At the Ice House in San Angelo, Texas. Playing with Clay Thrash.

You can download the score from the video: Heaven – Henry Garza

Lick of the Day: “Heaven” – Los Lonely Boys

Check out Lick of the Day itunes.apple.com/us/app/guitar-world-lick-of-the-day/id371728474?mt=8 a free download for iPad, iPhone and iPod touch availa…

I first heard this band by complete accident when skimming through a secure app on my phone which music labels use to let reviewers hear albums. I was looking for music to sooth my crying 3-week-old lad when I thought “Who the hell are Sheepdogs?”. So I pressed play, the little man seemed to like the soothing vocals and dusty Americana, and so, when I heard they were playing Notts, I thought I’d go along (without child, obviously)

Date: April 2, 2013

Venue: Bodega Social

“Whatever  happened to our rock ‘n’ roll”, asked Black Rebel Motor Cycle Club on their debut record 11 years ago, and if they’re still searching, they’ll be advised to check out The Sheepdogs, a band who are proving that it still very much exists.

This Canuck four-piece, whom you may have never heard of, have recently graced the cover of Rolling Stone magazine. So they ain’t no nobody or wannabe. In fact our Canadian cousins can’t get enough of this hirsute lot from the brilliantly-named town of Saskatoon. Why’s that then? Well maybe it’s because of their gracefully stacked harmonies, smooth layers of melody, and the fact that, in Ewan Currie, they have a front man whose voice is so velvety it’s practically pornographic.

Soothing vocals caress melting guitars, crashing cymbals and pelted drums, forging a magnificent groove-laden, sometimes psychedelic, dusty Americana which appears effortless.

Their schtick is an old-fashioned rock ‘n’roll jamboree, a hippy, hairy parade of pulsating guitar rhythms, dexterous and exquisite jams, with a subtle yet vital organ intervening intermittently , with a desire to play music in a primitive yet rich format seldom heard in this country.

Think The Eagles injected with a shot of some sort of hallucinogenic substance and you’re not even close. Think of The Black Keys with their glam-stomping rock and you’re still way off. Think My Morning Jacket.  Think of artful and true rock ‘n’ roll. Think of guitar mastery. Think of greatness. That’s it, you’ve got it. That’s The Sheepdogs.

Below is a two-song medley filmed at the gig. The quality isn’t great. But then tell that to the iPhone 4.

Consequence Of Sound has the lowdown on tour dates etc.

The Igels (Germany’s only Eagles tribute band) perform “Heartache Tonight” @ “Summertime”, Eschborn, Germany. “Heartache Tonight” was written by Don Henle…

Seger (Heartache Tonight) sheet music is available for downloading in digital format.

Against the Wind – Bob Seger (Lyrics in Video) HD MP4

Robert Clark “Bob” Seger (born May 6, 1945) is an American rock and roll singer-songwriter, guitarist and pianist. As a locally successful Detroit-area artis…

I love 70′s and 80′s classic rock.Does anyone know any obscure or hidden gems that I could listen to, thanx?

Seger (Heartache Tonight) sheet music is available for downloading in digital format.

eddyy I love that song!”Help You Ann” – The Lyres (1983)rhapsody.com/player?type=undefined&id=tra.2007884&remote=undefined&page=undefined&pageregion=undefined&guid=undefined&from=undefined&__pcode=Not classic rock but what a fucking gem it is!

Here’s a list and most of them can be found on YouTube. Just copy& paste.Romeo’s Tune – Steve ForbertIt’s A Heartache – Bonnie TylerRide like the Wind – Christopher CrossSailing – Christopher CrossDestination Unknown – Missing PersonsWords – Missing PersonsPlease don’t go – KC & The Sunshine BandGoodbye Stranger – SuperTrampGold – John Stewart Precious And Few – Climax I Love You – Climax Blues BandCouldnt Get it Right – Climax Blues BandHeavy Metal – Don FelderAngel of the Morning – Juice NewtonQueen of Hearts – Juice NewtonComing Home – Lynyrd SkynyrdDanny’s song – Loggins and MessinaStumblin In – Suzi QuattroWe’ve got Tonight – Bob SegerGet out of Denver – Bob SegerJersey Girl – Bruce SpringsteenStrangle Hold – Ted NugentJim Dandy to the Rescue – Black Oak ArkansasIf You Leave Me Now – Chicago Men Without Shame – Phantom Rocker & SlickReminiscing – Little River Band Smugglers Blues – Glen Frey Me And The Boys – NRBQ Mexican Radio – Wall Of Voodoo Sundown – Gordon LightfootTampico Trauma – Jimmy Buffet Darling Be Home Soon – Joe Cocker FM – Steely Dan Psycho Killer – Talking Heads

The two albums by Pavlovs dog—-Pampered Menial and At the sound of the BellMagnums On a Storytellers NightForget the year get Astral Weeks by Van MorrisonSense of Direction by Climax Blues Band

What are some great rock bands and songs from the 60′s and 70′s. Such as Creedance Clearwater Revival, etc.? Just trying to make a playlist of classic songs but I’m having trouble thinking of who sings what. Like what band sings the song with the lyric “Take the load off fanie, put the load on me”. Heh, I heard that song at the end of My Name is Earl tonight and it’s been bugging me.lol.Thanks Isawmart.. That’s been bugging me : )Alright Zeppelin is a no brainer. I’m trying to think of lesser mainstream bands.OMG King. Now that’s a list! Thanks : )
The band – The weight, is who sings that song heheOther artists include, the Who, rolling stones, Led Zepplin, Deep purple, Cream, Beatles, CCR, JJ Cale, The Troggs. Ahh so many thats all the brain can muster atm.

The DoorsJanis JoplinJimi HendrixCreamDeep PurpleRolling StonesThe KinksThe Who(early) Van HalenTed NugentKISSLed Zeppelin(early)AerosmithBlack SabbathAC/DCAlice Cooper

Oh gawd, the 60′s and 70′s just rocked for great music .There are far too many classic songs to list here; however, great artists/bands from that time include The Beatles, The Rolling Stones, The Who, Led Zeppelin, The Kinks, Rod Stewart, The Small Faces, The Byrds, Cream, Eric Clapton, Jefferson Airplane/Starship, Janis Joplin, Crosby, Stills and Nash and so on and so on.BTW, the band who sings that song you’re banging your head about is The Band . it’s called “The Weight”.

