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

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.

Interview with Barry Goudreau, Original Boston Guitarist.

Anyone who was alive in the 70s and 80s knows about Boston. Songs from the first album are songs that still evoke memories when you hear them. Long Time, Peace of Mind, Rock 'N' Roll Band, and More than a Feeling are all indelibly etched upon my mind, as are songs from the next album Don't Look Back. Original guitarist Barry Goudreau was not only instrumental in forming this band, he was at the core of the band's sound and musical direction on the first two records, which are the only two he appeared on. Fortunately, Barry went on to other projects, including a wonderful solo album simply titled Barry Goudreau which, no offense to Tom Scholz, was better than any Boston album after Third Stage and as good as Third Stage. It included the awesome song Dreams, written by Barry. This album was, in my opinion, on par with the first two Boston records as well. He also did some great stuff with his bands Orion the Hunter, RTZ, some stuff with Boston singer Brad Delp, and most recently Ernie and the Automatics. I was lucky enough to get this interview with Barry and catch up on what he's been up to. If you get a chance to find Barry's stuff after Boston, I highly recommend you get your hands on it.

Carl Hose: Thanks for talking to me, Barry. Before I even talk about Boston, I have to bring up your first solo album, Barry Goudreau. I wore my first copy of the album out and had to scour record conventions to find another copy because the record was out of print. It finally saw release on CD, which pleased the hell out of me. I can't be without that record. It's essential listening, and quite frankly, a killer Boston album without Tom Scholz. Do you remember much about the recording of the album?

Barry Goudreau: In 1980 Tom came to the band and said we had a year to do a project, like a solo record, since he would not be recording. I began to work on some songs involving Brad and Sib, and moved ahead with a record getting it written and recorded in just nine months. It was a great experience for me and Sib and Brad, since Tom had been the main songwriter and producer, so it gave us a chance to write and record outside of Boston. It got off to a great start, but disappeared quickly when the promotional campaign was stopped, which of course was a great disappointment for all of us.

CH: You played on the first two Boston records and left. You were not only an instrumental part of forming the band, you were an integral part of its sound and success. Did you go through a period of time where you missed playing with Boston or did you simply take the advice of the second album's title, Don't Look Back?

BG: Being asked to leave a band I had had a hand in creating was tremendously disappointing, but I pulled myself up out of a funk, and released Orion the Hunter in 1985.

CH: There have been many projects since Boston, including Orion the Hunter, RTZ, and a collaboration with Brad Delp. Any particular favorites?

BG: My favorite record of mine outside of boston is RTZ. It's the best sounding record of mine and for me, has the best songs.

CH: What happened with Brad Delp was tragic. The world lost a great voice and you lost a friend. Anything about Brad you want to say? You guys worked together many times after you left Boston, so the friendship remained true.

BG: Brad was a close friend and also my brother in law. His death was difficult for all of us, but left me thinking there might have been something I could have done to prevent it from happening.

CH: Having played in Boston, you're not a stranger to the tech side of things. How do you feel the technological strides we've made since Boston days have affected the music industry? The a Internet, social media, smaller devices that allow musicians to write and record anywhere, the indie scene? Do you believe the record industry is in shambles?

BG: People being able to record a record in their bedrooms with very little in the way of musical talent is how the business has evolved. There are only a handful of major labels left, and they may soon be gone as well. Where it ends up, God only knows.

CH: Have you listened to any of the Boston albums since Don't Look Back, and if so, is there one you've one enjoyed?

BG: I've listened to each of the Boston albums after Third Stage once, except for the most current one, and to me, it doesn't sound like the Boston I knew. I take that back, I didn't make it all the way through Corporate America.

NOTE: I agree with Barry's assessment of the newest Boston CD. I would be a little harsher in saying I think it sucks. I really don't like it.

CH: How have you spent your time the last few years? You've stayed out of the spotlight. Can we expect you back on the music scene or have you given it up?

BG: I still play a handful of shows a year, mostly for charitable causes. Having a career has been difficult having been sued for trademark infringement three times in the last five years by TS.

CH: From my heart, thank you for all the awesome music you've given us through the years, and thanks for taking the time to talk with me.

A Spanner in the Works

Rod Stewart's seventeenth studio album, A Spanner in the Works, came out in 1995, four years after the previous album, the hugely successful Vagabond Heart. A Spanner in the Works sort of sneaked by, I believe. It didn't quite generate the attention of some of Stewart's other albums, and that's a shame. To me, this is one of his best, and certainly one of my favorites.

Songs like Leave Virginia Alone, written by Tom Petty, Windy Town, and the upbeat Lady Luck are classic Stewart numbers. Then there's the beautiful Bob Dylan tune Sweetheart Like You, done up with classic Rod Stewart charm as well.

There are more great songs here too. All of them should be considered Stewart classics.

Check out this verse from Windy Town and imagine Rod's whiskey-soaked voice getting hold of the:

And on the bus there's a friend of mine.
We go way back to the scene of the crime.

Sit up front and share a cigarette,
And try to remember what we tried to forget.

