Wednesday, February 25, 2009
Tuesday, February 24, 2009
One of my very first scores from the blogosphere and another permenent resident in my iPod ever since.
Long ago released psych comp and one of the genre's classic ones. As the cover states: Guranteed Free of Flower Power! Blow Your Mind!
01 Plague - The Face Of Time
02 Perpetual Motion Workshop - Won't Come Down
03 Quiet Jungle - Everything
04 Last Knight - Shadow Of Fear
05 Human Expression - Optical Sound
06 Thee Sixpence - In The Building
07 Children Of The Night - World Of Tears
08 20th Century Zoo - You Don't Remember
09 Scorpio Tube - Yellow Listen
10 Inexpensive Handmade Look - What Good Is Up
11 Starlites - I Can't See You
12 Perpetual Motion Workshop - Infiltrate Your Mind
13 Story Tellers - Cry With Me
14 Caretakers Of Deception - Cuttin' Grass
15 Boy Blues - Comin' Down To You
16 Strange Fate - Hold Me Baby
Guitars Gone Wild
To compliment Curty Ray's Hodad Heaven post of The Plunger's Surf Americana (check in the Friends That Rock section on the sidebar). Always tastey tunes to enjoy there.
VINTAGE GUITAR MAGAZINE REVIEW
The Plungers have to rank as the most prolific band on the surf scene, releasing two CDs of killer originals in 2003. And as good as Land of a Thousand Surf Guitars was, it's followup, Guitars Gone Wild, ups the ante, with 21 instrumentals - each more evocative than the one before. Not an easy feat. The septet (which grew out of a University of Oklahoma combo called The Sperm Counts, who dressed up in Dracula outfits) features dual lead guitars, rhythm guitar , bass, Fender bass VI, baritone (sometimeselectric 12 string) and drums. This multi-layered approach sets The Plungers apart from any instro-surf band on the scene today , or probably ever.The staccato, reverb-drenched "Takin' The Plunge" is reminiscent of the Astronauts, while "Ridin' Tall" sounds like vintage Shadows, and you can guess the influence behind "Link". "Spring Break" (you've got to love a band that names songs after its outboard reverb tank) exhibits the type of melodic sense that marks ex-Belair Paul Johnson's recent solo work. And the swirling "Mondo A Go Go" is as intricate as anything by Laika & The Cosmonauts.The songs are all group collaborations, and the members also shared production duties. Amazingly, with everything that's going on (with additional percussion on most tracks and Terry "Buffalo" Ware's slide for good measure on "Surfcracker") the sound never turns to mud. - Dan Forte
2 Lone Shark
3 Takin' the Plunge
5 Spring Break
6 Ridin' Tall
7 Mai Tai
9 Mondo a Go Go
11 Hanalei Hoedown
12 First Date
15 Meet Mr. Mod
20 Free Board
Monday, February 23, 2009
Get down and dead!
Posted by Trustar at 2/23/2009
A banda vem are accumulating fans and we do four songs world (visit myspace or e estou Falando will do that), quite unusual for sua proposta, mistura e contos da lenda Mexican culture, letras em espanhol, film and literature of terror to luta livre eo bom e velho Californian surf music.
Seu primeiro CD demo espalhou-hair circuit is psycho-surf-a-billy world obtendo an excellent repercussão that Troux reconhecimento and various opportunities to participate in e fora do coletâneas country like SURF knots (Mexico), YELLS FROM THE CRYPT (Texas - USA) and SURF AS ART (Mexico), MUSICAL MUQUECA (ES), SURF BRASILLIAN (Europe) and more recent TIDE MYSTERY (Mexico).
Agora o seu primeiro CD disseminating entitled "IN THE NAME OF THE SURF AND FIGHT of Espírito Santo ... Amen!.
Sunday, February 22, 2009
Saturday, February 21, 2009
Due to the problems I had with the previous attempt to get this clip posted, I'm throwing up the YouTube full version.
