Friday, August 8, 2014

Goodbye Birdcage, Eric Frisch

Eric Frisch's new album Goodbye Birdcage is billed as indie pop with a country/folk feel. It may be pop, but it's pop of another era. This is old school stuff and certainly not for everyone. If you're a fan of old school 60s music, you're likely going to dig this. If you're looking for something more modern, not so much. The record is full if airy tunes with a happy feel regardless of lyrical content. The music, while not complex, sounds consistent throughout, maintaining the credibility of the album's direction. I wish the production was a little more polished, but in a way the lack of production serves to reinforce that old school feel.

This is a one-man operation. Eric played all the instruments and mixed the record. Overall, he did a good job of capturing a sound that has long since lost its way. For those who enjoy this type of music, Eric's efforts will be met with open arms.

The first single, Mary Ann, is an upbeat, good time bar sing along. No other way to describe it. When you hear it, you'll picture a bunch of party friends holding up glasses of beer and singing. I really wanted to dislike it but it grew on me.

Other standout tracks are Goodbye Birdcage, All over Town, and Pretty Girls, which has a riff that's reminiscent of Jingle Bells. Sun in Santiago sort of grew on me too.

Overall, not an album I would listen to again, but for those who enjoy a Byrds, Carpenters type thing, I think you'll find the album appealing.

Check Eric out at Soundcloud.

Bio:
Eric Frisch is an indie pop musician living in New York City. Eric’s main influences range everywhere from the Beatles and the Beach Boys to Sam Cooke and the Four Tops to Bob Dylan and Jackie Wilson. Originally from Toronto, Eric is the second of four children. Eric began learning piano at an early age and always enjoyed the task of composing on his own. He credits his parents with introducing him to the right music, playing “Here, There and Everywhere” off of Revolver for him when he was 15. Residing in New York for two years, Eric has performed at venues like Rockwood Music Hall, the Bowery Electric, the Living Room, and the Studio at Webster Hall, as well as various venues in his hometown of Toronto, including the Rivoli and Dundas Square.

Eric’s sound combines elements of 50s and 60s pop music with a more modern sound, creating a unique call to the past while still pushing forward into unchartered territory. Eric has just released his first self-produced full-length entitled Goodbye Birdcage. The album showcases his diverse range as a writer and singer, and displays his unique ability to capture the essence of his influences in his music. A talented artist and performer, Eric writes songs that are original, catchy, and memorable.


Artist Contact: Management - Jon Holly jon@likeafoxrecords.com
Press Contact: james@independentmusicpromotions.com
http://ericfrischmusic.com
http://facebook.com/ericfrischmusic
http://ericfriscmusic.bandcamp.com
http://twitter.com/frischtastic
http://soundcloud.com/ericfrisch

Moanin' at Midnight

Moanin' at Midnight: The Howlin' Wolf Project by the Tomas Doncker Band is a great find. These guys do these tunes justice. Blues the way it was meant to be played. Soulful, moaning vocals and thick, blistering guitar licks make this an album. I'd like to be able to point to one or two tracks that really support this album, but check it out, there isn't a track that doesn't support it. These guys came to play the blues and they do it like the masters.

A collection of Howlin' Wolf stuff done the Tomas Doncker way. I like it. Any fan of the blues will want to add this to his collection.

The production is brilliant---modern without stealing anything from the integrity of the music. The guitar tone is wicked. I ran through the album once and immediately listened again, closing my eyes and soaking up the beauty of the licks. I mean, it all comes back to this one way or the other, the blues, and Tomas and company simply show us why.

If you're looking for classic blues you know and love with a slightly different voice, give Moanin' at Midnight: The Howlin' Wolf Project a listen. You will not be disappointed.

Tomas Doncker Band:
Tomás Doncker-Lead Vocals,Guitars
David Barnes-Harmonica,vocals
Nick Rolfe-Keyboards,Vocals
Josh David-Bass,vocals
James Dellatacoma-Guitar
Mike Faulkner-Drums
Damon Duewhite-Drums
Mark Henry-Sax

1-Evil
2-Killing Floor
3-Back Door Man
4-Moanin' At Midnight
5-Spoonful
6-Blind Melon Morpheus
7-Shookdown
8-I Ain't Superstitious
9-Smokestack Lightning
10-Moanin' At Midnight (Ras Jah Ames Dub Mix)

 Bio:
As a prime mover on New York's downtown "No Wave" scene in the early 1980's, Tomás Doncker cut his teeth as a guitarist with such genre-busting groups as James Chance & The Contortions, Defunkt, J. Walter Negro & The Loose Jointz and many more. Eventually he went international, touring and recording in Japan with jazz pianist Masabumi Kikuchi, and producing studio and songwriting sessions with Boosty Collins, Yoko Ono, Grammy nominated Reggae vocal group The Itals, and Grammy-winning producer Prince Charles Alexander, to name just a few. Since then, Doncker has continued to work with an A-list of iconic artists including Ivan Neville (on his solo album “Thanks”), Bonnie Raitt, Meshell Ndegeocello,  Living Colour  lead singer Corey Glover,  former P-Funk keyboardist Amp Fiddler, 2013 Grammy award nominee Shamekia Copeland, and Pulitzer Prize-winning poet Yusef Komunyakaa.

