Friday, October 31, 2014

Rolling Stones Friday: Have You Seen Your Mother, Baby, Standing in the Shadow

"Have You Seen Your Mother, Baby, Standing in the Shadow" has always been a guilty pleasure for me. It feels a bit tossed off, I have no idea what it's about, and overall it is not a great Stones song. The Stones themselves reportedly didn't like the final mix and believe the rhythm tracks got watered down to the song's detriment.

But regardless, I like the rumbling feel of the song, the horn lines (it's the first Stones song with horns) and the overall psychedelic vibe. And it's just catchy as can be and sounds great.

Here's the recorded version from 1966:

And we'll leave you with a terrific live version from the Ed Sullivan Show in 1967, with Keith on piano, Charlie playing it cool on the drums, and check out Brian Jones' suit!:

Thursday, October 30, 2014

Los Tones - Psychotropic

Please don't tell Sydney's Los Tones that the '60s are over.  Please.  Their brand of bluesy, psychedelic, surfy garage rock is perfect for ears that crave such sounds -- like mine.  And now that the band has given us Psychotropic -- a full LP of the delicious stuff -- we can band together to protect this treasure and keep the pipeline going.  We can do it -- don't mention the date!

This is dirty, gritty, primal garage, the stuff you fell in love with when you first heard The Sonics' belt out "Psycho", "The Witch", or "Strychnine".  The band has released singles previously, some of which were featured here, but I believe that Psychotropic is their debut album.  It is available in digital, CD and vinyl versions.  All versions can be sourced, and the entire album streamed, via the Bandcamp link below.

Los Tones are Bodie (guitar/vocals), Shaun (bass/vocals), Leigh (drums/vocals), and Nick (guitar/vocals).  They recently completed a European tour.


Wednesday, October 29, 2014

Tomorrows Tulips - When

When, the latest album from Costa Mesa, California's Tomorrows Tulips, is raw and lo-fi, with a '90s fuzz rock core and hints of glam and slow rock.  At times is sounds like a recently discovered trove of acoustic demos from the Velvet Underground or The Jesus and Mary Chain.  Perhaps the vibe could be called 'garage rock on codeine'.  I'm not going to pretend that everyone will read that description and exclaim "oh goody, that's for me".  It is, however, something I like.  The guitar tones are just right, and for me the album appealingly matches raw emotions with a raw sound.

The album begins with "Baby", a 1:11 garage glam burst.  The following "Surplus Store" is a throbbing mid-tempo song that manages to bounce along while creating a bummer atmosphere.  "Laying in the Sun" dials down proceedings another notch at the beginning, but offers a pleasing vocal hook.  Then it turns electric before returning to acoustic, while remaining languid.  Following tracks include rumbling lo-fi electric songs (for example, "When") and atmospheric acoustic tunes.  Some songs, such as "Favorite Episode", offer both.  For my tastes, "I Lay in My Bed" and "Glued to You", and "Plan It Peace" work the best, perhaps because they all remind me of TJAMC's The Power of Negative Thinking.  Tomorrows Tulips doesn't invent anything here, and their songs won't change your world.  And of course, it was never their intent to do so.  But I expect that they made the songs they wanted to make, and I'm happy to have them.  For me, after the opening track, the second half of the album is better than the first, but your experience may not be the same.

When was released on October 7 via Burger Records in the US, Strange Yonder in Australia and Ayo Silver in Europe.

Here are videos for "Baby" (NSFW) and "Glued to You" (NSFW), and the steams for "Glued to You" and "Papers by the TV" --

Burger Records (US label)
Strange Yonder (Australian label)
Ayo Silver (European label)

Tuesday, October 28, 2014

REVIEW: Tangerine - Behemoth! EP

It isn't hard to be enthusiastic about the Seattle music scene.  Vibrant and varied, it offers indie pop, psychedelic, blues, metal, hip hop, electronic, pop, reggae, country and probably anything else your heart desires.  Not surprisingly, in Seattle and everywhere else a lot of gems get lost in the shuffle, and that's where we step in;  we champion the bands working for attention, and with the talent to deserve attention, rather plug someone with a big label contract.  But even given our self-selected mission statement (and our steadfast and noble refusal to accept the under the table money and perks offered to us by the major labels), some bands stand out as more ready for prime time, more deserving of major exposure, than others.  One of those bands is Tangerine.

Yes, tangerine is a lively color and a nutritious snack.  But Tangerine also is a Seattle band that deserves to be nationally known.  Their range is impressive, from pristine pop to west coast indie rock.  In Marika Justad (vocals/guitar/keys), Tangerine has a frontwoman with an incredible voice, powerful and equally capable of rocker girl mode or plaintive pop siren.  Her sister Miro (vocals/drums), provides vocal support, and counterpoint, as demanded by the material.  Ryan Baker (bass/vocals) teams with Miro as the band's rhythm section, and rarely do you hear a young indie band with a backbone so on point, so, well, consider it a party within the party.  Toby Kuhn (lead guitar/vocals) possesses a remarkable range of guitar skills, and delivers confident shredding episodes that solidify the band's rock credentials.  Moreover, the foursome seems tight knit, cohesive and, relevant in today's market, photogenic.