Posted by Trustar at 2/21/2009
Friday, February 20, 2009
Ripped at a juicy 320
A tribute to the dearly departed Duane, Eat a Peach rambles through two albums, running through a side of new songs, recorded post-Duane, spending a full album on live cuts from the Fillmore East sessions, then offering a round of studio tracks Duane completed before his death. On the first side, they do suggest the mellowness of the Dickey Betts-led Brothers and Sisters, particularly on the lovely "Melissa," and this stands in direct contrast with the monumental live cuts that dominate the album. They're at the best on the punchier covers of "One Way Out" and "Trouble No More," both proof of the group's exceptional talents as a roadhouse blues-rock band, but Duane does get his needed showcase on "Mountain Jam," a sprawling 33-minute jam that may feature a lot of great playing, but is certainly a little hard for anyone outside of diehards to sit through. Apart from that cut, the record showcases the Allmans at their peak, and it's hard not to feel sad as the acoustic guitars of "Little Martha" conclude the record, since this tribute isn't just heartfelt, it offers proof of Duane Allman's immense talents and contribution to the band.
1 Ain't Wastin' Time No More
The Marketts are sometimes classified as a surf group because of their hit instrumental "Out of Limits," one of the last big surf singles, which made #3 in early 1964. In reality, they were something of an all-purpose contemporary instrumental group with elements of surf, rock, pop, and even easy listening. And they were not really a group, but a fluid collection of Los Angeles session musicians, working under the direction of producer Joe Saraceno.
Saraceno was the principal man behind the concept of the Marketts, although he himself did not play or arrange anything on their records, or even write all of the material. He was sharp enough to latch onto the surf craze in 1962 for one of the earliest instrumental surf hits, "Surfer's Stomp," which made the Top Forty on Liberty in 1962. While working at Liberty, he also produced the Ventures for a time, and the influence of the Ventures' cleanly-picked guitar lines is very evident on "Out of Limits" and some other Marketts tracks. With their blend of surfy guitar leads, film soundtrack horns, and spooky organ, the Marketts' sound is best described not as surf, but as rock-influenced instrumental pop with a futuristic (by early '60s standards) touch. Many of their songs seemed to be doing their best to evoke space travel and science fiction flicks, sometimes with the help of what sounds like a theremin. They could be said to have filled the void between surf music and space age pop, which is not a criticism; their music is not terribly substantial, but it is fun, and has a pretty good groove.
After "Out of Limits," the Marketts would enter the Top Twenty one more time with the "Batman Theme" in early 1966, and release records as late as 1977. Saraceno, in addition to his work with the Marketts and the Ventures, would also produce Bobby Vee, the Sunshine Company, Martin Denny, and many other acts.
Monday, February 16, 2009
The Coyote Men
2 Sides Of The Coyote Men
Ripped at a Hip 320
Clad in matching mobster-noir suits and Mexican wrestling masks, Newcastle, England punks the Coyote Men debuted with the ultra-limited Headin' for Trouble (reissued, along with the subsequent EP Call of the Coyote Man!, on Estrus' The Coyote Men Vs. El Mundo). The group's sophomore LP, Two Sides of the Coyote Men, followed in 1999.
1 I Swing
2 That Ain't No Lie
3 Sure You Can Move
4 Action Slacks
5 Damn Right
6 My Kinda Stuff
7 Mystery Track
8 Escape from Perugia
9 Keep It Dirty
10 Loaded Hood
11 Born to Bruise
12 Who Rattled Your Cage?
13 Mullet Man
Tuesday, February 10, 2009
Handy item to have in your kit bag.
All you could ever ask for at one link.
A definate Desktop keeper.
Saturday, February 07, 2009
The lovely Cote
I've been a fan of NCIS for several years now. One of the main reasons is getting to see Cote de Pablo as Ziva each week. This opening scene from the season opener solidified my infatuation.
Enjoy, then wipe your chin.
*****New Update 2/12/09******
The ChrisGoesRock blog is moved to new address:http://chrisgoesrock.ucoz.com/Please help disseminate this information to every community that likes good music.
CGR was the first music blog I ever went to several years ago. Damn him!
Make sure to update your bookmarks so you don't miss a thing.
