Saturday, January 31, 2009

So You Think Your Tough Do Ya?

The Charles Napiers

Sinister Organisation


A big sloppy thank you to AlZombie for some much needed file clean-up help.

The Charles Napiers were a 'Mondo Wray' instrumental band that existed from 1991 to 2005. In those 14 years we NEVER played a single vocal number. Can you name any other instrumental band who resisted the temptation of the microphone for that length of time? No, thought not. And other than a couple of regrettable drunken occasions, we never spoke between songs. The reason why? Because there's nothing worse than watching a decent band on stage but having to put up with some tool saying 'This next one's called blah blah blah, hope you like it' or some similar cobblers.

The Napiers were:

Guitar: Dan Whaley (1991-2005)

Guitar: Clive Pearman (1991-1995)

Bass: John Skittles (1991-2005)

Drums: Danny O'Brien (1991-2000)
Guitar: Lee Duggan (1995-2005)

Drums: Sophie Skittles (2000-2003)

1 Secret Agent Man

2 The Sinister IV

3 Let Yourself Go

4 Fucked Up Fords

5 Ouverture

6 It Had Better Be Tonight

7 From Russia With Love

8 Be My Baby

9 The Ballad of Rock Ridge

10 You Only Live Twice

11 Eat Lead

12 Vendetta

13 L'amour La Mort

14 The Jap Spy

15 What'd I Say

16 Stoned

17 Boys

18 Shot By Both Sides


Wednesday, January 28, 2009

Man, That White Boy Can Sing The Blues


Whitey Ford Sings The Blues


Review by Alex Henderson

Saying that Everlast showed a great deal of artistic growth between his first and second solo albums would be a understatement. While 1989/1990's Forever Everlasting was a decent, if uneven, debut, Everlast's second solo album, Whitey Ford Sings the Blues is an amazingly eclectic gem that finds him really pushing himself creatively. Between those two albums, Everlast joined and left House of Pain, which evolved into one of the most distinctive rap groups of the 1990s. While Pain's albums thrived on wildness for its own sake, Whitey Ford has a much more introspective and serious tone. Everlast, who was born with a heart defect, was in the process of recording the album when he needed life-saving open-heart surgery; in fact, he was lucky that he was around to see Whitey Ford completed and released. Though not without its share of hardcore b-boy rap, Whitey Ford also finds Everlast playing acoustic guitar, doing some singing, and exploring folk-rock, Memphis soul, and heavy metal. As a singer, Everlast has a relaxed style that sounds a bit like Gil Scott-Heron. "Today (Watch Me Shine)," "Ends," and "What It's Like" venture into Neil Young/Bob Dylan territory, while "Hot to Death" is blistering metal with industrial touches. And the plot thickens — on "The Letter," he raps over a jazz-influenced piano. Given how rap's hardcore tends to frown on rappers crossing over to rock, it took guts for Everlast to be so diverse. But it's a good thing that he did, for his risk-taking pays off handsomely on this outstanding release.

1 The White Boy Is Back
2 Money (Dollar Bill)
3 Ends
4 What It's Like
5 Get Down
6 Sen Dog
7 Tired
8 Hot to Death
9 Painkillers
10 Prince Paul
11 Praise the Lord
12 Today (Watch Me Shine)
13 Guru
14 Death Comes Callin'
15 Funky Beat 3
16 The Letter
17 7 Years
18 Next Man [CD Bonus Cut]


Tuesday, January 27, 2009

Make Up A Nice Cuba Libre And Enjoy

Thee Andrews Surfers

Rip Off!


Ripped @VBR

Band Members

St. Evil Knievel. Guitar / sing song voice 
Jenz von Trapp. Bass/ sing song voice
Ennio Mariconi. Bassdrum, snaredrum, floortom, ride.

Beatnik illegitimate bastard sons of the Andrews Sisters. Started out in 1998, you never know when to expect them. Never really there. Never really gone. Recorded one album, forced to do so by Fifty Foot Combo. And yes, that is Andrews with an S!

As a side-project, the three core members of the monstrophonic band Fifty Foot Combo recorded this album. It's their first and only release as Thee Andrews Surfers. It contains powerfull instro garage and surf hits, all played in a heavy trashy way.

Rum & Coca Cola
Cecilia Ann 
Have Love Will Travel
Le Gendarme De St-Tropez
 You Punk!
 Thee Mighty Jaws
 Andrews Surfers ... Go!
 Momenth Of Truth
 Two Minutes To Rip You Off
 Scandinavian Action
 Bei Mir Bist Du Schön
 Betty's Twist '99


Where Is The State Of Flux?

The Flux Capcitors

John Q. Brains-For-Arms


Written by Mike Breen
Spill It: New Waves

One would think that aficionados of instrumental Surf music would be at least a little reluctant to anyone coming along and messing with the formula. Like Blues, there are expected features of Surf -- reverb being the main one, I suppose -- and, while there have been groups that play the music in funny costumes or with some kind of gimmick (like, "It's Surf music ... but about spaceships!"), very few have strayed from the blueprint. Sure, there is a charming purity to simple Blues and Surf music, but I want to hear what people can do without the constraints of expectation.

That's why I was excited to get a copy of the debut CD from Cincinnati's Flux Capacitors, John Q. Brains-For-Arms. The Capacitors perhaps don't reinvent the Surf music wheel, but they certainly have deflated all of the air, painted some avant ornamentation on it and refilled it with laughing gas. If Sonic Youth would have been inspired by Dick Dale instead of, say, Glen Branca, this is what they would have sounded like.

That's not to say the Surf music puzzle-pieces aren't all there, nor that fans of the genre (well, open-minded ones) will be turned off by the band. The Flux Capacitors' members all have a clear knowledge of classic Surf and their chops reflect that. Lead guitarist Erik Stoll can whip out a wiry, reverb-drenched lick as good as anyone I've heard. And the rhythm section is more than adept at re-creating that big-wave rumble. 

But it's when the band gets "weird" that things start getting really good. On "Better Get Used to These Bars, Kid," the guitars are downright jazzy, with a circular figure serving as the spine of the song. But from there the structure wanders like a boat lost at sea. As they explore different territory (harmonics, almost Prog-like licks, stop-start beats), they pull into a harbor of delicious guitar-noise, as feedback swells and swirls, sounding at times like an all-out air attack. To start from this sublime little jazzy riff and end up with something that sounds like it could have been left over from the Daydream Nation sessions is a remarkable feat.

