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Friday, June 29, 2018

BBQT - Let's Go

No Front Teeth Records Released "Let's Go" the debut full length of BBQT. 

The songs were recorded and mastered at Fuzz City by the one and only Matthew Melton who also added some fine guitar work in the process.

Gabbie Bam Bam tells this blog everything you ever wanted to know about Austin's best kept secret.

1) For the viewers of this blog who don't know you, What would you tell about BBQT to introduce yourselve? Is BBQT actually a real band or is this just you with some friends helping out?  Who is playing what instrument in the band? We want to hear it all from you!

It's the Poor Man’s Favorite Glam Band. Haha. BBQT started out as a bedroom recording project in which I would play and record all the instruments for. I think there are still some records where I play everything. I basically ask friends of mine if they want to go on tour with me whenever I hit the road. The lovely folks who are playing this line-up have been friends I’ve played with in other bands or friends that have played in bands The Bam Bam (my previous band) played with. I’m super stoked on this current line-up which consists of: Sal Go (she plays guitar), Alex Briscoe (who plays a mean lead guitar), Clink (da bassmon), and Jake Berry (on la bateria).

2) About your full length debut record "Let's Go",  what can you tell about the recording process? Was this a live in the studio recording or a track by track recording with lots of overdubs? I guess it's Matthew who talked you into this but what do you consider might be the real advantage in recording in the tuning of A=432hz?

I must preface this answer with a backstory. So Let’s Go was kind of an accident. I originally didn’t want to do a full length and just a bunch of “collectible” glam style 7”s. It actually took me a whole year to feel confident about releasing this record. It wasn’t until Matthew said I should introduce my sound to the world (insert theatrically motivational music)  that I just kinda “went for it”. The recording was spread out between two years (I had recorded the 7” Inmate first) in three sessions.

Each recording was executed a little bit different each time. The first sessions was click track. It was this way mostly because I had just arrived to Austin without really knowing any other musicians. I was introduced to Chris through mutual friends who literally jumped on drums the day of the recording and kicked ass (he hadn’t even heard the songs prior). So the next five songs recorded were Let’s Go, Flatline Luv, Play Rock n Roll, Jade & Jasper, and Golden Twenty.

Those we recorded semi live semi click track. I had been used to click tracks because that's how I recorded the songs in the demos. The last three tracks: Tuff’n’ Up, All Day Night and Angel Sweet were recorded live. We practiced the songs a day before going into the studio the next day. Matthew then added bass and some guitar with my Vocals.

On the subject of A= 432. I'm totally a person who believes in everything happens for a reason. When I first started playing music I was told that I play with “feeling”. I was never really sure what that meant because it wasn’t something that was premeditated or anything. As Matthew recorded me and became more familiar with my writing he suggested 432hz because of that same “plays with feeling” sentiment. I guess it makes the most sense because it’s as much as a performance for the eyes as it is for the ears. There’s some research out there but I mainly noticed the affect it had with me and my audience and bandmates when we play shows.

3) To what kind of music did you listen to as a teenager and does it still influence your today work? What was your favorite band as a teenager? Name 3 bands that you consider still have a influence on your own work today.

I listen to a lot of different types of music as a teenager. Before being a full fledged teenager, I’d sing pop songs from female artists like Whitney Houston and Selena y los Dinos. Pop has and always will have a special place in my musical ventures. I had a great friend in high school who made me a mixed tape that changed my life. I’d say I listened to a lot of UK82/European 77 rock n roll/punk. I guess GG Allin was close to being my favorite when I was 15 but… I don’t really have favorites… not even to this day. I listen to such an eclectic mix of stuff. I guess I will get stuck on an album but can’t really say I have a “favorite”. I’d say the Jabbers, Blitz and X-ray Spex are the winners of still influencing me.

4) Are you the main composer of all the tracks on this album or was everybody involved in one way or another?

I am the composer of all the BBQT music. I love recording. I’m really just the conductor for music that writes itself through just me. Our live shows are so great because my friends play what they feel sounds best. I try to make it as open as possible. BBQT is ever-changing so sometimes my demos will be psych versions of the hard glam that ends up being recorded. I like facets of chaos. I try not to be too rigid with my approach to songwriting. I write quite a bit but I never really force myself to write. It takes away from the fun and chaos I like to have through my music.

5) What are BBQT favorite topics to write about or the topics that come easily when you write a new song?

I used to write songs about drugs, being strung out or escaping from rehab. Thats my honest answer. There aren’t topics that I plan ahead really. The songs describe their themes. The songs kind of appear to me in my head. Yeah, its out there. I see more shapes and colors of things I write about more than any rigid system. Its subconscious… its worked for me so far now that I have a clear head.  I guess BBQT is an ongoing love letter to myself too haha.

6) Is there a new rock'n' roll scene in Austin these days and are there any other bands you are feeling close to?

