...It's truly weird to think of vibes on a groove date, but the way Patton's understated playing works, and the way Green is literally all things to all players, Hutcherson's role is not only a clearly defined one, but adds immeasurably to both depth and texture on this date. What also makes this possible is the symbiotic relationship between Patton and Green. There is a double groove conscious swing happening on every track here, from the bluesed-out slip and slide of the title track which opens the record to a killer version of Hank Mobley's "The Turnaround," which expands the blues vibe into solid soul territory because of Hutcherson's ability to play pianistically and slip into the funk groove whenever necessary. Green's deadly in his solo on the track, shimmering arpeggios through Patton's big fat chords and chunky hammering runs. Also notable are Patton's own tunes, the most beautiful of which is "Latona," a floating Latin number with a killer salsa rhythm in 6/8. As Patton vamps through the chorus, Green slips in one of his gnarliest solos ever. It begins with a groove like run in the hard bop blues and then shoves itself into overdrive, capturing the cold sweat of a Bola Sete or Wes Montgomery in his groove years. But when Green goes for the harmonic edges, all bets are off: Hutcherson lays out, and he and Patton go running to the bridge and bring the melody back just in time to take it out. This is one of the least appreciated of Patton's records, and there's no reason for it; it is great. - AllMusic Review by Thom Jurek
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01 Let 'Em Roll 02 Latona 03 The Shadow Of Your Smile 04 The Turnaround 05 Jakey 06 One Step Ahead
This music is dedicated to the tradition of Johnny Diego's Rock 'n' Roll Free Sunday!
This sophomore release is actually a debut in a couple of ways, marking the first studio album for the Blue Hawaiians as well as a first taste of their original material. To this end, Sway stays afloat gracefully in uncharted waters with a sound that soothes, grooves, and cruises at modest speeds. Although the album's a bit formless as it strolls out of the starting gate, their premiere, Live at the Lava Lounge, opened in much the same way, building momentum as it progressed. Here, the album just starts to show flames curling around the edges by track three, the Mancini-penned "Banzai Pipeline." Michael Murphy adds the right age of cheese to the track on the Hammond B-3, here and elsewhere. The fun continues with a curtsey and a submissive smile during "Casino," featuring Japanese vocals by Karu Mansour -- it's an island lullaby that evokes clichés, nostalgia, and geishas in grass skirts. The songs continue cruising toward the sweltering coastline by way of convertibles, zoot suits, and bowling shirts, only to arrive under the grass hut for "Martini Five-0," the most sublime version of the TV theme heard in some time -- it's Jack Lord after solving the big case and sharing a cold one with Danno. "Swingin' Hula Girl" features bassman Mark Fontana on vocals and some fine Hawaiian steel guitar work by new member Gary Brandin from the Vanduras. "Drop the Hammer Max!" has both a great live sound and the rhum-bunctious pounding of Tom Maxwell on drums. "Sharkskin Saddle" tips a ten-gallon hat to the cowboys in a genre-blending theme from guitarist Mark Sproull that skims the sonic surface of country, jazz, and blues. "Charade" and "Tortolla" elevate upwards to somewhere around the James Bond versus Tarantino atmosphere in their own distinctive way, but it's "Drunk Man Noodle" that finally breaks the sound barrier -- a drag-race trio of welcome ferocity. Brief as it is, it's a much-needed energy boost, and the longest the claws are going to get this time out. Next, as if collecting themselves, the band smooths out their hair again for a reprise theme of "Da Cat," as if to say, "just kidding with the angst." The album-closer, "Element 86," is a mysterious, seven-minute swarm of guitar noodles and drum rolls that rise and fall in the spirit of improvisation for inspiration's sake -- or is it the other way around? Track for track, Sway maintains a more languid and restrained energy. The waves weren't as good that day, the mahi mahi wasn't as fresh as it could've been, but hey -- it's still Hawaii. ~ Glenn Swan
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This German-import, 24-track power-pop compilation features previously available material from bands like DM3, Waking Hours, the Double Naught Spies, and the Krispies, but the majority of Popgun 2000 consists of heretofore unreleased songs. Artists present in that category include the Shazam, Paul Collins, Martin Luther Lennon, the Chevelles, the Yum Yums, the Barracudas, and many more. ~ Steve Huey, All Music Guide
The Surf Mosters CD does a great job of giving light to a growing interest in a once forgotten music. This CD does a great job of dragging surf music into the modern era, preparing it for the 21st century. It also uses classic surf artists to show where its been, and modern artist that give a fesh and new look at were its goin'. Surf music is in good hands. Highlights include Bomboras and Satans Pilgrims track and the Cocktail Preachers track. Smokin' guitar on that track, equipped with bouncy whammy bar. Well worth the money.