It's these little surprises that make John Q. Brains-For-Arms an instrumental album to which you need to pay attention as you listen. On "The Flight of the Cat-Faced Bag" (seems having no lyrics gives license for deliriously surrealistic song titles), the band injects impulsive shots of over-driven fuzz, seemingly from out of nowhere, before breaking down into a softer section that really shows the tight interplay between the musicians. "Just 2001" is totally left field and one of the record's more engaging tracks, with spacey synth noise sprinkled throughout. I can safely say it is the best "cover" of "Also Sprach Zarathustra" you will ever hear. Well, at least the most creative. The band meditates on the theme (best known from being featured in 2001: A Space Odyssey) like a group of Jazz musicians, doing to it what Coltrane did with "My Favorite Things" (that is, making it all their own and changing how you'll look at that song forever).

I've run out of cheesy Surf metaphors, so let me just end by saying that Flux Capacitors have taken a musical genre seemingly set in stone and made it a Technicolor detonation of adventurous ideas, creative and deft chops and more than the occasional dose of humor.


1 Mr. Blister
2 Better Get Used To These Bars, Kid
3 The Flight of the Cat-Faced Bag
4 Joseph and the Amazing Technicolor Tonton Coat
5 Just 2001
6 Dead in Arizona
7 Stop the Terrorism


I Know, I Know. It's Got WORDS.

¡Ritmo!¡Vértigo! -Thes Siniestros 2008- from thessiniestros on Vimeo.

Tunes From A Different Sea

Thes Siniestros

Mar de Galilea EP  (Sea of Galilee)


The holy trinity consists of: Jack Of Jesus Christ (low guitar and vocals) Il Marto (guitarron and voice) The Flav Flav (drums and howling). 

- Influences: 
Rhythm & Blues, Rockabilly, Surf, Garage, Psychedelic Drugs. 

- Sounds like: 
Masked in black jackets and silver crosses, Thes Siniestros puts on stage with his combo amphetamine influences of Rhythm & Blues, Rockabilly, garage and surf music. 
Their language is a mixture of several cultures, and their songs tell stories that do not cease to be strong in our own time. Murderers, romantic cowboys, gauchos marijuana, drug traffickers or the saints who are devout, appear frequently and are exposed to an audience that moves his feet from the first chords. 
On February 29 of 2008, a leap-day, Thes Siniestros released his first LP, under the name "Rhythm Vertigo," a manifesto for rhythm and sound hallucination. It is sixteen sonatas cathartic coming in the form of conceptual narrative, resulting in the audience after ingesting a drug-hallucinatory journey toward land sinister.


01 - Rhythm vertigo! 
02 - The bronco. 
03 - See you in hell. 
04 - bufo. 
05 - The dance of Jesus Christ. 
06 - bank robber. 
07 - The laughter of hyenas. 
08 - No surprises. 
09 - The Judas. 
10 - The dance of the burrito. 
11 - Justiciero crazy.



La santísima trinidad está compuesta por: Jota De Jesucristo (guitarra baja y voz) Il Marto (guitarrón y voz) Flav The Flav (batería y aullidos).

- Influencias:
Rhythm & Blues, Rockabilly, Surf, Garaje, Psychedelic, Drogas.

- Suena como:
Enmascarados de chaquetas negras y cruces plateadas, Thes Siniestros pone en escena su combo anfetamínico con influencias de Rhythm & Blues, Rockabilly, Garage y música Surf.
Su lenguaje es la mezcla de varias culturas, y en sus canciones cuentan historias que no por fuertes dejan de ser propias de nuestros tiempos. Asesinos, vaqueros románticos, gauchos marihuanos, narcos o santos de los que son devotos, aparecen con frecuencia y son expuestos ante una audiencia que mueve sus piecitos desde el primero de los acordes.
El 29 de Febrero de 2.008 -día bisiesto-, Thes Siniestros editó su primer LP, bajo el nombre de "¡Ritmo Vértigo!", un manifiesto en favor del ritmo y la alucinación sonora. Se trata de dieciséis sonatas catárticas que llegan en forma de narración conceptual, provocando en la audiencia -previa ingesta de drogas- un viaje alucinatorio hacia las tierras siniestras.

01- ¡Ritmo vértigo!
02- El bronco.
03- Te veo en el infierno.
04- El bufo.
05- El baile de Jesucristo.
06- Ladrón de bancos.
07- La risa de la hiena.
08- Sin sorpresas.
09- El de Judas.
10- El baile del burrito.
11- Justiciero loco.


Monday, January 26, 2009

You Need More Than A Gun On This Safari

The Surf Trio

Sufari In A Living Graveyard



Taking the Ramones' retro-'50s and early-'60s obsessions to their logical conclusion, Portland, OR's the Surf Trio (who actually have four members) play a brand of catchy, energetic garage punk, owing much to surf pop and instrumental artists like the Beach Boys, the Ventures, and Link Wray. Most of the Surf Trio's songs are written by either bassist/vocalist Jeff Martin or guitarist/vocalist Ron Kleim, with the occasional cover thrown into the mix. After a self-titled EP for Moxie in 1985, the Surf Trio recorded the full-length Almost Summer for Voxx in 1986, followed by Safari in a Living Graveyard for Moxie two years later. Forbidden Sounds appeared in 1999 on the Dionysus label.

  1 Hang Ten   
  2 Skaterdater  
  3 Girl with No Name
  4 Gold Beach  
  5 Another Song Called Over the Edge  
  6 Never Gonna Hold Me
  7 Mile Zero  
  8 Go, Go, Go  
  9 Barbary Coast  
  10 Deep in Your Eyes  
  11 Something Like an Angel  
  12 Walking to Florida  
  13 Couldn't Care Less  
  14 Let Her Dance  
  15 Starlight Place  
  16 My Real World  
  17 Is My Girl Really Gone  
  18 Out of Limits


Sunday, January 25, 2009

From The Desert To The Sea

Insect Surfers

Mojave Reef


Phil says:

It's about time! Six years in the making, and well worth the wait. The Insect Surfers' new CD is just about as sophisticated as it gets without losing the surf and rock and roll edge. This is a glorious album of incredible writing and playing. Maximum recommendation here!

