Apparently we haven't seen the whole of Star Wars
Via Rich
Blue grey parrots | Wallpaper
Parrot Breeders are usually the supply most often sought out when a person decides to purchase a baby parrot. And customarily, that's a really sensible decision. Caring for a new child parrot just isn't the identical as getting a pet from the shelter and taking it home. Baby parrots are very delicate and require specialised care. The breeder should have quite a lot of information as to the
Ripple News - Guitar Legends JPT Scare Band Tearing it Up with New Release
But rather than have us toot the band's horn, we thought we'd let others lead the JPT parade.
JPT Scare Band "Acid Blues is the White Man's Burden."
"Each track sizzles with nostalgia, with fuzzy guitars, gritty vocals, and extended jam sessions that instantly transport you to what feels like a Hendrix concert. Everything grooves in its own right. . . will undoubtedly dazzle fans of classic blues rock. Terry Swope has got to be one of the world's most underrated guitarists!
If you miss the glory days of Cream, Deep Purple, and Jimi Hendrix, you have to check out these uncovered gems from JPT Scare Band." -- Bill's Music Forum and the Rock and Roll Report.
"The trio veers between Cream and Grand Funk Railroad." -- Tom Harrison, Quick Spins, The Province Newspaper
"Acid Blues Is the White Man's Burden, seven lengthy psychedelic bluesy rock stompers (nine of the vinyl version) that come howling out of the speakers. This is Classic Rock from the Golden Age! Holds its own against their famous niche sharers, such as Cream, Ten Years After, Rory Gallagher and the mighty Led Zeppelin. Singer Swope has the swagger and the chops, and the rhythm tandem of Jeff Littrel and Grigsby are solid and smooth. It just goes to show that it's never too late to be recognized as an interesting chapter in the Big Book of Rawk." -- Here Comes the Flood
"A Gem to treasure. Let the hypnotic music swirl around you. For anyone who wishes to delve into the heritage of the current crop of stoner bands, this is an unmissible compilation. Terry Swope rivals some of the day's greats including Clapton and Hendrix. JPT Scare band are the unsung heroes of the cult rock scene and now they have decided to remind the world of their phenomenal abilities. "Long Day," is fresh, a great introduction to the band. Centerpiece "Stone House Blues" recalls the excellent Led Zeppelin at the BBC disc with it's loose and thundering bass. "I've Been Waiting" has a riff so heavy it could be encased in lead. Sits comfortably along side Black Sabbath." -- Sonic Abuse
"Album of the Day!" - Roadburn.com
"Acid Blues is the White Man’s Burden is without question one of the most natural sounding and charismatic records I’ve heard this year. At once celebrating what they were and what they are in a way few bands can actually pull off convincingly. Littrell, Grigsby and Swope show remarkable chemistry. Swope’s leads are not to be understated. The soul in what he does is so up front it’ll bring a tear to your eye. JPT Scare Band are able to harness what made heavy ‘70s rock so influential without sounding like they’re ripping anyone off, including themselves. If you’re not moved by the way these three players work together in the jammed-out last minutes of “I’ve Been Waiting,” you’re just not getting the point. Acid Blues is the White Man’s Burden might be a sleeper, but for those who discover it, it’s treasure." -- The Obelisk
Buy here: www.ripple-music.com
Blue Grey Parrot on Holiday | Wallpaper
Welcome to my wallpaper blogs :D My name is Sena (cool isn't it?). Now i'm working as a graphic designer. You can see my best work at art deco diamond ring and used ATV tires , both of them do reviewing specific products. Beside as a graphic designer, currently i'm still working for helping my dad's metal hole punch hardware tools. Oh... Hey dudes !! and If one you looking for a wedding bands,
Classic Album Redux - Head East – Flat as a Pancake
I think part of the problem Head East had was one of perception. With their mid-western roots (St. Louis, MO) and their good ‘ol boy long-hair-and-denim image, seems like people always wanted to clump them in with the more melodic southern bands like Atlantic Rhythm Section. But Head East were nothing like them, other than both bands having an inherent ability to craft a damn-fine rocking pop song. Head East weren’t nearly as jammy as the southern bands, and while they employed a good southern tone and twinge to their guitars and certainly knew how to boogie, Head East weren’t afraid to bring out the keyboards and display a gentle prog tendency. All of this made them hard to classify.
In their purest form, Head East were an arena rock band, pure and simple. With fine musicianship, great vocal harmonies, tight arrangements, and stellar song writing chops, Head East really came across like a blend of Journey and REO Speedwagon (back when both bands were still cool, ie. Infinity-era Journey and You can Tune a Piano, but You Can’t Tunafish-era REO) or maybe the perfect combination of Rush and Southern Rock. Or perhaps they could be thought of as a fully Midwestern Supertramp. Certainly, Supertramp would've approved of their vocals.