It's hard to answer this question because I am new to Austin myself. It's so hard to comment on individual scenes for me because I look at the details than a bigger picture (sometimes a flaw I suppose). I know people who are definitely doing their part to contribute. Right now I feel closest to Trouble Boys and Cheap Fur. Besides being my friends I truly like and support what they are doing right now.

7) Do you have a video on youtube featuring a track from the latest release? 

This video is so f***ing cool because its the first time I’ve done a collaboration with someone overseas. I worked with a director by the name of Chris O’neill from Cork Ireland and he brought me together with some very talented folks who helped out with this video; namely, Sarah Corcoran, Seamus Hegarty and  Chris Collins.

8) What can concert goers expect at a gig of BBQT? Are you playing any famous cover songs? 

I’d say you’d have to come check us out to really capture the moment! We don’t cover anyone’s songs. Not on purpose really, we just haven’t yet. Possibly in the future?

9) What are the plans for the rest of 2018 as far as BBQT are concerned? Are you guys planning to tour Europe soon?

Currently planning a Mid West American tour in the early fall with our friends MAMA from Chicago. We would love to play Europe summer of next year realistically.

10) Anything you would like to say to the viewers of this blog?

Without YOU we wouldn’t exist! LIVE FAST PLAY ROCK N ROLL!!!


Monday, May 21, 2018

The Senior Service - King Cobra released on Damaged Goods Records

A couple of weeks ago, the ever so brilliant DAMAGED GOODS RECORDS label released the sophomore album of SENIOR SERVICE. 

So it was time for this blog to have a very interesting and enlightening conversation with Graham DAY who tells us everything we always wanted to know but were afraid to ask.

1) Graham you and you partners in SENIOR SERVICE are veterans of the Medway scene. Nevertheless, for the viewers of this blog who might not know you, What would you tell about SENIOR SERVICE  to introduce yourselves? How did you decided to start this particular band together? Who is playing what instrument in the band? 

Jon Barker plays Hammond organ in the band. He’s a bass player really, having been in the Daggermen and Buff Medways. He decided he wanted to learn the organ and asked us if we wanted to muck about playing a few Booker T covers for a laugh. I’ve always loved instrumentals so agreed to do it with Wolf Howard on drums (from the Daggermen, Solarflares and all Billy Childish’s bands since the Headcoats) and Darryl Hartley on bass. We soon realised that playing covers was boring and me, Jon and Darryl are all pretty decent songwriters, so we quickly came up with our own songs and the proper band was born. 

I’ve played in many bands over the years where I’ve been the singer and front man. Sometimes I get tired of doing that, and I’ve always wanted to be in the anonymous instrumental band that you see playing in the background of a cool 60s film. I don’t think there’s much call for that in real life but it would be fun.

2) About the sophomore full length record, "King Cobra" released days ago on Damaged Goods, what can you tell about the recording process? Was this a live in the studio recording or a track by track recording with lots of overdubs? 

We normally record the backing track live in Jon’s little studio in his basement, and then put any overdubs on afterwards. So essentially you have live drums, bass and guitar, and sometimes the organ. It’s important to us that we have a good live and energetic feel to the backing track, especially when we put quite a lot of other instruments and percussion on afterwards as that always mellows out the sound. 

3) When I listen to your 2 full length records, I have the feeling that the first one (the 2016's The Girl In The Glass Case) could be qualified as being the "groovy record" and this new one is more the "cinematographic record", every track could easily be a movie theme. Do you agree with this feeling or do you consider there is way more than that.

I would agree with that to some extent. I think with all first albums they’re about finding yourselves and what sounds good, and what comes out is very raw and natural. With the second record we could learn from the first one and develop the songs better. We spent a lot more time on the second album, trying to get the sounds better, adding more instruments and trying to create a more cinematic feel. In a nutshell I would say the first album tracks are like tv themes and the second album tracks are more like film themes.

4) Do you believe it is easier to write a tune with lyrics or to compose an instrumental track?  

I’ve always hated writing lyrics, what the hell do you write about, especially when you get older?? but it’s easier to write a song with vocals carrying the tune. In order to write a good instrumental you need more than just a tune and a backing track. It needs to have highs and lows, space and texture. However an instrumental can be limitless; you’re not tied down to a range of notes that someone can sing, it can go anywhere, with any sound you want to add. It’s been great fun using a sitar, brass, baritone guitar and different percussion.
5) Is there a main composer in the band or is everybody involved in one way or another?

Me Jon and Darryl write the songs. We usually write them separately, make a demo then send them to the others before we record properly, but we never rehearse the songs. We like them to have a raw edge to them where we are just beginning to understand them so it’s not too polished. Jon and Darryl have co written a couple of tracks together, but I’ve never really been able to do that. A tune always comes to me when I’m trying to sleep or out walking the dog, and I normally write the whole thing in a few minutes or just forget about it.
6) To what kind of music did you listen to as a teenager and does it still influence your today work? What was your favorite band as a teenager? Name 3 bands that you consider still have a influence on your own work today.

