Pighsit by Gary Pig Gold - IT’S BEGINNING TO SOUND A LOT LIKE… WELL…YOU KNOW WHAT

Ahhh, Christmas! That magical time of year when we share love, presents, and our special musical tastes – both good and bad. Like those mounted singing bass sold down at Wal-Mart, seasonal music is an acquired, personal taste that says more about the listener than the actual music.

So, always nosy, Gary Pig Gold, alongside veteran r-n-r reporter Ken Burke, decided to ask their many music-minded acquaintances the following questions:

1) Which seasonal / Christmas recording do you never tire of hearing? What’s special about it?

2) Which seasonal / Christmas recording irritates you?

Guess what they said?

Steve Lester of Wix Records

1) That’s easy. “Santa Claus is Back in Town” by Elvis Presley. Seasonal or not, that sucker rocks! Who needs flying reindeer when you can have a “big black Cadillac”! I also have to give der Bingle’s “Melekalikimaka” an honorable mention. It has such a hypnotic, ethereal quality. I once listened to it twelve consecutive times with no intention of stopping there until family members intervened.

2) I normally don’t like to answer negatively slanted questions like this. But in this case I’ll make an exception: That Elmo and Patsy thing was criminal!!!

..Mack Stevens, Rollin’ Rock recording artist

1) Fuzzy thoughts…animal thoughts…my fave Christmas song is “Jingle Bells,” by those barking dogs. I don’t ‘member their names.

2) The most IRRITATING song about the Yule season is “We Three Kings” by anydamnbody. They didn’t mention me OR that Elvis guy.

Greg Loescher, Goldmine magazine

1) “White Christmas,” for sure. Having snow on Christmas is just the best and this song just says it all. Plus this particular song was around before I was born and conjures up simpler times (or at least what seems like simpler times). I also had the pleasure of hearing the Drifters’ Bill Pinkney’s version, which is better than Bing Crosby’s, live at The Vocal Group Hall Of Fame’s induction concert back in 1998. He walked through the crowd singing it a capella. Not a creature was stirring. Incredible.

2) Any of the Chipmunks songs. No explanation needed, is there?!

Morley Bartnoff as Cosmo Topper

1) It’s a tie between “Punk Rock Christmas” by Venus and The Razorblades and “Christmas Rapture” by Blondie.

2) Hey! It’s Christmas! No time to be irritated. Let’s watch The Charlie Brown Christmas Special one more time instead.

Dick Dale, King Of The Surf Guitar

1) “…chestnuts roasting on a Christmas fire….”

Irwin Chusid, most recently author of “Songs In The Key Of Z”

1) None.

2) All of them. I am Scrooge Number One when it comes to Xmas music. I hate it, hate it, hate it – and despise it most for its unavoidability. For years friends and listeners have been mailing me clever cassettes and CDRs of Xmas novelties …which I abhor even MORE! Nothing goes into the nearest trashbin faster. Any candidate who promises to impose a permanent moratorium on Xmas music gets my campaign dollars. Have I made this clear?

Kevin Mathews, Touched by the Power of Pop

1) “Little Saint Nick.” It’s the Beach Boys, dammit!

2) Anything done by a boyband/jailbait diva, etc etc.

Lane Steinberg, currently leading Cracked Latin

1) I really like “Christmas Wrapping” by The Waitresses. It’s not sappy like 99% of Christmas songs. It has a great perspective and a cool production. I also like “The Christmas Song” by Mel Torme (though it’s totally played out), because it has the most sophisticated chord changes of the holiday season.

2) For some reason, “Jingle Bell Rock” always makes me think of child molestation in a small town.

Mike McKay, of the Ohio University power pop combo Aaron Skye

1) An obvious choice: “Jesus Christ” by Big Star, for all the reasons I love Big Star in the first place: chiming guitars, harmonies, and a certain knowing innocence. A not-so-obvious choice? “Winter Song” by Lindisfarne: a very affecting solo piece by their singer, the late Alan Hull. He doesn’t get around to Christmas until the final verse, but he does. Thoughtful lyrics, tasteful backing; people I’ve played this for have invariably said, “Boy, that’s really good.”