Flat as a Pancake showcases all that made Head East a consistent draw on the arena circuit and stands the test of time as a damn good ‘70’s AOR album. Even better than that, it kicks off with one of the great, lost 70’s melodic rock songs, “Never Been Any Reason.” Sure, Head East never threatened the charts too seriously, but “Never Been Any Reason” and “Love Me Tonight,” did crack the charts and Flat as a Pancake went gold.
But Head East weren’t about one song. “One Against the Other,” brings on a bit of that southern boogie with a racial tolerance/socially conscious slant to the lyrics. It’s no surprise that “Love Me Tonight” tickled the charts. With it’s elegantly strummed acoustic guitar and great bass run, the boys display their chops easily. Toss in another hum-it-as-soon-as-you-hear-it chorus and we got another winner. Light and easy, this is probably the most Supertramp-esque song on the album. Think “Give a Little Bit,” and you won’t be too far off.
“City of Gold,” meanwhile proves that these guys didn’t forget how to rock. Bring that prog back, with it’s synths, complex arrangements, and tale of a quest to find an ancient city made entirely of gold. Heavier in tone that any other track on the album, “City of Gold,” shows that Head East really could’ve taken their music in any direction they’d wanted. Hints of the Moody Blues. Shades of Rush. It’s all here. “Fly By Night Lady,” ends side one with an adrenaline-rousing, richly textured, acoustic rocker. Perhaps even more than “Never Any Reason,” this song encompasses Head East. Great hooks, stellar vocal arrangements, a great vocal from Schlitt, some good anger, nice aggression, charging acoustic guitars, fierce bass runs. Another lost classic from the ‘70’s, and while this one was never a hit, it may be my favorite track on the album.
“Jefftown Creek,” kicks off side two (yes, I own the CD, but only play the vinyl). Big organ builds slowly, building anticipation for what’s sure to be an epic. Again, here we get the more proggy Head East, a far cry from their rootsy,country boy image. And while the song is light (“me and you and a bottle of wine) the scope of the arrangement isn’t. This is full-on southern-tilt epic, with some of the mightiest Skynard-esque guitar chops on the album. The unison vocal harmonies are about as tight as you’re gonna find anywhere, and the whole song just boogies over it’s 6 minutes-plus with a confident southern swagger that I find irresistible.
“Love Me Along,” brings out a little southern bluesy vibe a la ARS with some tasty slide and gang vocals. “Ticket Back to Georgia,” is a lighter-waving ballad, while album closer “Brother Jacob,” just sends the band out with a loose abandon of twangy, hillbilly rock. If the Grateful Dead had done this number, it’d have been a staple of their live sets.
There’s a perfect harmony to the album as whole and such an easy flow between songs that it almost feels like a “greatest hits,” package, not a band’s debut. But debut it was. Head East went on to a long career, criss-crossing the country on the arena circuit and released several more stellar albums, like their double-live disc, but if you’re looking for a place to start with these guys, start at the beginning.
Flat as a Pancake may just be one of the great lost melodic rock albums of the decade.
--Racer
Buy here: Flat As a Pancake
Atolah - Relics
Pure filth done right. Atolah are an instrumental doom trio from Australia that will thrill fans of Sleep, Electric Wizard, etc with their suzzed out negativity. Even better is that it seems like these guys may have a sense of humor. The first song “Dead Leg” starts off with a hilarious sample of someone with a fancy British accent confessing to murder. It’s a great way to start off a record and a great intro to a REALLY heavy song. “Dead Leg” sets the tone for the rest of the EP – slow, dark, brooding, pulverizing.
The title track slows things down even further. Pierre’s Rickenbacker bass is very dirty but has a nice snap to it, almost venturing into Killdozer territory at time. According to the bands myspace page JB pounds the drums on the EP but the current drummer is Leeroy. Either way, the beat crawls but maintains a nice slaveship rhythm. Zaheer’s guitar is completely distorted and sounds like he’s playing through a wall of fuzzboxes and all the batteries are about to die.
“Drown It Or Leave It” and “El Duce” are the longest songs, around 7 minutes each but don’t outstay their welcome. The riffs are strong and the playing is solid so the lack of vocals isn’t a big problem. It would be cool to hear someone with a good Ozzy wail moan on top of some of the jams. The standout song has to be “Weedy Gonzales,” and not just because of the excellent title. This one has a little extra pummel to it that will really get your noggin rockin.
If super heavy stoner doom is your bag, then pick up a copy of Relics and show these creeps some support.