Picks: Silver Coast, Reptile Boots, Horizon Riders, Coolangatta, Tethys, Dewey's Dead, Batwave, Flamin' Eddie's Dragstrip, Ocotillo, Asteroid, Black Sea, Electric Marlin, Nomad, Ursa Minor, Starfish Ranch / Mojave, Baja

Silver Coast ****

Slowly rising from the sea and beautiful guitarscapes, Silver Coast rides on a circulating melody line atop a great rhythm. This fine track is is a fine example of the swirling perfection that the Insect Surfers are capable of. Gorgeous ringing tone and throbbing essence of surf, with long howling feedback and grumbling bass slowly releasing the track as it fades under the waves.
Surf Instrumental Stereo
Reptile Boots ***

Lizard skinned rhythms and pumpin' drums bump under a modern semi-psychedelic melodic melody line. The contrast between the foreground backtrack and distant lead creates a haunting sound. Quite nice!
Surf Instrumental Stereo
Horizon Riders *****

This is one of the best new songs from the Insect Surfers. It's an infectious spaghetti western with very visual psychedelic swirls. The rolling cowboy beat and Morricone-ish melody are a splendid Southwest epic! The many textural changes add a sense of evolving story lines. Great!
Surf Instrumental Stereo
Coolangatta *****

Like a chunkier version of Rake and the Surftones with Link Wray close by, Coolangatta pulses with power and a great rhythm, plus some spectacular guitar tone and sustain. This is one fine track!
Surf Instrumental Stereo
Tethys *****

Tethys captures your ears right from the start. The alternating melody line is captivating and intricate. Each guitar brings its own brand of delivery to the song, with many fine changes in texture and tone. Tethys is a magnificent track.
Surf Instrumental Stereo
Dewey's Dead ****

On the verge of dirge inversion, Dewey's Dead grumbles about the loss in a never ending tubular ride way, with thunder in the tom toms and a relentless adventure in the rhythm.
Surf Instrumental Stereo
Batwave ****

Batwave is dissonant and angular, with intense tortured ambiance and plenty of attack. It's dark and dangerous, and haunting too. The howling adds to the fright factor. Excellent!
Sci-Fi Surf Instrumental Stereo
Flamin' Eddie's Dragstrip ****

The dragsters rev up, the announcer calls the race, and then the guitars kick in. This long time Insect Surfers finally makes it to disc, and way past due I say! Great grodie fuzz and liquid guitar, an utterly infectious melody, Church Key whammy dips... what more do you need? Edgy hotrod cool!
Surf Instrumental Stereo
Ocotillo *****

The warm melody of Ocotillo flows like a ride down the Baja coast in search of a perfect summer break. Completely cool, with a Spanish edge and pumping bass line. Fine track!
Surf Instrumental Stereo
Asteroid ****

Space echo guitar, backwards coolness, mind-game escapes... and that's just the intro. In an odd way, this reminds me of the introduction to Shuggie Otis' Freedom Flight. It's more a soundscape than a song, but is quite satisfying.
Surf Instrumental Stereo
Black Sea *****

This is an amazing new song! It rides on an undulating rhythm, born of western skies and summer adventure. Compelling and exquisitely arranged, Black Sea demands your attention. Vibrato drama, silky fluid lines, psychedelic effects, and a call to the open highway. Magnificent! No, it's Perfect!
Surf Instrumental Stereo
Electric Marlin ****

Electric Marlin heads down the coast to glassy walls unknown. This track is rhythm dominated and full of adventure, fast and delicate, and like the call of the wild. Excellent!
Surf Instrumental Stereo
Nomad *****

Another stellar Insect tune loaded with energy and twin lead style, Nomad has been in the Insect Surfers set for quite a while. Heavier than in the early days, yet sparkling in a modern way. Fine song.
Surf Instrumental Stereo
Ursa Minor [live] ****

Like a scene from a distant space station, Ursa Minor is moody and mystical, with a solid air of cold vacuum adventure. It's a soundscape that often opens Polaris these days. It stands alone well on it's own.
Surf Instrumental Stereo
Starfish Ranch / Mojave *****

The upbeat adventure of Starfish Ranch is always more than friendly and attractive. This infectious and circular melody line always brings a grin to my mug. The whammy action and writhing guitaristry are very powerful. Mojave is transitioned into. It is made of the rumble of the decay, with haunting feedback whale calls and moody fine drums. Quite a soundscape!
Surf Instrumental Stereo
Baja *****

Lee Hazelwood's classic Baja is very nicely rearranged by the Insect Surfers. The sea breaks gently on the shore, the guitar rings out, and a softened delivery adds a sense of beauty and calm. Excellent counterbalances between the two guitars makes this one of the best versions around!
Surf Instrumental Stereo


Saturday, January 24, 2009

Into The Sun

Grand Funk Railroad

Live Album


Biography by Steve Huey

One of the 1970s' most successful hard rock bands in spite of critical pans and somewhat reluctant radio airplay (at first), Grand Funk Railroad built a devoted fan base with constant touring, a loud, simple take on the blues-rock power trio sound, and strong working-class appeal. The band was formed by Flint, MI, guitarist/songwriter Mark Farner and drummer Don Brewer, both former members of a local band called Terry Knight & the Pack. They recruited former ? & the Mysterians bassist Mel Schacher in 1968, and Knight retired from performing to become their manager, naming the group after Michigan's well-known Grand Trunk Railroad.

They performed for free at the 1969 Atlanta Pop Festival, and their energetic, if not technically proficient, show led Capitol Records to sign them at once. While radio shied away from Grand Funk Railroad, the group's strong work ethic and commitment to touring produced a series of big-selling albums over the next few years; five of their eight releases from 1969 to 1972 went platinum, and the others all went gold. Meanwhile, Knight promoted the band aggressively, going so far as to rent a Times Square billboard to advertise Closer to Home, which turned out to be the band's first multi-platinum album in spite of a backlash from the rock press. However, Grand Funk Railroad fired Knight in March of 1972, who promptly sued; the band spent most of the year in a court battle that ended when they bought Knight out.

Keyboardist Craig Frost joined the group for the Phoenix LP at the end of 1972. Following that album, the band's name was officially shortened to Grand Funk, and the group finally scored a big hit single (number one, in fact) with the title track of the Todd Rundgren-produced We're an American Band. The follow-up, Shinin' On, contained another number one hit in a remake of Little Eva's "The Loco-Motion." However, following Grand Funk's next album, All the Girls in the World Beware!!, interest in the group began to wane. Reverting back to Grand Funk Railroad, they remained together in 1976 solely to work with producer Frank Zappa on Good Singin', Good Playin'. Farner left for a solo career, and the remainder of the band released an album as Flint with guitarist Billy Elworthy.