2) “Felice Navidad” by Jose Feliciano. I can’t say why; Jose is certainly a talented guy
…but it just makes me cringe every time it comes on the radio.

Mr. Mike, of Orange County, California’s one and only SparkleJets U.K.

1) The first Johnny Mathis Christmas album. The one where he’s got the skis in one hand and the ski poles in the other. It just wouldn’t be Christmas to me without it. It’s one of many we’d play in our house when I was a kid and was always our family favorite. Still is. A perfect mix of joy, beauty, wonderment, a really nice string section, and a nice echo chamber. A few runners up would be the one by The Lettermen, and of course the amazing one by The Beach Boys, that had I knew it as a child would probably be my Number One. Let’s also not forget Martin Newell’s “Christmas in Suburbia” which although it’s not traditional (or even positive) is very, very evocative. Plus, Mr. Newell LOOKS like Christmas. Harry Belafonte made some great records too.

2) Anything with ROCK ‘N’ ROLL on it, especially that Jimmy Iovine “Very Special Christmas” crap. YUCK! Christmas should always remind you of how great it was to be a kid, so I like to surround myself with nostalgic warm fuzzy things at Christmas time. Isn’t that why we all do it? Those old records are the soundtrack of those times, and I think they nail the feeling of it. The 50’s, in my opinion, WERE Christmas: cookies and parties and lights around the house. We don’t get snow in California so we have to drum up the spirit with choice tuneage. The more traditional the better at my house. I love those old background singers too. Wow.

Lord Litter, singer / songwriter / international DJ

1) VERY easy to answer: It’s “Bluegrass Christmas” by Haywire (Gene Parsons on guitar, banjo). The only Christmas recording ever really TALKING to me. Didn’t even like Roy Wood’s Christmas tunes or Slade’s monster smash “Merry Christmas Everybody.” “Bluegrass Christmas” definitely captures best the real spirit of “nature, peace, a silent night.” This is pure, this is real, PEACE. Can’t praise this enough !!!

2) All others. None of them recaptures the SPIRIT.

Robert Pally, Swiss freelance journalist

1) “Silent Night” is my favorite Christmas recording. It reminds me on how beautiful Christmas was when I was young. And it gets me in the right mood for it. I am a hopeless romantic.

2) It’s not a special song; it’s more the fact that certain artists bring out every year a Christmas album only to make a few bucks. I still believe in the true meaning of Christmas, which doesn’t have anything to do with making money.

Chris Chinchilla, former Mike Love of the only (authorized) Canadian Beach Boy clone combo Endless Summer (est. 1985)

1) “What Child Is This,” set to the ancient “Greensleeves,” when sung softly and tenderly, in a slow waltz, maybe played on a harpsichord, maybe a bit of flute, with a bit of Rubato, building in volume in the second half of the verse. Never leaves a dry eye in the house
…including yours truly. (Try singing it to your gals, guys, and your “X”mas will be very merry I predict.)

2) “Here Comes Santa Claus.” I personally get a nauseous feeling in the pit of my stomach whenever I hear this song. To me the melody and overly chirpy bounciness of this song is especially aggravating during the busy Christmas season. It’s like one of those PR type people, who say “GREAT!” no matter what you ask them. Also, mixing God and Santa in the same rhyming couplet is a bit too much for this existentialist. “Let’s give thanks to the Lord our God, ‘cuz Santa Clause comes tonight” (ugh)

George Makovic of Rock Beat International magazine

1) Secular: “I’ll be home for Christmas”
Spiritual: “Hark the Herald Angels Sing”
Or maybe that one that goes, “bring a torch for Queen Isabella, bring a torch move swiftly along…”

Mike McDowell, editor/publisher of Blitz Magazine

1) I never get tired of Bobby Helms’ “Jingle Bell Rock.” Although not really reflective of the true spirit of Christmas, it’s got that timeless almighty hook like two other records that broke around the same time: Danny And The Juniors’ “At The Hop” and the Silhouettes’ “Get A Job.” Records like those three hold up remarkably well under repeat plays.