--Mighty High
Buy here: Relics
http://www.myspace.com/atolah
Celtic Frost - Into The Pandemonium
An album title should give the listener an idea of what they’re getting into and very few albums have as fitting a title as Celtic Frost’s second full length studio release from 1987, Into The Pandemonium. From the album cover and Hieronymus Bosch’s interpretation of Hell to the sonic mélange infused within the grooves, Into The Pandemonium is the full package of chaos, ominous despair, and overwhelming persecution of the senses. In the mid to late 80’s, metal bands simply weren’t supposed to incorporate anything other than guitars, bass, drums, and vocals to a mix. Eh, you might get away with a few sound effects, but no one . . . absolutely no one mixed in violins, operatic female vocals, techno beats, and electronica over the fundamental instruments, nor orchestrated all of the sounds to such epic proportions as Celtic Frost.
If you’re not familiar with Celtic Frost, you need to know that this Swiss outfit is viewed as one of the godfathers of the modern death metal/black metal circuit, so that should give you an idea of the extremity of the music. Though the band is traditionally metal, Into The Pandemonium crosses boundaries into various other genres. They use terrifying imagery and menacing tones to convey their messages of doom, but in the case of Into The Pandemonium, they pushed the experimental envelope and fused the aforementioned musical elements into their sound. Used as pieces of textural intrigue or sonic special effects, these added vocals and untraditional instruments are used tastefully to enhance the music and are not the true basis of the songs . . . the songs are still rooted in detuned, sludge-y, and dark heavy metal. The textural embellishments act more like visual effects to enhance the story of a movie like Star Wars rather than the sole purpose of the song. They’re the color of a spectacular painting.
The album opens with a monstrous and brutal rendition of Wall of Voodoo’s alt-pop classic, “Mexican Radio,” and we, as listeners, get that opportunity to both raise our eyebrows in surprise and smile in pure joy. Full of Tom G. Warrior’s classic oooh’s and grunts, the Celtic Frost signature guitar tones, and thundering metal attack, “Mexican Radio” takes on a whole new vibe. There’s still an air of fun to the song, but there’s something a little more sinister in the background vocals at the chorus and when Warrior makes mention of eating barbequed iguana. Celtic Frost’s interpretation of the song is downright cool and I’m a little surprised that there wasn’t a bit more use of this song in cinema or some other media outlet.
After the intro of “Mexican Radio,” things get dire. “Mesmerized” kicks in with its huge waves of sustained chords and Warrior’s vocal approach is haunting as he sounds like he’s suffering some mortal injury. Over the dense guitar tones, this vocal approach is the kind of shit that freaked me out the first time I heard it, and odds are, it freaked out a bunch of other kids too. In time though, I’ve grown to appreciate this atonal croon and feel that without it, the song would be rather humdrum. Now, take all of this menace and these sounds of suffering, and mix in a subtle operatic female voice in the background . . . damn. It’ll make your blood run cold. The band does a great job of mixing up the dynamics of this one, as well . . . shifting from the heavy sustained portions where the music has the air to breathe to tighter riffs and polyrhythmic drum patterns to create a greater element of chaos.“Tristesses De La Lune” is more of an interlude, but it shows the band using a healthy dose of violin, female vocals, and understated guitar riffs. Within seconds of this haunting tune fading out, the Celtic Frost that has laid down the groundwork to sonic decimation returns with what is quite possibly my favorite song from the album. “Babylon Falls” is a full on thrashing Frost classic. The intensity of this song is one that’s best experienced, but until you get the chance to do so, I’ll touch on a few of my findings with it. The opening guitar riff pretty much sets the tone with its gritty and dirty distorted tones, acting as the foundation for the rest of the band to do what they do best. The bass and drums crash in at the perfect times for maximum effect, and Warrior’s vocals spit with the most potent of venoms. The beat on this track is insane, falling somewhere in that off time category of prog, but still driving at the same time. Note how the band drops to the overpowering mid tempo riff at the chorus . . . it’s great example of dynamic use. Though “Babylon Fell” stands well on its own as a metal song, the inclusion of the crooning and textural elements does that much more to enhance the listening experience.
“Caress Into Oblivion” is an immaculate musical journey across desert wastelands. Introduced by a Muslim call to prayer, the song pummels the listener into their own oblivion . . . one moment oppressed by the overwhelmingly heavy tones, the next moment jettisoned across time and space by an up tempo groove and interstellar guitar solo. I absolutely love the polyrhythmic drum patterns that they incorporate throughout this track. They add an exotic element to the music that, with the aid of swirling smoke, takes me to an island within myself. Amazing song!
Celtic Frost then does the genre crossing thing with “One in Their Pride” and “I Won’t Dance.” The former is a drum driven techno/electronica tune that features samples from various NASA space missions. Definitely another one of those eyebrow raising moments as most people are expecting more metal and not some quasi-industrial dance track. “I Won’t Dance” is about as accessible or commercial that Celtic Frost ever got. Well . . . with the exception of the disastrous Cold Lake album. But we’re not talking about that one right now. “I Won’t Dance” has a great melody to it and a very memorable chorus, but the band never sacrifices their metal intensity on this one. The riffs are still heavy, the vocals are still laced with agony, and the drums are explosive. In truth, it’s pretty fascinating that they were able to mix in such a melodic chorus within all the rest of the chaos thrashing about.
