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Strange Beautiful Music by Joe Satriani (CD - 06/25/2002)
 

Strange Beautiful Music by Joe Satriani ...

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Strange Beautiful Music by Joe Satriani (CD - 06/25/2002)
"Strange Beautiful Music" (06/25/2002) Instrumental Satriani, Joe, Epic (USA)Personnel includes: Joe Satriani (acoustic & electric guitar, banjo, keyboards, bass); Robert Fripp (electric guitar); Pia Vai (harp); Eric Caudieux (keyboards); Matt Bissonette (bass); Jeff Campitelli, Greg Bissonette (drums); John Cunibert (percussion). Recorded at The Plant, Sausalito, California. "Starry Night" was nominated for the 2003 Grammy Awards for Best Rock Instrumental Performance. Personnel: Joe Satriani (guitar, acoustic guitar, electric guitar, banjo, autoharp, sitar, keyboards); Robert Fripp (electric guitar); Pia Vai (harp); Eric Caudieux (keyboards, computer); Jeff Campitelli (drums, percussion); Gregg Bissonette (drums); John Cuniberti (percussion). Audio Mixers: Leff Lefferts; Joe Satriani; John Cuniberti. Recording information: Studio 21; The Record Plant, Sausalito, CA. Photographers: Eric Caudieux; Jay Blakesberg. For his first album since dabbling with electronica on 2000's ENGINES OF CREATION, Joe Satriani returns to the bread-and-butter of straight-forward instrumental virtuosity with a few exotic nuances sprinkled throughout like musical parmesan cheese. Heavy synths and delays give "Oriental Melody" a sinister glint while fat guitar tones mix with Middle Eastern-flavored chord progressions on the intriguing "Belly Dancer." Fans put off by Satch's recent experimentation will have further reason to rejoice over the return of this prodigal son once they hear the thundering riffage of "Mind Storm," hook-filled "New Last Jam" and sassy snap of "Hill Groove." Elsewhere, the Long Island native distinguishes himself from the calculated playing associated with practitioners of this genre that he spawned on two cuts--the acoustic-guitar laced "You Saved My Life" and equally moving "Starry Night." The one non-original is a gorgeous cover of the Santo and Johnny '50s hit "Sleep Walk" featuring a cameo by Robert Fripp, a guitar god in his own right. STRANGE BEAUTIFUL MUSIC is a welcome return from one of music's more maddeningly gifted participants.

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The Infinite Steve Vai: An Anthology by Steve Vai (CD - 11/18/2003)
 

The Infinite Steve Vai: An Anthology by ...

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The Infinite Steve Vai: An Anthology by Steve Vai (CD - 11/18/2003)
"The Infinite Steve Vai: An Anthology" (11/18/2003) Instrumental Vai, Steve, Legacy RecordingsPersonnel includes: Steve Vai (acoustic & electric guitars, guitar, keyboards, bass, programming); T. M. Stevens (vocals, bass); Devin Townsend, David Coverdale (vocals); Mike Keneally (guitar, keyboards); David Weiner (guitar); Stuart Hamm, Philip Bynoe, Bryan Beller, John Sergio (bass); Terry Bozio (drums, percussion); Chris Frazier, Mike Mangini (drums). Producers: Steve Vai. Compilation producer: Jeff Magid. Includes liner notes by Jon Wiederhorn. Personnel: Steve Vai (guitar, acoustic guitar, sitar, keyboards, synthesizer, drum machine, drum programming); David Coverdale, Devin Townsend, Glenn Hughes, T.M. Stevens, Tommy Funderburk (vocals); Dave Weiner (guitar, sitar); Mike Keneally (guitar, keyboards); Larry Crane (lyre); Greg Degler (flute, clarinet); Tommy Mars (organ); Claude Gaudette, Eric Goldberg, David Rosenthal, Don Airey, Bob Harris (keyboards); Peggy Foster (fretless bass); Terry Bozzio (drums, percussion); Deen Castronovo, Gregg Bissonette, Mike Mangini , Tommy Aldridge, Tris Imboden, Chris Frazier (drums); Pete Zeldman (percussion); Kimberly Evans, Miroslava Mendoza Escriba, Tracey Lewis, C.C. White (background vocals). Audio Mixers: Eddie Kramer; Steve Vai. Liner Note Author: Jon Wiederhorn. Recording information: Cherokee Studios, Hollywood, CA (1984-2002); Fix Club, Thessaloniki, Greece (1984-2002); Grand Rex, Buenos Aires, Argentina (1984-2002); La Riviera, Madrid, Spain (1984-2002); Los Angeles, CA (1984-2002); Skyline Studios, Topanga, CA (1984-2002); Stucco Blue Studios (1984-2002); The Mothership, Los Angeles, CA (1984-2002); The Record Plant, Los Angeles, CA (1984-2002); Westwind Media, Burbank, CA (1984-2002). Photographers: Rocky Schenck; Neil Zlozower. This 2003 two-disc set offers up a generous sampling of Steve Vai tracks, focusing most sharply on the revered hard-rock guitarist's mid-to-late-1990s material. Highlights of the collection include "The Animal," a stomping metal number, and the emotive "For the Love of God," as well as the dynamic "Fire Garden Suite." While diehard Vai fans will likely own most songs on this compilation, ANTHOLOGY serves as a commendable, if slightly daunting, introduction to the amiable and inventive six-string hero.

