Al Casey
Jivin' Around
1995
Ripped @ a slick 320
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Biography by Richie Unterberger
Longtime session guitarist Al Casey is most noted for the records he made with producer Lee Hazlewood, with artists like Duane Eddy and Sanford Clark. He also has made numerous records on his own, reaching his commercial peak in the early 1960s, when a few of his instrumental (or mostly instrumental) surf and R&B-rock singles made the Top Hundred. In the 1960s and 1970s he worked often as a session player in Los Angeles, and was still putting out records under his own name in the 1990s.
Casey was still in his teens when he started working with Hazlewood in Phoenix, introducing Lee to Sanford Clark, whose hit "The Fool" was produced by Hazlewood. Casey's band backed Clark on the singer's records, as well as other discs cut by Hazlewood. Casey was in Eddy's band, the Rebels, in which he played the piano, although he's more known for his guitar playing. Casey also wrote one of Eddy's earliest hits, "Ramrod," as well as cowriting another Eddy hit, "Forty Miles of Bad Road," with Duane.
In the early 1960s Casey was dividing his time between sessions in L.A. and Phoenix, and working with his own group, the Al Casey Combo. Somewhat surprisingly, considering his twangy background with Eddy and the surf recordings in his near future, his first successes were with bluesy instrumental rock singles with a jazzy organ groove (played by Casey himself). "Cookin'" made #92 on the pop chart, while a similar follow-up, "Jivin' Around," did a little better, getting to #71 pop and #22 in the R&B listings. In 1963, however, he and Hazlewood rode the surf craze and cut an entire surf LP, much of which featured Hazlewood compositions, and all of which had respectably tough reverberant guitar by Casey. A single from the album, "Surfin' Hootenanny" (with almost incidental female vocals by the K-C-Ettes, aka the Blossoms), became Casey's biggest hit, making #48; top L.A. session dudes Leon Russell (organ) and Hal Blaine (drums) were present on many or all of the tracks.
Casey's solo career petered out when the small independent label he recorded for, Stacy, closed shop around the beginning of 1964. Casey found a lot of work, though, as a session man, on recordings by artists including the Beach Boys, Eddy Arnold, and Frank Sinatra. He also ran a music store in Hollywood in the late 1960s, and played as a member of the band on Dean Martin's television show. In the mid-'90s he made a solo recording for Bear Family, Sidewinder.
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Review by Richie Unterberger
Casey made these 26 tracks -- most of which are instrumentals (the K-C-Ettes, actually the Blossoms, add vocals on three of the selections) -- for the Stacy label in the early '60s, a stint which represented his greatest success as a singles artist. Casey is a very good rock and surf guitarist, but the material is often average or boring period instrumental rock, and not so elevated by Casey's guitar licks and arrangements that they demand repeated listening. The most exciting cuts are the surf ones produced (and often written) by Lee Hazlewood, including "Surfin' Hootenanny," Casey's biggest hit. The more obscure "El Aguila (The Eagle)" and "The Hearse" show Casey's skill at dipping his axe in reverb to ride the surf wave, while "Thunder Beach" and "Baja" borrow, as a lot of surf did, from Latin melodies and rhythms. Casey also does his own version of "Ramrod," a Casey composition that colleague Duane Eddy had taken into the Top 30 a few years previously. Surf-heads should know, though, that much of this disc is not surf music, but bluesy early-'60s R&B-rock, on which the organ is sometimes as or more prominent than Casey's guitar. In fact, "Cookin'" and "Jivin' Around," which both lurched into the bottom of the Top 100, are a lot closer to Jimmy Smith than Dick Dale; those songs and "Doin' It" are actually pretty respectable as far as that genre goes. Two of the songs on the CD were previously unreleased.
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Tracklist:
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1 Surfin' Hootenanny
2 El Aguila (The Eagle)
3 Thunder Beach
4 Baja
5 Surfin' the Blues, Pt. 1
6 The Lonely Surfer
7 Guitars, Guitars, Guitars
8 The Hearse
9 Ramrod
10 Caravan
11 Surfin' Blues, Pt. 2
12 Surfs You Right
13 Cookin'
14 Indian Love Call
15 Hot Foot
16 Jivin' Around
17 Doin' the Shotfish
18 Doin' It
19 The Hucklebuck
20 Full House
21 Laughin'
22 Monte Carlo
23 Theme from "Huckleberry Hound"
24 Chicken Feathers
25 Easy Pickin'
26 What Are We Gonn Do in '64?
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Get it HERE
Friday, August 28, 2009
Just Jivin'
Boys With A One Track Mind
The Aqualads
Surf! Surf! Surf!
2004
Ripped ripped ripped @ an amplified 320
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Biography by Mike DaRonco
The Aqualads got together in 1997 under their original moniker of the Big Swinging Hammers while playing out their set of '60s surf rock instrumentals throughout their native of Charlotte, NC. With a live set that partially consists of covers and their backing go-go dancers the Aquanettes, the bands first official release was a 1998 Christmas 7" aptly titled Aqualads XMAS. After a slight lineup change that left guitarist Jimmy King as the only original Aqualads member, the rest of the quartet consisted of Greg Walsh (guitar), Colin LaRocque(drums), and Jeremy DeHart (bass). Soon after this settled lineup was complete, the band eventually released their debut album, entitled Hotbox, in 1999. Their second album, Revenge, quickly followed the next year.
The Aqualads got together in 1997 under their original moniker of the Big Swinging Hammers while playing out their set of '60s surf rock instrumentals throughout their native of Charlotte, NC. With a live set that partially consists of covers and their backing go-go dancers the Aquanettes, the bands first official release was a 1998 Christmas 7" aptly titled Aqualads XMAS. After a slight lineup change that left guitarist Jimmy King as the only original Aqualads member, the rest of the quartet consisted of Greg Walsh (guitar), Colin LaRocque(drums), and Jeremy DeHart (bass). Soon after this settled lineup was complete, the band eventually released their debut album, entitled Hotbox, in 1999. Their second album, Revenge, quickly followed the next year.
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Tracklist:
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1 Surf! Surf! Surf!
2 Trantula
3 Folly Beach
4 Curse
5 Rodeo Gals
6 Speedshifter
7 Sun Poison
8 Oasis
9 The Dog
10 Dangerous Curves
11 It Came from the Sea
12 Hangin 11
13 Pier #9
14 Snowboarding
15 Creeper
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Get it HERE
Sunday, August 23, 2009
Unplugged
Will be out of commision for a little bit. Have to move the Trustar Vibrations control room.
But... we will be more than glad to accept comments!
"Now where did that green wire go?"
Saturday, August 22, 2009
This Will Get Your Ass Up In The Morning!
Fifty Foot Combo
Caffeine
2003
Ripped @ a hyper 320
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Following their 3 successfull albums "Go hunting", "Evil a go go" and "Strike" the Monstrophonic Sound continues with this long awaited 4th release "Caffeine". Though this album includes their typical slowgrindin' & hardstompin' influences, Fifty Foot Combo presents it with a fresh twist. It's the combo sound we all know so well, yet with the music fixed on new and unexpected horizons. The release did not go unnotices, resulting in interviews on national radio and leading magazines... The Monstrophonic Sound is back !
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Tracklist:
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1 Sugar No Cream
2 Buzzzz
3 The Great Caffeine Comedown
4 Triplexpresso
5 Bali Ha'i
6 Theme from F.A.C.T.S.
7 Dr. Hammonds Private Stash
8 Le Dimanche Matin
9 Chocolate Revenge, Pt. 2
10 Cooper
11 Gauchos
12 Black and Hot Like My Women
13 Can I Have Some Brandy with That?
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Get your coffee jones HERE
Watch For High-Flying MiGs
The MiGs
The MiGs
2000
Ripped @ a jettin' 320
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Bernard, the founder and lead guitarist of The MiGs wrote me several months ago after I posted The MiGs Monkfish Liver CD. He was happy to see the groups tunes getting some love out there. We met up at the Ink & Iron show at the Queen Mary where he performed as part of Rudi Protrudi's Fuzztones. Accomplished musician, avid fisherman, and surfer, Bernard is a busy guy, playing with several different groups. Look forward to seeing what he's up to next.
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LA's The MiGs are a full-tilt surf-influenced instrumental trio. Their music was recently featured on Paris Hilton's "Simple Life", WB's Highschool Reunion, MTV's Surf Girls, Adrenalina Sports TV as well as numerous other surf videos, television shows and films. Live shows have been as broad a range as: opening for Banyan, Los Straitjackets, Fishbone, Slightly Stoopid, Pepper, Dubcat and Tom Curren (in Santa Cruz during the O'Neill Coldwater Classic).