Into the Pandemonium is far and away my favorite album from Celtic Frost. Having listened to this one over and over again for the past twenty years, it’s become part of my being and despite it’s avant moments, it feels like a natural progression for a band who was so rooted in traditional heavy metal. Definitely the bands high water mark, Pandemonium is one of those albums that gets better with each listen, mainly because there’s so much going on that it’s impossible to pick up all of the intricacies on the first run through. I also appreciate this album for the fact that the band stretched themselves to the point of collapse to create a work of art. Sonically detailed and extravagant, listening to Pandemonium is like staring at a painting for hours on end, adjusting your eyes to pick up the subtle use of brush stroke, color, and texture. In this case, we’re not adjusting our eyes so much as our ears, keying in on the background elements that inspire the foreground actions. I hope that in another twenty years that I’m still finding something new buried deep in the mix of this album. - Pope
buy here: Into the Pandemonium
buy here: Into the Pandemonium
The Mumlers - Don't Throw Me Away
One of my favorite musicians who was able to continue the sound (or who may have helped create it) is Leon Russell. The man has transcended genres. He has had a stellar solo career and has played with artists as varied as Jerry Lee Lewis, George Harrison, Delaney Bramlett, Ringo Starr, Elton John, Eric Clapton, The Byrds, The Beach Boys, Willie Nelson, Badfinger, Tijuana Brass, Frank Sinatra, The Band, Glen Campbell, and The Rolling Stones. His unique Oklahoma drawl accented some of the most interesting music of the past fifty years. When he and the Band played together it was a party infused with grit and down home folk, rock and jazz.
When The Band broke up so did the party. Their final Thanksgiving Day 1976 Last Waltz concert at Winterland Ballroom in San Francisco became legendary. Since that time the home-spun carnival sound that The Band and Leon Russell produced became a lost art. As the 70's wore on, and then into the '80's, 90's and early 00's, popular music became slick, produced and urban. It was no longer a backyard party built on the music of the common man. Record companies stylized the music, the musicians and the sound. Nothing during this period sounded even remotely like The Band or Leon Russell. The party was over and the mish mash of country, rock and jazz that made up that unique Americana sound appeared to have died with the Last Waltz.
The Mumlers' album Don't Throw Me Away brings the party back. On their facebook page The Mumlers describe their influences as "Opera-hop neoclassical pop-rock folk jazz slumpin' swamp stomp." In practice, it is a modern take on the musical genre pioneered by The Band and Russell. In fact, The Mumlers' lead singer and songwriter, Will Sprott, appears to channel Robbie Robertson, Rick Danko, Levon Helm, Richard Manuel and Leon Russell. This South Bay band has been playing the SF Bay Area music scene since 2005. They are scheduled to play at the two-day Treasure Island Music Festival on October 17, 2010.
From the first track "Raise The Blinds" (a shuffle punctuated with horns and ethereal background vocals), through the last track - the album's namesake - "Don't Throw Me Away" (a 1ate 1950's, early 1960's sounding ballad, complete with background doo-wop), "Don't Throw Me Away" returns to a too long neglected folksy cadence. The second song, "St. James St." is built on the classic Louis Armstrong tune "St. James Infirmary" but tinges it with that country blues-based twang - something Armstrong probably heard down in New Orleans when he first started his career. The Mumlers use horns and dixieland instrumentation here, and on the next track, "Tangled Up With You" (a waltz based march one might hear during a Louisiana funeral processional), that I haven't heard since The Band played "The W.S. Walcott Medicine Show" on their album "Stage Fright."
The up-beat "Coffin Factory" strays from the deep south. It is infused with organ and a great hook (who would think lyrics about working in a coffin factory could punctuate such a happy song?) and is worth listening to over and over again. The tune is followed by "99 Years" a dirge punctuated by horns and organ - a track that could have easily been on a Dr. John album. On "Sunken City" The Mumlers back Will Sprott as his voice slinks through a comment on the human condition from the standpoint of a released convict sitting on a park bench watching the world go by. Sprott starts the song with the lyrics:
I was sitting on a bench in the park
With smog in my lungs and a song in my heart
& some rum in my dumpling depot
The sky was flashing black & blue
The cars were rumbling down the avenue
My heart was humming soft & low
I was watching the dead leaves
Blowing across the ground
& watching the people
dragging their feet & hanging their heads down
A more modern feel washes over "Soot-Black Suit", a instrumental track heavy on guitar and horns. It would make a great movie or TV show theme. Then, a stand-up bass thumps and guitar and drums chime in as Sprott sings "Golden Arm & Back Hand", a song that evokes Neil Young during his "After The Gold Rush" period. Thereafter, comes "Fugitive & Vagabond" a half-sung and half-whistled soft shoe linked to a syncopated drum beat. Before the album ends with "Don't Throw Me Away" The Mumlers perform "Battlefield Postcard" - a slow ballad in which Sprott sings about how to treat a lady who is blindly in love with you.