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Farewell Forest [2/7]
 

Farewell Forest [2/7]

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Farewell Forest [2/7]
"Farewell Forest [EP]" (02/07/2006) Rock & Pop Telepathe, The Social RegistryThese four short pieces from the Brooklyn-based improvisational trio Telepathe pack a lot of sound into their brief allotted time spans. Skittering percussion from composer Busy Gangnes, ethereal squeaks and moans from vocalist Melissa Livaudais, and a series of electronic loops and guitar phrases build on each other to achieve a kind of layered turmoil.

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Listening to Richard Brautigan [Expanded Edition] by Richard Brautigan (CD - 07/12/2005)
 

Listening to Richard Brautigan [Expanded...

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Listening to Richard Brautigan [Expanded Edition] by Richard Brautigan (CD - 07/12/2005)
"Listening to Richard Brautigan [Expanded Edition]" (07/12/2005) Instrumental Richard Brautigan, Collectors' Choice MusicLiner Note Author: Richie Unterberger. Recording information: Golden State Recorders, San Francisco, CA. Readers: Margot Patterson Doss; Imogen Cunningham; Alan Stone; Valerie Estes; Price Dunn; David Schaff; Cynthia Harwood; Ianthe Brautigan; Peter Berg; Don Allen; Herb Caen; Betty Kirkendall; Bob Prescott; Bruce Conner; Richard Brautigan; Michael McClure. Author, humorist and recording artist, Richard Brautigan's long-player, Listening to Richard Brautigan (1970), provides insight into his everyday life, world and written works. The San Francisco-based poet had already established himself as a hip, underground Bay Area fixture -- even occasionally supporting burgeoning rockers Mad River, turning up on their Paradise Bar & Grill (1969) album reciting "Love's Not the Way to Treat a Friend." He'd also gained notoriety from his most renown prose and much of this disc is devoted to excerpts from Trout Fishing in America ("The Hunchback Trout"), A Confederate General From Big Sur ("The Rivets of Ecclesiastes"), In Watermelon Sugar ("The Watermelon Sun"), Revenge of the Lawn ("Revenge of the Lawn") that includes "Short Stories About California" with "A Short Story About Contemporary Life in California," "The Memory of a Girl," "The View From the Dog Tower" and "Pale Marble Movie" all taken from that collection. Similarly, The Pill Versus the Springhill Mine Disaster is the source for "Boo, Forever," "The Pill Versus the Springhill Mine Disaster" -- gathering "All Watched Over by Machines of Loving Grace," "December 30," "A Boat," "Haiku Ambulance," "Death Is a Beautiful Car Parked Only," "Karma Repair Kit: Items 1-4," "Crab Cigar," "Widow's Lament," "The Pumpkin Tide," "Man," "Adrenalin Mother," "San Francisco," "1942," "At the California Institute of Technology," "Xerox Candy Bar," and "Alas, Measured Perfectly" -- as well as "The Telephone Door That Leads Eventually to Some Love Poems" sporting: "The Shenevertakesherwatchoff Poem," "The Double-Bed Dream Gallows," "November 3," "Flowers for Those You Love," "I Lie Here in a Strange Girl's Apartment," "The Pill Versus the Springhill Mine Disaster," "Lovers," "Gee, You're So Beautiful That It's Starting to Rain," "I Cannot Answer You Tonight in Small Portions," "The Way She Looks at It," "A Good-Talking Candle" and "I Live in the Twentieth Century." Interspersed throughout are fly-on-the-wall sonic v?rit? excursions such as "The Telephone Door to Richard Brautigan," self-explanatory "Here Are the Sounds of My Life in San Francisco," "Here Are Some More Sounds of My Life" and the aforementioned "The Telephone Door That Leads Eventually to Some Love Poems" as it also contains dialogue about Brautigan's manipulation of the telephone -- or is it vice versa -- before commencing with pieces from The Pill Versus the Springhill Mine Disaster anthology. Arguably the most interesting concept from the listener's point-of-reference is "Love Poem" -- a single-sentence composition as interpreted by Brautigan himself in addition to Bob Prescott, Valerie Estes, Michael McClure, Margot Patterson Doss, Bruce Conner, Michaela Blake-Grand, Donald M. Allen/David Schaff, Ianthe Brautigan, Imogen Cunningham, Herb Caen, Betty Kirkendall, Peter Berg, legendary DJ Alan Stone -- who reads his live on-the-air via KSAN-FM, Antonio, Donald M. Allen, Cynthia Harwood, and Price Dunn. Studious collectors should be on the lookout for a rare promotion-only cassette version of Listening to Richard Brautigan that was circulated by Beatles' label Apple Records. There are a few discrepancies between the two, primarily the absence of "Boo, Forever" and minor liner revisions. ~ Lindsay Planer Author, humorist, and recording artist, Richard Brautigan's long-player, Listening to Richard Brautigan (1970), provides insight into his everyday life, world, and written works. The San Francisco-based poet had already established himself as a hip, underground Bay Area fixture -- even occasionally supporting burgeoning rockers Mad River, turning up on their Paradise Bar & Grill (1969) album reciting "Love's Not the Way to Treat