Founded in 1999 by Los Angeles guitar slinger (and surfer) Bernard Yin, the band has experimented with various styles; somehow alway returning to something "surfy". This is not traditional surf music but more hard-driving music woven with psy chedelic and experimental elements.
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Tracklist:
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1 Sweet and Sour
2 Jet Wash
3 1600 Armadillos
4 Honolulu
5 Too Many People
6 Sake Bindings
7 Blen Gate
8 Muchacha No. 3
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Get it HERE
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Cream Of The Crop
The Yardbirds
Blue Eyed Blues
1972
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Put together from different Yardbirds studio albums, featuring the talents of the three lead guitarists who went on to become stars in their own right. Originally released in 1972, this was repackaged as Blue Eyed Blues: Charly Blues Masterworks, Vol 20 in 1992, adding an additional 4 tracks.-
Tracklist:
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01. 23 Hours Too Long
02. Out On The Water Coast
03. Five Long Years
04. I Aintt Got You
05. Good Morning Little Schoolgirl
06. Little Red Rooster (Rehearsal)
07. Little Red Rooster
08. Highway 49
09. Wang-Dang-Doodle
10. Im A Man
11. Jeffs Blues
12. I See A Man Downstairs
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Get it HERE
Time To Be Groovin' This Weekend
The Rascals
Time Peace: The Rascals Greatest Hits
1968
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Biography by Richie Unterberger
The Rascals, along with the Righteous Brothers, Mitch Ryder, and precious few others, were the pinnacle of '60s blue-eyed soul. The Rascals' talents, however, would have to rate above their rivals, if for nothing else than the simple fact that they, unlike many other blue-eyed soulsters, penned much of their own material. They also proved more adept at changing with the fast-moving times, drawing much of their inspiration from British Invasion bands, psychedelic rock, gospel, and even a bit of jazz and Latin music. They were at their best on classic singles like "Good Lovin'," "How Can I Be Sure," "Groovin'," and "People Got to Be Free." When they tried to stretch their talents beyond the impositions of the three-minute 45, they couldn't pull it off, a failure which -- along with crucial personnel losses -- effectively finished the band as a major force by the 1970s.
The roots of the Rascals were in New York-area twist and bar bands. Keyboardist/singer Felix Cavaliere, the guiding force of the group, had played with Joey Dee & the Starliters, where he met Canadian guitarist Gene Cornish and singer Eddie Brigati. Brigati would split the lead vocals with Cavaliere and also write much of the band's material with him. With the addition of drummer Dino Danelli, they became the Rascals. Over their objections, manager Sid Bernstein (who had promoted the famous Beatles concerts at Carnegie Hall and Shea Stadium) dubbed them the Young Rascals, although the "Young" was permanently dropped from the billing in a couple of years.
After a small hit with "I Ain't Gonna Eat Out My Heart Anymore" in 1965, the group hit number one with "Good Lovin'," a cover of an R&B tune by the Olympics, in 1966. This was the model for the Rascals' early sound: a mixture of hard R&B and British Invasion energy, with tight harmony vocals and arrangements highlighting Cavaliere's Hammond organ. After several smaller hits in the same vein, the group began to mature at a rapid rate in 1967, particularly as songwriters. "Groovin'," "Beautiful Morning," "It's Wonderful," and "How Can I Be Sure?" married increasingly introspective and philosophical lyrics to increasingly sophisticated arrangements and production, without watering down the band's most soulful qualities. They were also big hits, providing some of the era's most satisfying blends of commercial and artistic appeal.
In 1968, almost as if to prove they could shake 'em down as hard as any soul revue, the Rascals made number one with one of their best songs, "People Got to Be Free." An infectious summons to unity and tolerance in the midst of a very turbulent year for American society, it also reflected the Rascals' own integrationist goals. Not only did they blend white and black in their music; they also, unlike many acts of the time, refused to tour on bills that weren't integrated as well.
"People Got to Be Free," surprisingly, was the group's last Top 20 hit, although they would have several other small chart entries over the next few years, often in a more explicitly gospel-influenced style. The problem wasn't bad timing or shifting commercial taste; the problem was the material itself, which wasn't up to the level of their best smashes. More worrisome were their increasingly ambitious albums, which found Cavaliere in particular trying to expand into jazz, instrumentals, and Eastern philosophy. Not that this couldn't have worked well, but it didn't. They had never been an album-oriented group, but unlike other some other great mid-'60s bands, they were unable to satisfactorily expand their talents into full-length formats.
A more serious problem was the departure of Brigati, the band's primary lyricist, in 1970. Cornish was also gone a year later, although Cavaliere and Dinelli kept the Rascals going a little longer with other musicians. The band broke up in 1972, with none of the members going on to notable commercial or artistic success on their own, though Cavaliere remained the most active.
The Rascals, along with the Righteous Brothers, Mitch Ryder, and precious few others, were the pinnacle of '60s blue-eyed soul. The Rascals' talents, however, would have to rate above their rivals, if for nothing else than the simple fact that they, unlike many other blue-eyed soulsters, penned much of their own material. They also proved more adept at changing with the fast-moving times, drawing much of their inspiration from British Invasion bands, psychedelic rock, gospel, and even a bit of jazz and Latin music. They were at their best on classic singles like "Good Lovin'," "How Can I Be Sure," "Groovin'," and "People Got to Be Free." When they tried to stretch their talents beyond the impositions of the three-minute 45, they couldn't pull it off, a failure which -- along with crucial personnel losses -- effectively finished the band as a major force by the 1970s.
The roots of the Rascals were in New York-area twist and bar bands. Keyboardist/singer Felix Cavaliere, the guiding force of the group, had played with Joey Dee & the Starliters, where he met Canadian guitarist Gene Cornish and singer Eddie Brigati. Brigati would split the lead vocals with Cavaliere and also write much of the band's material with him. With the addition of drummer Dino Danelli, they became the Rascals. Over their objections, manager Sid Bernstein (who had promoted the famous Beatles concerts at Carnegie Hall and Shea Stadium) dubbed them the Young Rascals, although the "Young" was permanently dropped from the billing in a couple of years.
After a small hit with "I Ain't Gonna Eat Out My Heart Anymore" in 1965, the group hit number one with "Good Lovin'," a cover of an R&B tune by the Olympics, in 1966. This was the model for the Rascals' early sound: a mixture of hard R&B and British Invasion energy, with tight harmony vocals and arrangements highlighting Cavaliere's Hammond organ. After several smaller hits in the same vein, the group began to mature at a rapid rate in 1967, particularly as songwriters. "Groovin'," "Beautiful Morning," "It's Wonderful," and "How Can I Be Sure?" married increasingly introspective and philosophical lyrics to increasingly sophisticated arrangements and production, without watering down the band's most soulful qualities. They were also big hits, providing some of the era's most satisfying blends of commercial and artistic appeal.
In 1968, almost as if to prove they could shake 'em down as hard as any soul revue, the Rascals made number one with one of their best songs, "People Got to Be Free." An infectious summons to unity and tolerance in the midst of a very turbulent year for American society, it also reflected the Rascals' own integrationist goals. Not only did they blend white and black in their music; they also, unlike many acts of the time, refused to tour on bills that weren't integrated as well.
"People Got to Be Free," surprisingly, was the group's last Top 20 hit, although they would have several other small chart entries over the next few years, often in a more explicitly gospel-influenced style. The problem wasn't bad timing or shifting commercial taste; the problem was the material itself, which wasn't up to the level of their best smashes. More worrisome were their increasingly ambitious albums, which found Cavaliere in particular trying to expand into jazz, instrumentals, and Eastern philosophy. Not that this couldn't have worked well, but it didn't. They had never been an album-oriented group, but unlike other some other great mid-'60s bands, they were unable to satisfactorily expand their talents into full-length formats.
A more serious problem was the departure of Brigati, the band's primary lyricist, in 1970. Cornish was also gone a year later, although Cavaliere and Dinelli kept the Rascals going a little longer with other musicians. The band broke up in 1972, with none of the members going on to notable commercial or artistic success on their own, though Cavaliere remained the most active.
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Review by Bruce Eder
Arguably the greatest greatest-hits album of the '60s. A White-soul classic.
Arguably the greatest greatest-hits album of the '60s. A White-soul classic.