Allman Brothers Band (probably just what you’re looking for!)Little Feat (southern feel good)Lynard Skynard (Right up your alley too)Robert Randolph and the Family BandAlso try:Deep PurpleBob DylanGrateful DeadJefferson AirplaneThe Guess WhoJohn HyattNeil YoungNeville Brothers

All Right Now (Free)American Pie (Don McLean)American Woman (The Guess Who)Another Brick in the Wall (Pink Floyd)Ball and Chain (Janis Joplin)Black Betty (Ram Jam)Bohemian Rhapsody (Queen)Boom Boom Boom (The Animals)Born To Be Wild (Steppenwolf)Born To Move (CCR)California Dreamin’ (The Mamas and the Papas)Candle in the Wind-live version (Elton John)Come Together (The Beatles)Crazy on You (Heart)Cry Baby (Janis Joplin)Day Tripper (The Beatles)Don’t Let The Sun Go Down on Me (Elton John)Down By The Seaside (Led Zeppelin)Dream On (Aerosmith)Eruption (Van Halen)Feelin’ Allright (Joe Cocker)Fly Like An Eagle (The Steve Miller Band)Fortunate Son (CCR)Freebird-live version (Lynyrd Skynyrd)Gimme Shelter (The Rolling Stones)Gloria (Them)Green Onions (Booker T and the MGs)Good Times Bad Times (Led Zeppelin)Have You Ever Seen The Rain (CCR)Heartache Tonight (The Eagles)Heartbreaker (Led Zeppelin)Hey Joe (Jimi Hendrix)Hey Jude (The Beatles)Honky Tonk Women (The Rolling Stones)Hotel California (The Eagles)House of the Rising Sun (The Animals)I Can’t Quit You Baby (Led Zeppelin)I Saw Her Standing There (The Beatles)Imagine (John Lennon)Instant Karma (John Lennon)Iron Man (Black Sabbath)It’s Only Rock and Roll (The Rolling Stones)Jet Airliner (The Steve Miller Band)Jumpin’ Jack Flash (The Rolling Stones)Kashmir (Led Zeppelin)Killer Queen (Queen)Late For The Sky (Jackson Browne)Layla (Derek and the Dominos)Light My Fire (The Doors)Lola-live version (The Kinks)Long Cool Woman (The Hollies)Magic Man (Heart)Maybe I’m Amazed (Paul McCartney)Money (Pink Floyd)Never Been To Spain (Three Dog Night)Night Moves (Bob Seger)Old Time Rock and Roll (Bob Seger)Piano Man (Billy Joel)Piece of My Heart (Janis Joplin)Purple Haze (Jimi Hendrix)Ramble On (Led Zeppelin)Ramblin Gamblin Man (Bob Seger)Refugee (Tom Petty)Ride On (AC/DC)Roadhouse Blues (The Doors)Rock and Roll (Led Zeppelin)School’s Out (Alice Cooper)She’s Not There (The Zombies)Signs (Five Man Electrical Band)Simple Man (Lynyrd Skynyrd)Spirit in the Sky (Norman Greenbaum)Somebody To Love (Jefferson Airplane)Stray Cat Blues (The Rolling Stones)Sunshine of Your Love (Cream)Sweet Home Alabama (Lynyrd Skynyrd)Take The Money and Run (The Steve Miller Band)Taking Care of Business (BTO)The Letter-live version (Joe Cocker)Time Has Come Today (The Chambers Brothers)Time of the Season (The Zombies)Tumbling Dice (The Rolling Stones)Voodoo Child (Jimi Hendrix)Yer Blues (The Beatles)Walk This Way (Aerosmith)When The Levee Breaks (Led Zeppelin)White Rabbit-Woodstock version (Jefferson Airplane)Wild Thing (The Troggs)Hey if you like “The Weight” then you check out the Aretha Franklin version.

All Day And All Of The Night.The KinksCan’t Buy Me Love.The BeatlesFor Your Love.The YardbirdsGlad All Over.Dave Clark FiveHippy Hippy Shake.The Swinging Blue JeansSatisfaction.Rolling StonesThe House of The Risin’ Sun.The AnimalsMy Generation.The WhoAmerican Woman The Guess WhoAnd When I Die.Blood Sweat & TearsCan On Wayward Son.KansasCrazy Love.The Allman Brothers BandAerosmith.Dream OnHeart of The Night.PocoI Was Made For Lovin’ You.KissLet’ Go.The CarsLong Train Running.The Doobie BrothersOne .Three Dog NightPeople Got To Be Free.The RascalsRefugee.Tom Petty & The HeartbreakersRiders On The Storm.The DoorsSugar Magnolia.Grateful DeadSurrender.Cheap TrickTake Me To The River.Talking HeadsBorn To Be Wild.SteppenwolfRock N Roll Woman.Buffalo SpringfieldTake It To The Limit.The EaglesWe’re An American Band.Grand Funk RailroadWhite Rabbit.Jefferso AirplaneEvil Ways .SantanaLow Rider.WarMississippi Queen.MountainTime Has Come Today.The Chambers BrothersWorking For The Weekend.LoverboyYou Ain’t Seen Nothing Yet.Bachan Turner OverdriveBarracuda.HeartGimme Some Lovin’.Spencer Davis GroupMoving On .Bad CompanyUp On Cripple Creek.The BandYou Shook Me.Jeff Beck GroupWar Pigs.Black SabbathSummer Time Blues.Blue CheerRefried Hockey Boogie.Canned Heat.42 minute versionDoes Anybody Really Know What Time It Is.ChicagoDelta Lady.Joe CockerSchools Out.Alice CooperStrange Brew.CreamOnly You Know And I Know.Delaney & BonnieLove March.Electric FlagLucky Man.Emerson Lake And PalmerThe Train Song.The Flying Burrito BrothersA New Day Yesterday.Jethro TullDon’t Mess Me Up.The MoveHang On Paul.Nazz NazzWalking The Dog.Rolling StonesPoor Girl.Savoy BrownI Got A Line On You.SpiritCome On Children.Small FacesWild Thing.The TroggsRide A White Swan.T-RexGood Morning Judge.10CCI’m Going Home.Ten Years AfterJailbreak..Thin LizzyRichard Cory.ThemYou Can All Join In.Traffic\Do What You Like.Blind FaithBackwash.Blodwyn PigJohnny B. Goode.Johnny Wintertake caredave

Some band suggestions:ForeignerQueenThe DoorsTed NugentI can’t think of anything else right now. Sorry.