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Real Illusions: Reflections [2/22] *
 

Real Illusions: Reflections [2/22] *

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Real Illusions: Reflections [2/22] *
"Real Illusions: Reflections" (02/22/2005) Rock & Pop Vai, Steve, Red Ink Records (USA)Personnel: Steve Vai (vocals, guitar); Billy Sheehan (vocals, bass guitar); Len Birman, Michael Mesker, Fire Vai, Thomas Nordegg, Jeff Mallard, Laurel Fishman, Ruby Birman (spoken vocals); Dave Weiner (guitar, acoustic guitar, electric guitar, electric sitar); Pia Vai (harp); Dan Higgins, Larry E. Williams (saxophone); Gary Grant, Jerry Hey (trumpet); Bill Reichenbach Jr. , Charles Loper (trombone); Chris Opperman (piano); Gregg Bissonette (percussion); Stacie Ellis (background vocals); Tony MacAlpine (vocals, guitar, keyboards); Jeremy Colson (drums, percussion). Audio Mixer: Steve Vai. Recording information: De Oosterpoort, Groningen, The Netherlands; Harmony Hut, Encino, CA; Mothership, Hollywood, CA; Paradiso, Amsterdam, The Netherlands. Photographer: Larry DiMarzio. Steve Vai remains an eclectic rogue in the world of guitar virtuosos. While his staggering chops precede him, Vai is known for favoring artistic, emotional expression over blazing six-string shredding just for its own sake. With an ensemble that includes bassist Billy Sheehan, drummer Jeremy Colson, and percussionist Gregg Bissonette, Vai presents his first new studio work since 1999's THE ULTRA ZONE. REAL ILLUSIONS: REFLECTIONS is the first chapter in a trilogy of concept albums. Vai offers a cryptic outline of a spiritual journey, with a well-balanced combination of all-instrumental and vocal tracks (with Vai himself ably handling singing duties). "Firewall" employs a meaty horn section for a slice of electrified neo-funk. "Lotus Feet" teams Vai with Holland's Metropole Orkest and electric-bass heavyweight Bryan Beller. The overall result is ethereal and lyric in its presentation. Vai's wild imagination runs amok on REAL ILLUSIONS, which entrances listeners with its almost limitless vistas.

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Monster Surf [6/21] *
 

Monster Surf [6/21] *

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Monster Surf [6/21] *
"Monster Surf" (06/21/2005) Rock & Pop Hoey, Gary, Surfdog RecordsPersonnel: Gary Hoey (various instruments, guitar); Dick Dale (guitar); Tony Franklin, Ray Riendeau (bass guitar); Myron Grumbacher, Glenn Sobel (drums).

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No Matter What Shape (Your Stomach's In) by The T-Bones (US) (CD - 03/14/2006)
 

No Matter What Shape (Your Stomach's In)...