Grand Funk Railroad re-formed in 1981 with Dennis Bellinger on bass and released two albums; only Grand Funk Lives even managed to scrape the bottom of the charts. The group disbanded again, with Brewer and Frost joining Bob Seger's Silver Bullet Band and Farner embarking on a new career as a CCM artist; his "Isn't It Amazing" was a number two gospel hit in 1988. In 1997, Grand Funk Railroad reunited once again to record a benefit album titled Bosnia; two years later, Capitol issued a three-disc box set retrospective, Thirty Years of Funk: 1969-1999.


Review by James Chrispell

Either you love or you hate it. Live Album by Grand Funk Railroad was a smash when released and those who loved it played it to death. A hard rock phenomenon of the waning days of the Sixties, Grand Funk proved over and over that they were the live performing act of the time, and this album is a testament to their in-concert power. 

 I happened to be one of those who loved this album. It has been one of my favorite all-time records for almost 40 years now(Oh Shit!). I've had the LP, 8 track, cassete, and CD and will never be without it.


  1 Introduction
  2 Are You Ready  
  3 Paranoid  
  4 In Need  
  5 Heartbreaker  
  6 Inside Looking Out  
  7 Words of Wisdom  
  8 Mean Mistreater  
  9 Mark Say's Alright  
  10 T.N.U.C.  
  11 Into the Sun


Too Hot To Handle!

Jason Becker

Perpetual Burn



Review by Andy Hinds

Cacophony guitarist Jason Becker's all-instrumental solo album is a winner. On Perpetual Burn, Becker gets to stretch out and really show his talents, whereas in Cacophony, with fellow virtuoso Marty Friedman sharing the spotlight, some of the subtleties of Becker's style are lost amid the cluttered speed metal maelstrom. Floating in on a bed of ethereal keyboards, Becker's guitar opens the album with a lyrical solo on the stately "Altitudes." His compositional skills allow the piece to build naturally and make it a coherent, satisfying statement rather than a jarring collection of unrelated ideas. The album's best moment, "Air," features some traditional classical fingerpicking that gives way to multi-tracked arpeggio orchestrations and Bach-style counterpoint. The piece, which consists almost solely of clean, unprocessed electric guitar and no further accompaniment (with the exception of some keyboard textures in the beginning and end), is a wonderful respite from the rest of the album's more metallic style and supersaturated guitar tones. There are also some quirky, humorous touches sprinkled liberally around Perpetual Burn, which add to its charm. 


  1 Altitudes  
  2 Perpetual Burn  
  3 Mabel's Fatal Fable  
  4 Air Becker
  5 Temple of the Absurd  
  6 Eleven Blue Egyptians  
  7 Dweller in the Cellar  
  8 Opus Pocus


A Brief But Bright Shining Light

Arc Angels

Arc Angels


@ a brilliant 320

Biography by Bill Meredith

Formed shortly after the death of Texas guitar hero Stevie Ray Vaughan, the Arc Angels may have been too good a story to be true. The quartet paired Vaughan's outstanding rhythm section of bassist Tommy Shannon and drummer Chris Layton with lead-singing guitarists and Texas Vaughan protégés Charlie Sexton and Doyle Bramhall II. Taking their name from the initials of the Austin Rehearsal Complex where they originally started jamming, the group released its self-titled debut album in 1992, with the thought that it would be the first of many. Arc Angels came closer than any other album at the time to carrying on Vaughan's incredible torch of blues, rock, and post-Jimi Hendrix guitar pyrotechnics. Tracks like "Living in a Dream," "Good Time," "Spanish Moon," and the Vaughan dedication "Sent by Angels," all bore the late guitar legend's influence, but without mimicry. For Shannon (who'd also worked previously with another Texas guitar-slinger in Johnny Winter) and Layton, the album was a catharsis after losing their friend and bandmate; for Sexton and Bramhall II it proved that two lead-singing lead guitarists could suppress their egos enough to function together. Trading vocal lines during verses recalled another Texas band, ZZ Top; former Faces keyboardist Ian McLagan added tasty work on piano and Hammond organ, and the Arc Angels seemed poised for the blues/rock summit as they toured in support of their debut until late 1993. But the perhaps inevitable competition between the throaty voiced Bramhall II and smooth-singing Sexton would eventually surface, and even more so during extending guitar solos of one-upmanship. Worse -- especially for Shannon and Layton, who had seen Vaughan nearly kill himself before getting straight -- was the increasing frequency of Bramhall II's substance abuse. By October of 1993, this ascending band decided to concentrate its efforts elsewhere, and separately. The exception was Shannon and Layton, who'd created such a stylistic rhythmic impact with Vaughan and worked so perfectly together that they were essentially a package deal. The two recorded through the 1990s on Vaughan tribute projects and with another group that showed the late master's influence, Storyville, while Bramhall II went through treatment and Sexton continued on a solo career that had begun when he was a teenager in the mid-'80s. By 1998, a clean and sober Bramhall II started a band called the Mighty Zor, with Shannon and Layton as his rhythm section. When Sexton showed up for a few gigs to jam with the trio, a series of unofficial Arc Angels reunion gigs -- mostly in Texas -- was born. Whether a second CD will ever be recorded, or if the Arc Angels will remain one of those one-album comets like Hendrix's Band of Gypsys, remains to be seen. Shannon and Layton continue to get hired together in the new millennium, while both Bramhall II and Sexton release solo CDs and likewise get work as session men with major artists (former Pink Floyd leader Roger Waters and Bob Dylan, respectively). Regardless of whether it's followed up or not, Arc Angels provides lasting proof that the spirit of Vaughan lives on.