Of course, the foregoing positive attributes might not mean much without good material, but Tangerine also write excellent songs.  Their two 2013 EPs, Pale Summer and Radical Blossom, were stuffed with indie rock nuggets, with equal measures of ragged fuzz, sugar, gnarly rock and promise.  Today, the band self-released the Behemoth! EP, a seven-track fulfillment of that promise.  The ragged edges are trimmed a bit, but not so much that the band could be accused of abandoning rock.  The performances are tighter, and the material is expertly crafted.  Behemoth! starts out strongly with the bright and energetically chugging opening track "You'll Always Be Lonely", displaying the band's vocal and instrumental abilities, and loud-soft, fast-slow dynamics.  The following "Tidal Wave" dials back the volume but delivers one of the sweetest songs of the set, and notably vocal interplay between Mariko and Miro.  The previously released "Nothing Better" establishes the band's pop credentials in triumphant fashion.  "I Fell Down", the fourth song has a wonderfully retro sound, with Mariko's yearning vocal lead and Toby's garage chord accents.  Every time I hear it I'm tempted to ask someone to save me the last dance (you may now feel sorry for my secretary).  The fifth track, "Tiny Islands" is a bright slice of garage with pop flourishes.  "Runes" gives the rhythm section a chance to take the stage for the first minute and a half, and then the song explodes into indie pop perfection.  Album closer, "Northern Line", is four and a half minutes of delightful dream pop.

Three tracks are available to view/stream below.  But you also can listen to Behemoth! EP on Spotify.  And I urge you to do so because as good as those songs are, my current favorite tracks are "Tidal Wave", "I Fell Down" and "Runes".  For those who are as impressed with Behemoth! as I am, the record is available at the iTunes link below.  If you are lucky enough to attend a Tangerine show, there probably will be physical copies available as well.

iTunes link for EP

Monday, October 27, 2014

Shivery Shakes Three Waves & A Shake

Austin's Shivery Shakes are a breath of fresh air -- their Three Waves & A Shake delivers a bit of jangle, a bit of twang, a bit of roots rock, a bit of surf, and plenty of reverb and polish.  Although the lyrical content nestled in the nostalgic chords re-imagined for the slacker world can defy the happy sound, the songs bounce along with buoyant bass and energetic drumming.  So while someone might cry to the heartache and #youngguysproblems, it probably won't be the listeners.  In style of composition, the band seems to borrow a bit from fellow Texans Roy Orbison, Buddy Holly, and Britt Daniel of Spoon, while coming across as an imitator of no one.  And given the quality of the songs, I think Roy, Buddy and Britt would be proud to be listed as influences.  As there are no filler tracks, everyone may have different favorites, but for me, "Hold On", the jangling "Remember When", and the '60s flavored "Summer Lover".   So play the tracks below and stream the entire album at the Bandcamp link.  I suggest that you may be prompted to hold on to summer a bit longer by buying piece of The Shivery Shakes.

The Shivery Shakes are William Glossup (vocals/guitar/bass/piano/vibes), Marcus Haddon (vocals/percussion), Andrew Penmer (bass) and Jack Thorton.  Three Waves & A Shake is out now via Punctum Records and Austin Town Hall Records.  The boys are touring a bit in November; the dates are listed at the bottom of this post.

Bandcamp for album (and digital download)
Punctum Records
Austin Town Hall Records order page for album


11.12.14 – Phoenix, AX @ The Lost Leaf
11.13.14 – Los Angeles, CA @ Ham & Eggs Tavern
11.15.14 – Oakland, CA @ We Are Scandinavia
11.16.14 – San Francisco, CA @ Amnesia
11.18.14 – Portland, OR @ Valentine’s
11.19.14 – Seattle, WA @ Victory Lounge
11.20.14 – Boise, ID @ The Crux
11.21.14  - Salt Lake City, UT @ Diabolical Records
11.22.14 – Denver, CO @ Savoy

Friday, October 24, 2014

Prom - Keeping Company EP

Brooklyn's Prom makes engaging dream pop, featuring soaring vocals and synths over a driving drum cadence and stabs of thick bass.  Your musical introduction to the band is available now via their just released Keeping Company EP, available on Crazy Heart Records.  I like to think of it as dream pop anthems for people who might like to dance a bit.  Making music that is cinematic, romantic and pulsing enough to move your feet is a talent to cherish, so we hope Prom keeps at it.  We've included two tracks below.  If you only think you have time for one, try "Switch On"; you'll likely try the other one as well.  You can stream the entire album at the Soundcloud link below.

Prom is Ella Zoller and Gabriel Stanley.