My musical tastes have never really changed since I was a teenager. I grew up on the tail end of punk, and then discovered the Pretty Things, Kinks and then Jimi Hendrix. Then later on I discovered 60s garage. But all the way through I’ve been a massive fan of Barry Gray who wrote all the Gerry Anderson puppet tunes like Captain Scarlett, Joe 90 and Thunderbirds, and the majestic film scores by John Barry and Ennio Morricone. I guess the Senior Service are heavily influenced by these composers. 

 7) Do you have a video on youtube featuring a track from the latest release? 

8 What can concert goers expect at a gig of SENIOR SERVICE ? Are you playing any famous cover songs?

As with any band I’ve been in you will get energy, fun and a few wrong notes…. We mainly play our own songs but sometimes throw in a few Prisoners instrumentals.
9) What are the plan for 2018 as far as the SENIOR SERVICE are concerned? Are you gonna hit the road to promote this new full length?

Sadly there’s not much interest in an instrumental band to play live. There are a few surf bands playing at 60s festivals but we’re not a surf band and don’t really fit into any scene or genre. The gigs we have played have been great, but I think some promoters think it’s too much of a risk and we are not well known. We want to play more gigs, and are considering doing some songs with vocals to break it up a bit and make it more appealing for promoters to take a punt on, but to be honest we’d rather stick to our principles and just be ourselves. 

10) Anything you would like to say to the viewers of this blog?

Hopefully we’ll see you at a gig later in the year. Come have a dance, make up your own lyrics and sing along!


Saturday, May 5, 2018

SUBSONICS - "Flesh Colored Paint" LP

Days ago, Slovenly Recordings from Reno, Nevada released The SUBSONICS' highly recommandable new full length “Flesh Colored Paint”.

Atlanta’s SUBSONICS are a gutter-glam, minimal rock’n’roll trio featuring Rockin' Clay Reed on guitar and vocals, Buffi Aguero on drums and Rob Del Bueno on bass.

If you dig The Velvet Underground, The Black Lips or Jon Spencer Blues Explosion, to name a few, this is gonna be right up your alley.

Flesh Colored Paint” is already their 8th album and most probably their best so far. 

Like all their previous works, this is a distilled hodgepodge of decades of popular culture and classic literature culminating in a collection of short and groovy shambolar: Lou Reed, Chuck Berry, Albert Camus, AM radio rock jocks, Bo Diddley, Golden Age TV, surrealism, Mad Magazine, kung-fu flicks, Herman Melville, Little Richard, self-negating philosophy, David Johansen, The Bible,  Lee Van Cleef, Cornell Woolrich, advertising jingles, Dada, Carole King and Bugs Bunny.

Pesonally, this is my favorite release on SLOVENLY since a very long time. In fact, since "Full Tramp" by the Dirty Fences. 

Thursday, May 3, 2018

The Dustburds - summer pleasures

As the band is stating it on his bandcamp page, The Dustburds explore the dusty attic of soul music, incorporating lounge, garage, psychedelic and cinematic influences from the late 60's and 70's.

The main ingredient of this groovy potion being the drum backbeat , it was time for this blog to have a very interesting and lengthy chat with  MAX MAIRE, drummer extraordinaire and brain behind the DUSTBURDS.

1) Max, for the viewers of this blog who don't know you, What would you tell about The Dustburds  to introduce yourselves? How did you meet and decided to start a band together? Who is playing what instrument in the band? About the band's name is this a nod to Johnny Hallyday's backing band in the 60's, the Blackburds?

The Dustburds is a kind of “retroshake” group, gathering a multiplicity of influences paying tribute to 60’s pop, lounge, soul, rhythm and blues but also garage, psychedelic, cinematographic, international scene and euro library 70. The group was born under my initiative (Max/drummer) but the story is a bit special because creating a band playing live was not my prime intention with The Dustburds.  In 2014 just after moving near Geneva I started to compose. At first I moved to this region with my girlfriend at the time to start a new job. But it appears that I was bored to death at work and my ex and I were constantly arguing. So every evening I was sitting in front of my computer, with my Midi keyboard piano composing music to clear my mind.  In this new life I had the feeling I was a bird fallen from the nest. But in parallel of the exhausting side of this new environment, I had the chance to meet new people, make new friends. I was going out more, seeing more concerts, buying more records, and increasing my musical knowledge. All the ingredients were here to turn my energy into something new and meaningful, without knowing that it would give birth to The Dustburds!  It has been long, and sometimes painful, but all this time was necessary: it enabled to found the band which is composed today of five musicians:

Johanna Serville - Vocals, Guitars - (Jesus Is My Girlfriend, Le Bruit )
Ritchie Buzz - Guitars - ( The Last Brigade, les sheriff, Les Milliardaires )
Julien « Purple » Leroy -  Hammond , Farfisa ( 65 mines street, ex two tone club )
Benjamin Cahen - Bass -
And me, Max Maire - Drums -  ( Demon Vendetta, Mighty Bombs, The Last Brigade )

Regarding the name of the band, you got that right! Absolutely! It is a big reference to Johnny Hallyday backing band during his « Noir c’est noir » period! Actually I discover it , thanks to the song “Absolument Hyde Park” from Mickey and Tommy ,that just blew me away!