Review by Bill Meredith

There are one-hit wonders throughout the history of music, but very few one-album wonders like the Arc Angels. After the death of blues-rock guitar hero Stevie Ray Vaughan, fellow singing guitarists, Texans, and Vaughan devotees Doyle Bramhall II and Charlie Sexton formed the quartet with Vaughan's rhythm section of bassist Tommy Shannon and drummer Chris Layton. Their 1992 debut release would also be their swan song, but the self-titled album would prove to be one of the best rock/pop/blues recordings of the decade as well. The opening "Living in a Dream" is the only tune Sexton and Bramhall II co-composed, and is perhaps the closest that the Arc Angels come to re-creating Vaughan's signature sound. "Paradise Cafe" is one of a handful of tracks Sexton co-wrote with pop composer Tonio K., but he and Bramhall II engage in some ZZ Top-like call-and-response vocals, and Bramhall II's Vaughan dedication, "Sent by Angels," features some of the album's most impassioned singing. Funky tunes like "Sweet Nadine," "Good Time," and "Carry Me On" lighten the mood, and Shannon, Layton, and guest keyboardist Ian McLagan play brilliantly throughout in setting up the singing guitarists. The spirit of Vaughan permeates the recording, from the production of Little Steven to the liner notes ("Dedicated to our friend, Stevie Ray Vaughan. We miss you"), yet never sounds forced, purposeful, or contrived. Alas, the final two songs -- the rocking "Shape I'm In" and epic "Too Many Ways to Fall" -- sport titles that point toward the Arc Angels being a Vaughan-like comet rather than a future veteran group. Sexton's solo recording career had started as a teenager; Bramhall II and his father Doyle Bramhall were friends of Vaughan's (the elder Bramhall even composing and co-composing tunes with the guitar giant). But the two frontmen who complemented each other so well nonetheless couldn't blend their egos as easily. Arc Angels stands as testimony that a band needn't have a long career to have a lasting legacy. 

  1 Living in a Dream  
  2 Paradise Café
  3 Sent by Angels  
  4 Sweet Nadine  
  5 Good Time  
  6 See What Tomorrow Brings  
  7 Always Believed in You  
  8 The Famous Jane  
  9 Spanish Moon  
  10 Carry Me On  
  11 Shape I'm In  
  12 Too Many Ways to Fall


Always Keep Your Ju Ju Close At Hand

Izzy Stradlin And The Ju Ju Hounds


@ a kickin' 320

Review by Stephen Thomas Erlewine
Izzy Stradlin was always the most gifted member of Guns N' Roses, able to put a modern spin on the classic rock of Chuck Berry, the Stones, and the Faces, as well as the New York Dolls and Sex Pistols. Axl may have had the angst and Slash may have had the chops, but Izzy had the smarts and the heart. On his debut album, the traditional elements that had always formed the backbone of Stradlin's music with Guns N' Roses comes to the forefront — it's Stones and Faces all the way, but it is done well. Izzy Stradlin & the Ju Ju Hounds is terrific only half of the time, which is good enough for a debut album. 

  1 Somebody Knockin'  
  2 Pressure Drop  
  3 Time Gone By
  4 Shuffle It All  
  5 Bucket O'Trouble  
  6 Train Tracks  
  7 How Will It Go  
  8 Cuttin' the Rug  
  9 Take a Look at That Guy 
  10 Come on Now Inside


Friday, January 23, 2009

Salma Hayek The Goddess

Something to keep you distracted from the slowdown of posts lately.


Angels Never Die

Arc Angels

Live @ Stubbs BBQ


"When Charlie Sexton, Doyle Bramhall II, Tommy Shannon, and Chris Layton first formed the Arc Angels, the Double Trouble drummer had something of a vision. "I knew it would be great if this band stayed together 10 years," says Layton, "but my gut instinct told me we'd burn bright and fast. It was like a torrid love affair -- you can't spend years on it and retain the volatility. It happens and it's over. I didn't see us all growing old together." 

Unfortunately, the Arc Angels wound up rising and falling harder and faster than even Layton expected. After a little more than two years together and only one album, Austin's first legitimate rock & roll supergroup left behind a tawdry tale worthy of VH1's Behind the Music. Raging egos? Check. Serious drug abuse? Check. Terrible communication? Check. Unfulfilled promise? Definitely. And considering that the Arc Angels came together less than three months after Stevie Ray Vaughan was killed in a helicopter crash following a performance in Alpine Valley, Wisconsin, how much more VH1 can you get than a band founded in the shadow of tragedy? 

Yet for all the music industry pitfalls to which the group fell victim almost immediately, it's hard to deny the Arc Angels became, as Rolling Stone suggested, "more than just another blues-rock band." In fact, they were the rare supergroup that wound up sounding better than the sum of its parts. For even though their first and only album, 1992's self-titled Geffen release, sold a respectable 380,000 copies and earned them an armful of Austin Music Awards, including Best Band three years running ('92-'94), as well as a pair of Letterman appearances, the real proof of the Arc Angels' posthumous vitality is how fresh the album's four singles sound today; "Living in a Dream," "Sent By Angels," "Shape I'm In," and "Too Many Ways to Fall" are still KLBJ anthems."  Austin Chronicle.

1   Paridise Cafe

2   Carry Me On

3   The Famous Jane

4   Good Time

5   She's All Right

6   Always Belived In You

7   Sent By An Angel

8   Crave and Wonder

9   Sweet Nadine

10 See What Tomorrow Brings

11  Spanish Moon

12  Shape I'm In

13  Living In A Dream

14  Too Many Ways To Fall

Friday, January 16, 2009

Come 'N Git Your Bubba On

Bubbapalooza Vol 1  Cronicle Of The Redneck Underground


I've had this on my iPod constantly for over two years now and always get a big smile on my face when any of these tunes come on.

1 Loweena, the Urban Redneck Queen      Deacon Lunchbox
2 Fakin' It      Vidalias  
3 Mama Was a Dancer at the Clermont Lounge      Redneck Greece Delux
4 George Jones (Has Never Sung About My Girl)      Slim Chance and the Convicts  
5 Can't Find a Place to Stay      Steam Donkeys  
6 Outta Town      Jennie B., Speedbillies  
7 Rockabilly Show      Blacktop Rockets
8 2 Pigs in a Blanket/She's My Little Biscuit Eater      Southern Culture on The Skids 
9 Cabbagetown      Delta Angels  
10 Napoleon      Scott Miller  
11 Candy Kisses      Greasetrap  
12 She's Breakin' My Heart (While I'm Drinkin' Her Beer)      Diggers


Sorry folks. Somehow WinRAR set this up with a "mystery" password. I am redoing the archive file and re-uploading to RS. Will repost as soon as it's done.  20 people are gonna be pissed but most of you know I never use passwords on these files.

Thanks go to oraclemonkey for clueing me in.

**********NEW LINK************

Mia culpa!

