horne, Atomic Kitty, Justin Barry, Chainsaw Chuck Majewski, Von Poot, Dale Sizer, Nik Scarlett, Dark Vomit, Paul Torres, Joe Vitale, Bob Penuelas, Augie pagan, Mike Sosnowski, Tiki ray, TV-1, E.T.7, Link David, Brian Vivieros and many more talented artists from all over the globe! The collision of artwork featuring surfing and hotrod cultural influences may seem like a recipe for disaster. But in the case of SurfBEAT, the Light Gallery in Costa Mesa is putting together a tasty occular feast sure to please the most discriminating devotees of "outsider art". Surfing and hotrod cultures, along with fascination with the decadent psuedo-polynesian tiki culture, all blossomed in the 50s, when hipster baby boomers explored their sense of individuality and rebellion. They offer in common today, as they did then, a haven for outsiders, folks disenchanted with the promise of main-stream media and the American Dream. In the art world, the academic and traditional gallery communities have been slow to warm to the allure of the art produced by these outsiders. Artwork inspired by surfing, hotrods and tikis, in all its forms, revels in It's representational depiction of familiar cultural icons of the "wrong side of the tracks". This aesthetic has been shunned by the leaders of the "high-brow" art world. SurfBEAT features a broad cross-section of what is collectively referred to as "lowbrow" artists. From world-renowned to local heroes: Surf artists, Animators, Hotrod air-brushers, tattoo artists, skateboard artists, concert poster illustrators, tiki carvers, pin-up photographers and sundry ne'er-do-well artists converge in a celebration of decadence sure to titillate and amuse all but the most puritanical pillars of the community. The show opens MARCH 15 at The Light Gallery in Costa Mesa. Please check out the flyer below and watch for show updates at www.myspace.com/surfbeatgallery6pm-midnight theLightGallery 440 e.17th st costa mesa 92627 www.thelightgalleries.com
Saturday, March 08, 2008
Courtesy of Senor Teisco
Phil Dirt says:
Wow! What a cool release from the Sidemen! Really good playing and superb production display a great band at full bore. Highly recommended!
Soho (*****) Surf Instrumental (Stereo) Moody guitar and bass and creepy pick slides give "Soho" a haunted spy sound that"s compelling and full. Rich texture and drama via big whammy chords complete the picture. The drums demand ams from your attention trove. Very cool!
Sledge Hammer Theme (*****) Surf Instrumental (Stereo) This is a tuff track with a great beat and bass line supporting round double picked lines and spy vs. surfer dueling guitars. Rich and full bodied, "Sledge Hammer Theme" is a masterpiece of pace and interplay.
Gibraleon (****) Surf Instrumental (Stereo) Slightly dissonant, "Gibraleon" is also adventurous. It portrays a kind of island scene where things are not what they seem. Danger lurks, but is obscured by the kind of swimming chords that the Deep End used in "The Sheik Of Hips." Very cool!
Red Hot Rod (*****) Surf Instrumental (Stereo) This is pretty pure surf, with tremolo chords and a very fine lead pattern. "Red Hot Rod" is the kind of AABA structure that classic surf used, but s also significantly more complex. A great track with lot"s to like.
Havanna (***) Surf Instrumental (stereo) "Havanna" is slow and sad, with a haunted organ and great drums. The sound sets up an emotional rhythm and sense of a better day tomorrow. Quite pretty.
Mr. Moto (*****) Surf Instrumental (Stereo) This is a richly reverbed take on "Mr. Moto" with particularly interesting and original second guitar single-note muted instead of playing chords. It gives Paul Johnson"s masterpiece a whole new feeling. Very cool!
Astoria (*****) Surf Instrumental (stereo) The tribal drums and bass writhe under a moody melody line in a very infectious way. "Astoria" is a splendid track with great imagery and wonderful tone. It"s the kind of track that makes you move, and fits perfectly with a topdown drive on a coastal highway on an early morning surf patrol. Wonderful!
Kingston A Go-Go (***) Surf Instrumental (Stereo) Organ and a stylish melody in an island Shadows general direction creates a splendid sound. The organ takes the break and the guitars pumps out a gentle ska backdrop. Quite a nice track.
The Persuaders (*****) Surf Instrumental (stereo) The The Sidemen"s superb sound and writing are well suited for this spy meets the curl epic. This thoroughly engaging track is a marvelous blend of sounds, and features great rolling drums. Superb!
Cannon Beach (****) Surf Instrumental (stereo) More of a rock instro than surf, yet with very surfable tone, "Cannon Beach" is a happy song with a sunny disposition. It undulates and rolls and invites you down the to the beach below the cliffs where the tubes run a constant left hook. This is not the Surf Trio song.
Peligro (*****) Surf Instrumental (Stereo) The opening is an interesting exercise in syncopation between the drums and guitars, while the song is a charming and richly reverbed excursion into distant lands. The bridge reminds me of "Comin" Home Baby" slightly. A very cool track!
Walk Don"t Run (****) Surf Instrumental (stereo) This is quite interesting. The arrangement combines the Ventures" 1960 and 1964 arrangements very effectively. Dry tone, exceptional playing, and simple listening pleasure. great drums, solid bass, and very good guitar work.
Night Boat (*****) Surf Instrumental (Stereo) Good grief, "Night Boat" is original and very cool! Kind goofy and distant, drenched in muted notes and surf whammy chords, with a very endearing melody line. You can imagine monsters lurking in a damp dungeon, but only in a campy black and white. Too cool!
Bobby Fuller Medley (****) Surf Instrumental (Stereo) The Sidemen play two of Bobby Fuller & The Fanatics" classics, "Our Favorite Martian" and "Wolfman." Both are done superbly. What more need be said!