2) About the recently released debut full length record, what can you tell about the recording process? Was this a live in the studio recording or a track by track recording with lots of overdubs? 

 It’s a mix of two methods and I think that this is what gives the record its interesting colour. I first recorded my drum bits at a friend’ studio near the Luxembourg border.  For me it was important to have a strong drums part, which would bring some concrete substance to my fellow musicians. Once the drum kit has been recorded, I sent it to Benjamin (bass). He immediately liked it and he recorded his parts live.  The voices, horn section, percussions, samples were added after in overdubs. Benjamin and myself initially made the mixing, and then we gave it to Vincent Hänggi in Geneva. Finally, Christian Hierro mastered it in Lyon (Back to mono records)

3) What are your favorite topics to write about or the topics that come easily when you write a
new song?

Oh there are so many! The Dustburbs is double-sided: vocal pieces and instrumental pieces.I listen to a lot of music from rock, funk, and acid jazz to old-school rap music. I learned how to refine my inspirations and to conduct my compositions, while imagining each time an environment that could illustrate the scene of a film. I like the sound, the atmospheres, and the groove of the pop songs of Ennio Morricone but also the orchestrations of Michel Legrand, the arrangements of Paul Piot with his full orchestra or the sound madness of Peter Thomas Orchestra… As the average French guy, I am also a huge fan of Louis of Funès. The music of Michel Magne in Fantomas or of Raymond Lefèvre in ’Les gendarmes’ had an enormous influence on me. I like the music that makes me laugh and dance.

4) Some people might compare you to the Frank Popp Ensemble and his famous hit "Hip Teens (don't wear blue jeans)", same groove, same 60's sound and visuals. Do you agree with that comparison or do you consider there is way more than that.

Well, obviously Frank Popp Ensemble is very cool, this is an interesting comparisons, I actually have some of their albums. For instance I like very much their piece « Touch and Go » but I wouldn’t say that they are a major influence to me.There is an electro touch in their production that is something I don’t feel very close to.

5) Is there a main composer in the band or is everybody involved in one way or another?

I remain the main composer and also the producer but of course each member of the group brings his own ideas. I would like to say that Benjamin has a special place in the band because he is the person who gave me the necessary trust to create this album. We also complete each other very well regarding the way we work and the fact that he is a multi-instrument musician has made things a lot easier! I am a drummer so when I speak about music I do it as a drummer does it, and I play the piano as a drummer. Benjamin has been able to understand my language and to push things to the next level. But I think I have a good ear and a few ideas, that ‘s already quite an achievement!

6) To what kind of music did you listen to as a teenager and does it still influence your today work? What was your favorite band as a teenager? Name 3 bands that you consider still have a influence on your own work today.

I have always been listening to a lot of music and I am part of these people who always need to come back to the soundtracks that impressed them during their teenage years. But if I had to mention one artist who stood out during my childhood, it would be Nino Ferrer: ‘Mon copain Bismark », « le Roi d’Angleterre » or « je vends des robes », « oh  eh  hein bon » are songs I still enjoy listening to.
And of course Ennio Morricone; my parents had a lot of old records of this great man like « once upon a time in the west” and ”The good, the bad and the ugly ” and ” the mission”. The album jackets fascinated me. And in the middle of all this I listened to a lot of rock fusion music:  urban dance squad (Persona Non Grata) ,  Beastie Boys ( Paul’s boutique) The James Taylor quartet had also an important part of my small teenager bedroom (In the Hand of the Inevitable fascinated me , I just love the sound of this record )

7) Do you have a video on youtube featuring a track from the latest release? 

8 What can concert goers expect at a gig of The Dustburds ? Are you playing any famous cover songs?

It is colourful! In terms of sound of course but also regarding the visual support , very close to the artwork cover (made by yeaaah! Studio, Paris)  First I like the idea of using vocal samples that I take from movies or vintage series. The idea is to use them to bring the public into our own atmosphere. Then our set varies a lot; we switch from instrumental pieces to vocal pieces.  We obviously play most of the song of our album but we also play other pieces such as a cover of Springsteen’s « Fire », taken from Robert Gordon and Link Wray. We also play a few cover songs like « hey Sah lo Ney » from Mickey lee Lane or Ennio Morricone’s « the alibi ».  If you had one thing to remember about us : We want to make people dance until they collapse of joy !