Get A Little Taster Here


A Taster For The Big One


Ripped @ a bitchin' 320


The Lotus story began when three musicians met in Frolunda, a suburb to Gothenburg, Sweden. Niklas Börjesson, singer & guitarist with a past in the strangely named band "Papmanam" (which according to some sources means "dog eater" in sanskrit!) met Tomas Modig, bassplayer in another local band, "Overland Stage Riders", ( also former guitarist of the swedish punk-group "P-nissarna"), and Hans Bruhn, whos main instrument actually was keyboards, became drummer over night! They immediately discovered that they spoke the same musical language and decided to form a new band, and named themselves Fruitcake (slang for "lunatic" or "insane person"). The trio dressed in hippieclothes with fruits, filled the stage with inflateable bananas, used smoke machines with fruit smell, and wrote lyrics that in some sense always involved, yes – fruit! None of them thought anyone would take it serious, and people probably didn´t, but somehow the word spread. With this band they got a reputation for being one of the best live-acts around. Fruitcake only released one CD, called "Freaks" (dedicated to all the Fruitcake Freaks who came to their concerts) recorded at Tuff Studios, and appeared on an album with a selection of swedish bands, before the group was dissolved. (A cool detail is that Hans made the first performances with the band playing on an "Octapad" instead of a drumkit! He later bought a Pearl President kit from 1967, which he according to the myth "ritually slaughtered" with a chainsaw on stage while doing his last performance with the band!) The co-operation between Modig & Börjesson continued however, and with a new musical brother – drummer Hans Eriksson ( straight from the band "Plankton")– and new record company, they entered the studio with the "thundertrio" called Lotus. One week(!) later they came out with 16 songs, and in 1997 ten of these were released through Record Heaven on their debut album "Fruitage". All Fruitcake Freaks could now call themselves Lotus Lovers. 1999 the group met Brian Robertson (ex Thin Lizzy and Motörhead) who added his solo guitar to the Lotus version of "Mesmerization Eclipse" for a Captain Beyond tribute CD. While in the studio, they recorded some new Lotus songs as well, and the result can be heard on the CD "A taster for the big one" After this, Lotus went on a tour together with Robbo and finnish rock group "Five Fifteen". It was now that Robbo and Lotus started talking about doing an album together. Lotus went home to Gothenburg, wrote a bunch of new songs and made some preproduction recordings. In springtime 2000 they met with Robbo in a studio in Stockholm, forming themselves as a quartet around this project. Later that summer they released "Quartet Conspiracy", an album that now also has been released in several european countries, as well as the USA.

Album Review - Record Heaven 

As the album-title says, this is ”a taster for the big one”, or in other words the new fullength. It´s almost 30 minutes of new Lotus songs (at least new to me), and a liverecording of one of the songs from their debute album ”Fruitage”...

The first two songs got Brian Robertson of Thin Lizzy fame sitting in, not that Lotus was in dire need of another guitarist, but it adds another level... The first one out is ”Granny Smith & Wesson”, and a good one it is... The musical changes from ”Fruitage” are minimal, it´s sort off a natural continuation... With music as good as this I wouldn´t want any big changes anyway...

”Visionary” sounds a little like a cross between Mahogany Rush and Grand Funk (Railroad)... ”Passion” makes me think of Captain Beyond, allthough the intro is kinda jazzy... the sound on this one is pretty close to the sound of Captain Beyond´s first album (and best, IMHO)... no wonder Lotus (with the aid of Brian Robertson) took part in the Captain Beyond Tribute album earlier this year...

”The Lunatics Fairytale >From The Greenhouse” got a kind of a doom vibe, mostly because of the guitars, there´s also some guitars reminiscient of Love Sculpture (when they were doing classical stuff like Bizet´s Farandole)...

”Lemon Face” is a simple but effective rocker, nice drive in this one... ”Seven Stars” are another heavy rocker, this one got a slight boogiefeel to it... Last song on this MiniCD are a live version of ”Green Power” from the ”Fruitage” album... Another great Lotus release... 

1 - Granny Smith & Wesson
2 - Visionary
3 - Passion
4 - The lunatics fairytale from the greenhouse
5 - Lemon face
 6 - Seven stars
7 - Green Power - Live

Monday, January 12, 2009

For All You Guitar Geeks Out There

In addition to the NAMM (National Association of Music Merchants) show this weekend, there are several other guitar shows being held nearby. Just received a notice on this one today. The Guitar Geek Festival put on by Deke Dickerson. Check out this lineup. The Original Crickets in addition to one of our favorites The Ghastly Ones plus many more. Worth the price of admission right there folks.

Also this weekend is the California World Guitar Show. In conjunction with Vintage Guitar magazine they will be staging their Buy-Sell-Trade show. Find out what your equipment is really worth and make your trades with confidence. Show is at the Orange County Fairgrounds on both the 17th and 18th.

If your within hollerin' distance or just in town for one of the other shows make sure to check them out.

Saturday, January 10, 2009

There's Gold In Our Past

American Surf Treasures  Vol 1

Paul Johnson’s importance to the development of surf-instrumental music, more specifically South Bay Surf, cannot be overstated. His contributions to the genre actually helped to create and establish the music as viable source of entertainment for teenagers nationwide during the early sixties. He is so important in fact, he stands side by side with The Ventures, The Shadows, Merrell Fankhauser, and Link Wray as one of the true pioneers and innovators of musical genre that has a colorful past and continues to grow and evolve today. 

These two CDs are surely "American Surf Treasures" as they state. Volume one covers PJ’s work and his time spent with The Galaxies and Art Fisher of the Journeyman. It also gives you some choice cuts from the vaults of the Journeyman. Its obvious the admiration and respect PJ had for Artie and his group, not by only listing them as key players on this compilation, he also ask Artie to join him on some choice tracks of his own design. 

PJ was ready to grow and move on as a developing and influential guitar player at all times, hence his continuing evolution in several different groups and metamorphosis into a fabulous solo career that is going with a full head of steam to this day (check out his MP3 site).