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...i hope the quality is satisfactory. (It was a nice coincidence, i meant to look for Fabienne Del Sol, and instead The Sires were posted right up there! hehe So i thought what the hell, I had them sitting there since 2003 or something... I have not even listened to them properly!!!)
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Cool garage band from 1997 who recorded at Toe Rag Studios w/Liam Watson. (If anybody out there has more info on this band, please let us know.)
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…4-11-44 felt uneven, as if this once mighty band lost the muscle and the focus they commanded in their prime, but even though they still don't have a songwriter strong enough to compensate for Dave Alvin's absence, Fun on a Saturday Night is a definite improvement, a great set of classic blues and R&B covers that cuts a solid groove and sounds like these guys are having a hell of a good time. Phil Alvin's voice is a few shades grainier than it once was, but he wails like he means it as he tears into "Rock My Blues Away," "Well Oh Well," and "Love Me with a Feeling" with a joyous abandon. Alvin struts like a bantam rooster as he duets with Exene Cervenka on "Jackson," and reveals you don't necessarily have to be crazy to cover James Brown's "Please, Please, Please." Alvin also sounds convincing when the band slows the tempo on "No More Nights by Myself" and "Penny," and his longtime cohorts, bassist John Bazz and drummer Bill Bateman, have just the right touch for this material, tough when they need to be and easy when the song calls for it. Guitarist Keith Wyatt has impressive chops and the good sense to not make like a show-off, and when the band turns their classic "Marie Marie" into a Mexican folk number on "Maria Maria," the gambit works like a charm. Easily the oddest number here is also the sole original; "Breath of My Love" is a funny but harrowing tale of domestic discord written by Phil Alvin that cuts to the bone and may feature the first recorded instance of a doo wop chorus singing "Nine One One." Fun on a Saturday Night isn't an epochal roots rock statement like the Blasters' best work, but that also doesn't seem to be what the band had in mind for this set; instead, this is four guys playing some songs they love with the skill and smarts of a lifetime devoted to the music, and this is 36 minutes of good rockin' fun that will kick off a Saturday night (or any other night of the week) in high style. - AllMusic Review by Mark Deming
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Emerging from the Southern California surf scene in the summer of 1994, The Bomboras play a blend of classic surf and garage/trash-rock. Highly motivating, their songs burn and steam with energy throughout the fifteen tracks on this disc.
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...i hope the quality is satisfactory. (It was a nice coincidence, i meant to look for Fabienne Del Sol, and instead The Sires were posted right up there! hehe So i thought what the hell, I had them sitting there since 2003 or something... I have not even listened to them properly!!!)
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...Starting in the late 50s, Rebennack gained prominence in the New Orleans R&B scene as a session keyboardist and guitarist, contributing to records by Professor Longhair, Frankie Ford and Joe Tex. This collection is closer to 'Gumbo' than any of Dr John's other albums featuring, as it does, many of the original 45s of New Orleans music. The first track is his co-write of "Lights Out", which is one of the most frantic rockers of all time. If you like New Orleans R&B you can resist this collection and if you're a Dr John fan, this is an interesting look at his early career of writing, arranging, producing and playing guitar.