"Don't Throw Me Away" is more than a trip down memory lane. Although The Mumlers are rooted in the eclectic musical styles of some of the most celebrated popular music artists of the past fifty years, Sprott's writing talent and The Mumler's musicianship make their sound modern and compelling. When your music evokes comparisons to The Band, Leon Russell and Neil Young, and your lyrics can stand as poetry, only good things can come of it - like playing at the Treasure Island Music Festival amongst the cream of alternative rock.
- Old School
John Wesley - Live at Katie Fitzgerald's
John Wesley. There are times that we, as music fans, just stumble on moments of greatness and we really don’t know what else to say than just that. “Listen to this guy. He’s great!” We wish it was that easy to make some stop and listen to a piece of music that has had such a significant impact on our lives. We simply want to share important moments with others in the hope that those moments have a positive influence on the lives of others. And that’s where I’m coming from with John Wesley’s 2006 full length recording Live at Katie Fitzgerald’s. Not that the album has had some profound effect on my life . . . I did rescue a household of cats from a burning house while listening to it, no . . . it’s just one of those albums that I’ve found myself listening to and being moved to smile, laugh, cry, think. Music that has the power to move is worthy of note.
Fifteen tracks long, Live at Katie Fitzgerald’s is a stripped down performance of John Wesley alone with his soulful voice and his acoustic guitar . . . and a room full of patrons who I find myself envious of every time I listen to this disc. The first thing to know about John Wesley, if you’re not familiar with the man’s work, is that the guy can craft a tune! Even stripped of all of their studio trickery and exquisite performances by talented musicians, the songs have s richness and soul to them that makes them timeless and placeless. These are songs that can have an immediate impact regardless of where you or what you’re doing. A club full of drunken music fans? Absolutely. In your office, sifting through countless pounds of paperwork? Most certainly. Driving in your car with a group of friends for a night on the town? Yep. And once you’re done doing all that stuff, the songs will remain with you. The melodies, and the lyrics, and the overall vibe will creep back to you when you least expect it, years down the line, and will instantly remind you of where you were, what you were doing, and who you were doing it with. John Wesley has found the power!
Opening the live set with a track off of his most recent album at the time, Shiver, Wesley strums and croons his way through “Pretty Lives.” This song translates very well in the acoustic form. The rhythms are heavy, and with the aid of some technical effects that loop these rhythms, Wesley adds layers of elegant melody over the main riff. Throughout all of this, we’re regaled with a John’s incredible turn of phrase and ever so soulful voice. His ability to shift from rhythm to lead work is impressive, especially considering that he’s got to concentrate on the vocals at the same time. The dude is damn smooth, and his guitar solo on this track is filled with class and is thankfully devoid of superfluous notes. The lyrics echo in my head at many an odd time and I’ve even found myself using them in conversation, which illicit a few raised eyebrows . . . most people that I know recognize that I could never come up with words that conveyed an idea in such a unique fashion.
“Our Hero” is one of those songs that has the power to stop me dead in my day to day. The imagery that Wesley uses is so strong and I can feel the mass of people swirling around me as I stand in New York’s Time Square looking up at the giant Coca-Cola sign, feeling the bitter cold of the East Coast winter wind, and seeing a homeless guy sitting in the square with his memories as his lone companion. But none of these images would be possible if it weren’t for John’s passionate vocal performance. The lyrics are great, but without him singing those words the way that he does, conveying the thoughts in just that special way, those words are empty. This is one of those times that I get chills and feel my eyes moisten a bit. The art of storytelling has a great voice in John Wesley. Seriously. Put him next to Springsteen. Next to Dylan. Petty. Wesley shouldn’t be walking behind these guys. He should be arm locked with these legends, walking stride for stride.
While Wesley performs a few milder tunes in the set, he seems to get my attention the most when he shows his more aggressive side. And I don’t mean the aggressive, I’m-gonna-bust-you-in-the-mouth-type of aggressive, but more like he needs to get our attention and simply conversational tones just won’t do. “Waiting For The Sun To Shine” is a gritty and mean sounding song. The rhythms are heavy and even John’s lead playing has an edge to it. Hell, even his voice has a menacing edge to it . . . still smooth as a shot of Knob Creek, but he comes across as someone desperate. And we all know what desperate people are willing to do. Again, the lyrics provide a compelling tale and the combination of word and voice creates an exhilarating piece of ear candy.