The Weight.The BandLike A Rolling Stone.Bob DylanFor What Its Worth.Buffalo SpringfieldSomebody To Love.Jefferson AirplaneWhite Rabbit.Jefferson AirplaneAll Along The Watchtower.Jimi HendrixPurple Haze.Jimi HendrixRiders On The Storm.The DoorsLight My Fire.The DoorsBaby, Now That I Found You.FoundationsBuild me Up Buttercup.FoundationsCan’t You See That Shes Mine.Dave Clark FiveBecause.Dave Clark FivePaint It Black.Rolling StonesGimme Shelter.Rolling StonesBrown Sugar.Rolling StonesClassical Gas.Mason WilliamsReflections of My Life.MarmaladeShow me The Way.Peter FramptonDo You Feel Like We Do.Peter FramptonCrazy On You.HeartDreamboat Annie.HeartFortunate Son.CCRBad Moon Rising.CCRSusie-Q.CCRWho’ll Stop The Rain.CCRRoll On Down The Highway.BTOYou Aint Seen Nothin Yet.BTOMr Blue Sky.ELOIts A Living Thing.ELODark Side Of The Moon.Pink FloydFresh Air.Quicksilver messenger ServiceSmoke On the Water.Deep PurpleHighway Star.Deep PurpleShooting Star.Bad CompanyThe Boys Are Back In Town.Thin LizzyDon’t Fear the Reaper.Blue Oyster CultMagic.PilotHow Long.AceYear of The cat.Al StewartItchycoo Park.The Small FacesWheel In The Sky.JourneyWerewolves of london.Warren ZevonBrown Eyed Girl.Van MorrisonPoor Side Of Town.Johnny RiversMountain Of Love.Johnny RiversSecret Agent man.Johnny RiversLowdown.Boz ScaggsLove Will Find A Way.Pablo CruiseStrawberry Letter #23.Brothers JohnsonOne Of These Nights.EaglesTake it To The Limit.EaglesHotel California.EaglesBaby Come Back.PlayerBaby Hold On.Eddie MoneyTwo Out Of Three Aint bad.MeatloafParadise By The Dashboard Light.MeatloafVenus.The Shocking BlueParanoid.Black SabbathStoned Cold Sober.CrawlerEasy Living.Uriah HeepBungle in The Jungle.Jethro Tull Locomotive Breath.Jethro TullWhat A Fool Believes.Doobie BrothersTake Me in Your Arms(Rock Me.Doobie BrothersBlack Water.Doobie BrothersRikki Dont Lose That Number.Steely DanDo It Again.Steely DanI’ll Be Around.The SpinnersI’m Not In Love.10CCSpirit In the Sky.Norman GreenbaumAquarius.Fifth DimensionGet Together.YoungbloodsYou Were On My Mind.We FiveI’ll Never Find Another You.The Seekerslay Down(Candles In The Rain.MelaniePushin Too Hard.The SeedsHeart Full Of Soul.YardbirdsHappy Together.TurtlesYou Baby.TurtlesWhite Room.CreamSunshine Of Your Love.Cream

During the ride home to their apartment in south London, Knopfler sat in the back seat of the car, scribbling furiously. “We got to the flat,” Illsley explains, “and he stayed writing in the back seat. So I went upstairs and made myself a cup of tea. Thirty minutes later, he finally came in. ‘I just finished this song,’ he said. And that was ‘In the Gallery,”‘ Illsley says, “He wrote the whole thing between Shaftesbury Avenue and Deptford.” John Illsley for Rolling Stone.

01. The Savagist
02. Taking Out The Trash
03. The Artemus Ward
04. Imprecations
05. Occult Banker
06. On Cryology
07. General Admission
08. The Montgomery Manuscript 

]]> http://torontorhapcity.com/2013/03/27/interview-with-darren-flower-and-jay-macedo-of-stone-river/ Wed, 27 Mar 2013 03:16:20 +0000 Toronto Rhapcity http://torontorhapcity.com/2013/03/27/interview-with-darren-flower-and-jay-macedo-of-stone-river/

Stone River performing at the Cadillac Lounge for Canadian Music Week.

The spirit of classic rock is alive and well in the music of Stone River. They put on a fantastic performance at the Cadillac Lounge as a part of Canadian Music Week on Wednesday, March 20. After the show, we talked about their love of the oldies and the recording experience for their upcoming record, Euphoria.

TR: The CD, live, is just as fun. Even more fun! Obviously, you guys have the classic rock vibe going for you. I’m curious, though, what was the exact moment that you fell in love with rock and roll?

Jay Macedo (Bass): When I was pretty young, my old man had an acoustic guitar, an old Fender, and I remember just sitting there and being so entrhalled by it. Eventually, I made my way to the record collection, with Zeppelin I and II, the Allman Brothers, David Bowie, and I remember looking on at a younge age and just losing myself.

Darren Flower (Guitar): I got into classic rock around 11 years old. I had a strange infatuation with Aerosmith, and my imagination used to run wild; I used to pretend I was in the band. This was during the Get a Grip era, with “Living on the Edge,” “Crying,” that was the album that I grew up with. That was the first band that really did it for me.

TR: They actually just recently played Toronto.

DF: I still haven’t seen them live. That’s on my to-do list. (Turning to Macedo) Let’s go check out Aerosmith one of these days.

JM: We should. Together.

DF: Together.

JM: For sure.

DF: Awesome.

TR: So what tickles your fancy these days musically?

DF: I’m all over the place. Humble Pie, the Doobie Brothers, CSNY, Neil Young, Allman Brothers.

JM: And the list goes on.

TR: Is there a tentative date for Euphoria?

JM: That’s still in the works. We’re not gonna let the cat out of the bag yet.