…Their music touched on elements of punk rock, psychedelic rock, heavy metal and noise rock with a heavy dose of performance art. They described their music as "anti-rock." Destroy All Monsters never found mainstream success, but earned some notoriety due to members of notable rock groups The Stooges and MC5 who joined the group. Although Destroy All Monsters never recorded a proper album, Sonic Youth singer/guitarist Thurston Moore released a three compact disc compilation of the group's music in 1994. - wiki
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It's a shagadelic surfin' safari, and The Bomboras have enough potato salad and board wax for everybody. Featuring some salty sax from ex-X greaser Billy Zoom, this disc is shaking from the get-go, covering much of the same dusty pop culture (i.e. beach blanket bingo) turf as our own Surf Trio, though they lack some variation in style. The lead guitar (every surf band's calling card), which alternates between down /dirty and clean/nimble is ferocious throughout, particularly on "The Creeper" (a "Wipe-Out" pilfer) and on the fuzzed-out, Ventures-like whirl, "Pier 13." With the addition of a spicy Farfisa organ for some extra texture (not to mention the occasional sax and harmonica), the sound is full and extra jumpy. Granted, the surf thing is getting cliché, but when it's this basic and bashing, you won't have much to gripe about. - John Chandler
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
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A bizarre collection -- early recordings, attempts at a rock version of Othello, and recent unrequited live tracks -- adds up to a definitive single-disc retrospective of an unmatchable performer's lesser-known sides. - AllMusic Review by Roundup Newsletter
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Chances are if you've got this far you have somewhat of a jaded ear for surf music. Organ Grinder was originally relaesed as a mini-album but the version here includes more than a handful of live tracks. The Bomboras are simply the best at their style of surf. Loungy organ, screaming guitar, intense bass lines and the unbelieveable rhythmic pounding of Dave Klein. So it's not deep or guaranteed to stir your soul, and that's not it's intended purpose. These cats wail, and they are very well balanced, each bombora puts on a show of his own. Relaxing and invigorating! - By Eric A. Morgan "shiftless dullard" (Fullerton, CA)
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
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Based around ex-patriot Englishmen Oliver Baroni and Duncan James together with chanteuse Emanuela Hutter, they've long been showing Zurich how to Rock 'n' Roll. Damn Right Honey features two distinctive guest singers joining them for duets. Rockabilly stalwart Paul Ansell, the chosen vocalist of Scotty Moore, contributes to the single 'Flying High, Moaning Low'. And Sparky Phillips returns to duet with Emanuela on 'Northern Crown'. for the first time they've engaged a brass section, and are also aided and abetted by BJ Cole and Geraint Watkins amongst others. Jungle. - amazon
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One of the great bands of the brief '90s surf revival, the Bomboras are probably one of the most talented groups to ever play this genre. They may not have lasted long, but their stay did include a bunch of riveting performances featuring hot go-go dancers, extremely geeky jokes, occasional fistfights and their instruments set on fire. A regular feature of their show included the keyboardist standing on his organ while playing it, before dousing it with lighter fluid and setting it alight. This collection of their singles, all originally released on stylish 7-inches, gives the first-time Bomboras listener a good idea of the band's mastery of the surf form. "Forbidden Planet" and "Moon Patrol" are lush, murky, reverb-drenched stompers from a far-out, undiscovered world, while "Drag Strip Tease," one of their few vocal numbers, is recorded so that it really sounds like it's from the drag strip era. Sometimes the retro-recording style works, but other times it would be nicer to have the guitars (there are three of them) sizzle a little more. This is a problem with a lot of records put out on Dionysus. The recording process seems to have dulled the music a bit. Still, this collection of their singles is among the best records the Bomboras ever put out. ~ Adam Bregman, All Music Guide
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
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…The label, however, recorded a fascinating cross-section of the music of the day and The Ebb Story tells the tale.Formed by Leonora "Lee" Rupe, with the money she received as a divorce settlement from her ex-husband Art Rupe (head of Specialty Records), and Jesse J Jones, an arranger and horn player, Ebb kicked off with The Ebbtones' Danny's Blues and worked their way through the New Orleans R&B of Professor Longhairs' Look What You're Doing To Me, the soulful blues of Ted Taylor, the down-home Texan blues guitar and voice of Smokey Hogg, the supper-club blues stylings of Floyd Dixon, the rockabilly of Kip Tyler, the chameleon vocals of Dolly Cooper and the classic hit R&B of the Hollywood Flames with Buzz, Buzz, Buzz . In the end, Ebb succumbed to the problems that beset many independents in the era - lack of national distribution and undercapitalisation (Ebb never released an album, even for their one hit maker, The Hollywood Flames). However, in their short run of two years, they left behind some great underground sounds of the period and "The Ebb Story" lets the world sample them one more time. Many of the recordings included on "The Ebb Story" are released on CD for the first time.