PJ & The Galaxies

1. Tally Ho 
2. Andele 
3. Rise And Fall Of Flingel Blunt 
4. The Shimmy (AKA Side Two) 
5. Wild Goose 
6. The Moldau 
7. One Mint Julep 
8. Rockin’ Pneumonia & The Boogie Woogie Flu 
9. Big Shot 
10. Scouse 
11. Lanky Bones 
12. Comin’ Home Baby 
13. Belly Button 
14. Ramrod 

PJ & Artie

15. Vamonos 
16. (It’s Gonna) Work Out Fine 
17. Squad Car 
18. Mariah 
19. Fink 

The Journeyman

20. Work Out 
21. Bag’s Groove 
22. Surfer’s Blues 
23. Surfer’s Rule 
24. Artie’s Blues 
25. Rum Runner

More Gold From The Past

American Surf Treasures Vol 2

Volume two gives you a glimpse of some of the more progressive groups of the time chosen by PJ to record and be guided by his musical genius in the studio. The Nocturnes, Vibrants, Wheely McSidewalk & The Ball Bearings (how do you like that name!), and the Revelairs are given equal time with their priceless songs. It proves the influence, importance and respect that PJ had from his peers in the genre early on. 

Some of these songs are surprisingly rocking for the time they were recorded. You can tell that the playing is slightly restrained so they would not veer off too far into the rock and roll sound that soon derail the surf-instro music phenomenon dead in its tracks. 

Volume one has twenty-five tracks while volume two is bulging with twenty-eight tracks. How could I possible sight any one song as a standout? They are all a timeless pieces of surf-instrumental history that are forever linked together. There was not one song that I didn’t enjoy. That says a lot for the selection and quality of the songs and the sound. The only drawback to the entire set is that the folks at Gee-Dee ignored PJ’s request to proof read the liner notes. It’s rife with errors. It’s a shame because it is very interesting and great reading that could have been given the care it deserved to go along with the immense quality and significance of the collection. It’s easy enough error to overlook when you sit and listen to the music, so don’t let that stop you from picking up these priceless gems.

The Nocturnes

1. Third Star To The Left 
2. Sticky 
3. Baha-Ree-Ba! 
4. Space Probe 
5. Surfer Street 
6. Midnight Run 
7. Journey To The Stars 
8. HonkyTonk 
9. Comin’ Home Baby 
10. Wipeout 
11. Shootin’ The Pier 

Wheely McSidewalk & The Ball Bearings

12. Memphis Beat 
13. Funky Beat 
14. Surf Beat 

The Revelairs

15. San-Ho-Zay 
16. Hawaiian Warchant 
17. Ridin’ High 
18. Skokiaan 


19. Scorpion 
20. Zorchy 
21. Stomp Crazy 
22. Wild Fire 
23. The Breeze 
24. Fuel Injection 

The Revelairs

25. Whispering 
26. Theme From "Blacksaddle" 
27. Dark Eyes 
28. The Cruel Sea

Friday, January 09, 2009

You Can Take The High Road, You Can Take the Low Road

Bad Karma Beckons

Mutate And Survive


Not much info to be found out there. If anyone has more, please share.

Mad Irish Surf Punk. Good enough for me. Give it a spin. Let me know what you think.

1 Do Da Snake
2 Nobody Home
3 Beach Boy
4 Fool's Game
5 Teenage Werewolf's Bride
6 Goin' Nowhere
7 Can't Stop
8 Six Brides For Jerry Lee

Goin' To A Go-Go

The Ghastly Ones

A-Haunting We Will Go-Go


A repost request from SubAtomic Matt.

Exterior shot of Laguna Beach at night. It’s high tide beneath a full, cloud-shrouded moon and the waves are monstrous, exploding like thunder as they crash on the shore. Slow pan across the deserted dunes bathed in eerie half-light until we come to the bases of two poles, planted at skewed angles in the sand. Begin panning up the poles slowly, as the waves pound on to a deafening crescendo, until we see the grisly objects spiked upon the bloody points . . . THE SEVERED HEADS OF FRANKIE AND ANNETTE! 

Cue music: loud, raucous, and blistering—The Ghastly Ones, ripping through just about any track from their 1998 debut album A-Haunting We Will Go-Go (Zombie-A-Go-Go Records—Rob Zombie’s label), a collection of 16 monster surf tunes guaranteed to set the mood for your next Sterno-drinking party, lycanthropic rampage, “Big Daddy” Ed Roth-style drag race, or the occasion when you finally snap and use your sister’s fucking ‘NSync CD to forcibly lobotomize her and her airhead friends. 

The Ghastly Ones (Dr. Lehos—guitar, Sir Go Go Ghastly—bass, Baron Shimmy Shivers—drums, occasional vocals) play surf, which is not the Beach Boys or Jan and Dean, but the twangy, beat-driven morsels of Dick Dale and the Del-Tones (you heard “Miserlou” over the opening credits of Pulp Fiction), The Ventures ("Telstar"), The Surfaris ("Wipeout"), and Shadowy Men on a Shadowy Planet (the theme and bumper music from The Kids in the Hall). The surf instrumental is one of those sublime musical forms that if you don’t love it, you just don’t get it, Jack. It exists on that nether plane of sheer dangerous cool that few have the guts to enter and no one ever leaves—the plane of B-monster movies, high-octane speed, Santo epics, and go-go girls from the Planet of the Deadly Ultravixens, where Mamie Van Doren and Tura Satana command the legions of the undead from atop the thrumming hoods of souped-up flame-painted Thunderbirds. It’s the place of Quentin Tarentino’s fever dreams, where he hopes to someday go if he can stop himself from being a thoroughgoing spaz before he dies . . . . 

A-Haunting We Will Go-Go should be listened to in one sitting as it takes The Ghastly Ones, who play in undertaker’s top hats and Count Five capes, on a joyride through the surf necroscape in their overcharged hearse, with groovin’ gravediggers and go-go ghouls flying past the windows. Suddenly there is a dialogue track where the boys encounter a spooky old house. They enter, not suspecting that they have stumbled upon the lair of the fiendish Doctor Diabolo, who vows their destruction at the hands of his atomic robot. Fortunately, though, right and might are on the Ghastly Ones’ side in the form of Los Campiones del Justicio—El Santo, Blue Demon, and Mil Mascaras—who soundly defeat the nefarious Diabolo. The day saved, Our Heroes head back to kick the crypt and do the Ghastly Stomp. Good has triumphed—but for how long? 

The album is packed with Fender-bending rave-ups from start to finish. A couple of the tracks are a tad generic and in the two numbers on which the Baron sings his Wolfman Jack-style delivery is a bit grating, but these are surrounded by so much tasty stuff it doesn’t matter. Among the standout tracks: the hyperkinetic “Hangman Hangten” and “Surfin’ Spooks”; the Link Wray-ish “Haulin’ Hearse”; “Thunderhead” and “Los Campiones del Justicio”, which feature Dick Dale-type Latin riffs; “Lonesome Undertaker”, a moody Ventures-style piece; and the machine-gun drumming behind “Attack of Robot Atomico”. 