Blues SaracenoHair Pick
Review by Vincent Jeffries
Recalling Brian May, Blues Saraceno continued to improve his liquid lead tone and vibrant phrasing on Hairpick, the shredder's finest solo disc. His third and final recording for Guitar Recordings, Saraceno reveals a profound dedication to his instrument on this 1994 release. In a bold songwriting move, the guitarist shifts his musical focus away from the upbeat boogie (mastered more than a decade earlier by Eddie Van Halen and copied all too frequently by second-rate guitar instrumentalists) too prevail ant on Never Look Back and Plaid. While never quite achieving the melodicism of his genre's premiere phrase-maker Joe Satriani, Saraceno continues his progress as a writer on Hairpick. The standout "Chewing on Crayons" features Saraceno really letting go. With some of his fastest, out-of-control soloing, the track ironically represents a mature step away from the musician's somewhat self-conscious, restrained oeuvre of solos. Other expressive highlights include "Stinky Kitty" and "Fat Paddin." Uncharacteristically mature and musical, Hair Pick -- like the man who made it -- is a rare combination of smarts, talent and passion. Soon after unleashing Hairpick, Saraceno abandoned instrumental rock and joined Poison for an ill-fated tenure in the circus world of major-label recording. The musician claims he "never wanted to be a guitar hero" and had accomplished what he set out to do instrumentally. After a record was scrapped by Poison's label, Saraceno left the group, began working session gigs, and assembled his own band, Transmission OK.
1 Stinky Kitty
2 Rabbit Soup
3 My Generation
4 King for a Day
5 Pretty People
6 Feedin' the Box
7 Fat Padding
8 Far from Home
9 Chewing on Crayons
Friday, February 06, 2009
After Never Look Back established the teenaged Blues Saraceno as one of the premier players in the claustrophobic world of virtuoso rock, musicians awed by the guitarist's articulate soloing weren't let down by this 1992 follow-up. On Plaid, Saraceno's second disc for Guitar Recordings, the artist makes many technical strides, improving his instrumental and home recording chops greatly, surpassing his debut in every facet. On "Last Train Out" -- perhaps Saraceno's career-best track -- the guitarist displays an even more refined tone and rhythmic aptitude. Other highlights like "A Lighter Shade of Plaid" and "The Scratch" display the shredder's continued development of double-stop soloing, tight rhythms, and smart phrasing. Several boogie-down exercises in sassy riffing mixed with modern hyper blues soloing are also included. More dynamic and more colorful, Plaid improves greatly upon the solid musicianship and overall listenability of Saraceno's debut.
1 Last Train Out
Review by Jonathan Widran
We normally think of the blues as homegrown from the American South, but no culture knows the feelings like the Irish, which makes veteran blues rocker McCullough an interesting study in the way the genre transcends cultures. He's shared stages with Jimi Hendrix, John Mayall, and Small Faces, and returned to Memphis in 2000 to compete in the Blues Foundation International Blues Challenge; he came in third, but this powerhouse of a recording sounds like the makings of first place. Kind of skimpy at seven tracks and only 31 minutes, the recording still captures various exciting facets of his chosen genre. The brooding opening number, "Louisiana Woman," inexplicably finds his voice distant and distorted, but perhaps the mystery is intentional; his raspy voice combines with simple but powerful chord changes that keep getting faster. "Walkin' Back to You" is a fiery boogie-woogie-driven blues jam, with McCullough singing urgently as his blistering lines sizzle underneath. "Ain't Gonna Be Your Fool" is laid-back cool in the Eric Clapton tradition, while "Mistreatin' Me" is a pointed emotional jam fueled by the heavy organ harmonies of Mike Lattrell. A lot of what passes for blues these days comes in shimmering production packages, but this hits a cut above by being real, rougher, and raw.
1 Louisiana Woman
2 Walkin' Back to You
3 Ain't Gonna Be Your Fool
5 Mistreatin' Me
6 Shame on You
7 Further Up the Line
Matt "Guitar" Murphy
Way Down South
Life and career
Murphy was born in Sunflower, Mississippi. He played with Howlin' Wolf as early as 1948 (harpist Little Junior Parker was also in the band at the time).
By 1952, Murphy was in Chicago, where he began his long association with Memphis Slim by playing on his dates for United Records and Vee Jay Records, including the album, At The Gate of Horn (1959).
He was already a legend among serious guitarists by the 1960s, famed for the incredibly fast and intricate blues riffs that would soon change rock and roll. While white rock and rollers were still playing the slow melodic riffs of "Love One Another" or the slow fuzzy riffs of "Wild Thing," a few (like Eric Clapton, Rick Derringer and Jeff Beck) were listening to the flying fingers of B. B. King and Matt Murphy and trying to emulate them.