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No Matter What Shape (Your Stomach's In) by The T-Bones (US) (CD - 03/14/2006)
"No Matter What Shape (Your Stomach's In)" (03/14/2006) Instrumental T-Bones (US) (The), Collectables RecordsThe T-Bones: Dan Hamilton (guitar); Joe Frank Carollo (bass, drums); Tommy Clark Reynolds (drums, percussion). Includes liner notes by Mark Marymont. Liner Note Author: Mark Marymont. With cover photography from Miles Laboratories, the Alka-Seltzer theme song that went Top Five in America in December of 1965 is the jewel on this 12-song instrumental recording from Ventures producer Joe Saraceno and Phil Spector arranger Perry Botkin Jr. They had worked together on Gene McDaniels' "A Hundred Pounds of Clay" in the same capacity (for Liberty, the same label), so they were poised at the right place and time to enable this television commercial to cross over to the pop charts. Musicians are not credited, but three of them are guitarist Dan Hamilton, bassist Joe Frank Carollo, and drummer Tommy Reynolds of Hamilton, Joe Frank & Reynolds, who would land in the Top Five again in 1971 with "Don't Pull Your Love" and top the charts almost ten years after this initial hit with the middle-of-the-road classic "Fallin' in Love." This album has interesting versions of "Let's Hang On" and "Don't Think Twice, It's All Right," both hits for the Four Seasons in the exact same time frame (winter 1965), taking a cue from The Bob Crewe Orchestra Plays the 4 Seasons' Hits LP of instrumental recordings. But don't think Saraceno and Botkin Jr.'s emulation of Crewe went unnoticed: In 1967, two years after this, the Bob Crewe Generation (as in Pepsi Generation) hit with a Diet Pepsi commercial, "Music to Watch Girls By." It's a business where people borrow liberally, and the best borrowing Saraceno does is from himself, as his Ventures became the template. The Knickerbockers' "Lies" may sound more like the Kingsmen than the other material here, but the compact songs with no voices that do take from the Ventures' sound are very entertaining. "Chiquita Banana" was, of course, another big commercial, and years before Steve Gottlieb's TVT Records label issued a CD of famous television advertisements; perhaps the T-Bones should have capitalized on their vision and cut a few more memorable ones. "Sippin' & Chppin'" could be a second cousin to the big hit, "No Matter What Shape (Your Stomach's In)," and "My Headache's Gone" is the definite sequel, though the medication is a bit watered down by this point. "Hole in the Wall," "Pizza Parlor," and the very odd "What's in the Bag, Goose" (the only song on the record with any vocal sounds whatsoever) are interesting enough, but it's the title track that is classic. ~ Joe Viglione

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Danger High by Double Naught Spy Car (CD - 04/23/2002)
 

Danger High by Double Naught Spy Car (CD...

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Danger High by Double Naught Spy Car (CD - 04/23/2002)
"Danger High" (04/23/2002) Instrumental Double Naught Spy Car, Pascal RecordsDouble Naught Spy Car: Paul Lacques (guitar, steel guitar); Marcus Watkins (guitar, banjo); Joseph Berardi (vibraphone, drums, percussion); Marc Doten (bass). Producers: Double Naught Spy Car, Steven Rhodes. Personnel: Marcus Watkins (guitar, banjo); Paul Lacques (guitar); Dave Markowitz (violin); Kevin Mitchell (cello); Marc Doten (keyboards); Joe Berardi (vibraphone, drums, percussion); Michael Tempo (drums). Audio Mixer: Steven Rhodes. Recording information: Tiki Hut; Trend Coma. Photographer: Paul Lacques. Danger High is visual music of such sheer delight, it does the near-impossible task of being better than the group's accomplished first album, Comb in Blue Water. Double Naught Spy Car is not a readily compartmentalized band. There are too many good points to get across in this instrumental outfit of two guitars, bass, and drums. Of course, there will also be cello, banjo, cowbell, and violin. Obviously there will be vibes, bells, and rayguns. And yes, rest assured, a brass marching band starts the CD. What's important about all these (literal) bells and whistles is that this is not some Spike Jones sound-effect gimmick. Good songs prevail, and there's always a sturdy tree beneath the ornaments. All points between sinister and goofy, every note invests in mood, attitude, and panache without being fluff. The presence of accomplished co-producer Steven Rhodes likely adds some brave gravy to the mix, and his engineer background keeps things sparkling clear without flattening the energy. The title cut, "Danger High!," is a glistening switchblade number that darts to and fro from the classroom to the pool hall. "Lily St. Cyr" (a longtime staple in their live sets) is a slow rock smoldering diva in sunglasses at one a.m. -- campy and melodramatic, with Stan Ridgway drummer Joseph Berardi stoically sentencing his skins to life without parole. "Macedonia 6-5000" is a delicious Fender Stratocaster sheik of the high desert, a bellydancer on a surfboard. The quartet takes turns spazzing out on their magic carpets, and it sends a giddy chill up your camel's spine. "What's Your Hurry" is an iguana in a zoot suit, slinking along Sunset Boulevard looking for a handout. There is a recognizable warmth in every twang and reverence in every crash. "Helicopter" is a great showcase; it dares you not to giggle -- a pseudo-Jetsons theme hopscotching between disco and ska, with Marc Doten deftly flipping the pages of his bass, which further gives way to a babbling debate between Paul Lacques and Marcus Watkins on dueling wah-pedal guitars. "Someone's Creeping in My Yard" is a ballroom of exhausted tuxedos and martini hangovers, twirling in a dreamy haze of memory, with Berardi's brushwork shuffling acrobatically through vibraphone street lamps. "Kay Sara Sarah" is a sparkling beauty -- an Aloha TV Christmas Special closing theme song, with Lacques' rubbery slide melody carrying the listener away on clouds of '50s kitchen countertop nostalgia. A couple of tracks, like "Crosseyed San Paku," trudge along in a more straightforward manner that dispenses with the polish, but even these less-memorable passages have teeth. Another staple from their live show, "Marina Del Hayride," whispers out a Shaft theme that morphs into an amazing guitar bone-saw rhythm section epileptic seizure, and hats off to Watkins for keeping time as the world around him breaks apart repeatedly in a wonderful rock chaos (see them live if you can). "The Mayor's Procession" is an unsettling close to the disc; a country-bumpkin grim reaper marching into the swamp. The freak show is almost too much to bear, but its cinematic scope actually becomes the icing on the cake. When all the sweat dries, Danger High is music for musicians, a hidden treasure and a triumphant soundtrack for all those brilliant squares out there. ~ Glenn Swan