2) On the other hand, overkill has taken all of the joy out of Nat King Cole’s “The Christmas Song.” Lately, I’ve found the recent classic “Mary, Did You Know” (done by such diverse types as Kenny Rogers, Donny Osmond and Barry McGuire) to be much more in line with what Christmas is really all about.

Bill Lloyd, formerly of Foster & Lloyd and currently SO much more

1) Fave Christmas song would have to be “The Christmas Song” written by Mel Torme. Even though Alex Chilton did a nice rendition, Nat King Cole’s version is flawless.

2) “The Twelve Days of Christmas” comes to mind as being one of the most irritating holiday classics. It reminds me of “100 Bottles of Beer On the Wall.”

“Big” Bruce Mowat, father of Hamilton, Ontario, Canada rock journalism

1) The Big Star version of “Jesus Christ.” Shimmers without a trace of guile …unlike the Bach’s Bottom version.

2) Anything jazz-ish by Perry Como: reminders of why rock ‘n’ roll was necessary in the ’50s.

Elizabeth Walsh, bassist and cruise director for Una Pong

1) “Blue Christmas,” as sung by Elvis Presley. Oh wow – the song is terrific, the performance is great, the arrangement is just goopy enough without going over board. Second place goes to that Chipmunk Christmas song, mainly because it’s the only Christmas carol with the word “hula hoop” in it. I had the single when I was five, and used to play it over and over and over and over; I think my parents burned it.

2) Those dogs singing “Jingle Bells.” Cute for the first ten seconds – fiendishly irritating thereafter. I think they’re the ones who told David Berkowitz to go out and kill people.

Betsy Palmer, ever-devoted promo vixen

1) It’s a tie: Johnny Mathis and Elvis …reminds me of Mom.

2) “Sing Along With Mitch Miller” …reminds me of Mom.

Chris Martin, CKUA Radio Network

1) “Adeste Fidelis” (aka “Oh Come All Ye Faithful)”. I like any of the carols that stem from classical music.

2) “I Saw Mommy Kissing Santa” is tied with “Jingle Bell Rock.” Pretty much anything relating to Santa bugs the heck out of me.

Marc Bristol, editor, Blue Suede News magazine

1) “Please Come Home For Christmas” or “Merry Christmas Baby” by Charles Brown, and others who’ve recorded them. Excellent songs; non-traditional and non-religious.

2) “Grandma Got Run Over By A Reindeer.” Bad singing. Clever, but not very clever lyrics. I saw an item on TV news several years ago about a four year old (about) who had this for his favorite song. Then one afternoon a young deer came charging out of the woods near his house and pummeled him with it’s hooves in his driveway. He changed his mind about the song, too. I think the deer (and Elmo, too) just wanted to play. This happened in Kent, Washington, I think.

Dorothy Knopper, mother of Steve Knopper, renowned music freelancer [also a fine editor in her own right - KB]

1) Anything by Gordon MacRae, but the only one I know of that he recorded is “Here’s to a Wonderful Christmas.” It’s special because I was in love with him through my teen years. If you want a second choice it’s “Grandma Got Run Over by a Reindeer,” but don’t know who recorded it. It’s special because it’s funny, and I’m a Grandma.

2) Alvin and the Chipmunks: I like to listen to the words and their voices are irritating and hard to understand.

Dale Hawkins, oh “Suzie Q” !!

1) “White Christmas.” What’s special about it? Clyde McPhatter and The Drifters, with Clyde doing the high vocals (“…I Y I Y Y Y Y Y’m dreaming of a white Christmas.”)