And then there's this lyric from Lady Luck:

Lady Luck, ain't you the fickle kind.
Why are some folks lucky while the rest are tryin'?
You keep on playin', it's still a mystery.
You're laced with a touch of inconsistancy.

Then there's the sexy, infectious Delicious, featuring the guitar work of Andy Taylor (Duran Duran) and Rod's sleazier side. Here's a verse:

I've had new caviar, the boardwalk, and pink champagne.
I've seen the Mona Lisa, drank the wine of France and Spain.
I've smelled the rose of Finland, the tulips of Amsterdam.
I've heard the cool of Coltrane, the bells of Notre Dame.
But you know what honey?
You fill me up with desire.
You set my soul on fire, baby.
Let's take it down to the wire.
You're delicious.
I love your snake-white hips and your cherry-red lips.
Yes, yes, you're delicious.

And it's no secret listening to Rod Stewart when I was younger was a huge part of my musical upbringing. He was always a musical inspiration to me. On A Spanner in the Works, Rod pays tribute to some of his inspirations in the autobiographical song Muddy, Sam, and Otis (Muddy Waters, Sam Cooke, and Otis Redding, of course). Love these lyrics:

Stayed up all night
Playin' every 45
Tryin' to sound like you.
Strummed my guitar in bed
Till my fingers bled
Tryin' to play like you.

Thank you, Sam, thank you, Otis,
Thank you Muddy
For the sounds you made.
Thank you, Sam, thank you, Otis,
Thank you, Muddy
For the times we shared.
And they carry on . . .

Thank you, Rod. Not only for A Spanner in the Works, but for all the great albums before and after.

Carry On.

C.C., Pick up That Guitar and, Uh, Talk to Me . . .

C.C. DeVille is one of the most underrated guitar players in metal. One of the most underrated at least in 80s metal and, in particular, 80s hair band metal. With all the good guitar players in metal, I'm sure there will be some arguments here, but if you listen to Poison's stuff, you'll see what I mean. Listen to the opening runs in Fallen Angel and the fills he plays throughout. Smooth, fluid lines that build off the melody of the song. He does this frequently in Poison's songs, playing controlled melodic lines that complement each song individually.

Is he the most technically proficient player around? No, not one of the most technically proficient, but certainly more than competent. He knows his shit, that's what I'm saying. And he is one of the most tasteful players around. Whether it's adding organic note choices to ballads like I Won't Forget You and Every Rose Has Its Thorn or wicked runs in tunes like Talk Dirty to Me or Unskinny Bop, C.C. lays it down.

Still, you'll never find C.C. DeVille on anybody's list of best guitar players. Not unless the list belongs to a Poison fan. Even I must begrudgingly admit there are too many guitar players to include C.C. on such a list. And on second thought, I would still plead his case.

That said, I want to give the devil his due. He deserves to be mentioned. His vehicle is Poison and his licks are poison too. Pretty poison.

Do yourself a favor. Listen to some Poison and just take in the beauty of what it is to build solos, licks, and fills from the melodic foundation of a tune. Listen to C.C. play and see where he's coming from. Listen to his controlled chaos on some of those classic tracks. You don't have to call him a rock god, but at least admit there's some substance there.

Up All Night

Let's talk about Kip Moore and his debut album Up all Night. This CD has it all, baby. It's country with rock overtones. In fact, Kip Moore has sort of a Bon Jovi feel going on. The production of the album is fantastic, the songs are highly infectious and singable, and the lyrical content is poetry in motion.

The album was released in 2012. I remember when I first heard one of the songs. I happened to turn on a late-night talk show and there was Kip Moore and his band jamming away to a killer song called Beer Money. How can you argue with lyrics like this:

So come on, come on, baby, I'm buyin'.

I got enough to last us all night and

You got the kiss that tastes like honey,

And I got a little beer money.

Tonight, tonight, baby, we're drinkin'.

Let's wake the town that never stops sleepin'.

You got the kiss that tastes like honey,

And I got a little beer money.

Now those are cool lyrics. The instant I heard this catchy tune, I knew I had to buy Kip's album. I couldn't stop singing Beer Money for weeks. It's one of those songs that gets in your head and doesn't let go. 

And it's not the only good song on the album. There's also Crazy One More Time, an uptempo ballad. Check out the lyrics to verse one:

Come on out, Mary Jane, I'm lookin' through your window pane.

I heard the word, you're back in town.

I've got some cheap cigarettes, your favorite beer,

Girl where the dress I always dream about.

Again, very cool lyrics. Listen to the tone of the song, the rhythm, the way he makes the rhymes work. Incredible.

Other stand-out tracks include Drive Me Crazy, Everything but You, the beautiful ballad Faith When I Fall, and on the deluxe edition, Mary Was the Marrying Kind. Honestly, if I wanted to list every good song on this album, I would list every song on the album.

Kip Moore plays the bad-boy-with-a-heart image to the hilt. It shows in his lyrics. There's a lot of beer, women, and cigarettes here, along with trucks and motorcycles. If you like your country with a more modern edge, give Kip Moore's Up all Night a try. You'll dig it.