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One Big Rush: The Genius Of Joe Satriani
 

One Big Rush: The Genius Of Joe Satriani

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One Big Rush: The Genius Of Joe Satriani
"One Big Rush: The Genius of Joe Satriani" (11/29/2002) Rock & Pop Satriani, Joe, CmgPersonnel: Joe Satriani (electric guitar). Few guitarist received as many accolades during the late '80s/early '90s as Joe Satriani did. During that era, it appeared as though you couldn't escape Satriani's mug and shiny silver guitar whenever you opened the latest guitar publication. The monthly press coverage may have cooled in later years, but there's still an enormous following for "Satch" -- heck, he's one of the few '80s era shredders who's managed to remain on a major label throughout the years. Having issued albums regularly since 1986, there has never been a single-disc sampler of Satriani's best tracks -- until 2005's One Big Rush: The Genius of Joe Satriani came along. Unlike the more expansive 2003 double-disc set, The Electric Joe Satriani: An Anthology, One Big Rush manages to stick strictly to the basics over ten tracks. Standouts include such uptempo, rocking instrumentals as "One Big Rush" and "Surfing with the Alien," as well as more subdued fare as "Cryin'." While it's by no means a definitive Satriani best-of (the exclusion of such classics as "Always with Me, Always with You," "Satch Boogie," and "Summer Song" prevents it), for an affordable intro, One Big Rush is recommended. ~ Greg Prato

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Amino Acid Flashback [10/18] *
 

Amino Acid Flashback [10/18] *

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Amino Acid Flashback [10/18] *
"Amino Acid Flashback" (10/18/2005) Heavy Metal O.H.M., Rotten RecordsO.H.M.: Chris Poland (guitar); Robertino Pagliari (bass guitar); Kofi Baker (drums).

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Live From Austin Tx [Digipak] [11/1] *
 

Live From Austin Tx [Digipak] [11/1] *

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Live From Austin Tx [Digipak] [11/1] *
"Live from Austin TX [Digipak] *" (11/01/2005) Instrumental Johnson, Eric (Guitar 1), New West Records, Inc.Personnel: Eric Johnson (vocals, guitar); Tommy Taylor (drums). Audio Mixers: Chet Himes; Gary Briggs. Liner Note Author: Terry Lickona. Recording information: Austin, TX (02/04/1988). Photographer: Scott Newton. Eric Johnson was two years away from releasing Ah Via Musicom, the album that would finally expand his following beyond a rabid cult of guitar fanatics, when he appeared on the acclaimed PBS music series Austin City Limits and casually played an hour of music that had viewers across the country asking, "How does he do that?" (It wasn't the first time -- a 1984 spot on the show helped Johnson land his first major-label deal.) Live from Austin, TX gives Johnson's December 14, 1988, gig on the show an authorized release on CD, and what's most striking about the disc is how the layers of amazing guitar tone and remarkably fluid licks that you figured had to have been created through endless hours of studio trickery on his albums are actually being summoned forth by Johnson in real time, with a camera crew and studio audience watching. Zipping back and forth between jazz, blues, rock, progressive, and even country styles, nothing seems to be outside Johnson's grasp on this performance, and his rhythm section (Kyle Brock on bass and Tommy Taylor on drums) offers subtle but essential support throughout. While on a few numbers Johnson descends into Steve Morse-style guitar theatrics that are of limited interest to those who can't actually play, for the most part this is a fine performance from a picker who knows how to use his chops in the service of the music, and anyone who enjoys his work will want to check this out. ~ Mark Deming

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Royal Dan - A Tribute To The Genius Of... [5/9]
 

Royal Dan - A Tribute To The Genius Of.....