TR: No worries. I understand you guys are in very good hands in terms of the production team. (Christopher Thorn is producing the record–he’s worked with bands like Blind Melon and Live–while Nick Blagona, whose credits include Deep Purple, Tea Party, and Alexisonfire, is engineering.) What was that experience like?

DF: Amazing

JM: (Laughs) Yup. Amazing. To actually have worked with one of your guitar heroes, growing up as a kid playing guitar, you kind of have to pinch yourself and go, “Okay, we’re here now.” We know we’re in good hands with Chris. It was ridiculous what that guy brought out of us as musicians, as people, and as artists. It was definitely an experience of a lifetime.

Up and downs in the studio, like it is, but you’re putting your life on the line to create art and get it heard. We wouldn’t change that for anything in the world. And to get to work with those guys is pretty phenomenal.

TR: What are the plans for after the album is released?

JM: Radio release, and hopefully extensive touring would be nice. Head out there and show the world what Stone River has to offer, man.

TR: I understand you guys have a good following in Europe as well?

DF: Yeah, we were lucky enough to fly to Europe for some one-off shows to play some festivals. It seems like everyday, more European fans like the Stone River page, and we’re really happy about that. We’d like to spend some more time in Europe, and the States for that matter, but Europe is a whole different beast.

JM: Europeans tend to listen to music with different ears. They’re very humble, they’re very hospitable to good rock and roll. What’s amazing is that we get orders for our CD, Valley of the Butterflies, day by day, from places like Pakistan, Brazil, Spain, inching day by day. These days they say overnight success is 10 to 15 years–that’s what I heard, at least–and we’ve been doing this for pretty close to a decade now. This guy over here is one of the founding fathers–the founding fathers of rock and roll!

TR: What’s the recording dynamic like when you have three guitars and a bass?

DF: That’s a very good question!

TR: There’s a lot of shit going on there!

JM: There’s definitely a lot of sick shit going on in there.

DF: It can be messy if you’re not organized.

Drummer Sasha Siegel walks in on the interview…

DF: Shoo! Shoo! Don’t you see he wants to talk to us!

JM: It’s a process of elimination. It starts off with a lot of stuff going on. I mean, we kind of have to sit there with a fine tooth comb and figure out what’s going to work and what’s not going to work. Are there melodies being played over melodies that are being taken away?

SS: It’s a lot of trial and error.

JM: And a lot of patience.

SS: We just recently found out that Darren’s pretty good at the keyboard, so that was a nice little discovery there.

JM: it’s definitely a process of eliminiation. You want to put more in, and then gradually take out until you have enough room for the music to take its form and have room to breathe.

SS: Sometimes it’s better to simplify. I mean there are times to make things pizazzy.

TR: Is that a technical term?

SS: Yeah, that’s what it says in the dictionary.

Aaaaaaand that’s where my recording device (read: my phone) happened to die on me without my knowledge. I recall Siegel made a rather eloquent comment about band cohesiveness, but alas, it’s gone forever. Just take my word for it, they were wise words. Keep an eye out for Euphoria, hopefully in the coming months. In the meantime, bask in the beauty of Valley of the Butterflies.

Gotta Love it!

Hit it!

BANG BANG

The Shones is a band that has been active for a very long time. They play something in between surf punk, garage punk, blues rock and good ol’ rock’n'roll. However, sometime in 2012 they decided to re-locate from Madison, Wisconsin to Boston, MA. It wasn’t a hasty judgement, because they wanted to change their style around totally and also their music. So, they arrived for real in 2013 when they released their debut-EP titled “The Shones EP“. Since this was of interest for the Invisible Guy, he began to investigate it further. After writing some lines about their newly released EP, he wanted to ask some questions. So, Teddy Matthews, whom is the drummer and back-up vocalist in the band – answered these questions in his own manner. Have fun!

You’ve been active as a band for a very long time, but suddenly decided to leave your own area in 2012 for Boston. The reason for this was to re-invent your own sound and style. But what happened from the later years that got you going to Boston?

- Yeah, we have been playing together since 6th grade, and during our last year of high school we decided that we wanted to take at least a year to work on music. We did not want to stay in Madison, WI because we wanted a change of pace as well as a broader music scene to be a part of. We decided we wanted to go to the east coast because the cities are all much closer together than the west coast, and we chose Allston because we had heard that there was a very active underground scene here. People always ask us why we did not move to New York, but I think that Boston was a great choice because the scene here is very collaborative and open.

Since you’re now in Boston since September of last year, you’ve been recording stuff and released an EP titled “The Shones EP”. Which is a long trip from 2012-2013, when it was released. Why did it take so long to put it out?

- When we moved here we wanted to start fresh and see how changing our surroundings would affect our sound. So when we got here we began writing and practicing. At that point we knew we wanted to release a proper record at some point but did not know whether we could do a decent job on our own or if we should pay for studio time. Once we had a bunch of material written and we had been practicing and performing it, we decided to use a couple of drum mics that we had lying around to record some practices and see how it sounded. Even just using four mics for everything and doing it live sounded pretty good so our bassist Alex, who has a background in producing hip hop and electronic, decided to try and teach himself how to record, mix, and master. After several practice recordings we decided to record the final product, which was all pretty time consuming considering we were learning as we went.

The aesthetics of the EP seems to be a little bit of everything. When I saw it, I thought of America back in the 50′s or 60′s, including some of the more tobacco-influenced stuff. Who made the artwork and what do you make of your own aesthetics?

- Our good friend Miles Jackson is an incredible artist who works out of Chicago but does work all around the country. We came to him and asked if he’d like to work with us and he was more than down so we threw him some ideas that he ran with. As we reinvent ourselves after high school, there is much more of a 1960′s/surf undertone to our music. At the same time it isn’t completely beachy or washed out, so we like to call it Northern Surf. For example, I like to listen to the band Beach House in the summer but it also fits really well in a snowy winter wonderland type scene. We don’t sound like Beach House but I think our music fits the same way.

Do you have any other material that you’re hoping to get released any time soon?

- We have a lot of material already started and it all is cohesive in its sound, so a second album will be underway very soon and the process should be quicker now that we know what we are doing in terms of recording. We also came up on a couple more mics so the next album should be even better for several reasons.

Thank you for answering these questions! What’s happening in the near future for you as a band?

