...That having been said, the '90s revivals of genres such as swing and ska have taught us that it's one thing to approximate the sounds of a stylish era, but it's a whole different thing to play traditional music really well. This releases attests to the fact that Big Sandy and company do just that -- in fact, they inhabit it, from Western swing to doo-wop to R&B. And if that doesn't mean anything to you, no matter. On this six-song album, recorded after the members of the group came back from a sabbatical to explore other projects, all you have to do is listen to the big man sing. The velvet-throated Big Sandy is a vocalist and songwriter of the highest order. Highlights include "First and Last Blues," "Buddy I Ain't Buyin'," and "It's a Mystery to Me." - AllMusic Review by Erik Hage
trax:01 It's a Mystery to Me 02 First and Last Blues 03 I Can't Believe I'm Saying This to You 04 Buddy, I Ain't Buyin' 05 What a Dream It's Been 06 Playgirl
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The Q’s first full-length release, The Deep End [1981], reissued in 2001 as a deluxe CD, was an immediate classic of the new creative pop sound being forged in Atlanta and Athens at the turn of that decade. The band signed with A & M Records in 1984 and released two highly acclaimed albums, The Swimming Pool Q’s [1984], produced by David Anderle with Ed Stasium, and Blue Tomorrow [1986], produced by Mike Howlett. "Visionary pop eccentrics from Atlanta," noted Melody Maker. "Some of the most compelling rock sounds in all of America...lofty architectural style distinguished by the elegant and muscular guitar duets between Jeff Calder and Bob Elsey and [Anne] Boston's rhapsodic alto phrasings," said The Village Voice. In Rolling Stone, Kurt Loder wrote, "Overlaid with Calder's unusually literate songwriting sensibility, this musical melange is one of the freshest sounds coming out of the South." The Swimming Pool Q's were chosen as support act for LOU REED on his New Sensations comeback tour. from: http://www.swimmingpoolqs.com/
Surf music for the 21st century: Powerful, twangy, reverbed guitars, a stompin´beat and the hottest rhythm section in european surf music paired with all original songs that tell tales of the waves. - cdbaby
…Recorded with pianist Dewey Terry, one-half of the '50s rock & roll duo Don & Dewey, the album features what is perhaps Big Sandy's finest vocal work to date, with lovely and soulful performances of largely forgotten ballads like "Lonely Guy," "Gloria," and "Death of an Angel." Clearly a labor of love, Dedicated to You is one solo project that's driven not by ego but by genuine affection, as well as an honest desire to try something new. - AllMusic Review by Jason Ankeny
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…These are anything but leftovers, however -- indeed, they constitute the best Desmond / Hall album since Take Ten, more varied in texture and mood, and by and large more inspired in solo content, than Bossa Antigua and Glad to Be Unhappy. As a near-ideal example of this collaboration at its intuitive peak, "Polka Dots and Moonbeams" opens with Hall paraphrasing the tune, and Desmond comes in on the bridge with a perfectly timed rejoinder that sounds as if he's asking a question. "Here's That Rainy Day" is another apt match of a standard to Desmond's sophisticated personality; he is at his dry, jaunty best on the uptempo "That Old Feeling"; and both have a ball jamming on the blues in Desmond's wry, quick "Blues for Fun." [Some reissues add a pair of outtakes, plus "Rude Old Man."] - AllMusic Review by Richard S. Ginell
This is a fine compilation of tracks from the formative years of one of Austin's most unique instro bands. While all of the tracks on this disc are previously unreleased, some were circulated as demos in the early days. A splendid set of music, and well past due seeing the light of day! Thanks to Howard Raucous for putting this out. - Phil Dirt
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...The band's spartan instrumentation leaves nothing for a weak vocalist to hide behind; luckily, Big Sandy has a rich, cultivated tenor that harks back to the glory days of Tommy Duncan while also invoking some of Hank Williams' haunted edginess. He also has an amazing idiomatic facility -- without looking at the liner notes, it's difficult to distinguish the oldies from the originals on any of the band's three albums. Their third release departs not at all from the band's winning signature style: steel player Lee Jeffriess carries on a constant good-natured duel with lead guitarist Ashley Kingman (whose bag of jazzy licks is seemingly bottomless), while Sandy croons above and the bull fiddle and drums hold things down gently below. The only letdown is a touch of fatigue that slips through Big Sandy's voice from time to time -- it's as if he tires out as the album progresses. By the end of "Backdoor Dan," the album's closer, he sounds a little bit like Bootsy Collins. Which, actually, is kind of cool in a twisted sort of way. If you had to pick just one Big Sandy record, go with the debut -- but there's no reason not to own 'em all. - AllMusic Review by Rick Anderson
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...The latter was nothing new in the world of psychobilly, of course, and Heat's music certainly kept the trashy aesthetic of his spiritual forebears. The Reverend's true innovation was updating the psychobilly sound for the alternative rock era. In his hands, it was something more than retro-obsessed kitsch -- it had roaring distorted guitars, it rocked as hard as any punk band, and it didn't look exclusively to pop culture of the past for its style or subject matter. Most of the Reverend's lyrics were gonzo celebrations of sex, drugs, booze, and cars, and true to his name, his concerts often featured mock sermons in the style of a rural revivalist preacher. The band's initial recordings were released by that bastion of indie credibility, Sub Pop, at the height of the grunge craze; after a spell on the major label Interscope, the Reverend Horton Heat returned to the independent world, still a highly profitable draw on the concert circuit.