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Royal Dan - A Tribute To The Genius Of... [5/9]
"The Royal Dan: A Tribute" (05/09/2006) Jazz Instrument Various Artists, Tone CenterTributee: Steely Dan. Personnel: Elliott Randall, Frank Gambale, Jeff Richman, Jimmy Herring, Al di Meola, Mike Stern, Robben Ford, Steve Lukather, Steve Morse (guitar); Ernie Watts (saxophone); Peter Wolf (horns, keyboards); Vinnie Colaiuta (drums). Liner Note Author: Jeff Richman. Photographers: Kerstin Olofsson; Richard Aaron; Jeff Richman. Arranger: Jeff Richman. Guitarist Jeff Richman came up with this idea: get a house band together made up of A-list session guys (bassist Jimmy Haslip, saxophonist Ernie Watts, etc.) and then invite an all-star cast of guitar gods to come in and take turns interpreting the songs of Steely Dan as jazz-rock fusion. It works either as well or as dreadfully as you'd expect, depending on your perspective. What you need to understand going in is that Royal Dan: A Tribute is largely about tone: this is a guitar record for guitarists, and will appeal greatly to the kinds of guys who can sit around for hours discussing the relative merits of vintage and modern distortion pedals. But it's not all guitar-geek wankery. On "Hey Nineteen," Elliott Randall uses sneaky phrasing and delicate volume variations to turn his bluesy solos into something really special (though Peter Wolf's keyboards are a bit intrusive), and Frank Gambale eschews grandstanding technical fireworks in favor of tasteful harmonic experimentation on "FM." Al di Meola goes insane on his classical guitar on "Aja," and Robben Ford blows the doors off with a thrilling rendition of "Peg," but Mike Stern's take on "Dirty Work" isn't as exciting as it should have been, and Steve Lukather's version of "Pretzel Logic" has just a little bit too much Foreigner to it. Again: keep in mind that this is a guitarist's album -- guitar geeks will find something to argue about on every track, and that's really what it's all about. ~ Rick Anderson

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Battles Ole [9/6] *
 

Battles Ole [9/6] *

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Battles Ole [9/6] *
"Battles Ol? [Digipak] *" (09/06/2005) Rock & Pop Drums & Tuba, Righteous Babe RecordsDrums & Tuba: Neal McKeeby (guitar); Tony Nozero (drums); Brian Wolff. Personnel: Brian Wolff (vocals, trumpet, tuba); Ben Ellman (saxophone); Molly Pate (French horn); Richard Vogel (organ); Becky Wasden (background vocals). Additional personnel: Molly Pate (French horn); Becky Wasden (background vocals); Ben Ellman, Richard Vogel. Audio Mixer: Andrew Gilchrist. Recording information: House Of 1000 Hertz, New Orleans, LA (06/2003-05/2005); The House Of 1000 Hertz, New Orleans, LA (06/2003-05/2005); The Truck Farm Studios (06/2003-05/2005); The Truck Farm, New Orleans, LA (06/2003-05/2005); Truck Farm Studios (06/2003-05/2005). The big news is Drums & Tuba's return after their three-year break from the studio is filled with vocals, most from drummer Tony Nozero. This is still classic Drums & Tuba -- King Crimson meets beat-filled post-punk with jam band freedom -- with the band a little more focused on groove and angst. In other words, the post-punk aspect is working double time on Battles Ol?, with Nozero's Howard Devoto-meets-Richard Butler vocals emphasizing everything '80s and underground about the record. Big difference is few punkers or punk-funkers let the songs stretch out like they do here, and nobody ran a band back then with just tuba, guitar, and drums. After an atmospheric intro, the opening "Two Dollars" thunders and throbs like Liquid Liquid-loving stoner rock while "Four Notes of April" combines funky pipes and pans percussion over a sinister song that's Love and Rockets at their most prog. The epic "Magnum Opie" features all the improvisation and time changes of the old days for a gripping ten minutes, but the crunchy and difficult "If I Die" that follows proves this band isn't one to live in the past or provide safe haven for anyone who comes with expectations. Nozero's vocals are just part of the sonic wash, with Brian Wolff's tuba acting as bass and Neil McKeely's drum still providing the hypnotic rhythms all the swirling notes cling on. As firm rhythms take hold and waves of sound envelope the listener, the quirkiness of the instrumentation disappears even faster than it does when listening to the similarly built Morphine. Hardly contrived and way past clever, with Battles Ol? Drums & Tuba have moved well past breaking rules and focus on making hallucinatory music that was meant to be. ~ David Jeffries