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Tracklist:
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1 I Ain't Gonna Eat Out My Heart Anymore
2 Good Lovin'
3 You Better Run
4 Come on Up
5 Mustang Sally
6 Love Is a Beautiful Thing
7 In the Midnight Hour
8 I've Been Lonely Too Long
9 Groovin'
10 A Girl Like You
11 How Can I Be Sure
12 It's Wonderful
13 Easy Rollin'
14 A Beautiful Morning
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Get it NOW! HERE
Going Back
Todd Rundgren
Back To The Bars (Live)
1978
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Review by Stephen Thomas Erlewine
Following a year of Utopia and the completion of The Hermit of Mink Hollow, Todd Rundgren hit the road with a musical retrospective on the advice of Bearsville president Paul Fishkin, who wanted a live greatest-hits record to plug. Ever perverse, that's not exactly what Rundgren delivered. Culled from three shows -- where he was supported by both Utopia and a carefully assembled band at New York's Bottom Line, one at L.A.'s the Roxy, one at Cleveland's the Agora -- the resulting double album Back to the Bars was an idiosyncratic collection of hits and personal favorites, covering many (but not all) of his best songs, from "I Saw the Light," "Couldn't I Just Tell You," "Hello It's Me" and "Real Man" to "The Range War," "Sometimes I Don't Know What to Feel" and "The Verb 'To Love.'" All of the performances are tough and persuasive -- enough so that the songs that sounded like production numbers on record, such as large stretches of A Wizard, A True Star, reveal themselves as effective compositions and often sound a great deal more accessible here. That said, Back to the Bars isn't an ideal introduction to Rundgren, simply because his studio wizardry is one of the main reasons his records are so interesting, yet it is true that the record has enough great songs and quirks to paint an effective portrait of Rundgren's music. As such, it's the rare live album that caters to both the casual and hardcore fan and should be equally enjoyable to either audience.
Following a year of Utopia and the completion of The Hermit of Mink Hollow, Todd Rundgren hit the road with a musical retrospective on the advice of Bearsville president Paul Fishkin, who wanted a live greatest-hits record to plug. Ever perverse, that's not exactly what Rundgren delivered. Culled from three shows -- where he was supported by both Utopia and a carefully assembled band at New York's Bottom Line, one at L.A.'s the Roxy, one at Cleveland's the Agora -- the resulting double album Back to the Bars was an idiosyncratic collection of hits and personal favorites, covering many (but not all) of his best songs, from "I Saw the Light," "Couldn't I Just Tell You," "Hello It's Me" and "Real Man" to "The Range War," "Sometimes I Don't Know What to Feel" and "The Verb 'To Love.'" All of the performances are tough and persuasive -- enough so that the songs that sounded like production numbers on record, such as large stretches of A Wizard, A True Star, reveal themselves as effective compositions and often sound a great deal more accessible here. That said, Back to the Bars isn't an ideal introduction to Rundgren, simply because his studio wizardry is one of the main reasons his records are so interesting, yet it is true that the record has enough great songs and quirks to paint an effective portrait of Rundgren's music. As such, it's the rare live album that caters to both the casual and hardcore fan and should be equally enjoyable to either audience.
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Tracklist:
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1 Real Man
2 Love of the Common Man
3 The Verb "To Love"
4 Love in Action
5 A Dream Goes on Forever
6 Sometimes I Don't Know What to Feel
7 The Range War
8 Black and White
9 The Last Ride
10 Cliché
11 Don't You Ever Learn?
12 Never Never Land
13 Black Maria
14 Zen Archer
15 Medley: I'm So Proud/Ooh Baby Baby/La la Means I Love You/I Saw The Light
16 It Wouldn't Have Made Any Difference
17 Eastern Intrigue
18 Initiation
19 Couldn't I Just Tell You
20 Hello It's Me
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Get some HERE
Friday, August 21, 2009
Go Into The Dark
Tokyo Sex Destruction
Black Noise Is The New Sound!
2005
At a modest 128-
Review by Stewart Mason
Apparently continuing their willful re-creation of the career path of their beloved MC5 (all of the Spanish four-piece's members adopted the surname Sinclair in honor of MC5 manager/polemicist John Sinclair), Black Noise Is the New Sound! is Back in the USA to Tokyo Sex Destruction's Kick Out the Jams, the raucous and scathingly political Le Red Soul Comunnitte. The songs are more in thrall to MC5's garage rock forebears like the Sonics and the Chocolate Watchband, much as MC5 looked back to '50s rock & roll on their second album. (Actually, the freakbeat homage "Birds on the Velvet Roof" sounds more like an early Move B-side.) And the band's unapologetically leftist politics, though still present on songs like "New Magazines" and "Modern Education," are dialed back considerably from the first album's polemics. This makes Black Noise Is the New Sound! a somewhat more accessible, but no less passionate, piece of garage rock agit-prop.
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Apparently continuing their willful re-creation of the career path of their beloved MC5 (all of the Spanish four-piece's members adopted the surname Sinclair in honor of MC5 manager/polemicist John Sinclair), Black Noise Is the New Sound! is Back in the USA to Tokyo Sex Destruction's Kick Out the Jams, the raucous and scathingly political Le Red Soul Comunnitte. The songs are more in thrall to MC5's garage rock forebears like the Sonics and the Chocolate Watchband, much as MC5 looked back to '50s rock & roll on their second album. (Actually, the freakbeat homage "Birds on the Velvet Roof" sounds more like an early Move B-side.) And the band's unapologetically leftist politics, though still present on songs like "New Magazines" and "Modern Education," are dialed back considerably from the first album's polemics. This makes Black Noise Is the New Sound! a somewhat more accessible, but no less passionate, piece of garage rock agit-prop.
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Tracklist:
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1 Pills to Wait for the Summer
2 Two Years Ago
3 Birds on the Velvet Roof
4 The New Sound (In the Black Noise Religion)
5 Rainy-Day Light
6 Black Cold Heart
7 The Bridge
8 New Magazines
9 Modern Education
10 Confuse Me
11 Soul Music Party No. 2
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Find it HERE
Sass-y Girl
Sass Jordan
Rats
1994
Ripped @ a rippin' 320
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Biography by John Bush
Sass Jordan joined her first band, the News, after she learned to play bass at the age of 17. Four years later, she left the band and, by 1985, had begun a solo career. After two singles ("Steel on Steel" and "No More"), Jordan's debut album, Tell Somebody, appeared in 1988. The Montreal native became a national success with the album-titled single and released Racine in 1992 and Rats two years later.
Sass Jordan joined her first band, the News, after she learned to play bass at the age of 17. Four years later, she left the band and, by 1985, had begun a solo career. After two singles ("Steel on Steel" and "No More"), Jordan's debut album, Tell Somebody, appeared in 1988. The Montreal native became a national success with the album-titled single and released Racine in 1992 and Rats two years later.
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Review by Alex Henderson
Sass Jordan never sounded more focused, confident and inspired than she does on Rats, which is undeniably her finest album. Some of Jordan's '80s efforts didn't fully illustrate just how compelling a singer she can be, but that's no problem on Rats. This CD finds the whiskey-voiced Canadian doing what she does best: tough, gritty, no-nonsense rock & roll with soul/R&B overtones and a heavy dose of blues feeling. Although Jordan is very much her own person, there's no denying the strong influence Tina Turner has had on her singing -- and Turner's influence serves Jordan impressively well on such gutsy, down-and-dirty offerings as "Ugly," "Damaged" and "Pissin' Down." If fact, this is the sort of rockin' album one wishes Turner would have recorded in 1994 (which isn't to say that the slick, glossy pop/rock and pop/R&B Turner provided in the 1990s wasn't enjoyable). With Jordan, Steve Salas and Nick Didia handling the production and studio ace Michael Wagener doing most of the mixing, all of the pieces fit together perfectly on Rats. This album was definitely Jordan's crowning achievement.
Sass Jordan never sounded more focused, confident and inspired than she does on Rats, which is undeniably her finest album. Some of Jordan's '80s efforts didn't fully illustrate just how compelling a singer she can be, but that's no problem on Rats. This CD finds the whiskey-voiced Canadian doing what she does best: tough, gritty, no-nonsense rock & roll with soul/R&B overtones and a heavy dose of blues feeling. Although Jordan is very much her own person, there's no denying the strong influence Tina Turner has had on her singing -- and Turner's influence serves Jordan impressively well on such gutsy, down-and-dirty offerings as "Ugly," "Damaged" and "Pissin' Down." If fact, this is the sort of rockin' album one wishes Turner would have recorded in 1994 (which isn't to say that the slick, glossy pop/rock and pop/R&B Turner provided in the 1990s wasn't enjoyable). With Jordan, Steve Salas and Nick Didia handling the production and studio ace Michael Wagener doing most of the mixing, all of the pieces fit together perfectly on Rats. This album was definitely Jordan's crowning achievement.
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Tracklist:
1 Damaged
2 Slave
3 Pissin' Down
4 High Road Easy
5 Sun's Gonna Rise
6 Head
7 Ugly
8 I'm Not
9 Honey
10 Wish
11 Breakin'
12 Give
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Get it HERE
Tuesday, August 18, 2009
Go! Go! Go!
The Supertones
The Supertones Are Go!