Surf meets exotica. The Bomboras debut album is all about the interplay of garage, surf and tiki/island sounds to provide a driving beat and exotic sounds. Not quite like other surf revival bands, this is more moody than fun in the sun. For me the addition of an organ to the sound makes it all more appealing and gives them a darker feel. This is one of my favourite albums to spin in the background of a friendly get together. The only downside is it's abbreviated length. Enjoy. - samlan
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With enough reverb to blur your vision, two of the most boss surf/garage rock bands of the 90's, square off in a "battle of the bands" match, 2 out of 3 falls--no TV time limit. Grab a cold beverage or two, get comfortable and let the battle begin!
Lord Hunt & His Missing Finks
It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
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...Recorded in 1963 while the pianist was a member of the Cannonball Adderley Sextet, the session came about as a result of Webster's and Zawinul's sharing a New York apartment for several months. It's actually billed as Zawinul's first session as leader and Webster's last in the U.S. before his move to Europe. The tunes generally keep to mid-tempos, a pace that affords Webster the opportunity to wield the gentler side of his legendary sound. His rich, nuanced tone and magnificent phrasing are superbly in evidence. Listeners only familiar with Zawinul's soul-jazz side with Adderley and later his pioneering synthesizer work with Weather Report may be surprised at his eloquent playing here in a classic style right out of Tommy Flanagan or Red Garland. The presence of Thad Jones -- a legend in his own right -- on cornet for four tacks is a bonus. With a rhythm section rounded out by the slightly lesser legends of drummer Philly Joe Jones and bassist Sam Jones, alternating with Richard Davis, there isn't one false step on this set. It may tend to the mellower side of things, but that simply means there's more opportunity to luxuriate in Webster's peerless sound. 
Recorded at T.U.P. Studio. Mastering by Jon Astley, co-producer with Glyn Johns of the Who’s last album with Keith Moon Who Are You. He has remastered records for Small Faces, George Harrison, Who, Zombies, etc, and we are very proud to have worked with him. Collage on the cover by Ekim Sakar’s Art Archive, Cover artwork by Fabio Conti.