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A Havel City/No One Is There [9/28]
 

A Havel City/No One Is There [9/28]

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A Havel City/No One Is There [9/28]
"A Navel City/No One Is There" (09/28/2004) Rock & Pop Kamiyama, Hoppy, Kanpai RecordsPersonnel: Koyohiko Semba (drums, percussion). Recording information: Gok Sound, Tokyo, Japan. Editor: Hoppy Kamiyama. Translator: Bill Laswell. Gods have trembled at the sound of Bill Laswell's bass. The legendary master of the low end has always brought the skill of a jazz master and the soul of a reggae dub seer into his post-everything playing, which has extended from working with Jah Wobble to remixing Miles Davis. Paired with quirky Japanese keyboardist Hoppy Kamiyama, one would expect this album to feature both attempting to out-freak the other in a dense sonic stew. Quite to the contrary, these players know when to let the other work. And more impressively, they leave ample room for the drumming of one Kiyohiko Senba, whose history with Japanese popsters Cornelius and Soukichi Kina barely hinted at the stellar playing found on the tumultuous end of "Azlo." Throughout each song, Senba rapidly switches from pan-everywhere tappings to effortless jazz swing or hyper-kinetic explosions at a moment's notice. That anyone can keep up with Laswell's molten lower register is impressive. The fact that it often appears to be Senba who is driving the nimble-fingered bassist is nothing short of astounding. They lock into a groove that sounds like it could ride forever, only for one of the pair to do a quick fake and the chase to resume. Through all this, Kamiyama stays on the sidelines, refereeing the match with light touches that only sparingly invade the playing field, the exception being the liquid funk rev-up on "Sad Emission." Fans of both Laswell and Kamiyama should be happy with this release. And expect followers from both sides to discover a new hero in Senba's drumming. ~ Joshua Glazer

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Pretest by Dysrhythmia (CD - 01/01/2006)
 

Pretest by Dysrhythmia (CD - 01/01/2006)

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Pretest by Dysrhythmia (CD - 01/01/2006)
"Pretest" (01/01/2006) Instrumental Dysrhythmia, Relapse Records (USA)Recording information: Electric Audio B, Chicago, IL (01/2003-02/2003). Photographer: Jacob Fennell. Unknown Contributor Role: Kevin Hufnagel. Dysrhythmia marked a creative expansion for the Relapse Records roster, Pretest consisting entirely of instrumentals with no death/grind buzz-saw guitar tones or blastbeats -- or anything too "metal" at all, actually -- in sight. Instead, Dysrhythmia explores vaguely prog avenues lined with jagged, angular Jesus Lizard-esque riffs, odd time signatures, and Sonic Youth-styled dissonance and lyrical guitar doodles; the latter smartly used to draw the listener into a fracas that would otherwise be a cold, detached listening experience. Arrangements usually start off sparse and build to climaxes that are more cerebral than emotional, but engaging nonetheless. The (sort of) Rush-like "Running Shoe of Justice" utilizes jazz-chord voicings and the occasional blast of feedback to reach a logically heavy, but not obvious conclusion -- in fact, most songs on Pretest could be described in such a manner, but thankfully the group's compositions often lie on a solid, complex, rhythmic foundation and a subtle yet bold sense of dynamics (see the sparse harmonic meandering backed by spastic-jazz drum workouts during "Annihilation II"). Producer/engineer Steve Albini -- who has publicly expressed his distaste for anything stereotypically heavy metal -- downplays any indulgent prog tendencies the band may possess, lending Dysrhythmia a grit and clarity not found on the group's previous self-released albums. Praise the band for falling into the cracks between any genre slabs, but ultimately, Dysrhythmia will appeal to a select audience: musician-types and indie rockers weaned on Mogwai and June of 44 may find something of value here, or possibly fans of Neurosis' later work, or the herky-jerky fundamentals of the Dillinger Escape Plan; assuming they're patient enough to sift through a handful of off-kilter instrumentals. It's a bit of a challenge, but spending a fair amount of time with Pretest isn't without its rewards. ~ John Serba

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$4
This Is Riphop by Death Comet Crew (CD - 08/24/2004)
 

This Is Riphop by Death Comet Crew (CD -...