Soundcloud for EP
Crazy Heart Records

Rolling Stones' bassist Bill Wyman is 78 today.

Older than dirt and probably still dating girls younger than my sons. Bill has never received his due credit. The Stones are not just Jagger and Richard.  Jagger and Richard are notoriously renowned for "forgetting" to give Wyman writing cit. After Wyman quit the band in 1990, after nearly three decades service, Bob Dylan said:  "I'm not saying they don't keep going, but they need Bill," he said. "Without him they're a funk band. They'll be the real Rolling Stones when they get Bill back."

Before the Stones were just a funk band Wyman and Charlie Watts were the glue holding the band together. Listening closely to Wyman's bass lines is one of my RnR pleasures. Dig in and enjoy to a few of my favorites.

"Paint It Black' 1966 "I loved recording 'Paint It, Black,'" Wyman told Bass Player magazine. "When I laid on the floor and pumped the organ pedal with my fist, because I can’t play with my feet, that rhythm kind of made the record, because it was lacking something before I suggested doing that."

" Gimme Shelter" 1969 Wyman's bass is simple and perfect for the mood of the song. A sinister groove thanks to Wyman and Watts

"19th Nervous Breakdown" 1966    Wyman's r bass runs at the song's end are the exclamation point To a Jagger-Richard rave up on Bob Dylan. The song hit No. 1 in the U.K. and No. 2 in the States.

" Jumpin Jack Flash" 1969: In his autobiography 'Stone Alone,' Wyman gives himself credit for the main riff of the song. "We got to the studio early, there was just myself, Brian and Charlie," he explains. "I was just messing about at the piano and started doing this riff, da-daw, da-da-daw, da-da-daw, then Brian played a bit of guitar and Charlie was doing a rhythm. Mick and Keith came in and said, 'Hey, that sounded really good, what is it?'"

"Miss You" 1978: "I suppose you could say I created what was happening on 'Miss You,'" Wyman boasted to Bass Player magazine. "The walking bass, that octave bass thing. After that, just about every band in the world took that idea at the time and used it in a song."


Rolling Stones Friday: Not Fade Away

The Beatles famously modeled their name after Buddy Holly's band, while the Rolling Stones first US single, released in 1964, was a cover of Buddy Holly's 1957 hit "Not Fade Away".

I selected this song today just so I could show you this very early and amazing TV footage of the Stones:

Of course, Buddy Holly built "Not Fade Away" on a classic Bo Diddley beat, which itself was lifted from traditional "hambone" West African rhythm. And on and on it goes.

But look at the 1964 photo top above: The Stones almost look like Buddy Holly and the Crickets!:

Thursday, October 23, 2014

Leisure Suite - Leisure Suite EP

Today's question for you is whether a band of which you were completely unaware before opening this post could become one of your favorite electro-pop bands by the end of the day.  Of course, the answer will depend on your individual tastes, but Leisure Suite certainly sounds like a solid candidate to me.  A three-piece from Melbourne consisting of Mitchell, Bridgette and Su, their music is a trippy guitar and synth-based pop featuring spare beats and Bridgette Le's sultry vocals.  Two of the tracks on this self-titled EP previously appeared as singles, but the EP is their first longer release.  The first two offerings, "Great Expectations" and "Ease Away" are downtempo, atmospheric songs.  The delightful "Haze" picks up the pace and could easily slot into the playlist for the dancefloor.  The introspective "Falling Under" circles back to the chillwave of the first two tracks, while allowing Bridgette to showcase her vocal prowess.  Thematically, the songs cover the expectations place on you by others, looking ahead to the future, and relationships that don't work,

While this introduction to Leisure Suite is but four songs deep, I think there is sufficient evidence to make this a band to which I'll pay attention.  The songs are well constructed with no ragged edges, and the band members evince genuine talent in their performances.  This is perfect music for fall afternoons.   Give it a listen below.

Leisure Suite is released by the re-born Deaf Ambitions label.  It is a digital release so you should be able to find it at the usual digital outlets.

Deaf Ambitions

"Sister" from Sharptooth

Nico Miller, Kate Miller, Jess Gunn, and Lauren Campbell are four women from the Highlands and Glasgow that comprise Sharptooth.  The Glasgow-based band's music seems to me to be fuzz-pop noir.  The haunting little tunes may not help you sleep tight if you listen to them before bed, but I think they are well done and compelling.  This past spring Sharptooth released the Cut Me Open cassette via Number4Door Records (digital copies remain available at the link at the bottom of the post).  Now the sharp guys at Fuzzkill Records are offering the band's latest track, "Sister" as a cassette and digital download.  With lo-fi, crashing guitars, an ominous lead vocal and haunting chorus, "Sister" makes a distinctive, and distinctly positive, impression.

Sharptooth on Facebook
Order page for "Sister"
Fuzzkill Records on Facebook
Link to previous EP