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From the outgrowth of Steampacket, a band that included not only Brian Auger and Julie Driscoll, but also a young Rod Stewart, came Auger and Driscoll's collective effort that produced two albums. When Driscoll left in 1969 to pursue a solo career, Auger, drummer Clive Thacker, and bassist Dave Ambrose continued as Brian Auger & the Trinity. Open has been unfairly characterized as a kind of groove jazz rip, one that combines Wes Montgomery, Jimmy McGriff, and the rock sensibilities of the psychedelic era. Whatever. There are many tracks here, from deep grooved funky jazz to lilting ballads and greasy blues numbers and the skronky exotica number "Goodbye Jungle Telegraph." Auger may not have been as gifted an organist as Alan Price technically, but he could more than hold his own on the Hammond B-3 (as evidenced by the first two tracks here which are instrumentals, "In And Out" and "Isola Nate"). He was also able to pull more sounds out of the instrument than any of his peers. Auger wasn't much of a vocalist, but he could dig deep and get the emotion out of a song — especially in a funky number like "Black Cat," which featured a killer though uncredited studio horn section. Driscoll's contributions are all on the second half of the album, beginning with the shuffling choogle of Lowell Fulsom's "Tramp," continuing through a moving reading of Pops Staples' "Why (Am I Treated So Bad)," two Auger originals, and concluding in a reading of Donovan's "Season of the Witch" that single-handedly established her reputation as a vocalist of great interpretative ability and emotional dexterity. Almost eight minutes in length, it is the perfect interplay for the quartet with its dark, smoky swirling energy and extant soul groove, and capos the album on a high note, making it a delightful precursor to the classic Streetnoise which was to follow. - AMG Review
Following her highly successful explorations of the Motown and Chess catalogues, Lois Wilson - Mojo, Record Collector - turns her attention to the iconic Manhattan-based Atlantic Records with Right Now, an 86-track 3CD set. Atlantic Records was founded in 1947 by Ahmet Ertegun and Herb Abramson. Other key participants in the company's rise to success included studio engineer Tom Dowd, eminent record man Jerry Wexler, Ahmet s brother Nesuhi, who developed the company s substantial and highly successful jazz catalogue, and the dynamic songwriting & production team of Jerry Leiber and Mike Stoller. Crucial early signings included Joe Turner, Ruth Brown, Ray Charles, Chuck Willis, Clyde McPhatter and LaVern Baker. All those names are represented here, alongside other performers who recorded for Atlantic and its subsidiary Atco in the forties, fifties and early sixties; years which saw the evolution of rhythm & blues into soul. The diversity of Atlantic s roster is represented by the presence of early Atlantic hit-makers Stick McGhee and Joe Morris, consummate soul singers Solomon Burke, Ben E. King, Bettye LaVette and Barbara Lewis, a pre-Motown Isley Brothers, New Orleans piano man Professor Longhair, saxophonists Willis Gator Jackson and King Curtis, blues guitar pioneer T-Bone Walker, Louisiana rock n roller Dale Hawkins, jazz singer Mel Torme, and the vocal group sound of the Clovers, the Coasters and the Falcons - then including Wilson Pickett and Mack Rice in their ranks. Some of these recordings were acknowledged successes from their initial release; others have acquired popularity among collectors and on the club scene over the intervening decades. Atlantic's highly-regarded jazz catalogue deserves a survey of its own, and Right Now also eschews many of the labels very biggest hits, on the grounds that they are easily found elsewhere. Instead, Right Now offers club-friendly and often-overlooked, deep catalogue selections drawn from the wealth of rhythm & rock released on the hallowed label. The big names mentioned so far are joined by key cuts from Jean DuShon, Jimmy Ricks, King Coleman, Richie Barrett, the Top Notes, Eunice Davis, Dean Beard, Choker Campbell, Johnny Jenkins, Billy Storm, the Tarantulas and the Van Dykes. Time for a deep delve into the depths of Atlantic.(R&B Monthly)
...Caballero (2011), published by German label Soundflat Records, represents another step ahead in the musical development of the band: fourteen original songs in which they deconstruct the last fifty years of Rock’n’Roll. The artwork for the cover is made by Pablo Echaurren. The promotion of the record sees intense touring through Italy, Germany, France, Spain, while Fred Calamari joins on drums. In 2013 the band decides to take a breath and slow down the live activity to concentrate on side projects: in january they play a tribute gig to The Buzzcocks, playing songs only by the Manchester band; the other new-born project is the Ray Daytona Rock’n’Roll Circus , featuring the first historical drummer Madison Wheeler, and performing songs from the first years of the band history and rock and roll covers by Martha Reeves and the Vandellas, The Zombies, Link Wray and The Ventures.
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