Murphy did not have a band of his own until 1982, but played with many famous bands. Among them (more or less chronologically):
Little Junior Parker
Sonny Boy Williamson II
Joe Louis Walker
The Blues Brothers
He played with some of these bands for many years (for example, 20 years in a row with Memphis Slim), while others were just sessions during his work at Chess Records (obviously, Otis Rush did not need a full-time guitarist, he could play well himself, unlike piano-player Memphis Slim).
He can be seen in the films The Blues Brothers and Blues Brothers 2000, where he plays Aretha Franklin's hen-pecked husband. Work thereafter with The Blues Brothers turned him into one of the best-known blues guitarists in the United States.
Murphy's signature model guitar is manufactured by Cort Guitars. Murphy has been less active since he suffered a stroke on stage while performing in Nashville in 2003 — he finished his set performing with one hand. A benefit was mounted by notable musicians of Memphis and Nashville. Matt is living in Miami, FL. He has been playing in Florida with two young proteges passing the torch. Wiki
Review by Bill Dahl
The dazzling guitarist has recorded very sparingly as a leader over the course of his long career, preferring the relative anonymity of sideman duties behind Memphis Slim, James Cotton, and the Blues Brothers. But he acquits himself most competently here, mixing blues, funk, R&B, and a little jazz into his sparkling fretwork. His brother Floyd Murphy, a Memphis blues guitar legend himself, is on hand for a family reunion.
1 Way Down South
2 Big Six
3 Gonna Be Some Changes Made
4 Big City Takedown
5 Buck's Boogie
6 Thump Tyme
7 Matt's Guitar Boogie, No. 2
8 Low Down and Dirty
9 Gimme Somma Dat
10 Blue Walls
Behind The Hound Dog Walls ( 1 Cup of Coffee, 2 Six Packs and 3 Broken Strings)
Ripped at a Bitchin' 320 for your headbangin' pleasure.
The Bitch Boys have been popping up alot on my eternal life shuffle of late. Had to put it out for you all again.
We're The Bitch Boys, first Slovene instro surf band. We were formed in 1999 and recorded many demos , promos and albums from that day + appeared on many prestige surf compilations (REVERB CENTRAL) like Gnarly Reef, Tottaly Tubular, Locos Instrumentales... BTW Our album "...In Heat" was announced as "...best ever instru surf band ever by a modern surf band..." at PIPELINE MAGAZINE.
From the foursome who tore the Surf Shop apart with their initial release “In Heat”, comes a live, balls-out assault of trad surf. The melodies are firmly intact, the arrangements are intriguingly done and the energy is just about all modern man can take. The artwork is pro stuff and the music takes no prisoners. This is an effort to present the Bitch Boys as they really are, and they succeed very well. We cannot say enough about the music on this remarkable CD. Every department that the surf fan is interested in is well represented here, and repeated listenings only get more enjoyable. Here’s the catch; there are only 100 (or less) of these on this planet. This is serious tuneage and we recommend it whole-heartedly!
1. James Bond Theme
2. The Final Ride
3. Mach One
4. Batman Theme
5. Na Golici
6. Wipe Out
7. Chi - Chi
11. Stay Close To Me
12. Walk Don't Run Mr. Eminem
14. Theme From Magnificent 7
16. Devojko Mala
18. The Wedge
19. Bonus Track (Stay Close To Me take 2)
Wednesday, February 04, 2009
Biography by Jason Ankeny
Their self-effacing name to the contrary, Average White Band was anything but -- one of the few white groups to cross the color line and achieve success and credibility playing funk, with their tight, fiery sound also belying their Scottish heritage, evoking American R&B hotbeds like Detroit, Memphis, and Philadelphia instead. Singer/bassist Alan Gorrie, guitarists Hamish Stuart and Onnie McIntyre, tenor saxophonist Malcolm Duncan, keyboardist/saxophonist Roger Ball, and drummer Robbie McIntosh comprised the original Average White Band lineup. Veterans of numerous Scottish soul and jazz groups, they made their debut in 1973 as the opening act at Eric Clapton's Rainbow Theatre comeback gig, soon issuing their debut LP, Show Your Hand, to little notice. After adopting the abbreviated moniker AWB, a year later the band issued their self-titled sophomore effort, topping the American pop charts with the Arif Mardin-produced instrumental "Pick Up the Pieces." The record's mammoth success was nevertheless tempered by the September 23, 1974 death of McIntosh, who died at a Hollywood party after overdosing on heroin.