2003
Ripped @ 319
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Surf music rules the Universe and The Supertones are it's royal ambassadors. Robert Silverstein, editor of 20th Century Guitar Magazine says, "The Supertones are great. Clearly one of the best American (and the entire world's) guitar-based instrumental bands." Digitally remixed and remastered for the first time on CD and back by popular demand are the two seminal albums, "The Wet Set" and "Ride The Wild Twang!", from the most influential modern East Coast surf instrumental combo - The Supertones. Alan Taylor writes in Pipeline Magazine, "The Supertones Are Go! is a compilation of remarkable quality. It's not just the playing or indeed the strong material, but the sympathetically appropriate range of sounds they use on each track. These guys clearly care about capturing the sounds of the '60s, and they do it really well."
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Tracklist:
1 The Wet Set
2 Oceanside
3 Hot Line
4 Channel Nine
5 Surfista
6 Dr. Yes
7 Surf Rider
8 Harbor Patrol
9 Avanti
10 Flamenco Surf
11 Lullaby of the Leaves
12 Freefall
13 Last Ride
14 Hawaii 5-O
15 K-39
16 Diamonds-A-Go-Go
17 Torque Wrench
18 Mr. Moto
19 Sand Pumper
20 Out of Limits
21 Wingnut
22 Rumble
23 Supertone Surf
24 Bulldog
25 1,000 Ft. Rd.
26 Walk, Don't Run
27 Rawhide
28 Telstar
29 Penetration
30 Runaway
31 No Matter What Shape (Your Stomach's In)
32 Bumble Bee Twist
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Get Part 1 HERE
& Part 2 HERE
Tasty Viewing Of The Ventures 45th Anniversary Concert
The Ventures
45th Anniversary Concert Live
Thanks to Phucnv for sharing
1 hr 15 min
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For Brandonio, the biggest Ventures fan I know.
For Brandonio, the biggest Ventures fan I know.
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I don't usually post up things immediately that I find in the ethernet but this was an exception. Found it on a site that will never generate the amount of appreciation as I think my readers will give it. The files are in MP4 format so can be popped into the trusty iPod for regular viewing. It appears that the 9 MP4's will not automaticly join as with other videos or I'm just a dummy who hasn't figured out how yet.
Enjoy
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Don Wilson - Rhythm Guitar
Bob Bogle - Bass
Nokie Edwards - Lead Guitar
Leon Taylor - Drum
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Tracklist:
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Part 1
10.59 minutes
1. Walk Don't Run - Perfidia - Walk Don't Run
2. Pipeline
3. I Got a Woman
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Part 2
9.31 minutes
4. Penetration
5. Runaway
6. Johnny B. Goode
7. Slaughter on 10th Avenue
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Part 3
10.35 minutes
8. Ame-no-Midosuji/Kyoto Bojo
9. Kyoto-no-koi/Paint It Black
10. Walk Don’t Run ‘64
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Part 4
9.34 minutes
11. Wipe Out
12. Bulldog
13. Sleep Walk
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Part 5
9 minutes
14. Bumble Bee Rock
15. Out Of Limits
16. Driving Guitars
17. Black Sand Beach
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Part 6
9.04 minutes
18. House Of The Rising Sun
19. Hawaii Five-O
20. Diamond Head
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Part 7
6.35 minutes
21. Caravan
22. Drum Solo
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Part 8
6.42 minutes
23. Bass Solo
24. Drum Solo
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Part 9
10.5 minutes
Interview
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http://rapidshare.com/files/268602529/The_Ventures_45th_Anniversary_1_of_9.mp4
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http://rapidshare.com/files/268738235/The_Ventures_45th_Anniversary_2_of_9.mp4
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http://rapidshare.com/files/268770730/The_Ventures_45th_Anniversary_3_of_9.mp4
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http://rapidshare.com/files/268841922/The_Ventures_45th_Anniversary_4_of_9.mp4
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http://rapidshare.com/files/268855387/The_Ventures_45th_Anniversary_5_of_9.mp4
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http://rapidshare.com/files/268878507/The_Ventures_45th_Anniversary_6_of_9.mp4
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http://rapidshare.com/files/268909311/The_Ventures_45th_Anniversary_7_of_9.mp4
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http://rapidshare.com/files/268914129/The_Ventures_45th_Anniversary_8_of_9.mp4
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http://rapidshare.com/files/268932769/The_Ventures_45th_Anniversary_9_of_9.mp4
Saturday, August 15, 2009
The Title Says It All... Come And Get It!
Let's Go Instro
2003
Ripped @ 256-
The SANDELLS Out Front
The PANICS Love Riot Bob
MANUEL & The RENEGADES Skateboard
BOBBY WILLIAMS & The FLAIRS Let's Go
The SKILES BROTHERS Theme From t.c
ALAN PIERCE & The TONEKINGS Swampwater
The SHIFTERS Count Down
ADRIAN & The SUNSETS Breakthrough
The ABSTRACTS Abstract Limited
The INTRUDERS Rockamaroll
The INVADERS Rawhide
The INVADERS Jumpin' Jivin' Chord Progression
SHERWIN LINTON & The COTTON KINGS Orange blossom special
The DEVESTAS Wham
The ROULETTES Surfer's Charge
The MAJESTICS Jaguar
The MAJESTICS Blue Feeling
The NIGHT OWLS That's It
BOBBY & The BELMONTS Drum Dog
The SPECKULATIONS Walking Fast
The DESTINYS What's Up
AKI ALEONG & The NOBLES Gun & Surf
AKI ALEONG & The NOBLES Hiawatha
The ELECTRAS Electra
The ELECTRAS Yellow Jacket
The VECTORS Downhill
The MOSRITERS Turmoil
CHARLIE ALDRICH & The WAYOUTERS Scroungy Man
The EGYPTIANS The Party Stomp
The EGYPTIANS Inkster Boogie
RASIN Rasin
PHIL & The GIRLS-BILLY Trying
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Get it HERE
Long Lost And Forgotten Film Of A Transitional Time In Surf History
>
Surfers - The Movie
1990
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Never released on VHS or DVD. This is not the cleanest recording but it is the only way you will be able to see this until the follow-up ("Surfers - The Movie Now and Then") gets picked up. Pics are of original handbills for the show in 1990 at Newport Beach Pavillion.
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Review by Tom Parker
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1989/90 was a bizarre time period for surfers as the day-glo excess of the 80's prepared to hit a wall of hardcore black and white backlash that would ultimately define the next decade. Surfers: The Movie was the perfect capper to the 80's. Stylistically based on the 1987 Rolling Stone documentary, "20 Years of Rock and Roll", it was a wonderful encapsulation of the professional slickness we'd gorged on for 10 years. 4 generations of pro surfers - everyone from Kelly Slater (who had not yet begun his incredible domination of pro surfing) to the late Micky Dora - were interviewed in front of painted backdrops, with their soundbites interspersed throughout the usual medley of great surfing action. The soundtrack also featured an unprecedented lineup of major label music, which included U2, Neil Young and many others. Highlights of the film included an exciting recap of the current pro scene scored by U2's "Out of Control", an emotional powerhouse of a medley glimpsing hundreds of beloved faces from surfing's history, and arguably the film's most amazing segment - Micky Dora (making his first film appearance in over 20 years) and the then current world champ, Martin Potter surfing together down in Baja. Not only was it incredible to see Da Cat after so many years of hiding, but to listen to him praising Pottz - "He sure looks unique to me" (the ultimate compliment from the original king of style) - combined with Potter's tail-sliding power session...well, let's just say that any surfer worth his wax was blown away. I actually saw the film 3 times in 3 different cities (Santa Cruz, Santa Barbara and Dana Point), and there was only one scene that had people going more apeshit than Potter putting on his preview of the new school style - and that was Tom Curren's slow motion barrel at the beginning of the movie. Never have I seen an audience hoot the way they hooted that tube...he just got TUBED, and just when you thought he couldn't get any deeper in the tube, he fell of his board and preceded to bodysurf that tube 'til the end. Every person in the audience hooted himself hoarse for the duration of that wave. So strip away the gloss and it was still a great surf flick. It was also the end of an era in surf film-making style, as just a year later Taylor Steele released "Momentum", the official passing of the baton to the new school generation of tail slides, big airs, black wetsuits, white boards and stripped down punk rock. Because of that Surfers: The Movie has been largely forgotten. But for those of us that were there, it was a lot of fun and a rejuvenation of the surf movie as an "event". As Neil Young sang at the end, "Long may you run."