Jamboo! (***) Surf Instrumental (Stereo) "Jamboo!" is a circular rockabilly guitar boogie with reverb. Very pumped up and fun.
Trans Siberia (*****) Surf Instrumental (Stereo) Goodness, this is very cool. The dueling guitars share lead and rhythm pattern duties to great effect. This is a unique and raucous number with a very catchy sound. "S" is a superb track one heck of a hook!
Praia Verde (***) Surf Instrumental (Stereo) "Praia Verde" seems a little serious, perhaps self conscious. However, the delicate double picked lines are very Spanish coastal, and the surf elements very pleasing. The best part are the relentlessly rolling drums!
The Brawl (***) Surf Instrumental (Stereo) Grode live sound puts you right in that dump where the sound sucks, but the bands rock. You"ve been there. The crowd is loving it!
2 Sledge Hammer Theme
4 Red Hot Rod
6 Mr. Moto
8 Kingston a Go-Go
9 The Persuaders
10 Cannon Beach
12 Walk Don`T Run
13 Night Boat
14 Bobby Fuller Medley
16 Trans Siberia
17 Praia Verde
18 The Brawl (Live
by Richie Unterberger
One of the most popular of the early Southern Californian surf bands, the Challengers were formed by drummer Richard Delvy after he left the Bel-Airs, who had recorded one of the very first surf singles, "Mr. Moto." Their debut LP, Surfbeat (early 1963), was one of the very first all-instrumental surf albums and sold 200,000 copies, an astronomical number for a regional act. Recording several albums over the next couple of years, most of their repertoire consisted of covers of popular rock and surf tunes; undeniably exciting at the time, their lack of originality can make their work generic to wade through. The moody "K-39," also available on surf compilations, is their most famous cut.
by Cub Koda
Released in January, 1963, Surfbeat was one of the very first surf music albums to hit the stores. The album is almost a history of surf music itself, or at least its roots, with excellent takes of rock & roll staples like "Red River Rock," "Ramrod," "Movin' & Groovin," and "Torquay" aboard. With a nod to Dick Dale and the Beach Boys, the group also covered "Surfin' Safari," "Miserlou," "Let's Go Trippin'," and "Surf Beat." This is not only a historically important album, but one that really rocks as well.
3 Let's Go Trippin'
5 Mr. Moto
6 Red River Rock
9 Surfin' Safari
10 Moovin' N' Groovin'
14 Surf Beat
Sunday, March 02, 2008
Ran (aka Kick The Reverb) of The Sand Devils
Ron Eglit of The Surfaris
Mr Moto Paul Johnson playing with The Surfaris
Jim Fuller, lead guitar of the original Surfaris
The BelAirs Eddie Bertrand playing with The Eliminators
Dave and Jeff (Mac) MacDonald from OuterWave, a very hot guitar player in his own right.
Dave Wronski doin' it up.
Wanted to give y'all a short review of the outrageous show last week, the 1st Annual Surf 'O' Rama at The Gaslamp Bar & Grill in Long Beach. This was a Birthday tribute for Linda Miller, the driving force of the Surfin' Sunday Concert series put on by the International Surfing Museum in Huntington Beach. Linda works tirelessly to put on some of the finest surf shows each year at the Huntington Beach Pier and the Surf Museum
This was a 10 hour extravaganza of fine surf tunage. I was held hostage elsewhere for the 1st half of the show but was able to trudge through the rain to make it for the rip-snortin' second half. My grandson Gage and I made it just in the nick of time to see San Diego's own, The Sand Devils. Mi amigo Ran, lead guitarist (formerly leading the Israeli group The Astroglides) and his buddies gave a powerhouse 45 minutes of hard driving surf. We've been waiting for an album from them but new babies have slowed the progress a bit. Important things first!
After a quick tear down and setup, The Surfaris. Yes, The Surfaris. We were treated to Surfaris old and new. Jim Fuller, the original lead guitarist did a few numbers with some of the new Surfaris, Mr Moto himself, Paul Johnson! Also sharing lead licks was the exciting Ron Eglit, 20 + years as a DelTone with Dick Dale. Ron has been playing with the Surfaris for the last 5 years now. Got a chance to meet Paul Johnson after the show and got a signed CD, The BelAirs The Origins of Surf Music. We'll be hearin' a bit of that later.
Next up was The Eliminators who always put on a fantastic, high energy show. Then they introduced their special guest, another of the original BelAirs, Eddie Bertrand. Eddie strutted out for a couple of heavy twangers to a big howl from the crowd. Gage has been listening to surf music with his Papa for many years but this was his first live surf show. He told me that he never really got it before but you could tell by the look in his eyes, he sure did now. He was seeing some historic folks of the surf genre before his eyes and right up close.
The finale performance was by Outer Wave, the coordinators of this splendid show. Their consisted of their fine interpretations of many classics of the art. After wowing the crowd with one hit after another they unleashed their special guest. And unleashed is the right term to be used here folks. 'Cause when you bring the madman Dave Wronski up on stage, you better hold on. This boy can play like the devil was inside him! Dave from Slacktone fame and many other projects exudes so much energy that it gets the whole house going crazy. I didn't get a chance to talk with Dave after the show but we swapped a few emails after the show. Can't wait to see him and the rest of the Slacktone boys, Dusty and Sam play somewhere, anywhere soon.
With our hearts soaring, our ears ringing and our bellies full of Gaslamp's burgers, we wandered back home, feeling blessed to being able to see and hear some of the finest surf folks out there, ever.
I'm not much of a writer, not much of a photographer, but I hope this gets you some sense of how damn fine this night was.
Next year...Be There!