After several years of development, Mark Stultz' band the Sandblasters has delivered a very solid CD of crunchy Spanish influenced western visionary surf and twang. The thing that struck me about this disc is the quality of the performance. It is not just solid, but Mark doesn't need to rely on volume of speed. Much of the material is mid tempo, yet it's powerful and magnetic. His bandmates Spencer Clarke - drums, and Drew Shuller - bass provide a crisp foundation. Much like Mark's work here, it is conspicuous in it's most appropriate and well defined support role, instead of obviated by the players egos. There is a definite sense of ensemble here. Most of the songs are longer, some are quite dramatic, all are very artful. Solid CD. - Phil Dirt
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...Big Sandy (born Robert Williams) grew up listening to his parents' collection of jump blues records. Inspired by the rockabilly revival of the early '80s, he began to perform with a variety of neo-rockabilly bands in southern California. Formed as a trio in 1988, Big Sandy & His Fly-Rite Boys soon expanded to its lineup featuring Wally Hersom (bass), Lee Jeffriess (steel guitar), Ashley Kingman (guitar), and Bobby Trimble (drums). Big Sandy & His Fly-Rite Boys represent an international collaboration with Kingman and Jeffriess hailing from the U.K. Although they released two albums as Big Sandy & the Fly-Rite Trio, Big Sandy & His Fly-Rite Boys' proper debut album, Jumping from 6 to 6, was produced by ex-Blasters guitarist Dave Alvin. While their second album, Swingin' West, released in 1995, focused on the Western swing influences on their sound, Big Sandy & His Fly-Rite Boys took a more eclectic approach with their effort Feelin' Kinda Lucky, released in 1997.
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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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Instrumental Surf Spy-Fi Spaghetti Western Space Cowboy Experimental Art Rock for Life's Adventures. The Sandblasters are an Austin, Texas band that play original Spanish and Tex Mex influenced western visionary surf and twang. The songs on this 1st CD "Space BBQ" are all original, written by Mark Stultz and recorded at the legendary Cedar Creek Studios in Austin, TX. Engineered by Tim Dittmar and produced by the Sandblasters Sandblasters have played with Dick Dale, Man or Astroman MOAM, Southern Culture on the Skids SCOTS, the Mermen, Deadbolt, Slacktone and at SXSW. Their music has appeared as soundtracks on Jon Keeyes Hyland Myst films, MTV Games and Reality shows and PBS specials.
...Big Sandy (born Robert Williams) grew up listening to his parents' collection of jump blues records. Inspired by the rockabilly revival of the early '80s, he began to perform with a variety of neo-rockabilly bands in southern California. Formed as a trio in 1988, Big Sandy & His Fly-Rite Boys soon expanded to its lineup featuring Wally Hersom (bass), Lee Jeffriess (steel guitar), Ashley Kingman (guitar), and Bobby Trimble (drums). Big Sandy & His Fly-Rite Boys represent an international collaboration with Kingman and Jeffriess hailing from the U.K. Although they released two albums as Big Sandy & the Fly-Rite Trio, Big Sandy & His Fly-Rite Boys' proper debut album, Jumping from 6 to 6, was produced by ex-Blasters guitarist Dave Alvin. While their second album, Swingin' West, released in 1995, focused on the Western swing influences on their sound, Big Sandy & His Fly-Rite Boys took a more eclectic approach with their effort Feelin' Kinda Lucky, released in 1997.
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...They recorded for labels like Chess, Deluxe, jaguar, Fortune, J.U.B., Hi-Q, and Federal.Joe & his band recorded some fine discs that were issued under their own name and were also used as the backup band for many other Detroit R&B talents like: Andre Williams & The Don Juans, The Diablos, The Starlighters, Chet Oliver and many more. Lovers of Detroit R&B are getting the unique chance with this CD to hear for the first time what’s considered by most collectors to be the very best recorded work of Joe Weaver & His Blue Note Orchestra. 