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http://rapidshare.com/files/264934523/Surfers_-_The_Movie.part01.rar
http://rapidshare.com/files/264964278/Surfers_-_The_Movie.part02.rar
http://rapidshare.com/files/265008629/Surfers_-_The_Movie.part03.rar
http://rapidshare.com/files/265118279/Surfers_-_The_Movie.part04.rar
http://rapidshare.com/files/265198397/Surfers_-_The_Movie.part05.rar
http://rapidshare.com/files/265300472/Surfers_-_The_Movie.part06.rar
http://rapidshare.com/files/265307013/Surfers_-_The_Movie.part07.rar
http://rapidshare.com/files/265343898/Surfers_-_The_Movie.part08.rar
http://rapidshare.com/files/265567946/Surfers_-_The_Movie.part09.rar
http://rapidshare.com/files/265606779/Surfers_-_The_Movie.part10.rar
http://rapidshare.com/files/265627045/Surfers_-_The_Movie.part11.rar
http://rapidshare.com/files/265647096/Surfers_-_The_Movie.part12.rar
http://rapidshare.com/files/265822398/Surfers_-_The_Movie.part13.rar
http://rapidshare.com/files/265924508/Surfers_-_The_Movie.part14.rar
http://rapidshare.com/files/265938221/Surfers_-_The_Movie.part15.rar
http://rapidshare.com/files/265952881/Surfers_-_The_Movie.part16.rar
http://rapidshare.com/files/266086548/Surfers_-_The_Movie.part17.rar
http://rapidshare.com/files/266294973/Surfers_-_The_Movie.part18.rar
1990
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Never released on VHS or DVD. This is not the cleanest recording but it is the only way you will be able to see this until the follow-up ("Surfers - The Movie Now and Then") gets picked up. Pics are of original handbills for the show in 1990 at Newport Beach Pavillion.
-
Review by Tom Parker
-
1989/90 was a bizarre time period for surfers as the day-glo excess of the 80's prepared to hit a wall of hardcore black and white backlash that would ultimately define the next decade. Surfers: The Movie was the perfect capper to the 80's. Stylistically based on the 1987 Rolling Stone documentary, "20 Years of Rock and Roll", it was a wonderful encapsulation of the professional slickness we'd gorged on for 10 years. 4 generations of pro surfers - everyone from Kelly Slater (who had not yet begun his incredible domination of pro surfing) to the late Micky Dora - were interviewed in front of painted backdrops, with their soundbites interspersed throughout the usual medley of great surfing action. The soundtrack also featured an unprecedented lineup of major label music, which included U2, Neil Young and many others. Highlights of the film included an exciting recap of the current pro scene scored by U2's "Out of Control", an emotional powerhouse of a medley glimpsing hundreds of beloved faces from surfing's history, and arguably the film's most amazing segment - Micky Dora (making his first film appearance in over 20 years) and the then current world champ, Martin Potter surfing together down in Baja. Not only was it incredible to see Da Cat after so many years of hiding, but to listen to him praising Pottz - "He sure looks unique to me" (the ultimate compliment from the original king of style) - combined with Potter's tail-sliding power session...well, let's just say that any surfer worth his wax was blown away. I actually saw the film 3 times in 3 different cities (Santa Cruz, Santa Barbara and Dana Point), and there was only one scene that had people going more apeshit than Potter putting on his preview of the new school style - and that was Tom Curren's slow motion barrel at the beginning of the movie. Never have I seen an audience hoot the way they hooted that tube...he just got TUBED, and just when you thought he couldn't get any deeper in the tube, he fell of his board and preceded to bodysurf that tube 'til the end. Every person in the audience hooted himself hoarse for the duration of that wave. So strip away the gloss and it was still a great surf flick. It was also the end of an era in surf film-making style, as just a year later Taylor Steele released "Momentum", the official passing of the baton to the new school generation of tail slides, big airs, black wetsuits, white boards and stripped down punk rock. Because of that Surfers: The Movie has been largely forgotten. But for those of us that were there, it was a lot of fun and a rejuvenation of the surf movie as an "event". As Neil Young sang at the end, "Long may you run."
-
http://rapidshare.com/files/264934523/Surfers_-_The_Movie.part01.rar
http://rapidshare.com/files/264964278/Surfers_-_The_Movie.part02.rar
http://rapidshare.com/files/265008629/Surfers_-_The_Movie.part03.rar
http://rapidshare.com/files/265118279/Surfers_-_The_Movie.part04.rar
http://rapidshare.com/files/265198397/Surfers_-_The_Movie.part05.rar
http://rapidshare.com/files/265300472/Surfers_-_The_Movie.part06.rar
http://rapidshare.com/files/265307013/Surfers_-_The_Movie.part07.rar
http://rapidshare.com/files/265343898/Surfers_-_The_Movie.part08.rar
http://rapidshare.com/files/265567946/Surfers_-_The_Movie.part09.rar
http://rapidshare.com/files/265606779/Surfers_-_The_Movie.part10.rar
http://rapidshare.com/files/265627045/Surfers_-_The_Movie.part11.rar
http://rapidshare.com/files/265647096/Surfers_-_The_Movie.part12.rar
http://rapidshare.com/files/265822398/Surfers_-_The_Movie.part13.rar
http://rapidshare.com/files/265924508/Surfers_-_The_Movie.part14.rar
http://rapidshare.com/files/265938221/Surfers_-_The_Movie.part15.rar
http://rapidshare.com/files/265952881/Surfers_-_The_Movie.part16.rar
http://rapidshare.com/files/266086548/Surfers_-_The_Movie.part17.rar
http://rapidshare.com/files/266294973/Surfers_-_The_Movie.part18.rar
Thursday, August 13, 2009
R.I.P. Les Paul
WHITE PLAINS, N.Y. – Les Paul, who invented the solid-body electric guitar later wielded by a legion of rock 'n' roll greats, died Thursday of complications from pneumonia. He was 94.
According to Gibson Guitar, Paul died at White Plains Hospital. His family and friends were by his side.
As an inventor, Paul also helped bring about the rise of rock 'n' roll with multitrack recording, which enables artists to record different instruments at different times, sing harmony with themselves, and then carefully balance the tracks in the finished recording.
The use of electric guitar gained popularity in the mid-to-late 1940s, and then exploded with the advent of rock in the mid-'50s.
"Suddenly, it was recognized that power was a very important part of music," Paul once said. "To have the dynamics, to have the way of expressing yourself beyond the normal limits of an unamplified instrument, was incredible. Today a guy wouldn't think of singing a song on a stage without a microphone and a sound system."
A tinkerer and musician since childhood, he experimented with guitar amplification for years before coming up in 1941 with what he called "The Log," a four-by-four piece of wood strung with steel strings.
"I went into a nightclub and played it. Of course, everybody had me labeled as a nut." He later put the wooden wings onto the body to give it a tradition guitar shape.
In 1952, Gibson Guitars began production on the Les Paul guitar.
Pete Townsend of the Who, Steve Howe of Yes, jazz great Al DiMeola and Led Zeppelin's Jimmy Page all made the Gibson Les Paul their trademark six-string.
Over the years, the Les Paul series has become one of the most widely used guitars in the music industry. In 2005, Christie's auction house sold a 1955 Gibson Les Paul for $45,600.
In the late 1960s, Paul retired from music to concentrate on his inventions. His interest in country music was rekindled in the mid-'70s and he teamed up with Chet Atkins for two albums. The duo were awarded a Grammy for best country instrumental performance of 1976 for their "Chester and Lester" album.
With Mary Ford, his wife from 1949 to 1962, he earned 36 gold records for hits including "Vaya Con Dios" and "How High the Moon," which both hit No. 1. Many of their songs used overdubbing techniques that Paul had helped develop.
"I could take my Mary and make her three, six, nine, 12, as many voices as I wished," he recalled. "This is quite an asset." The overdubbing technique was highly influential on later recording artists such as the Carpenters.
Released in 2005, "Les Paul & Friends: American Made, World Played" was his first album of new material since those 1970s recordings. Among those playing with him: Peter Frampton, Jeff Beck, Eric Clapton and Richie Sambora.
"They're not only my friends, but they're great players," Paul told The Associated Press. "I never stop being amazed by all the different ways of playing the guitar and making it deliver a message."
Two cuts from the album won Grammys, "Caravan" for best pop instrumental performance and "69 Freedom Special" for best rock instrumental performance. (He had also been awarded a technical Grammy in 2001.)
Paul was inducted into the National Inventors Hall of Fame in 2005.
Paul was born Lester William Polfus, in Waukseha, Wis., on June 9, 1915. He began his career as a musician, billing himself as Red Hot Red or Rhubarb Red. He toured with the popular Chicago band Rube Tronson and His Texas Cowboys and led the house band on WJJD radio in Chicago.
In the mid-1930s he joined Fred Waring's Pennsylvanians and soon moved to New York to form the Les Paul Trio, with Jim Atkins and bassist Ernie Newton.
Meanwhile, he had made his first attempt at audio amplification at age 13. Unhappy with the amount of volume produced by his acoustic guitar, Paul tried placing a telephone receiver under the strings. Although this worked to some extent, only two strings were amplified and the volume level was still too low.