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$6
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This Is Riphop by Death Comet Crew (CD - 08/24/2004)
"This Is Riphop" (08/24/2004) Instrumental Death Comet Crew, Troubleman UnlimitedDeath Comet Crew includes: Rammellzee, Phase 2, Stuart Argabright, DJ High Priest. Recorded in 1983 & 1984. Death Comet Crew: Rammellzee, Stuart Argabright, DJ High Priest. Personnel: Rammellzee (vocals). DJs: DJ High Priest; DJ Ivan Ivan. Audio Mixer: Steve Peck. Audio Remasterer: Paul Geluso. Recording information: Powerplay Studios (11/1984); The Pyramid Club, New York, NY (11/1984); Unique (11/1984). Photographer: Gretchen Bender.

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$6
Perspective by Jason Becker (CD - 05/22/2001)
 

Perspective by Jason Becker (CD - 05/22/...

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Perspective by Jason Becker (CD - 05/22/2001)
"Perspective" (05/22/2001) Instrumental Becker, Jason, Warner Bros. Records (Record Label)Personnel includes: Jason Becker (guitar, keyboards); Steve Perry, Brett Tuggle (vocals, percussion); Cathy Ellis, Mihoko Ito, Anisha Thomas, Caren Anderson, Natasha Hoehn, Michelle Clair, Jennie Bermsderfer, Irma De Los Santos, Joey Blake, Melanie Rath (vocals); Ron Becker (acoustic guitar); Michael Lee Firkins, Steve Hunter (guitar); Mike Bemesderfer (flute, keyboards); Gary Schwantes (bamboo flute); Laurie San Martin (bass clarinet); David Stuligross (trombone); Danny Alvarez (piano, keyboards, synthesizer); Matt Bissonette (fretless bass); Gregg Bissonette (drums); Steve Rosenthal, Ricky Walker, Darren Driver (percussion); Raz Kennedy (background vocals). Producers: Jason Becker, Danny Alvarez, Mike Bemesderfer. Engineers include: Chris Minto, John Lowery, Tony Mills. Personnel: Jason Becker (guitar, electric guitar, keyboards); Steve Perry (vocals, percussion); Melanie Rath, Joey Blake, Raz Kennedy, Brett Tuggle (vocals); Cathy Ellis, Caren Anderson, Anisha Thomas (soprano); Steve Hunter (guitar, rainsticks); Michael Lee Firkins (guitar); Gary Becker (classical guitar); Mike Bemesderfer (flute); Gary Schwantes (bamboo flute); David Stuligross (trombone); Danny Alvarez (piano, organ, keyboards, Synclavier, percussion); Gregg Bissonette (fretless bass, drums); Matt Bissonette (fretless bass); Steve Rosenthal (snare drum, cymbals); Rick Walker (percussion). Audio Mixers: Danny Alvarez; Mike Bemesderfer; Jason Becker. Recording information: Becker Home; Digital Audio Solutions; Dorado Recording; John Lowry Studios; Sound City Studios; Spark Productions; Spark Studios. Editors: Danny Alvarez; Mike Bemesderfer. Illustrator: Gary Becker. Introduction by: Gary Becker. Photographers: Ross Pelton; Gary Becker. Unknown Contributor Role: Steve Hunter. Arranger: Jason Becker. Between the release of his first solo album, Perpetual Burn, in 1988 and the making of this, his second, speed metal guitarist Jason Becker suffered one of the most devastating blows a human being can: he was diagnosed with ALS (Lou Gehrig's Disease), the incurable ailment that gradually renders its victims paralyzed. Perspective was recorded during the period when Becker was losing his ability to move, much less play the guitar, and thus marks a transition from his days of frantic fretboard work to less speedy playing and to writing music that is played by other musicians and by computer; much of the album was written on a Mackintosh and then executed by guest performers. The result is that Becker, being unable to produce his usual heavy metal performances, has turned to a more varied musical palette, allowing in a wide range of musical influences. "Primal," the lead-off track, for example, has a Middle Eastern feel, while "Empire" is distinctly Oriental. The lengthy "End of the Beginning" displays classical influences, as does the Bach-like "Serrana." Becker's musical imagination is unfettered even if his body is disabled; he stuffs his tunes with different musical ideas, often taking them in surprising directions. In this sense, the most notable track is also the last written for the record, "Life and Death" ("The title speaks for what was on my mind at the time," he notes), which sounds like a group of musical cues for the soundtrack of an adventure film. Jason Becker is enduring a catastrophic fate physically, but he is using it to explore musical passages he might not have otherwise. Originally released on his own label in 1996, Perspective was reissued by Warner Bros. in 2001. A part of the proceeds goes to the ALS Therapy Development Foundation (www.als-tdf.org). ~ William Ruhlmann

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$6
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