The packaging of this album is a delight, as well. Band photos are framed as part of a set of Ghastly Ones trading cards, along with pics of Doctor Diabolo and a Go-Go Ghoul Girl cutting a rug with a menacing alien. There are instructions, with foot diagrams, on how to do the Ghastly Stomp. The whole package is done in the spirit of Famous Monsters of Filmland (when that magazine still had Forry Ackerman and a soul), and is evidence of the affection the band and their label have for the blood-and-cheese genre that we know and love. 

A-Haunting We Will Go-Go is a welcome blast of sound from the darkest regions of the Audioverse. It gives me hope that in the midst of all the dead and soulless crap clogging up the world there is still real music shambling from beyond the grave, by three rockin’ ghouls whose diabolical handiwork is very much alive. 

1   An Invitation
2   Ghastly Stomp
3   Hangman Handten
4   Thunderhead
5   Pacific Ghost Highway
6   Haulin' Hearse
7   Lonesome Understaker
8   Mysterion
9   The Boys Go Creeping
10 Diabolo's Theme
11  Action Squad
12  Deadbeat
13  Spookmaster
14  Doctor Diabolo Speaks...
15  Attack of Robot Atomico
16  Los Campiones del Justico
17  Hollywood Nocturne
18  Surfin' Spooks
19  A Final Warning
20  The Ghastly Stomp (Everybody's Doin')


A Prince Of A Different Color

Naka Shigeo

Naka Shigeo Plays Paul Mauriat 


Once again, exciting treasures found in my mailbox from Al Zombie. Shrieks a lot Al.

For those of you maybe not familiar, Naka is the awsome guitarist for The Surf Coasters. Dubbed "The Prince Of The Surf Guitar" by none other then The King, Dick Dale, Naka brings his versions of 5 Paul Mauriat tunes.

1. オリーブの首飾り 試聴する 
2. 蒼いノクターン 試聴する 
3. 涙のトッカータ 試聴する 
4. その風のメヌエット 試聴する 
5. 恋はみずいろ 試聴する

For those of you that are a little rusty with your Japanese

1. oriibu no kubikazari (Necklace of Olives, also known as "Penelope")
2. aoi nocturne (Blue Nocturne, also known as "Nocturne")
3. namida no toccata (Toccata of Tears, also known as "Toccata")
4. soyokaze no minuetto (Gentle Breeze Minuetto, also known as "Minuetto")
5. koi wa mizuiro (Love is Light-Blue, also known as "Love is Blue")

Wednesday, January 07, 2009

Teaching Young Dogs Old Tricks

Pavlov's Woodie



Ripped @320 by Meistro Teisco del Mar.  Salud

The Pavlov Institute Of Reverb Therapy presents Pavlov's Woody covering many traditional tunes with just enough individuality to keep them fresh.

While a disc of covers can be a turnoff to some, when a band personalizes each track like this, giving it a new face while retaining the original kernel, it can be a rewarding adventure.

Phil Dirt - Reverb Central

1 Lumpy Gravy
2 White Water
3 Ramrod
4 Mr Moto
5 Banzai Pipeline
6 Switchblade 
7 El Conquistador
8 Guitarget
9 Peter Gunn
10 Paradise Cove
11 Surf Odyssey
12 Goofy Foot
13 Soul Surfer
14 Surface Tension
15 Scratch
16 Ace of Spades
17 Pipeline
18 Nebulizer
19 Extremely Lumpy Gravy 
20 Soul Surfin'
21 Surf Rider
22 Pintor
23 Surfing Drums



When I Grow Up To Be A Man


Eleven guitar instrumental surf bands each offering two tracks of some of their best efforts. Most are of the double-picking-Dick-Dale style with the exception of those by The Knights who specialize in more of a laid-back easy listening expression. This is a must for all surf-guitar-instro fans.


Storm Rider / Dragon Wagon (9th Wave)

Little MGB / Wild Surf (The Waistcoats)

Happy As A Clam / Shrimp Cocktail (Kelp)

Lucky Surfer / Barbie's Coat (The Brainwashers)

El Cheapo / Sharkman (The Lombego Surfers)

General Ursus / Eat Skin, Drink Blood (The Dead Barons)

Surfin' The Rio Grande / Here Today Gone Tomorrow (The Knights)

Area 51 / Surf Hammer (Big Ray & The Futuras)

Cement Shoes / The Outsider (The Neptunes)

Deep Eddy / No Mr Bond, I Expect You To Surf (Squid Vicious)

Devilfish / Pitchfork (The Brimstones)



Tuesday, January 06, 2009

The Look....The Look of Love


The Lexicon of Love


Review by William Ruhlmann

ABC's debut album combined the talents of the Sheffield, U.K.-based band, particularly lead singer Martin Fry, a fashion plate of a frontman with a Bryan Ferry fixation, and the inventive production style of former Buggles member Trevor Horn and his team of musicians, several of whom would go on to form the Art of Noise. Horn created dense tracks that merged synthesizer sounds, prominent beats, and swaths of strings and horns, their orchestrations courtesy of Anne Dudley, who would follow her work with the Art of Noise by becoming a prominent film composer, and who here underscored Fry's stylized romantic lyrics and dramatic, if affected, singing. The production style was dense and noisy, but frequently beautiful, and the group's emotional songs gave it a depth and coherence later Horn works, such as those of Yes ("Owner of a Lonely Heart") and Frankie Goes to Hollywood, would lack. (You can hear Horn trying out the latter band's style in "Date Stamp.") Fry and company used the sound to create moving dancefloor epics like "Many Happy Returns," which, like most of the album's tracks, deserved to be a hit single. (In the U.K., four were: "Tears Are Not Enough," "Poison Arrow," "The Look of Love," and "All of My Heart," the last three making the Top Ten; in the U.S., "The Look of Love" and "Poison Arrow" charted Top 40.) ABC, which began fragmenting almost immediately, never equaled its gold-selling first LP commercially or artistically, despite some worthy later songs.

  1 Show Me
  2 Poison Arrow  
  3 Many Happy Returns
  4 Tears Are Not Enough  
  5 Valentine's Day  
  6 The Look of Love, Pt. 1  
  7 Date Stamp  
  8 All of My Heart
  9 4 Ever 2 Gether  
  10 The Look of Love, Pt. 4