Ex-Bloodstone drummer Steve Ferrone replaced McIntosh for AWB's third album, 1975's Cut the Cake, which scored a Top Ten hit with its title track as well as two other chart entries, "If I Ever Lose This Heaven" and "School Boy Crush." (Put It Where You Want It, issued later that same year, was simply a retitled and repackaged Show Your Hand.) With 1976's Soul Searching, the group reclaimed the full Average White Band name, scoring their final Top 40 hit with "Queen of My Soul." Following the live Person to Person, they issued Benny & Us, a collaboration with soul legend Ben E. King. However, after subsequent outings, including 1978's Warmer Communications, 1979's Feel No Fret, and 1980's Shine, failed to recapture the energy of AWB's peak, the group dissolved in 1982, with Ferrone later joining Duran Duran and Stuart recording with Paul McCartney. Gorrie, Ball, and McIntyre reformed Average White Band in 1989, tapping vocalist Alex Ligertwood for their comeback effort Aftershock. Oft-sampled by hip-hop producers throughout the 1990s, the group continued touring prior to releasing Soul Tattoo in 1996. The live album, Face to Face, followed three years later.
Review by Alex Henderson
After debuting with 1973's excellent but neglected Show Your Hand (later reissued as Put It Where You Want It), the Average White Band switched from MCA to Atlantic and hit big with this self-titled gem. Upon first hearing gutsy, Tower of Power-influenced funk like "Person to Person" and the instrumental "Pick Up the Pieces" (a number one R&B hit), many soul fans were shocked to learn that not only were the bandmembers white -- they were whites from Scotland. Like Teena Marie five years later, AWB embraced soul and funk with so much conviction that it was clear this was anything but an "average" white band. This album is full of treasures that weren't big hits but should have been -- including the addictive "You Got It," the ominous "There's Always Someone Waiting," and a gutsy remake of the Isley Brothers' "Work to Do." [When Rhino reissued AWB on CD in 1995, an edited live version of "Pick Up the Pieces" recorded at the 1977 Montreux Jazz Festival was added. (The full-length version had been included on Rhino's 1994 reissue of Warmer Communications.)]
1 You Got It
2 Got the Love
3 Pick Up the Pieces
4 Person to Person
5 Work to Do
6 Nothing You Can Do
7 Just Wanna Love You Tonight
8 Keepin' It to Myself
9 I Just Can't Give You Up
10 There's Always Someone Waiting
Die, Greedy Swine! Die! Die!
By Little Steven Van Zandt
When we last tuned in, puns intended, our stalwart record companies had completely given up on the idea of actually making great records people might want to buy, and had instead decided to charge radio stations for having the audacity to broadcast their records over the airwaves willy nilly so that even the unwashed unsubscribed could hear them.
Now it's the rights societies turn to go after those thieving huckleberries who run nightclubs, coffee shops, restaurants, and hair salons.
And do not think for a minute you sneaking, sniveling dentists are safe either. It'll take more than laughing gas to save your ass.
The license fee in Australian nightclubs playing records Aussie just went from 7 cents to $ 1.05 per customer - and if there is dancing, from 20 cents to $ 1.07 per person.
Just in case you're thinking that might bode well for live music, think again, my friend. Performance rights organizations are now going after coffee shops where folk duos play to 50 people.
In Canada the Society of Composers, Authors, and Music Publishers is going after Barbers, Hairdressers, and, yes, dentists who play music of any king that their customers can hear.
Have you had enough yet? No?
OK, just one more, and then we can all go back to denial.
A restaurant in Florida was contacted by a company that said it had to pay a license fee for music or it would be fined.
"But we do not play music," the conniving scoundrel claimed.
"You broadcast Monday Night Football do not you?" our protector and savior asked.
"Yeah, so what?"
"We own the rights to Hank Williams, Jr. 's" Are You Ready For Some Football, "and you're broadcasting it."
Long pause. Looking for the Candid Camera, no doubt.
"I'll tell you what," the former New Jersey restaurant guy says. "Next Monday, when Hank comes on, I'll turn the sound down."
See you on the radio.
Little Steven Van Zandt plays guitar in the E Street Band, played the role of Silvio Dante in The Sopranos and hosts the syndicated radio show, Underground Garage. He can be reached through his website.