9) What are the plans for 2018 as far as the The Dustburds are concerned? Are you gonna hit
the road to promote this debut full length?

There are quite a lot of things to set up within the band by the end of this year. Individually we are all very busy; as far as I'm concerned, I play in  three other bands ( Demon Vendetta, The Last Brigade and Mighty Bombs)  and  geographically we are very spread therefore this project needs a lot of organisations.  However we never miss a chance to hit the road and promote our music to anyone interested in. This summer we will be playing in festivals like Festilac in Estavayer Le Lac (Switzerland) on 14th July and also at the Transes Cevenoles at Sumenes in the south of France on 22nd July ( Gard). We are currently organising a French tour, which is planned for September, I am also working on new songs and instrumental tracks for our next studio session with the band, and we are finalising our new video clip.

10) Anything you would like to say to the viewers of this blog?

First thank you for reading this interview to the end!  If you are interested by the Dustburbs or want to know more about us please click the links below:

last but not least , big thanks to the labels that released our vinyl debut full length
It’s a great pleasure to collaborate with them
That’s for sure, for me,  Without labels and friends:  no album!

Please take a look at:

Tuesday, May 1, 2018

10 YEARS of this BLOG

Today is a VERY special day, not only because it's the birthday of yours truly but also because we celebrate 10 YEARS of this BLOG.

10 years is like a life time in blog land so it is time to move on and make some radical changes: from now on I will concentrate only on special features and interviews.

Therefore the post here under will be the very last DOWNLOAD post ever.

I seize the opportunity to thank all the people who contributed to this blog over the years: JPaul, of course, but also Limburg, Joey R.A. Mone, Patrick (aka musicyoucan), Leo and all the others I might forget right now. 

The BellRays - Punk Funk Rock Soul Vol.2
In WAV - Scans are included

Bad Reaction
I Can’t Hide
Man Enough
Brand New Day
Junior High
Never Let A Woman
Every Chance I Get
Love and Hard Times

Sunday, April 22, 2018

Glitz - It'z Glitz

Glitz - It'z Glitz
In WAV - Scans are included

Blood St.
(She) Don't Listen To Music
Good Day
Punktual Punk
Halfway House
Don't Think About It

It’s Glitz is a straight-up, no-frills ’70s rock record, the kind you’d hear from a band like The Dictators, who grew up worshiping The Flamin’ Groovies, Stooges and MC5 so much that they just had to form their own band. There’s Johnny Thunders swagger in “Innosense” and “(She) Don’t Listen to Music,” Lou Reed sneer in “Punktual Punk” and a driving Radio Birdman vibe in “Paranoia” and “Good Day.” It’s not everyday you get to hear a band that sounds like all your favorite bands and actually pulls it off with gusto and sincerity.

Sunday, April 15, 2018

The Dwight Twilley Band - Live at the Main Point

The Dwight Twilley Band - Live at the Main Point
In FLAC - Scans are included

1. Just Like The Sun
2. Here She Comes
3. TV
4. Runaway
5. Trying To Find My Baby
6. Betsy Sue
7. I'm On Fire
8. Twilley Don't Mind
9. Sky Writer
10. Rock And Roll 47
11. Did You See What Happened?
12. Applause
13. Band Intros - Expressway To Your Heart

Bonus Tracks
Channel, Boston, MA June 17th 1984 - King Biscuit Flower Hour
14. Little Bit Of Love
15. Long Lonely Nights
16. Girls

After having an international hit in 1975 with their debut single, I'm On Fire, the Dwight Twilley Band became caught up in record company hassles. They finally got back on track with the release of their classic second album, Twilley Don't Mind, in September 1977.

Originally broadcasted on WYSP-FM, this superb live set at the Main Point, Bryn Mawr, PA on November 10th of that year, captures them at their early best (shortly before the departure of Phil Seymour)

Special thanx to  JPaul for this brilliant contribution! 

Sunday, April 8, 2018

The Del-Lords - Johnny Comes Marching Home

The Del-Lords - Johnny Comes Marching Home
In FLAC - Scans are included

1 Heaven
2 Love Lies Dying
3 Drug Deal 
4 Soldier's Home
5 Saint Jake
6 Dream Come True
7 True Love
8 Everlovin'
9 Against My Will
10 No Waitress No More
Bonus Tracks
11 Some Summer
12 Obsessed With Mary
13 Mickey Paid For What Mickey Done
14 St. Jake
15 True Love