As the album cruises through mellow portions, soulful pieces, and quieter moments, we can hear the wide variety of styles that John Wesley incorporates in his music. “Used Up,” “Ordinary Man,” and “Always Be” all shine, but I can’t help but to get excited when “The King of 17” makes its way to my eardrums. From the first time I heard it on the Shiver album, I fell in love with the track, and to hear it stripped down to the bare musical bones is a thing of marvel and wonder. The tale of a kid trying to follow his heart and the romance of being the sole provider and savior for his single love always puts a smile on my face. Ah, the naivety! It’s such a touching story sung from the protagonists perspective that every guy can relate to . . . regardless of how experienced we all were in the ways of life, we always thought that we were strong enough to carry the burdens of the world, strong enough to be a real man and deliver those we love from evil, to make the one’s we love forget the pain that they’ve endured. The reality of it is none of us are that strong, but the fact that we go out and try our best every time out has to amount for something.
John Wesley is a brilliant singer/ songwriter, conveyor of the Americana, storyteller, composer, performer . . . I can go on. Really. If you’re looking to “discover” the dude’s music, Live at Katie Fitzgerald’s is as good a place as any, mainly because it practically covers his entire discography and gives you a great idea of what the guy is all about. His studio material, as good as it is, tends to have a different feel to it in comparison to this live disc, the studio albums are full of rich texture and layers of sound. Kinda' like the difference between a painted portrait and a candid snapshot. Live at Katie Fitzgerald’s is a snapshot of how the studio albums became what they are, almost as if we’re being given a glimpse of the songwriting process, of the mindset of creating soulful music, and the power of a master songwriter standing naked before countless, scrutinizing eyes. - Pope JTE
I couldn't find any of John Wesley's live acoustic performances, but I did stumble on a couple of band performances that are very note worthy. Enjoy!
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A Sunday Conversation with Grifter
What made you decide to record the new EP completely live in the studio? How many takes before you nailed a master?
The plan really was to just demo up a bunch of songs we had without really having any idea what to do with them. We'd kind of done the whole multi-tracking thing on the first EP so decided to just go in and nail everything live. We're a three piece, that's how the songs were written and that's how they sound best, plus we wanted to get that energy and vibe you get from playing live. It turns out that the recordings came out better than we expected so decided to approach Catacomb records about a release...and they said yes!!! As for takes...some of the tunes were nailed pretty quickly in one or two takes but some were a nightmare. If you listen to "I Jesus" about 3 seconds after the track finishes there's a huge exhalation of breath then a stream of profanity!!! We tried that track so many times and each time I screwed up the middle bit. On the final take I got past the middle bit but there was a telepathic air in the room that said "fuck up now and we kill you!!!" The swearing was the pure relief at nailing it...but we did get a pretty charged take so it was worth it in the end.
What kind of gear did you use in the studio? Was it different from your live set up?
Foz used his normal kit and Phil had his Ampeg SVT blazing away in one room as he likes to stand in front of it and feel his clothing move. The only difference for me is that I usually use one half stack...a Marshall DSL 50...but on this I knew I wanted a stereo pan on the guitars so I borrowed a second cab and split my signal into the DSL and into an old 1978 Marshall JMP50 head cranked right up then mic'd them both. In the mix the JMP sounded so sweet I'm hoping to use it for the next recording. We generally have pretty good gear so no need to change much...plus we wanted to sound like Grifter so we kept the gear pretty straight. We may play with things a little on the next recording.
I like the title of the EP – The Simplicity Of The Riff Is Key. Did the other guys try and title it Simplicity Of The Beat Is Key or Simplicity Of The Bass Line Is Key?
That'd never happen. Ideally Foz would be in a prog band and Phil would play jazz funk so for them the more complicated the better!!!! Hahaha!!! Nah, I think that was a phrase that one of us came up with at rehearsal...possibly Foz...and it stuck. All of us like the power of a simple riff and a good straight ahead hammering beat!!!
You have released a couple of EP’s. What appeals to you about the format other than it’s cheaper to record fewer songs?
I do like EPs, they don't outstay their welcome and it's good to give people a taster of the band to tease them. For the first EP, High Unholy Mighty Rollin in 2008 on Fury 76 Records they only offered us the chance to do an EP...which was fine as they were a new label and we didn't want to blow all our songs on an album not knowing if they'd do a good job for us. Turns out we were right as there wasn't a whole lot of promotion done!!! So that wasn't our choice to do an EP. For the new EP Catacomb had the full 10 songs from the live session and asked if we'd like to do an album but we figured we'd rather pick the four best songs and do another EP rather than maybe use some versions of songs where we felt we may be able to do better versions down the line. Now though we have a killer selection of songs and feel we're ready to go in and lay down an album. We've done our apprenticeship, time for the real deal!!!
How did you come up with the band name? Were you aware of the Memphis band The Grifters from the 1990’s? Or Jim Thompson’s book The Grifters (1963) or the movie they made from it in 1990?