...Since Jerry Lee's legacy is built on his scintillating sides for Sun -- they're among the fiercest rock & roll ever recorded -- that could seem to be a problem, but the Killer didn't stop making great music when he left the label. He continued to cut classics for Smash and Mercury well into the '70s, after he toned down the rock & roll and turned up the country. Prior to All Killer, No Filler, no other collection attempted to tell this story, but this set does, taking it all the way into the early '80s, when Lewis wrapped up his career as an active recording artist. The scope of this alone is to be admired, particularly because most listeners tend to concentrate on "Crazy Arms," "Whole Lotta Shakin' Going On," "Great Balls of Fire," "Down the Line," "Breathless," and "High School Confidential," overlooking everything else he did, even his string of number one country singles in the late '60s and early '70s. Those singles are justly celebrated, but this proves that his sides for Smash and Mercury are equally stellar -- maybe not as visceral or potent, but surely as musically satisfying. They also offer a clear argument for Jerry Lee's versatility and strength as a stylist, how he can make any song sound as if it were written especially for him. All Killer, No Filler accomplishes this by not providing a laundry list of hits -- although all the key ones are here -- but by wisely choosing among his vast catalog of album tracks, forgotten singles, and even live cuts. Apart from arguably "In the Mood," which demonstrates his instrumental prowess but slows the flow, there's not a wrong move here, and it would be hard to better this as either a concise career summary or introduction. Neophytes who just want a heavy dose of Sun should stick with 18 Original Sun Greatest Hits, but anybody who truly wants to appreciate the richness of Jerry Lee Lewis' music should start here. - AllMusic Review by Stephen Thomas Erlewine
THREESOME is a sound of explosive surf punk that doesn't care much about time or place. It began as a common denominator of three persons whose involvement in the independent music scene goes several years back - Uroš through bands Euforia and Cut Self Not, Jovana through the band Metak za zlikovca and Pera through the band Spitliver. What started as just listening to bands such as Ventures, ...Dick Dale and the DelTones, Slacktone, Man or Astroman?, The Bambi Molesters, ended up with forming a band that gives its vision of what surf rock should sound today.
Threesome is a Serbian combo that delivers the sound of explosive surf punk that doesn’t care much about time or place. The three members of the band have been involved with the indie music scene for several years. What started as just listening to old and new surf bands, ended up with forming a band that gives its vision of what surf rock should sound today. - bandcamp
...While many rockabilly outfits derive their sound primarily from artists from the 1950s, Big Sandy & His Fly-Rite Boys are a more accurate take on the style, venturing back into the '30 and '40s to tap the influences for legends such as Elvis Presley and Gene Vincent. With the lead guitar/steel guitar combination of Ashley Kingman and Lee Jeffriess -- both originally out of Britain's rockabilly scene -- the five-piece band is fully empowered to explore Western swing, jump blues, and hillbilly boogie, while still injecting originality to make the sound unique. Big Sandy (aka Robert Williams) possesses a big rich, molasses-coated voice that is engaging throughout this 15-song set. Produced once again by Dave "Everything-I-Touch-Turns-into-Musical-Gold" Alvin, Swingin' West captures the energy of the band's live show intact. Highlights include the Latin-influenced rhythms of "Hey Muchachita" and the vintage dancehall-like call-and-response vocalizing on "We Tried to Tell You." - AllMusic Review by Jack Leaver
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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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Simply by asking some of its artists to cover songs by other artists signed on the label. That's indeed how Patrick Mathé asked its artists to cover songs done by other New Rose artists. Among the label's few various artists releases, Play New Rose For Me shows how coherent and how close the artists signed on the label were, with the feeling of being part of a large family based in Paris but spreading as far as New Zealand, Australia, Sweden the UK and the US.