Produced by Neil Geraldo, best known for his work as Pat Benatar's guitarist (Benatar sings backup on one track), Johnny Comes Marching Home sounds a lot brighter and more engaging than the group's debut, and the band, seasoned by plenty of roadwork, sounds tighter and firmer without sacrificing any of their swing in the process. But while the band rocks harder under Geraldo's guidance, the production also boasts many of the unfortunate hallmarks of mid-'80s record production; everything is dripping with digital reverb, and the mixes often sound like they've been processed and filtered within an inch of their life. It's a testament to the band's strength that despite the Lucite sheen of the mix, Johnny Comes Marching Home still sounds like a tougher and more muscular album than the debut, with the guitars of Scott Kempner and Eric "Roscoe" Ambel cutting deeper, their vocals registering with greater emotional impact, and Frank Funaro's drums sounding a hell of a lot livelier. And Kempner's songwriting continued to shine, especially on the anthemic "Heaven," the rock & roll radio tribute "St. Jake," and the rockabilly on steroids wrap-up "No Waitress No More."

Sunday, April 1, 2018

The Smithereens Play Tommy

The Smithereens Play Tommy
In WAV - Scans are included

1 Overture
2 It's A Boy
3 Amazing Journey
4 Sparks
5 Eyesight To The Blind
6 Christmas
7 Acid Queen
8 Pinball Wizard
9 Go To The Mirror
10 Tommy Can You Hear Me?
11 Sensation
12 I'm Free
13 We're Not Gonna Take It

Sunday, March 25, 2018

Thursday, March 22, 2018

The Odd Numbers - The Oddyssey

Hailing from San Jose, Ca. The Odd Numbers started out in 1988. They are mostly labelled as a Mod band but you can also hear other influences in their sound like powerpop, punk or rhythm n blues. 

After 30 years of existence, the trio released its fifth and probably best album so far, The Oddyssey. The band never sounded any better and This new record is filled to the rafters with catchy tunes.

So it was time for this blog to have an interesting conversation with singer guitar player Dave Baisa.

1) What can you tell about The Odd Numbers today? Who is playing what instrument in the band?

 We've just put out our 5th LP called the Oddyssey. My name is Dave Baisa and I play guitar, sing and write most of the stuff. Dave miller plays bass and sings and Dave Conrad plays drums and sings back ups.

2) About the latest full length record "The Oddyssey",  what can you tell about the recording process? Was this a "live" in the studio recording or a track by track recording with lots of overdubs?

It's kind of a live process. We start out with drums and guitar live and get a good take. Then put on the bass and start overdubbing everything else. We took our time on this one. We found a great little studio in our neighborhood and just worked on it for like 6 months.

3) Do you consider it should be foolish not to use the nowadays recording technology or do you guys only work with analog machines in analog studios?

This is the first record we've ever done all digital. We've used pro tools before but we'd record to tape then put it in pro tools. I've gotta say I'm digging digital now. if you process it right it sounds great! I would still probably prefer 2" tape but it's what ever your into. there's a lot of ways to get a good recording these days. Shit use your phone!

4) Is there a main composer in the band or is everybody involved in one way or another?

I write most of the songs but Dave Miller has written a hand full of them over the years. he's got 2 on the new record.

5) About the new record "The Oddyssey", can you explain the title? Is it just a little joke or is there a deeper meaning to it? And what's the connection with the artwork on the front cover? 

Its obviously a play on our name but this band has been on somewhat of a odyssey. We've been together for 30 years now and we've seen a lot over that time, been involved in a lot of cool things. Its been a long rock n roll journey! The artwork is something I painted about 15 years ago. It was hanging on the wall in the garage and I thought, that will work! Everybody likes a little Jackson Pollack right!?

6) The Odd Numbers are described by some people as a "mod" band. Do you agree with this label? Are you proud of it or do you consider there is way more than that?

We started out a mod band and we will end a mod band! In the beginning it gave us a great look and direction and we thought we were pretty cool! We owe just as much to the punk scene though, and Skateboarding!

7) Do you have a new video on youtube  featuring a track from the new LP??  

We do have a video up for the song "Midway" its our first ever instrumental song! There will be more to come. We also just did a taped acoustic performance for KFOG thats on youtube.

8) What can concert goers expect at a The Odd Numbers gig? Are you playing any famous cover songs? 
You can expect some of the old and some of the new. We've got a pretty big catalog now so its fun to pick the set. As for covers you might hear something from the Jam or the Clash or something of that era, Maybe something motown.

9) Is there still a mod scene in California today?

Truthfully I don't know. I know theres still a scooter scene but I don't think theres anything going on like San Diego in the early 80"s and Berkley in the late 80's early 90"s.

10) Anything you wanna add? 

The world's a pretty messed up place right now. Sometimes you gotta just pop a record on and forget about it. Hopefully ours!