By placing a phonograph needle in the guitar, all six strings were amplified, which proved to be much louder. Paul was playing a working prototype of the electric guitar in 1929.
His work on taping techniques began in the years after World War II, when Bing Crosby gave him a tape recorder. Drawing on his earlier experimentation with his homemade record-cutting machines, Paul added an additional playback head to the recorder. The result was a delayed effect that became known as tape echo.
Tape echo gave the recording a more "live" feel and enabled the user to simulate different playing environments.
Paul's next "crazy idea" was to stack together eight mono tape machines and send their outputs to one piece of tape, stacking the recording heads on top of each other. The resulting machine served as the forerunner to today's multitrack recorders.
In 1954, Paul commissioned Ampex to build the first eight-track tape recorder, later known as "Sel-Sync," in which a recording head could simultaneously record a new track and play back previous ones.
He had met Ford, then known as Colleen Summers, in the 1940s while working as a studio musician in Los Angeles. For seven years in the 1950s, Paul and Ford broadcast a TV show from their home in Mahwah, N.J. Ford died in 1977, 15 years after they divorced.
In recent years, even after his illness in early 2006, Paul played Monday nights at New York night spots. Such stars as Led Zeppelin's Jimmy Page, Dire Straits' Mark Knopfler, Bruce Springsteen and Eddie Van Halen came to pay tribute and sit in with him.
"It's where we were the happiest, in a `joint,'" he said in a 2000 interview with the AP. "It was not being on top. The fun was getting there, not staying there — that's hard work."
According to Gibson Guitar, Paul died at White Plains Hospital. His family and friends were by his side.
As an inventor, Paul also helped bring about the rise of rock 'n' roll with multitrack recording, which enables artists to record different instruments at different times, sing harmony with themselves, and then carefully balance the tracks in the finished recording.
The use of electric guitar gained popularity in the mid-to-late 1940s, and then exploded with the advent of rock in the mid-'50s.
"Suddenly, it was recognized that power was a very important part of music," Paul once said. "To have the dynamics, to have the way of expressing yourself beyond the normal limits of an unamplified instrument, was incredible. Today a guy wouldn't think of singing a song on a stage without a microphone and a sound system."
A tinkerer and musician since childhood, he experimented with guitar amplification for years before coming up in 1941 with what he called "The Log," a four-by-four piece of wood strung with steel strings.
"I went into a nightclub and played it. Of course, everybody had me labeled as a nut." He later put the wooden wings onto the body to give it a tradition guitar shape.
In 1952, Gibson Guitars began production on the Les Paul guitar.
Pete Townsend of the Who, Steve Howe of Yes, jazz great Al DiMeola and Led Zeppelin's Jimmy Page all made the Gibson Les Paul their trademark six-string.
Over the years, the Les Paul series has become one of the most widely used guitars in the music industry. In 2005, Christie's auction house sold a 1955 Gibson Les Paul for $45,600.
In the late 1960s, Paul retired from music to concentrate on his inventions. His interest in country music was rekindled in the mid-'70s and he teamed up with Chet Atkins for two albums. The duo were awarded a Grammy for best country instrumental performance of 1976 for their "Chester and Lester" album.
With Mary Ford, his wife from 1949 to 1962, he earned 36 gold records for hits including "Vaya Con Dios" and "How High the Moon," which both hit No. 1. Many of their songs used overdubbing techniques that Paul had helped develop.
"I could take my Mary and make her three, six, nine, 12, as many voices as I wished," he recalled. "This is quite an asset." The overdubbing technique was highly influential on later recording artists such as the Carpenters.
Released in 2005, "Les Paul & Friends: American Made, World Played" was his first album of new material since those 1970s recordings. Among those playing with him: Peter Frampton, Jeff Beck, Eric Clapton and Richie Sambora.
"They're not only my friends, but they're great players," Paul told The Associated Press. "I never stop being amazed by all the different ways of playing the guitar and making it deliver a message."
Two cuts from the album won Grammys, "Caravan" for best pop instrumental performance and "69 Freedom Special" for best rock instrumental performance. (He had also been awarded a technical Grammy in 2001.)
Paul was inducted into the National Inventors Hall of Fame in 2005.
Paul was born Lester William Polfus, in Waukseha, Wis., on June 9, 1915. He began his career as a musician, billing himself as Red Hot Red or Rhubarb Red. He toured with the popular Chicago band Rube Tronson and His Texas Cowboys and led the house band on WJJD radio in Chicago.
In the mid-1930s he joined Fred Waring's Pennsylvanians and soon moved to New York to form the Les Paul Trio, with Jim Atkins and bassist Ernie Newton.
Meanwhile, he had made his first attempt at audio amplification at age 13. Unhappy with the amount of volume produced by his acoustic guitar, Paul tried placing a telephone receiver under the strings. Although this worked to some extent, only two strings were amplified and the volume level was still too low.
By placing a phonograph needle in the guitar, all six strings were amplified, which proved to be much louder. Paul was playing a working prototype of the electric guitar in 1929.
His work on taping techniques began in the years after World War II, when Bing Crosby gave him a tape recorder. Drawing on his earlier experimentation with his homemade record-cutting machines, Paul added an additional playback head to the recorder. The result was a delayed effect that became known as tape echo.
Tape echo gave the recording a more "live" feel and enabled the user to simulate different playing environments.
Paul's next "crazy idea" was to stack together eight mono tape machines and send their outputs to one piece of tape, stacking the recording heads on top of each other. The resulting machine served as the forerunner to today's multitrack recorders.
In 1954, Paul commissioned Ampex to build the first eight-track tape recorder, later known as "Sel-Sync," in which a recording head could simultaneously record a new track and play back previous ones.
He had met Ford, then known as Colleen Summers, in the 1940s while working as a studio musician in Los Angeles. For seven years in the 1950s, Paul and Ford broadcast a TV show from their home in Mahwah, N.J. Ford died in 1977, 15 years after they divorced.
In recent years, even after his illness in early 2006, Paul played Monday nights at New York night spots. Such stars as Led Zeppelin's Jimmy Page, Dire Straits' Mark Knopfler, Bruce Springsteen and Eddie Van Halen came to pay tribute and sit in with him.
"It's where we were the happiest, in a `joint,'" he said in a 2000 interview with the AP. "It was not being on top. The fun was getting there, not staying there — that's hard work."
Sunday, August 09, 2009
Saturday, August 08, 2009
It Was 40 Years Ago Today...
LONDON – Beatles fans mobbed London's Abbey Road on the 40th anniversary of the famous photo that turned this ordinary London street into a musical pilgrimage site.
Hundreds of fans swarmed the site Saturday morning, bringing traffic to a standstill.
Abbey Road cuts through the swish north London neighborhood of St. John's Wood and is where the Fab Four recorded much of their work.
It became a part of music history after the Beatles were featured on the cover of the eponymous album walking on the street's crosswalk.
Tourists flock to the site every day to recreate the iconic scene, much to the annoyance of locals.
Hundreds of fans swarmed the site Saturday morning, bringing traffic to a standstill.
Abbey Road cuts through the swish north London neighborhood of St. John's Wood and is where the Fab Four recorded much of their work.
It became a part of music history after the Beatles were featured on the cover of the eponymous album walking on the street's crosswalk.
Tourists flock to the site every day to recreate the iconic scene, much to the annoyance of locals.
Web Cam Link
In just watching a little bit today, I've seen several groups of four crossing over, including one individual wearing a white suit.
This posted today, Monday August 10th in The Sun
KILLJOY officials want to move the zebra crossing featured on the cover of The Beatles' Abbey Road album - claiming it is a death trap.
Councillors say tourists flocking to be snapped on the road are causing crashes, with the accident rate on the rise.
There have been four more this decade than during the 80s and 90s.
Last weekend marked the 40th anniversary of the photo taken outside the Abbey Road recording studio in St John's Wood, North West London.
Hundreds of fans gathered there on Saturday as Sgt Pepper's Only Dartboard Band, dressed in replica clothing, played Beatles hits.
Fight
But Lindsey Hall, a councillor in the Abbey Road ward, pointed out there had been 22 accidents there since 2000.
She said: "Maybe it's time to end this once and for all and move the zebra crossing. It may end up with that."
Colleague Judith Warner added: "I have asked our transport department if it is in the most appropriate place."
Fans vowed to fight any attempts to move the iconic crossing.
Councillors say tourists flocking to be snapped on the road are causing crashes, with the accident rate on the rise.
There have been four more this decade than during the 80s and 90s.
Last weekend marked the 40th anniversary of the photo taken outside the Abbey Road recording studio in St John's Wood, North West London.
Hundreds of fans gathered there on Saturday as Sgt Pepper's Only Dartboard Band, dressed in replica clothing, played Beatles hits.