…Much in the same way that Guitars, Cadillacs, Etc., Etc. gave Dwight Yoakam his calling card, Jumping from 6 to 6 gives Big Sandy and the band their identity in the minds of listeners. On this outstanding freshman effort with energy to spare, Big Sandy's voice is phenomenal. The band is tight, especially the teamwork displayed by steel man Lee Jeffriess and lead picker Ashley Kingman. As always, the King of California, Dave Alvin, is an impeccable producer who knows how to get the very best from each artist. The additions of guests Brantley Kearns on fiddle and Bobby Mizzell's rockin' piano on "Juiced" make for a well-layered musical experience that is multidimensional. Their treatment of Hank Sr.'s "Weary Blues from Waitin'" is inspired, as is "Honky Tonk Queen," an E.G. Thornton tune. Jeffriess lends his skills as a songwriter with outstanding cuts like "Hi-Billy Music" and "This Ain't a Good Time." The significance of this debut was not lost on the many bands that followed in the wake of Sandy's success. A landmark recording that opened the floodgates for others seeking to bring Western swing back to prominence, Jumping from 6 to 6 marked the birth a new era in country & western music. - AllMusic Review by Jana Pendragon
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...West Side Story is a posthumous patchwork of previously unreleased studio efforts and medium-fi live performances, including fiery run-throughs of "Hollywood Holiday" and the Stooges' "1969." While there are a few finds ("Free Men Own Guns") among the outtakes, the generally disappointing material and inadequate sound quality make this a meager career appendix. - trouserpress
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...The band included a young guitarist named Andy Somers (aka Summers). They played soul, R&B, jump blues, and rave-up rock and flirted with jazz and blues. They were the live equal of Georgie Fame, the Yardbirds, Geno Washington, the Animals, and Spencer Davis but on record -- despite the critics' claims that they never measured up to their live gigs -- they wasted all of those bands. The 24 tracks collected here, ranging from the Big Roll Band's first single, the astonishing "The Uncle Willie" in 1964, to the band's breakup effort in 1970, the smoking "No One But You," tore up jukeboxes across the U.K. and France even if they seldom made the Melody Maker charts (only once, actually). Simply put, there is no British music with as much carefree abandon and showmanship as these sides display in spades. Every 45 (both sides) is included here, and there isn't a substandard millisecond in the bunch. This is essential listening for anybody interested the music of the era. (Thom Jurek, Allmusic)
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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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...Everyone wanted Desmond to come up with a sequel to the monster hit "Take Five"; and so he did, reworking the tune and playfully designating the meter as 10/8. Hence "Take Ten," a worthy sequel with a solo that has a Middle-Eastern feeling akin to Desmond's famous extemporaneous excursion with Brubeck in "Le Souk" back in 1954. It was here that Desmond also unveiled a spin-off of the then-red-hot bossa nova groove that he called "bossa antigua" (a sardonic play-on-words meaning "old thing"), which laid the ground for Desmond's next album and a few more later in the decade. Two of the best examples are his own tunes, the samba-like "El Prince" (named after arranger Bob Prince), an infectious number with on-the-wing solo flights that you can't get out of your head, and the haunting "Embarcadero." Hall now gets plenty of room to stretch out, supported by Kay's gently dropped bombs, and he is the perfect understated swinging foil for the wistful altoist. There is not a single track here that isn't loaded with ingeniously worked out, always melodic ideas. - AllMusic Review by Richard S. Ginell
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This compilation features live tracks recorded on tour in 1966 and studio tracks recorded in early 1970s. In 1967 without the brass-section the Band became the fabulous Psych-band 'DANTALIAN's CHARIOT'. Today he is on the road with Alan Price, Pete York, Big Roll Band and the BRITISH BLUES QUINTET incl. some of the best british (scots) musicians (Zoot, Colin Allen; Maggie Bell; Miller Anderson; Colin Hodgkinson)
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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 group's 1981 debut, The Deep End, shows the Swimming Pool Q's shared a fondness for angular pop hooks with the above-mentioned groups, but that's where most of the similarities end. The guitars of Bob Elsey and Jeff Calder aim less for chime than for sharp aural twists and turns, the vocals from Calder and Anne Richmond Boston are soulful with just the right amount of grit to make the willful surrealism of the lyrics stick, and the band's melodic sense suggests Pere Ubu's Southern brethren, with the noise factor turned down, the psychedelic influences given greater room to move, and the arrangements given a oddly cheerful exterior that only made the dark undercurrents creepier. Lyrically, The Deep End captures a band fully in touch with their Southernness, but their take on life below the Mason-Dixon line is mixed with equal parts good humor and not-so-subtle menace; "Stick in My Hand" is (literally) a redneck nightmare come to life, "Stock Car Sin" and "Big Fat Tractor" embrace Southern stereotypes with mingled joy and terror, and "Overheated" sounds like something Flannery O'Connor might have come up with had she had been a twenty-something in Atlanta in the 1970s. The Swimming Pool Q's didn't sound much like anyone else who emerged from the Deep South at the time, and The Deep End proves they had both the chops and the ambition to make something special of their strange vision. The 2001 reissue of the album adds 13 bonus tracks to the album's original 11 tunes, ranging from songwriting demos and pre-album single tracks to an song that didn't make the cut for the band's 1989 major-label swan song; the result is as complete a look at this band's unique world view as you're ever likely to find in one package. ~ Mark Deming, All Music Guide
The Swimming Pool Q's:
The right person discovering this will get their sox knocked off their surprised tootsies!
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