Purchase all the goodies here:

Sunday, March 18, 2018

Phil Seymour - The London And Los Angeles Unreleased Sessions

Phil Seymour - The London And Los Angeles Unreleased Sessions
In WAV - Scans are included

1 Who'll Be The Next In Line
2 Baby's A Rock'n'Roller
3 Love Is Like An Itching In My Heart
4 Looking For The Magic
5 Save Me
6 Dancing A Dream
7 Only In My Mind
8 Surrender
9 (Marie's The Name) His Latest Flame
10 Talkin' About You
11 Love Is Like An Itching In My Heart
12 Little Town Flirt
13 I Love You
14 Didn't Want To Have To Do It

Drummer and singer-songwriter Phil Seymour came on the scene with a Top 20 hit with the Dwight Twilley Band called "I'm On Fire" in 1975. After two albums with his Tulsa band-mate, Phil decided to go solo and landed a hit single of his own called "Precious To Me" on his self-titled 1980 debut album on Boardwalk Records label.

Before that Phil experimented with various musicians in the studio including singing background vocals on Tom Petty's "Breakdown"and "American Girl" and played around Los Angeles in the burgeoning live music scene of the late 1970s.

The London and Los Angeles Unreleased Sessions, Volume 4 features two of these recording sessions that took place in this era - one in London with legendary UK session guitarist Chris Spedding, and one in Los Angeles where he was backed by Steve Allen and Ron Flynt of the band 20/20!

Monday, March 12, 2018

Eric Knoxx presents

By public demand, I finally decided to gather an album of some covers I played with the various bands I was in. 

Chronologically speaking, it all began in 1991 with The Vice Barons. If everything goes according to the plan, the long awaited come back album should finally see the daylight in 2018. 

In 1998, I moved on to form The Mighty Gordinis that lasted till 2008. I'm still quite proud of the 2 last cds we put out, the fully instrumental, named "Fueled on Fuzz", and the very last one, "The Future Looks Like Yesterday", which is still my personal favorite. 

After that, with my pal Vincenzo we put up The Ratboys. Shortly after the release of the Ratboys' debut album "Cash, gas and Trash" we started to work on new songs for a second album but it appeared that all the songs were more 60's garage influenced and would not fit under the Ratboys moniker. 

So we decided to release it under the name Thee Martian Boyfriends. Unfortunately we got kicked out of our rehearsal space and lost the keyboard player around the same time, so that was more or less the end of it. 

In 2013, a short lived band named Syster Hyde rose from the ashes of a Vice Barons reunion gig but nothing came out of it except this Kraftwerk song which was later covered instrumentally for the The Vice Barons album to come. 

Finally, in 2016, I released under the Moniker The Backseat Angels what appeared to be a solo record.

Purchase it here:

Sunday, March 11, 2018

Scott Morgan - Medium Rare 1970 -2000

Scott Morgan- Medium Rare 1970 -2000
In Wav - Scans are included

1 Full Of Fire
2 Satisfier
3 Rhythm Communication
4 Hold On Baby
5 The Monkey Time
6 Open The Door To Your Heart
7 Radio Hollywood
8 Free Rock
9 Pop Poppies
10 Zip A Dee Doo Dah
11 Cool Breeze
12 She's Wild
13 Satisfyin' Love

The Rationals were one of the greatest Midwestern bands of their day (1965-1970), and leader and vocalist Scott Morgan blended blue-eyed soul and hard rock commitment as well as anyone you can name. Medium Rare: 1970-2000 brings together 13 rare and unreleased Morgan cuts that begin with the waning days of the Rationals (an impossibly soulful take of "Zip a Dee Doo Dah" from 1970; there are also three potent performances from a 1991 Rationals reunion), and stretches right up to 2000, with a demonic guitar-fueled rocker called "Satisfyer" (it lives up to its title). In between, Morgan jumps, shouts, and knocks everyone out with gutsy R&B and high-octane rock & roll tunes that showcase his strong pipes, tough guitar work, and smart/witty/streetwise point of view. Scott Morgan is one of the great untapped resources of American rock & roll, and if you want to find out what he has to offer, Medium Rare: 1970-2000 offers 58 minutes of proof that, then and now, the man has the goods.

Sunday, March 4, 2018

The Del Fuegos - Boston, Mass

The Del Fuegos - Boston, Mass
In WAV - Scans are included

1. Don't Run Wild  
2. Hand in Hand  
3. I Still Want You  
4. Sound of Our Town  
5. Fade to Blue  
6. It's Alright  
7. Hold Us Down  
8. Night on the Town  
9. Shame  
10. Coupe de Ville  

Released in 1985  Boston, Mass was their first national album, and it still holds up next to any band of today. Almost every song of the ten is a keeper. "Don't Run Wild" is the big hit, but the entire album is great. The other Fuegos albums are great but this is THE one to have.It has all the raw energy that all the best and essential rock and roll records have and there isn't a bad song.

Special Thanx to JPaul for this excellent contribution! 