- Right now, we are working on booking shows for the spring and beginning plans for a tour in august. We are conceptualizing a video for one of the songs off of the album, and we should have some merchandize soon too.

Gwyn Ashton

Radiogram

http://www.gwynashton.com/

http://alturl.com/2v7nw to see “Roy’s Bluz” performed live

The UK-based artist Gwyn Ashton remains inexplicably under-recognized in the United States, despite his success across Europe and his excellent recordings. His 2012 release Radiogram is a powerful set of songs that should find a home in the CD and mp3 players of every fan of honest, bluesy rock.

Ashton and drummer Kev Hickman, with contributions from Don Airey (Hammond organ for Deep Purple, Rainbow, Whitesnake, and Black Sabbath) and Honeydrippers Mark Stanway (keyboards), Robbie Blunt (guitar), and Mo Birch (backing vocals), turn in a wide-ranging set. The riff behind “Little Girl,” a bone-cruncher in full AC/DC mode that features Ashton and guest Kim Wilson on harmonica, maintains the all-important swing that separates exciting rock from the soulless variety. “Let Me In,” a stylized boogie with Johnny Mastro on harp, bristles with barely-contained energy, threatening at several junctures to blow both speakers and amplifier alike. With chiming guitars, a gritty vocal, and impressive dynamic shifts, the mid-tempo rocker “Don’t Want To Fall” would, in a perfect world, dominate the airwaves in any decade: its melody line can certainly compete with anything Def Leppard ever cooked up. Pay special attention to the arrangement, which features unexpected touches like the George Harrison-inflected slide work that fills a brief, crucial space in the song.

“I Just Wanna Make Love” recasts the Willie Dixon-penned Muddy Waters number “I Just Want To Make Love To You,” offering grooving, edge-of-meltdown guitar breaks that are perfect in a slightly Hendrix-inflected way.  Sizzling tones on Ashton’s funky rhythm guitar keep the track really cooking. “Dog Eat Dog,” a grinding rocker laid over a shuffle beat, affords Ashton plenty of space to break out his bluesiest guitar lines, and he loads the cut with cutting fills and a snarling solo full of unrelenting attitude, groove, and surprising ideas. “For Your Love” splits the difference between “Dog” and “Love,” delivering mind-bending guitar lines over a spare, gritty slow grind.

“Comin’ Home” is the pick hit here from a pop aspect (and who can’t appreciate a genuinely catchy number?). Ashton sings an irresistible melody over a track that develops from eighth-note guitar clicks (shades of The Cars!) to a chunky, Rolling Stones-like rhythm, filled out with solid slide and baritone guitar leads. It’s simply great. On the blues end, “Bluz For Roy” is Ashton’s splendid tribute to the late Telecaster genius Roy Buchanan. Raw-toned, with wildly bent notes, chicken-picking, volume knob swells, and other assorted hand-and-guitar-only effects, “Bluz” captures Buchanan’s creativity and spirit as well as anything I’ve heard. Hats off to Mr Ashton.

On the relatively subdued “Fortunate Kind,” Ashton plays a Weissenborn lap steel, turning over lead guitar duties to the Robert Plant band veteran Robbie Blunt. The country-ish feel of the track lends it a flavor strongly reminiscent of The Band, with its tempo and driving drum part in particular recalling “The Weight.” That’s pretty good company. Along the same lines, you’ll want to pay particular attention to the ballad “Angel,” which serves almost as a continuation of Jimi Hendrix’s song of the same title by employing a similar tempo and melody. While the middle guitar break is evocative and emotional in its simplicity, the heat increases measurably on the extended ride-out solo as Ashton alternates legato and bitten-off phrases and makes masterful use of controlled feedback. The dynamics develop so naturally that when things quiet down again for a final, delicate exit, everything sounds perfectly right, and quite beautiful.

How refreshing it is to be able to celebrate a hard rock album that adults can enjoy. That’s not meant to infer that Radiogram is enervated or predictable–quite the opposite. Nor, at the other end of the scale, is it pretentious or arty. It is just right: nothing here feels either tarted up or dumbed down. Gwyn Ashton’s music is thoughtful and complex when it needs to be, making good use of smart rhythms and splendid tones without seeming flash. And while he wears his influences on his sleeve, he never does so too conspicuously. All that qualifies as good music in my book. Consider that high praise, coming as it does from a listener who rarely programs this sort of music, but who appreciates it when it is done this well.

TOM HYSLOP

Digital files for review were provided by the artist.

Double Fuzz (2012) by Double Fuzz

Thursday night was the night to take in the sights and sounds of other cities across Canada. I caught Vancouver’s jazz pop songstress Hilary Grist, Montreal’s indie rockers Folly and the Hunter, and Regina’s playful Rah Rah.

I felt, though, that while it was great to cover such an eclectic collection of musicians, I was lacking some good ol’ fashion rock and/or roll. That’s why I chose to end the night with the most electrifying band I could find: Calgary’s Double Fuzz. My ears haven’t fully recovered yet from the deafening distortion blasting through the speakers at Cadillac Lounge last night courtesy of Jon Whitehead and Harvey Warren, the duo that make up Double Fuzz. I couldn’t even record any video of their performance on my ghetto fabulous smart phone in fear that it might explode from all of the distortion and feedback.

They kicked off their set with my favourite song off of their self-titled debut album, “Mountain.” Whitehead was the epitome of rockstar swagger. He winced as he howled every word, warbling the end of each sentence, as if choking when he cried out, “I wanted you!”

Whitehead won over the crowd with his explosive dirty bluesy riffs. The noise was like nothing they’d ever heard. They even requested an encore at the end of the set, which they got. (The band played a new track as a treat.) The speakers roared with the ferocity of the Leviathan; it was overwhelming. The lack of a bass to keep the guitar sedated allows the monster to run rampant and destroy everything in its site. As the band walked offstage, one overly satisfied, newly converted fan yelled out, “Now that’s how you rock out without a bass!”

Warren was also a beast on his respective instrument. He had the swagger of a Tommy Lee, twirling and tossing his drumsticks in the air on some songs without losing a beat. But on other, more fast-tempo songs, he simply pounded those drums into the ground.

Almost 24 hours later, my ears are still ringing. What a night.