In 2010, Doncker performed for the first time in China as a headlining act at the Shanghai Folk Festival, and in front of an audience of over 100,000 as part of the Shanghai World Expo. His latest work as a singer/songwriter and producer embraces a broader musical vision that he likes to call Global-Soul, drawing influences from numerous sources, including East and West Africa and the Caribbean. He also frequently collaborates with legendary Grammy Award winning Producer/Bassist Bill Laswell, and his ongoing "Power Of The Trinity" project was featured on CNN on November 27, 2012 (Jimi Hendrix' birthday).

This summer Tomás will be releasing the full length “Moanin' at Midnight:  The Howlin’ Wolf Project” album. Developed during a critically acclaimed run at NYC SummerStage during the summer of 2013 (and directed by award winning director Alfred Preisser), this project is now being shaped into a multimedia performance concert.

 Music video links: "Spoonful"-http://youtu.be/o6kvUofzgeE
"Shook Down"- http://www.youtube.com/watch?v=utro4itpAuo

Artist contact: E-Mail: Robin Black @ TrueGrooveRecords1@gmail.com
Press contact: james@independentmusicpromotions.com


TomasDoncker.net

Twitter: @tomasdoncker  @truegroove1

FB:https://www.facebook.com/TomasDonckerMusic
https://www.facebook.com/TrueGrooveGlobalSoulMusic

Monday, August 4, 2014

Favorite David Lee Roth-Era Van Halen Album?

When I first heard Sammy Hagar was joining Van Halen I was pissed. I revolted. I said no way in hell will I ever support such a thing. I felt that way for a couple of reasons. First, I love Sammy Hagar. I didn't want him to be part of a band. I wanted solo Sammy. Second, I couldn't imagine Van Halen without Diamond Dave up front. I went to see David Lee Roth on his solo tour for the Eat 'Em and Smile album (which I also bought), but it took me a bit longer to get on board with Sammy and Van Halen. When I finally did, I realized how good they were together. It doesn't detract one bit from how awesome the Eat 'Em and Smile album is, though. I still listen to it today. With Steve Vai on guitar, Billy Sheehan on bass, Gregg Bissonette on drums, and David's sparkling personality, it couldn't lose. I've always said it could have been the next Van Halen album if Dave had stayed in the band, and it would have been a damn fine effort.

But let's talk about the albums Dave actually did with Van Halen. Which one is your favorite? I know Dave had a reunion with Van Halen, so for the record, I'm only talking about the first six Van Halen albums. Those are Van Halen, Van Halen II, Woman and Children First, Fair Warning, Diver Down, and 1984. That's what I consider official Davide Lee Roth-era Van Halen.

The order of my favorites is:

Van Halen
Van Halen II
Women and Children First
1984
Fair Warning
Diver Down.

Van Halen is a classic and just exploded on the scene with fresh intensity. It has to come first. With the foundation tunes Ain't Talkin' 'Bout Love, Runnin' with the Devil, and the cover of You Really Got Me, not to mention Jamie's Cryin' and the groundbreaking Eruption, this album is first almost by default. There's times I believe I like the second and third albums just as good as the first, but in the end, running them in order of release is best.

Van Halen II has Dance the Night Away, Somebody Get Me a Doctor, and D.O.A. Need I say more? Those are great tunes and the rest of the album stands the test of time.

Women and Children First features the brutal And the Cradle Will Rock as well as Everybody Wants Some, Take Your Whiskey Home, and Could This Be Magic? Just some really neat shit.

1984 could easily have been in the top three, but I wanted to give the first three records their due, so I'll keep this one where it is. Jump, Hot for Teacher, I'll Wait, and Panama -- the list goes on. The keyboards threw some fans off, but I loved the songs and the sound of this one.

Fair Warning is my sister's favorite. To me the album doesn't really have any strong tracks, but the sound is good and the songs are okay. There are times I'm in the mood for it.

Diver Down was just a lazy record. Yeah, the covers of Oh, Pretty Woman and Dancing in the Street were cool and Where Have All the Good Times Gone? wasn't bad, but none of these were enough to support an otherwise lackluster album. Just my opinion.

That's it for me. Leave yourcomments and let me know what you think.