Wednesday, February 28, 2018

The Del Fuegos - The Longest Day

The Del Fuegos - The Longest Day (1984)
In Flac - Scans are included

1 Nervous And Shakey  
2 Backseat Nothing  
3 I Should Be The One  
4 Missing You  
5 Anything You Want  
6 When The News Is On  
7 Longest Day  
8 Out For A Ride  
9 Mary Don't Change  
10 Have You Forgotten  
11 Call My Name

Formed in 1980, the Del Fuegos consisted of guitarist and singer Dan Zanes, his brother Warren Zanes on guitar, bassist Tom Lloyd, and drummer Steve Morrell. Steady gigging on the Boston club circuit won the band a potent local reputation, which began to spread along the East Coast with the band's first few low-budget tours. While the Del Fuegos began recording an album for legendary local label Ace of Hearts Records, in 1984 the famed Los Angeles indie Slash Records stepped in and signed them, releasing their first album, "The Longest Day", in the fall of that year.

By this time, Steve Morrell had parted ways with the band, and former Embarrassment percussionist Woody Giessmann had taken over the drum kit. One of the first albums produced by former Ronnie Montrose keyboard man Mitchell Froom, The Longest Day's mixture of attitude, guitar firepower, and heart-on-the-sleeve emotion clicked with both critics and fans, and the Del Fuegos seemed poised for a commercial breakthrough with their second album, 1985's "Boston, Mass".

Tuesday, February 27, 2018

The Baron Four - Silvaticus

"Silvaticus" is the sophomore full length by UK's garage/beat quartet THE BARON FOUR.
Tracked at State Records’ 8-track recording facility in glorious mono, these 12 tracks demonstrate the band’s ability to combine gritty R&B-based material with garage-punk raunch, capturing at least some of their raw, live, chaotic energy onto tape.Ten new, original songs by singer/bassist Mike Whittaker and two covers: the recently unearthed “Wild Angel” by James Bond & The Agents from 1967, and a reworking of the Bo Diddley classic “I Can Tell”

1) For the viewers of this blog who don't know you, What would you tell about The Baron Four to introduce yourselves? How long are you guys together as a band? And what can you tell us about the origins of the band's name? Who is playing what instrument in the band?

Well The Baron Four are a band. Hopefully a good band but it's not for me to say... We enjoy playing music a lot and have been doing it for around 4 years now (i'm guessing).

The band is: Mike - Bass / Main Vocals; Joe - Guitar / Vocals; Kev - Guitar / Vocals; Mole - Drums / Vocals

2) The Baron Four are described by some people as a 60's garage band à la BACK FROM THE GRAVE. Do you agree with this description or do you consider there is way more than that? 

I'd like to think there is a lot more to it than that! But we can't hide influences and I suppose it's not at all a bad thing to have that defined sound as that's certainly a sound we all love. To be honest I don't like to be put in a box but it's obviously going to happen and can understand that. Next record i'm thinking to do 70s disco to throw people off!

3) About the latest full length record "Silvaticus",  what can you tell about the recording process? Was this a live in the studio recording or a track by track recording with lots of overdubs? 

It was recorded live at our drummers recording studio (State Recordings) well actually I say studio, he has actually built one now but at this time it was in his living room. So let me start again... we recorded the album in our drummers living room. It was all live except for vocals which were done after. It took 1 day to get it done.

4) Is there a main composer in the band or is everybody involved in one way or another?

Well I write all the songs at the moment but everybody is definitely involved, usually I write all songs on my own and come into practise with it but when it comes together it definitely falls into it's own. There are a little bits here and there which definitely adds massively to the songs.

5) To what kind of music did you listen to as a teenager and does it still influence your today work? What was your favourite band as a teenager? Name 3 bands that you consider still have an influence on your own work today.

As a teenager I loved a lot of pop punk, Greenday is one to name, The Hives were the greatest thing ever to me when they came around and then moved onto british punk (The clash, the damned etc) - that stuff has definitely stayed with me as I still listen to a lot of that today. My dad was playing the velvet underground to me when i was a kid growing up so that would have to be one of the biggest influences to stay with me.

6) Do you have a video on youtube featuring a track from the latest release? 

7) What can concert goers expect at a gig of The Baron Four? Besides "I can tell", Are you playing any famous cover songs?

Expect the unexpected. Sometimes it will go well but sometimes everything will just kind of collapse after all our leads are fucked... its normally wild and fun though!

8) How did you guys end up on the BEAT SCENE '65 compilation on Alley Club Records?

I literally have no idea.

9) What are the plans for the rest of 2018 as far as The Baron Four are concerned? Are you guys planning to tour Europe soon to promote this latest released record?

We have a few things lined up, the next gig is with The Mummies which should be a lot of fun @ The 229 Venue on 31st March. After that we are in Hamburg playing Garageville in April, we also are going to South of France for a couple of gigs in June but all details aren't yet confirmed.

10) Anything you wanna add?

Please check the facebook page for any info, thank you!

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