Fire Walker is the spectacular opener of the new album by Black Rebel Motorcycle Club (BRMC). It’s already the seventh studio album of the Los Angeles based rock’n'roll trio comprised of Peter Hayes [vocals/guitar/bass], Robert Levon Been [vocals/bass/guitar] and Leah Shapiro [drums]. The record is entitled ‘Specter at the Feast’ and was released on March 19, 2013 via Vagrant Records (US) / Abstract Dragon (UK/Europe). BRMC used the creation of ‘Specter at the Feast’ to process the major loss they suffered after Michael Been, father of vocalist Robert Been and the band’s sound engineer, had passed away backstage during a BRMC live show in 2010.

All twelve songs are exclusively streaming over at the Rolling Stone. Listen below to the first single Let The Day Begin. The band is currently on the road in Europe with US gigs to follow, check out the touring schedule below.

Cover Art:

Tracklist:
01. Fire Walker
02. Let The Day Begin
03. Returning
04. Lullaby
05. Hate The taste
06. Rival
07. Teenage Disease
08. Some Kind of Ghost
09. Sometimes The Light
10. Funny Games
11. Sell It
12. Lose Yourself

Upcoming Tour Dates:
Fri 22 Mar 2013 // Amsterdam, Netherlands // Paradiso
Sun 24 Mar 2013 // Manchester, UK // Ritz
Mon 25 Mar 2013 // Glasgow, UK // Barrowland
Tue 26 Mar 2013 // Birmingham, UK // Institute
Wed 27 Mar 2013 // London, UK // Brixton Academy
Fri 29 Mar 2013 // Nottingham, UK // Rock City
>> The full touring schedule is available here.

Follow ‘Black Rebel Motorcycle Club’ on:
Official homepage at: http://blackrebelmotorcycleclub.com
Facebook at: https://www.facebook.com/BRMCOfficial
Twitter at: https://twitter.com/BRMCOfficial
Youtube at: http://www.youtube.com/BRMCOfficial

Read more:
Paste Magazine − Black Rebel Motorcycle Club: Specter at the Feast

$atan’s Work is Never Done (vol. 1) is available now

So there I was randomly browsing Bandcamp (something I do and recommend frequently) using the tag “slide guitar” when what did I see? A new album from Lightnin’ Woodcock? Hot damn! All I can say is that if you’re unfamiliar with Lightnin’ Woodcock, it’s good you’re here. This guy is equal parts blues and rock n roll baby! Like old AC/DC, but with more than two chords. (Before you start writing your angry letter, I love AC/DC…so does my four-year-old son.) In fact, he cops something from John Lee Hooker (if you’re gonna borrow, borrow from the best) in “Brains and Personality,” probably my favorite track on the album.

The new album begins with a classic blues theme of an artist selling his soul to the devil. This ain’t exactly Robert Johnson at the crossroads (it’s quite a bit more crass than that), but it’s a fine story for sure. Not only that, it shows Lightnin’s prowess on the guitar, which is considerable. Don’t just take my word for it. Give it a listen.

Oh, so you know how I said this is rock n roll, baby? This might be a good time to mention that ol’ Lightnin’ likes to sing songs about “coitus, the physical act of love.” Songs like “Ride My Face to Chicago” and “(I’m Your) Smoochie Coochie Man.” Obviously, there is nothing subtle about these songs. They are lowdown and nasty. They’ll offend your parents, just like rock n rollers have done ever since the first caveman started banging on rocks and singing about hooking up with that chick in the next cave.

If you want some good music for blasting out your windows and (quite possibly) offending your neighbors, pick up the new album from Lightnin’ Woodcock.

Related:

Robert Johnson – Me and The Devil Blues

AC/DC – Baby Please Don’t Go

WHITESNAKE – Snakebite (1978, released as both album and EP)

You gotta give David Coverdale some kind of credit for name-dropping two of his old Deep Purple Stormbringer classics right there in the first song on this album/EP, “Come On”.

“I’m just a SOLDIER OF FORTUNE,
Must be the GYPSY in me…”

Maybe David just wanted to remind people who he was, that this was not just some “new” band.  Either way, it’s a very solid outing, considerably more enjoyable than David’s first two albums as a solo artist.

Snakebite was originally a 4 song EP, under the name Whitesnake.  Over here in Canada, I knew it as a full album .  North America stuck on four of the better tunes from David’s solo album, Northwinds, and released it as an LP.

The EP, or side one of the album, was helmed by Purple producer Martin Birch.  He ensured a solid sound, and Coverdale & Whitesnake provided four solid tunes.

The aforementioned ”Come On” sounds like a smoove Paul Rodgers prowl, and features three players who would stay through most of Whitesnake’s history: Neil Murray (bass), Bernie Marsden (guitar) and Mickey Moody (guitar). Track two, “Bloody Mary” is driven by a boogie piano, one of the best songs on the album.  My personal favourite of the album, anyway.  It’s just impossible not to move to this one.  David’s as naughty as ever in the lyrics:

“You know that Madam Palm and her five sweet daughters”
Couldn’t give her man what the doctor ordered”

Then Coverdale gets bluesy. “Ain’t No Love In The Heart Of The City”, previously a hit for Bobby “Blue” Bland, ended up becoming Whitesnake’s live centerpiece.  On the original EP, it is the last track, its position swapped with “Steal Away”.  ”Steal Away” is a another highlight.  Moody’s slide guitar is just pure awesome sauce.  The only thing I dislike is some really cheesy sounding electronic toms.

Side two of the LP had the earlier Northwinds material, produced by ex-Purple bassist Roger Glover. Although Mickey Moody plays on these songs, he’s the only future Whitesnake member present. The tunes are decent enough.  ”Keep On Giving Me Love” was funky, like the kind of stuff Glenn Hughes was always trying to push on Deep Purple.  It’s not really outstanding until you get to the chorus.  ”Only My Soul” however is a stand out. Coverdale has often done these incredible soul-searching pieces, such as Purple’s “Soldier Of Fortune”, and Whitesnake’s later “Sailing Ships”. This time out we’re treated to some very appropriate violin, and Glover on synth.  The side is rounded out by “Queen of Hearts” and “Breakdown”, the raucious rocker written about the final demise of Deep Purple.