Firehouse Bring 'Em out Live

I've always dug Firehouse. With one of the greatest metal ballads of all time, Love of a Lifetime, how could you not love these guys? And the awesome tune Don't Treat Me Bad. Or what about All She Wrote? Those are just songs from the first album. More tunes followed, rockers and ballads alike. In fact, I don't think I've heard a bad Firehouse album, and I have them all. As good as these guys are recorded, though, they're on fire when it comes to performing live. They burn up the stage.

The album Bring 'Em out Live is an awesome live album. The track list, the production, the energy of the performance, all of it is top notch. As hard as these guys can rock, they are masters of the metal ballad, but that doesn't mean this is a show that will put you to sleep. They do a great job of balancing the rockers with the ballads to keep the pacing on the money. The crowd interaction is present, as it should be in a live recording, and the interaction of the band makes it a fun time.

A pulse-pounding intro leads into Overnight Sensation and straight into All She Wrote. The Osaka crowd goes crazy. They love these guys. They're with them every song, and when the band performs the stunning ballad I Live My Life for You, there's a section where the crowd delivers the chorus so perfectly and with such conviction that they might as well have been onstage. That moment is worth the price of the album by itself.

Not sure if all these songs were taken from the same show or different show, but all of the songs were performed for the Osaka crowd. It sounds like an intimate club, but again, not sure. One thing can say is that the album feels like a single concert with little or no studio interference. It's a beautiful thing.

Here's the track list:

  1. "Intro"
  2. "Overnight Sensation"
  3. "All She Wrote"
  4. "Lover's Lane"
  5. "Hold Your Fire"
  6. "Dream"
  7. "When I Look into Your Eyes"
  8. "Acid Rain"
  9. "Bringing Me Down"
  10. "Don't Walk Away"
  11. "Love of a Lifetime"
  12. "Reach for the Sky"
  13. "I Live My Life for You"
  14. "Here for You"
  15. "Don't Treat Me Bad

Killer Dwarfs and Other Canadian Treasures

Canada has produced some rock 'n' roll treasures. Triumph and Rush come to mind, and course there's Bob and Doug McKenzie, who released an album called The Great White North in 1981 (okay, maybe they aren't a rock 'n' roll treasure, but they were pretty damn funny). Geddy Lee had a guest spot on the record, so maybe they're a rock 'n' roll treasure after all.

There are other bands I could talk about when it comes to Canadian treasures, but actually, I'm only here to talk about one an ass-kicking outfit called Killer Dwarfs. I discovered these bad asses in 1986 with the release of their album Stand Tall and a killer MTV (when MTV still meant something) video for what is still one of my favorite songs ever, Keep the Spirit Alive. I soon found out, upon listening to that album repeatedly, that these guys had more than one song in them, even if their singer did get kicked around in a box.

I quickly set out to buy all the Killer Dwarf albums I could. It wasn't long before I was able to purchase what was available. There's the 1983 self-titled album, full of the same great tunes I fell in love with on the Stand Tall album. I think I found that one at a record convention. Blistering rock 'n' roll that sounded like nothing else I'd ever heard. I love the tone of Russ's voice and the bombastic attack of Darrell's's drums. Both have been consistent since day one.

I grew to love Killer Dwarfs more and more with every fucking Dwarf album I added to my collection. I talked about them to everybody I could, spread the Dwarf gospel. Forget how big they got with the MTV exposure, I was sure I'd discovered this great new band and I wanted everybody to know about it. This was my damn band. Besides all the great traditional rock 'n' roll lyrics, these guys were intent on imparting a positive message that said you could accomplish anything you set your sights on, and because of that, I continued to pursue my own rock 'n' roll strategy.

Big Deal, Dirty Weapons, and Method to the Madness followed Stand Tall, each one as good as the last. Each of these albums is a masterpiece so I won't try and list a bunch of titles. Go out and buy them, you'll hear what I mean. You'll be addicted.

The Dwarfs disappeared for a while after Method to the Madness and a split with their label, but in 2002 the guys came back (with a slightly modified but just as awesome lineup) and gave us a brilliant live album called Reunion of Scribes. I found out about the return of Killer Dwarfs when I stumbled upon a Youtube video (you've got to watch it) of the guys in a casual rehearsal, joking, smoking, and playing the inspirational metal ballad Doesn't Matter.

Reunion of Scibes is an awesome show that shows the band never lost their edge. Recorded in an intimate club setting, listening to the album brings you right into the show. A great set list and lots of fucking energy. Absolutely amazing.

They followed the live album with a lost album called Start @ One. More great Dwarfs, and with the boys still kicking ass on the tour circuit, it looks like there's more to come. These guys are phenomenal on record, but you've got to see them live to appreciate all they have to offer.

Hopefully the future holds more Killer Dwarfs. This is a band I feared I would never hear new stuff from, and now that they're back, I hope it will be some time before they go away again.