I'd seen the film but never heard of the band to be honest. The name actually came from our drummer (again!!!). When we were kids we used to have a really popular push bike called a Grifter, kind of like a BMX but better, and Foz was a real big fan of them so one day he suggested it. Up to that point we'd come up with a few names...Greedo, Teet and Simon's Fuck Hammer but Grifter just struck a chord. I don't think any of us were really aware of it being used as a term for a con man...but that's also pretty cool I guess.
For someone who’s never heard Grifter before, how would you describe it to them?
Someone asked Phil right before a gig what sort of music we play and he just replied "rock and roll". That's what it all boils down to. We all dig the blues, we all dig Sabbath, we all dig AC/DC, we all dig Clutch but we all have disparate tastes. I'm a huge 70's freak and I love doom, Phil loves some weird angular stuff, Foz loves old school ska and reggae. Between us we listen to most stuff but it distills in us as heavy, blues based, boozed up rock and roll!!!
Grifter formed in 2003. How has the band evolved since then (musically, lyrically, songwriting, etc)?
When we started we actually had a different singer who lasted two months before I took over the vocals...that's truly when the band were born. In the early days our songs were longer, more overtly complex in structure and there was more of a doom element but I think we kind of gravitated to the more rocking and grooved up side of things as it has more soul and more of a vibe for us. Our progression has been pretty natural. The fact that we play songs in our set that are five years old and sit right alongside our newer stuff pretty much says that we've hit our stride now and are running with it. It's worked for AC/DC for over 35 years!!!
Drummer Foz is credited with van driving on your myspace page. Does he resent not being able to drink after shows? Is everyone else a good band mate and take a turn behind the wheel?Foz has a matt black van called the Swollen Goat which he has fully equipped for us as a tour van to carry the gear and sleep in. He loves the van and won't let any of the rest of us drive it...and we've offered. Foz actually seems cool with doing the driving. That's not to say he doesn't let off steam a little when we play a home town gig or someone else drives like on the recent tour, but he still keeps himself together to play the gig. Plus he smokes weed anyway!!!!
What’s the crowd like at your shows? Does anyone under 40 understand your music?
Over here it's hard work to get anyone into any gig. Weedeater only pulled about 50 people in our de facto home town of Plymouth!!! I have to say though we seem to do ok, crowds may not be huge stadium fillers but they're small and appreciative. We seem to get folks from across the board...and we even get young chicks dancing which is awesome. Most folk may not be so aware of our musical heritage but we seriously kick it live so people either dig the aggression we have live, the grooves or the sense of humour. We're there to have fun and we want everyone else to join in so we get them shouting, clapping and get them involved...with us you get a rock and roll show, not musical therapy!!!
You toured earlier this year with the Sun Gods In Exile from Maine. Did they complain all the time about the lack of good maple syrup in the UK?
Oh those guys were too awesome for words. We loved them and were gutted when the tour ended. We actually wanted to find a way to legally adopt them as brothers!!!. They didn't complain about the lack of maple syrup...not after we introduced them to Döner kebabs (spiced mushed up and reformed lamb served in a pitta bread with salad, chili and garlic sauce...they can only be eaten when drunk!!!). Tony did complain about the lack of iced Bud though.
How did that tour come about? Was it a good time? Would you do it again?
I believe they got in touch with a buddy of ours, Jack from the band Stubb who also runs a multi media project called Mindzap. Jack immediately thought both bands would make a cool pairing and set to work arranging it. He'd never organised a tour before but he pulled it together with a little help from myself and the guys from Alunah who played a few of the dates with us. Would we do it again? In a heartbeat...it was the most fun ever. In fact the plan is to head over when we've saved the air fares and hit the States to do some shows down the East Coast with them.
You and bassist Phil are both parents. How difficult is it to find the time to be in a band on top of work and family life? How thrilled are your spouses to be married to guys with such an expensive and time consuming hobby?
Good question. We have had to make some sacrifices. We have to keep some of our holiday from work free for family stuff and we have to keep certain dates free like kids' birthdays and stuff like that so we have to be a little more selective over the gigs we do play but other than that it's all pretty easy and cool. We love our families to bits but we have a real need to do this. This is our release, our time and without it we start crawling up the walls, getting really angsty and agitated. This is where we let off steam. Fortunately Phil and I both have awesome wives and Foz has an awesome girlfriend that all love an support the band and understand that it's better for everyone for us to do this and be happy than not and be fucking evil to live with. It also helps that we're such close friends and all the ladies get on so well as well, it's kind of like a weird family. At the end of the day some guys go off on fishing trips for a weekend, go snow boarding, banging hookers in Vegas...this is our hobby just the same so they're cool with it. At least we don't bang hookers in Vegas!!! (We haven't been to Vegas yet though!!!)