Fight
But Lindsey Hall, a councillor in the Abbey Road ward, pointed out there had been 22 accidents there since 2000.
She said: "Maybe it's time to end this once and for all and move the zebra crossing. It may end up with that."
Colleague Judith Warner added: "I have asked our transport department if it is in the most appropriate place."
Fans vowed to fight any attempts to move the iconic crossing.
And last night a spokesman for Westminster City Council hinted they may let it be.
He said: "There is nothing to indicate any more cause for concern than on any other road."
He said: "There is nothing to indicate any more cause for concern than on any other road."
Let it Be!
Thanks Zed!
Friday, August 07, 2009
This Ones For The Other Kind Of Dick Heads
The Sunny Side Of The Moon - The Best of Richard Cheese
Richard Cheese
2006
**Naughty words enclosed (8>)>
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Spin this one at your party tonight!
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Biography by David Jeffries
It's unfortunate that the cultural value of Limp Bizkit's "Nookie," 2 Live Crew's "Me So Horny," and Beyoncé's "Naughty Girl" seems lost to the generation graced with such rich music, but if there's one man who can point out the timelessness of these tunes it's Richard Cheese. After hearing songs like the Prodigy's "Smack My Bitch Up" and Snoop Dogg's "Gin and Juice," lounge singer Richard Cheese realized he was living in what he likes to call "a Golden Age of songwriting." It seemed like only he was aware that Slipknot and the Beastie Boys were writing the future standards that were destined to become fixtures of American music, and seeing how cats like Frank Sinatra or Dean Martin were gone, it was up to him to point it out. He donned his tiger-striped tuxedo, rounded up some Vegas-minded musicians for his swanky swing band, and made his debut in 2000 with Lounge Against the Machine, released by the Oglio label.
Cheese's uncensored and "swankified" covers of Nine Inch Nails' "Closer" and Nirvana's "Rape Me" quickly found favor with morning shock jocks on the radio and novelty music fans in the record stores. The CNN cable network and The Los Angeles Times profiled him and he soon landed a gig as co-host and bandleader on MTV's Say What Karaoke series. His second album, Tuxicity, appeared in 2002 and featured swinging covers of Van Halen's "Hot for Teacher" and Sir Mix-A-Lot's "Baby Got Back," a favorite among Cheese's fans, who are known as "Dick-Heads."
He had made appearances on the Opie & Anthony and Howard Stern radio shows and led the house band for NBC television's Last Call with Carson Daly before he released I'd Like a Virgin (2004), which featured covers of Depeche Mode's "Personal Jesus" and Michael Jackson's "Beat It," the latter accompanied by a children's choir. Aperitif for Destruction from 2005 featured the Beastie Boys' "Brass Monkey" and Guns N' Roses' "Welcome to the Jungle." The year 2006 was fan's dream, with both the compilation The Sunny Side of the Moon: The Best of Richard Cheese and the holiday album Silent Nightclub -- "a collection of happenin' holiday hits" -- landing in stores.
It's unfortunate that the cultural value of Limp Bizkit's "Nookie," 2 Live Crew's "Me So Horny," and Beyoncé's "Naughty Girl" seems lost to the generation graced with such rich music, but if there's one man who can point out the timelessness of these tunes it's Richard Cheese. After hearing songs like the Prodigy's "Smack My Bitch Up" and Snoop Dogg's "Gin and Juice," lounge singer Richard Cheese realized he was living in what he likes to call "a Golden Age of songwriting." It seemed like only he was aware that Slipknot and the Beastie Boys were writing the future standards that were destined to become fixtures of American music, and seeing how cats like Frank Sinatra or Dean Martin were gone, it was up to him to point it out. He donned his tiger-striped tuxedo, rounded up some Vegas-minded musicians for his swanky swing band, and made his debut in 2000 with Lounge Against the Machine, released by the Oglio label.
Cheese's uncensored and "swankified" covers of Nine Inch Nails' "Closer" and Nirvana's "Rape Me" quickly found favor with morning shock jocks on the radio and novelty music fans in the record stores. The CNN cable network and The Los Angeles Times profiled him and he soon landed a gig as co-host and bandleader on MTV's Say What Karaoke series. His second album, Tuxicity, appeared in 2002 and featured swinging covers of Van Halen's "Hot for Teacher" and Sir Mix-A-Lot's "Baby Got Back," a favorite among Cheese's fans, who are known as "Dick-Heads."
He had made appearances on the Opie & Anthony and Howard Stern radio shows and led the house band for NBC television's Last Call with Carson Daly before he released I'd Like a Virgin (2004), which featured covers of Depeche Mode's "Personal Jesus" and Michael Jackson's "Beat It," the latter accompanied by a children's choir. Aperitif for Destruction from 2005 featured the Beastie Boys' "Brass Monkey" and Guns N' Roses' "Welcome to the Jungle." The year 2006 was fan's dream, with both the compilation The Sunny Side of the Moon: The Best of Richard Cheese and the holiday album Silent Nightclub -- "a collection of happenin' holiday hits" -- landing in stores.
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Tracklist:
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1 Rape Me [2006] Cobain
2 People = Shit [2005] Crahan, Fehn, Gray, Jones
3 Baby Got Back Ray
4 Girls, Girls, Girls [2006 Remaster] Lee, Mars, Sixx
5 Closer [2006] Reznor
6 Bust a Move [2006] Dike, Young
7 (Down With) The Sickness Donegan, Draiman, Kmak
8 Sunday Bloody Sunday [2005] Clayton, Evans, Hewson, Mullen
9 Freak on a Leash [2006] Arvizu, Davis, Shaffer
10 Nookie [2006] Borland, Dimant, Durst, Otto
11 Another Brick in the Wall, Pt. 2 [2006] Waters
12 Rock the Casbah [2004] Headon, Jones, Strummer
13 Fight for Your Right [2006] Horovitz, Rubin, Yauch
14 Hot for Teacher Roth, VanHalen, VanHalen
15 Gin and Juice [2006 Remix] Arrington, Broadus, Casey
16 Come out and Play [2006] Holland
17 Badd [2006] Crooms, Holmes, Jackson, Jones
18 Creep [2006] Greenwood, Greenwood
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Get it HERE
Thursday, August 06, 2009
Wednesday, August 05, 2009
Trustar And Friends Give This A Big "Thumbs Up!"
Check out this video about this new rising star on the R&B/Soul scene. Very nice quality in his sound. I like it a lot.
http://www.facebook.com/video/video.php?v=240828505194
SRP/Universal Motown artist HAL LINTON is a multi-talented 24-year-old R&B/soul singer-producer-songwriter sensation from Barbados who was discovered by Evan Rogers and Carl Sturken of SRP—the hit-making team that helped propel Rihanna and Shontelle up the charts. Drawing inspiration from Prince, Marvin Gaye, Al Green, Bob Marley, and James Brown, HAL LINTON has crafted a unique blend of classic soul and modern R&B that ranks him alongside contemporary soul stirrers such as Maxwell, John Legend, Robin Thicke, Musiq Soulchild, and Anthony Hamilton. Now based in the New York City area, HAL LINTON’S debut album, Return From The Future, is due to be released in 2009, and will be preceded by the electrifying single “She’s Dangerous (Bang Bang).”
Stay tuned for more Hal Linton...
We like it too!Get A New Set Of Batteries And Let This Get Your Buzz On
Los Vibradores
Vuelven Desde El Infierno (Return From Hell)
2004
Have only been able to find this @128 but it's still well worth the download.
Presentado por la exótica belleza Lady PuaJ.
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Instrumental Surf Rock band from the city of Viña del Mar, Chile. Established in September 2002 by four characters: Cristian, Marco, and Carlos Gonzalo. Toccata highlights in the former jail in the radio Musicamara Let Valentine.
New album due out soon. Keep an eye out for it!
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Tracklist in Google English
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Tracklist in Google English
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01. It's Time to die every disgusting Malditos Undesirable
02. The Electric
03. Brightness in the eyes of the lecherous necrophiliac profaner
04. The Mystery of Death Dance of Liliana, the Vampire A Go-Go
05. The agonizing free fall Trapecista that challenged the Endangered Running your Security Act Without Mesh
o6. Cane (rip) Half Day on the shores of the Red Sea
07. The Egyptian Curses Eternas Seth topic for long and boring
08. Rhythm Ago-Go
09. What was not heard of the meeting was not forbidden between Mary Magdalene and Jesus of Nazareth
10. In that tree hangs the corpse of the Taliban who was caught Betrayer Bailando Twist
11. The Incredible Odyssey of vibrators escaped the evil clutches of Ghenghis Khan
12. The Lolos Zombies rise from the tomb Bailando a rampant Satanic RockandRoll
13. Demolition
14. The highlands of sorrows and joys that I know Surfer Boliviano Sea
15. Fantasia De Blues in The Satanic Mayor's Incidental Music for Spiderman
16. The Vibrators Hell After returning from his Seal Pact To get it Fame, Girls And Eterno R&R
17. In that tree hangs the corpse was that of the Taliban Traitor Surprised Bailando Twist (Remix) by Heavy Metal Orchestra.