2) I really can’t think of any! Why? IT’S CHRISTMAS!

James Richard Oliver of Illbilly Records

1) Elvis doing “Blue Christmas.” My mom used to put that record on every Christmas. It wasn’t officially Christmas ‘til we heard it. My sister and I would do our little mock-Elvis lip quivering, but we loved it just as much as she did. I think about her whenever I hear it.

2) I’d have to say that’s a ties between those damn dogs barking “Jingle Bells” and that godforsaken “Grandma Got Run Over By A Reindeer.” I’m not sure exactly who’s responsible for either one, but they should be punished. They should have to work in a mall the two weeks before Christmas while constantly listening to each other’s song.

Jeff Wall of the Rural Route Twangzine

1) Dwight Yoakam covering Elvis’ “It’s Christmas Time Pretty Baby.” It’s a cool song anytime of the year.

2) All of them. I don’t like Christmas, not since that elf got me drunk on the spiked eggnog and stuffed my stocking with care. He never writes, he never calls. Merry Christmas? Bah Humbug.

David Wheatley, the artist currently known as Daza

1) Jimi Hendrix, “Silent Night.” His version pulls out the pain of entire year leading up to Christmas before you get to the silent night. Kind of like life, with one moment of peace to look forward to. I dig the pain; lets it out.

2) Any song pretending that there is anything “nice” and “sweet” about Jesus. I hate cute, and cute worship propaganda is irritating.

Steven Rappaport, genius behind the 1963 Top Twenty smash “The Martian Hop” by the legendary RanDells!

1) “Jingle Bell Rock,” the Bobby Helms version. Great song, great vocalist for the song, very happy. The bridge works terrifically – I like the change from major (What a bright time) to minor (It’s the right time) and back to major (To rock the night away). Next time around it goes to a 7th (Is a swell time). It’s harmonically great. But it’s the happy sound that really makes the song for me. “Rockin’ Around the Christmas Tree,” Brenda Lee. Anything Little Miss Dynamite sang was OK with me. Killer voice. But I also liked what I think are steel guitar riffs. “White Christmas,” Darlene Love. Phil Spector production, totally original arrangement, great voice. Best second version of the song: The Drifters.

2) Worst Christmas record: by far, The Royal Guardsmens’ “Snoopy’s Christmas.” Also, I hate to say it, but Roy Orbison’s “Pretty Paper” is yucky, as is Vic Dana’s “Little Alter Boy.” Gag me with a reindeer.

Gene Sculatti of Billboard magazine

1) I guess anything off Bobby Darin’s 25th Day Of December album (”Child Of God” was the single) or the Four Seasons’ version of “Santa Claus Is Coming To Town” are the ones I never tire of hearing …but then I’m the only one who plays ‘em, so I guess it makes sense. Their specialness, I suppose, is that they both come from back in my day and that, in the long lost way only early-60s pop can, they each “rock.”

2) Can’t really think of which seasonal song tires me (it’s not that I love ‘em all; rather, nothing really riles).

Jonathan Strong of Ripsaw Records

1) “Run, Run Rudolph.” Because I love Chuck Berry’s music and lyrics.

2) “Christmas Time Is Coming.” I don’t know. It just grates on me.

Alan Clayson, chansonnier, pop historian and erstwhile leader of Clayson and the Argonauts

1) “The Moonlight Skater” by Alan Clayson. Because a recent remake (with a new arrangement and a specially composed bridge section) would satisfy every qualification of a Christmas Number One if issued in time for the December sell-in when the usual chart rules don’t apply, and you can get away with the ravages of middle age. Over the past ten years, it’s been covered by Dave Berry, Jane Relf, and Stairway.

2) “Happy Christmas (War Is Over)” by John and Yoko, because, regardless of the time of year and its worthy sentiment, I hate it for the same intangible reasons as I hate “I Got You Babe” (Sonny and Cher) and “March Of The Mods” (Joe Loss). The fault for this is probably mine entirely.