What was the first music that really excited you? And how long after that did you pick up an instrument?
For me growing up my house was always full of music and my dad had a really diverse and awesome taste in music. He's a massive Rolling Stones fan and loves the old school blues guys so Sunday mornings and in the car he'd always be playing this amazing stuff that seeped into me I suppose. He'd also play old school 60's ska like Prince Buster and 70's soul. His record collection is incredible!!! I guess then my earliest stuff would have been the Stones then maybe The Police and Adam and the Ants when I was around 10. It was all guitar based from the start then one day I saw a Status Quo concert on the TV when I was 12 and was hooked. My dad bought me an album next, then it was a slippery slope into heavier and heavier stuff but I've never lost the love for the Stones or the blues. I probably picked up a guitar around 10 as well as my teacher at school played and started a guitar club. My dad had an old acoustic so I went along...haven't looked back since.
Who are some of your biggest musical inspirations? Favorite albums?
For me, ever since I first heard the opening chords of "Neon Knights" from Sabbath's Live Evil album when I was 13 it's been Sabbath. They're pretty much the pinnacle for me. The rest of my influences? I'd say AC/DC, Motorhead, The Who, The Stones, Led Zeppelin, Lynyrd Skynyrd, ZZ Top, Clutch, Aerosmith, Mountain, Cactus, Humble Pie...you get the picture. Favourite albums? The first 6 Sabbath albums, any AC/DC album with Bon Scott, Overkill and No Sleep Til Hammersmith by Motorhead, Live At Leeds and Who's Next by The Who, Nothing's Shocking by Jane's Addiction, Exile On Main Street by the Stones, Clutch's self titled, Humble Pie Rocking the Filmore...the list could go on forever.
How’s your hearing these days?
Pardon?
What current bands do you find inspiring?
The Sun Gods in Exile album kicks my ass...and even my wife and dad love it. Stone Axe are just an incredible band...so organic and natural...they sound like a band even though Tony Reed does it all himself virtually. That is one awesomely talented dude. We have some very cool bands over here in the UK...Domes of Silence play pretty awesome stoner, like QOTSA on steroids with attitude. Suns of Thunder are amazing from Wales. Medamaki from Evesham are one of the best live bands I've seen on the underground circuit but the laziest bunch of fuckers going!!! Most of what I listen to is pretty old so most of the current bands I dig sound pretty old. Mighty High are pretty good too I guess ;-)
How do you feel about people posting your music for free on blogs?
I would prefer it if they bought the CDs as it's that revenue that keeps us able to get out and gig and record but I'd prefer it even more if people just heard us so I can't complain. I'm just as happy of someone gets in touch to say they like the band from hearing it on a blog as on a CD...let's just say I'd rather 1000 people heard it for free than 100 people paid for it!!!
Vinyl, CD, or digital? What's your personal format of choice?
I'm old school, I love vinyl. The buzz I used to get as a kid from searching for an album, sometimes for weeks, then finding it...or finding an old second hand copy of some obscure 70s thing...it was a magical feeling that you don't get nowadays. That said, I'm on the move a lot, drive a 90 minute round trip to work, listen to music at work on my headphones...etc so digital may not be my preferred choice but it's the most convenient. (I hang my head in shame!!!)
Ever had any good Spinal Tap moments on stage?
A combination of beer and rocking out has seen Phil fall off stage a couple of time. He's never gone ass over tit and always stayed upright and playing but it's been a close call. Numerous times I've made myself dizzy from banging the head too much...never lost it though!!! I nearly fell through the stage at one gig as I didn't realise the section of stage at the front was little more than a box...still held it together though. There have been a lot of nearly moments. I have learned I can't drink wine before playing though...one time I did I forgot a bunch of stuff and introduced one song we'd just played as the next song!!! Guinness or Jack Daniels all the way for me now!!!
What’s next for Grifter?
We're constantly on the lookout for gigs...it's a full time job getting gigs, promoting the band, etc. The next plan is to record a bunch of tracks for the album and a few extra tracks for other stuff (an exciting vinyl proposition that I'm sure will be made known in the fullness of time!!!). Then we'll hopefully get a cool label to put the album out for us. As I said we also aim to hit the States with Sun Gods in Exile at some point and we'd like to get over to Europe if we can...maybe France or Italy...or Germany...or anywhere really!!! We're just going to keep plugging away, writing, playing live wherever we can and getting our music out there wherever and however we can.
Thanks for taking the time to do this interview. Anything you’d like to add?
Cheers Woody for taking the time to come up with some really cool questions and a big thanks to Ripple Music for the support, it's very much appreciated. Come check out our stuff, drop us a line, say hi, buy a CD, download some tunes, come to a gig, offer us a gig, offer us a record deal, buy us a drink (Guinness all round...cheers!!!). Check out the bands I mentioned before and...be good to each other!!!
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