Although David Coverdale seemed to still be searching for direction after leaving Purple, the Snakebite album (or EP, whatever you happen to own) is an enjoyable listen from front to back. Some material really showed what David was capable of, and he certainly would deliver in full in the future. Whitesnake diehards should not do without Snakebite, as it provides an interesting set of snapshots as to what Coverdale was up to, between his bouts of fame and glory.

There are numerous options today to get this music.  Not only is the Snakebite album still in print on CD in North America, but you can now also find the tunes remastered.  The Snakebite EP has been added as bonus tracks to Whitesnake’s debut album, Trouble.  You can also get David’s solo album, Northwinds, remastered with bonus tracks.  Or you could just get ‘em on original vinyl!  The choice is yours, but I think any Whitesnake fan would enjoy this Snakebite.

4/5 stars

Recorded over a three day period of the last days of 2012, alternative/garage rock duo Assault Shaker have nearly perfected an authentic sound. One of the most obvious elements of this release, is the very nosy recording process in which the entire LP was apparently mastered on a cassette tape; So don’t expect your grandaddy’s crisp garage rock here. The vocals are delivered in a very linear style that sound almost like one is listening to the cries of a homeless  gentlemen, with the skill to keep you in tune with the music in itself to keep you interested.  Vocalist who try for this delivery, often just end up tuning me out.  In the case of Assault Shaker, it’s almost submerged in a similar way that Sun Bear’s vocals were, but thanks in part to the DIY-styled production and the tempo of the band works highly in their favor. Lyrics are kind of hit or miss at times (especially in “Typhoon”) were I feel that there could be a bit more to play around with .  At the same time the vocalist are able to guide the tracks thanks in part to the aforementioned delivery. The distorted guitar along with the almost thunder clap of the drums really help maneuver the sound. The guitar playing is pretty top notch and well carried in, it’s an interesting note how it almost seems to almost drift to different genres from damn near grunge to almost surf rock as noted in the track “High Tide in Moscow”. Other than about two songs I felt went on a little longer than needed, don’t shy away from this LP by no means.

Favorite tracks: Jaguar Shark, Desert Gloss, Lazy, High Tide in Moscow, It Leads.

https://www.facebook.com/assaultshaker

After nine studio albums, for which I’d be hard pressed to find even one song that I could criticise by Clutch, I would be surprised if they could dish up anything that taste anything but the sweetest of sweet blues-infused stoner rock on this, their tenth album.

Clutch are from Maryland, USA, and have graced us with their presence for 23 years. While they are first and foremost a hard rock band, their sound draws influences from many sources, earlier on in their career, they were more stoner influenced, with some psychedelic delvings, especially on tracks such as Big News I, with its backmasked drums, and Spacegrass, off their second album Clutch (1995), through big heavy grooving metal tracks on Blast Tyrant (2004) and Robot Hive/Exodus (2005), or even rap (albeit in parody) on Careful With That Mic… from Pure Rock Fury (2001); and even Black Sabbath-esque doom metal on tracks such as Heirloom and Binge and Purge, both on debut album Transnational Speedway League (1993). In more recent years on Strange Cousins From The West (2009) and From Beale Street To Oblivion (2007), Clutch have developed a more bluesy feel, with added harmonica and organ.

While Earth Rocker isn’t as heavily influenced by the blues as these more recent outings, there are still snippets on this album; D.C. Sound Attack opens with chugging harmonica-rock, typical of Aerosmith, and Gone Cold, a sombre bayou-blues number. Elsewhere, riffs are abundant and so are the grooves so typical of Clutch, from the brtually heavy on Unto the Breach to the subtle and driving on title track, Earth Rocker. Also present are multiple references to the arcane, mythology, religion, science fiction, etc. that are so typical of Clutch and they have a canny knack of weaving complex narrative into their songs; Cyborg Bette describing the breakdown in relationship between a man and his robot partner or The Face recounting the dystopian downfall of Rock n’ Roll.

Clutch are truly on form here, rocking it hard and heavy with an inscrutable ear for a hook, riffing it like daemons, and grooving it like a beast. Fans will not be disappointed and, for those new to Clutch, this would make a fine introduction to these blues-rock heavyweights.

Highly recommended.

Favourite tracks: D.C. Sound Attack, Gone Cold, Book Saddle and Go

Spotify link: Clutch – Earth Rocker
Sneak peak:

Wishbone (2012) by Paul Reddick

Tracklisting:
1. Photograph
2. The Other Man
3. Dancing in a Dream
4. Whiskey is the Life of a Man
5. The ballad of Wishbone
6. Devils’ Load
7. Luna Moth and Butterfly
8. I Ain’t Sentimental
9. Take Me Ruby
10. I Have Lived You Long
11. 1000 Years

Wishbone is described as “a mythical character who walks through the night, meets all the lonely people, discovers strangers in strange places and keeps moving.” Reddick does an exceptional job of romanticizing the rambling man with tattered tales of desire, deceipt, and defeat. Wishbone stands ten times taller than his own shadow.

Accompanied by Kyle Ferguson on guitar, Kevin Warren on drums, and keyboardist/vocalist Maia Davies, the most impressive thing about Wishbone is the scope of its knowledge of all things blues. From the driving gutteral guitars and country twang of the opener “Photograph,” to the whistling steam engine harmonica on “Whiskey is the Life of a Man,” the stomping rockabilly ho down on “Devil’s Load,” the Delta-inspired smoking gun of ”Luna Moth and Butterfly,” and the lonely howl of the closing ballad, “1000 years,” this record is steeped in the history of the blues, but emerges with a polished shine, complimentary of producer Colin Cripps.

Among the collection, though, “Whiskey is the Life of a Man” definitely stands out as my favourite. Its slow, heavy stomping beat reminds me of Ben Harper’s thunderous ”Keep it Together (So I Can Fall Apart.” Warren rains a hailstorm down on his drums, while Davies’ keys light up the sky like lightning, and Reddick and Ferguson compliment each other nicely on guitars to create the perfect storm.  The sing-along clap-happy bridge and smoking hot harmonica add to make this song one hell of a fun track to listen to over and over again.