Tracklist in native tongue
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01. Llegó la Hora de que Mueran Todos los Malditos Asquerosos Indeseables
02. El Eléctrico
03. El Brillo Lascivo en los Ojos del Profanador Necrofílico
04. El Misterioso Baile de la Muerte de Liliana, la Vampira A Go-Go
05. La Angustiante Caída Libre del Trapecista que Desafió el Peligro Ejecutando su Acto Sin Malla de Seguridad
o6. Caña (resaca) de Medio Día en las Costas del Mar Rojo
07. Las Eternas Maldiciones Egipcias de Seth para los Tema Largos y Aburridos
08. Ritmo Ago-Go
09. Lo Que No Se Vió Ni Se Escuchó del Encuentro Prohibido Entre María Magdalena y Jesús de Nazareth
10. En aquél Árbol Cuelga el Cadaver del Talibán Traidor que Fue Sorprendido Bailando Twist
11. La Increible Odisea de Los Vibradores Escapando de Las Maléficas Garras de Ghenghis Khan
12. Los Lolos Zombies se Levantan de la Tumba Bailando un Desenfrenado Rockandroll Satánico
13. Demolición
14. Las Penas y Alegrias Altiplanicas del Surfer Boliviano que Quería Conocer El Mar
15. Fantasia De Blues Satánico en La Mayor para la Música Incidental del Hombre Araña
16. Los Vibradores Regresan Desde El Infierno Tras Sellar su Pacto Para Consegir Fama, Chicas Y Eterno R&R
17. En aquel Árbol Cuelga el Cadaver del Taliban Traidor que fue Sorprendido Bailando Twist (Remix) Por La Heavy Metal Orquestra
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Get it HERE
Monday, August 03, 2009
Rock Of Ages
Drive By Truckers
Southern Rock Opera
2001
Southern Rock Opera
2001
Ripped @ 256
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Review by Hal Horowitz
Don't be deterred by the rather misleading title. Not a rock opera in the sense of Tommy or Jesus Christ Superstar, this sprawling double disc is more akin to a song cycle about Southern rock, in particular Lynyrd Skynyrd. Almost six years in the making, the Drive-By Truckers have created a startlingly intelligent work that proudly stands with the best music of their obvious inspiration. Largely written and conceived by lead trucker Patterson Hood (son of famed Muscle Shoals bassist David Hood), who sings the majority of the songs in a torn, ragged, but emotionally charged twangy voice somewhere between Tom Petty and Rod Stewart, these 20 literate tracks encapsulate a remarkably objective look at what Hood calls "the duality of the South." Rocking with a lean hardness, the story unfolds over 90 minutes, but the savvy lyrical observations never overburden the songs' clenched grip. While bands like the similarly styled Bottle Rockets have worked this territory before, never has a group created an opus that's thematically tied to this genre while objectively exploring its conceptual limitations. The two discs are divided into Acts I and II; the first sets the stage by exploring aspects of an unnamed Southern teen's background growing up as a music fan in an environment where sports stars, not rock stars, were idolized. The second follows him as he joins his Skynyrd-styled dream band, tours the world, and eventually crashes to his death in the same sort of airplane accident that claimed his heroes. The Drive-By Truckers proudly charge through these songs with their three guitars, grinding and soloing with a swampy intensity recalling a grittier, less commercially viable early version of Skynyrd. A potentially dodgy concept that's redeemed by magnificent songwriting, passionate singing, and ruggedly confident but far from over-the-top playing, Southern Rock Opera should be required listening not only for fans of the genre, but anyone interested in the history of '70s rock, or even the history of the South in that decade. More the story of Hood than Skynyrd, this is thought-provoking music that also slashes, burns, and kicks out the jams. Its narrative comes to life through these songs of alienation, excess, and, ultimately, salvation, as seen through the eyes of someone who lived and understands it better than most
Don't be deterred by the rather misleading title. Not a rock opera in the sense of Tommy or Jesus Christ Superstar, this sprawling double disc is more akin to a song cycle about Southern rock, in particular Lynyrd Skynyrd. Almost six years in the making, the Drive-By Truckers have created a startlingly intelligent work that proudly stands with the best music of their obvious inspiration. Largely written and conceived by lead trucker Patterson Hood (son of famed Muscle Shoals bassist David Hood), who sings the majority of the songs in a torn, ragged, but emotionally charged twangy voice somewhere between Tom Petty and Rod Stewart, these 20 literate tracks encapsulate a remarkably objective look at what Hood calls "the duality of the South." Rocking with a lean hardness, the story unfolds over 90 minutes, but the savvy lyrical observations never overburden the songs' clenched grip. While bands like the similarly styled Bottle Rockets have worked this territory before, never has a group created an opus that's thematically tied to this genre while objectively exploring its conceptual limitations. The two discs are divided into Acts I and II; the first sets the stage by exploring aspects of an unnamed Southern teen's background growing up as a music fan in an environment where sports stars, not rock stars, were idolized. The second follows him as he joins his Skynyrd-styled dream band, tours the world, and eventually crashes to his death in the same sort of airplane accident that claimed his heroes. The Drive-By Truckers proudly charge through these songs with their three guitars, grinding and soloing with a swampy intensity recalling a grittier, less commercially viable early version of Skynyrd. A potentially dodgy concept that's redeemed by magnificent songwriting, passionate singing, and ruggedly confident but far from over-the-top playing, Southern Rock Opera should be required listening not only for fans of the genre, but anyone interested in the history of '70s rock, or even the history of the South in that decade. More the story of Hood than Skynyrd, this is thought-provoking music that also slashes, burns, and kicks out the jams. Its narrative comes to life through these songs of alienation, excess, and, ultimately, salvation, as seen through the eyes of someone who lived and understands it better than most
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1 Days of Graduation
2 Ronnie and Neil
3 72 (This Highway's Mean)
4 Dead, Drunk, and Naked
5 Guitar Man Upstairs
6 Birmingham
7 The Southern Thing
8 The Three Great Alabama Icons
9 Wallace
10 Zip City
11 Moved
12 Let There Be Rock
13 Road Cases
14 Women Without Whiskey
15 Plastic Flowers on the Highway
16 Cassie's Brother
17 Life in the Factory
18 Shut Up and Get on the Plane
19 Greenville to Baton Rouge
20 Angels and Fuselage
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Get it HERE
Sunday, August 02, 2009
Leading The Second Wave Of Surf Revival
The Packards
Pray for Surf - Beach City Bop
Double Album CD
1980/1982
Ripped @ 320
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Re-inventing classic surf music for the modern era
When the modern SURF INSTRUMENTAL REVIVAL hit in 1980, the Packards, released their very first American album to come out of the new surf-instro scene!
That album was Pray For Surf, and this—its first release on CD—is long overdue. Perhaps even more important is the inclusion here of Beach City Bop—the fabled "lost" Packards’ album that was recorded in 1982 and never before released!
So here, for the first time, is the whole colorful story of the early Packards: a two-in-one CD that gets to the root of what modern surf-instrumental music is all about.
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Tracklists:
Pray for Surf
Mr. Moto
Andelé
Windshield Wiper
Lanky Bones
Bedlam
Tally Ho
Lure of the Curl
Squad Car
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Beach City Bop
Beach City Bop
Wild Goose
Birdland
Vamonos
Rococo Rock
Don’t Be Too Proud (To Be God’s Child)
Let Us Go Into the House of the Lord
Desert Madness (tango)
Side Slippin’
Scratchy
Kamikaze
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Get it HERE
Saturday, August 01, 2009
Finski Twangski
Happy Times
Twang - O - Matic
2008
VBR
Served by the mysterious Charles Vine
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Phil Says:
Rock is reborn! Happy Times produce very well arranged and written psychedelic surf based music with a magnetic sound and liquid fury. Their Finish roots reinterpret the surf genre in wonderful, compelling ways. Rich, lush arranging and production takes this into the upper reaches of listenability. Recommended!
Tracklist:
1. Lo-Fi Spy
2. Last Bullet
3. Hypnosonic
4. Lost Fiction
5. Full Gravity
6. Jack Carter´s Theme
7. Funeral in Berlin
8. All Quiet
9. Quantum of Solace
10. Our Man in Cuba
11. Viva! Laika
12. Taranaki Steam Surfers
13. Mission Possible
14. One for Danny
Bonus tracks:
15. Crosstown Traffic
16. Bells of Konevitsa
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Get it HERE
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