Though I’m a big harmonica fan, knowing how well regarded Reddick is for his harmonica skills, I commend Reddick for pulling back on most of the songs. Tracks like “Devil’s Load,” “Luna Moth and Butterfly,” and the aforementioned “Whiskey” all showcase his unarguable talent, but for the most part, Reddick lets his backing band support him, and I think the CD sounds richer for it. The harmonica is placed strategically throughout the record, emphasizing is less is more.

Another thing that I like about Wishbone is Reddick’s unique vocals. There’s a slight rasp to it, but not enough to take away from the proficient and epic instrumentation on display. It’s almost as if he is telling the legend of Wishbone, while the music itself is the embodiment of his spirit.

“Have you ever loved a woman (blues by Billy Myles)”, live on oct.02.2010 at “Akasaka Grafity”, Akasaka TOKYO. “MardiGras” vo:osari-san, g:toshima-san, g:ina…

Download and print B. Myles (Eric Clapton: Have You Ever Loved A Woman) sheet music

Brian Cameron, “Have You Ever Loved A Woman” (06-05-2011 (01) Players Sunday Jam)

Brian Cameron (guitar & vocals,) _____ (drums,) Kemper Watson (bass,) and _____ (guitar;) recorded 06-05-2011 at Players’ Sunday night jam in Marietta, Georg…

Jimi Hendrix . (Have You Ever Been To) Electric Ladyland Jimi Hendrix . (Have You Ever Been To) Electric Ladyland Jimi Hendrix . (Have You Ever Been To) Elec…

Sheet music for Have You Ever Been (To Electric Ladyland) (Hendrix) is available for downloading in digital format.

*with vocals* Have You Ever Been (to Electric Ladyland) [Jimi Hendrix Cover]

This song was written by Jimi Hendrix. It appears on his 1968 album, Electric Ladyland. I intend to record another video cover of this song with flute playin…

What is the highest quality song ever? As in sound quality.

Sheet music for Have You Ever Been (To Electric Ladyland) (Hendrix) is available for downloading in digital format.

If you’re talking about filetypes then FLAC is the highest quality. I don’t think any song can claim a be-all-end-all award for best sound quality. I’m not sure how you would even measure that.
Jimi Hendrix – Electric Ladyland albumZero 7 – Simple Things album:)
did jimi hendrix ever perform “have you ever been (to electric ladyland)” live? i listened to electric ladyland the other day and i am obsessed with it, such a dreamlike quality to this song. i want to see him play it live, but there dont appear to be any vids on youtube. does anybody know where i can see it live? thanks.
Nope. I wish he had though in fact he only played 5 of the songs off The Electric Ladyland album live

Double Fuzz (2012) by Double Fuzz

Tracklisting:
1. Mountain
2. Take You Home
3. Big City Lights
4. 100 Days
5. Tiny Little Things
6. Don’t Wanna Be Bad No More
7.  Alone in My City
8. Alone in My City (Remix by Neon Filter)

On their self-titled debut album, Calgary natives, Double Fuzz, have put together a record that is immune to superfluous praise. It is 35 glorious minutes you will want to relive over and over again. Jon Whitehead and Roland Lowson have put together a heavy and dirty blues rock sound that is sure to tower menacingly over any stage they play.

From the very first song, this record takes you for a ride. “Mountain” is aptly titled, because the song starts when Lowson’s cowbell triggers an insane mudslide. Whitehead surfs down on a giant flat rock like  a maniac, poised with his guitar axe in hand, as he screams out, “You sat next to me and I brushed up beside you/I wanted to touch you, but I knew that I couldn’t/You wanted to touch me, you told me later/But nothing happened!” As he nears the bottom of the mountain, he starts to shred his way through a monstrous tidal wave the size of giant skyscrapers before disappearing into crashing waves, signalled by the cymbals.

On the following track, “Take You Home,” Whitehead’s voice is absolutely booming, fueled by scorn and a burning desire so strong it makes it hard to breathe, a “wish that I could just take you home one more time/Take you home one more time and make you scream my name all night.” The drums thunder like the erratic palpitation of a man not sound in mind—a man in the presence of a divine creature.

“Tiny Little Things” has Whitehead singing about “Earth, wind, water, fire” because these earthly elements parallel the primeval desires he’s singing about, the ones that “Make me do strange things, you see/ They decide what’s wrong and right for me.” His fluid blues riffs slither in mesmerizing fashion, enchanting you as the drums crawl slowly, waiting until the perfect moment to pounce, signalled by Whitehead’s bullet scream, “HA!”

Perhaps the best thing about this record is that it has songs like “Don’t Wanna Be Bad No More” and “Alone in My City”–songs with an immense amount of pounding muscle, but an equal amount of provocative rhythm. “Don’t Wanna Be Bad No More” also has particularly fun lyrics to sing along to. In fact, as I type this paragraph, I find it very difficult to focus for this very reason.

This is distorted blues rock at its loudest.

Double Fuzz

CMW Date:
Thursday, March 21, 2013 @ 1:00 @ Cadillac Lounge

Sounds Like:
Imagine you’re on the dance floor, the flashing lights warm your skin like sunlight and match the palpitating rhythm of your deafening heart. You’re dancing with the most gorgeous girl in the room, moving as one. The place is so hot, there is a mist of sweat circulating round the room. The music is reaching its explosive crescendo—so loud that the ceiling starts to crack and pieces rain down all around you. But you remain unfettered, lost in this girl’s eyes. She is all that you see, all that you taste. The band playing that night? The sexifiying Double Fuzz.

Have A Listen:

The Story So Far:
Two and a half years ago, Jon Whitehead and Roland Lowson were working at a Calgary restaurant. Now, these two self-taught pros are taking over their hometown, playing venues like the Republik and Broken City, and scoring gigs like the Sled Island Festival. The guys recently recorded with producer Jesse Gander (The Pack A.D., Japandroids, Black Mountain).

Why You Should Listen:
Somebody finally listened and threw in more cowbell.

Members:
Jon Whitehead – Vocals, Guitar
Harvey Warren – Drums

Albums:
Double Fuzz (2012)

Websites:
https://www.facebook.com/DoubleFuzz

http://music.cbc.ca/#/artists/Double-Fuzz

http://doublefuzz.bandcamp.com/