Marti Brom, Goofin’ Records rockabilly queen

1) Well you asked about a subject I just love. I’ve sort of a thing for old Christmas records. I’ve got everything from Dean Martin, Frank Sinatra, Brenda Lee, Gene Autry, Patti Page, Tennessee Ernie Ford, Elvis, Charo, and the list goes on. I also have a stack of compilation LPs. I usually start playing them in June, but that kinda confused my four year old. I guess, though, my all time favorite would have to be Bing Crosby singing Irving Berlin’s “White Christmas.” But mostly I miss those Bing Crosby Christmas Specials. The year that Bing Crosby dueted on “Little Drummer Boy” was especially neat, because it was the first time my Dad acknowledged that David Bowie had talent.

2) The Chipmunks singing Christmas songs, or any songs for that matter, I’d say irritates me the most. I hate it when rodents try to sing!

Brandy Reed of RPM Media

1) “Silent Night” and Don Henley’s version of “Come Home For Christmas.”

2) None of them irritate me, but Bruce Springsteen’s version of “Santa Claus Is Coming To Town” kinda of gets on my nerves after a while.

Beverly Paterson of Twist And Shake magazine

1) I never tire of hearing “Snoopy’s Christmas” by The Royal Guardsmen. It brings back good memories of when I was younger than yesterday and besides, it IS The Royal Guardsmen. That alone qualifies for a classic of any stripe!

2) “Grandma Got Run Over By A Reindeer” irritates the egg nog out of me. It isn’t even funny. An insult to our kindly grandmothers and those groovy reindeers that make things happen!

Alan Abramowitz, on-air host forever of the syndicated cable music series “Video Wave”

1) That Ronettes song, “Sleighbells ring….”

2) Just about EVERTHING else.

Johnny Dowd, the LAST great (remaining) all-American singer/songwriter

1) “Little Drummer Boy.” Great drumming.

2) “Jingle Bell Rock.” I don’t think you should mix rock ‘n’ roll and Christmas.

meet Ed James, power pop musician

1) “You’re A Mean One Mr. Grinch!” by the Whirling Dervishes. It’s so dang cool, and it rocks. I wish I would have covered it. I could listen to it year-round. Metallica only wishes they were this cool.

2) Anything sung by Kathie Lee Gifford. Do you really have to ask?

John Sinclair, managing editor, Blues Access magazine

1) Man, what a question! You might not know that I’m a R&B Christmas record fanatic. I play six to nine hours’ worth of Christmas songs every year during the month of December on my Blues And Roots show, and another six hours or so of Crescent City Christmas carols on my New Orleans Music Show. So it’s not fair to ask for ONE record! I’d have to select TWO versions of “White Christmas”: Clyde McPhatter and the Drifters’, of course, and the live version by Charlie Parker recorded at the Royal Roost on Christmas Eve 1948. These are special because they sound so fucking good! And they represent the apotheosis of African-American vernacular irony: “White Christmas,” indeed!

2) I can’t think of an irritating record because, well, I’m just too old to listen to music that irritates me …and here in New Orleans, I simply don’t have to. Happy Holidays!

Jon Sievert, publisher / author / photographer

1) “Jingle Bell Rock” by Bobby Helms. A great memory from my youth that never ceases to evoke the original spirit. “Santa Claus & His Old Lady” by Cheech and Chong. Tremendously funny yet still manages to deliver the message of Christmas. Light of the Stable by Emmylou Harris. Largely acoustic string instrument accompaniment to classics by greats such as Albert Lee, Ricky Skaggs, Bryan Bowers, Rodney Crowell, Brian Ahern, and Emery Gordy. They sure screwed up the mix on the CD version though. “The Nutcracker Suite” by the Modern Mandolin Quartet. A brilliant adaptation of a piece meant for orchestra. Nothing is missing. Christmas Classics for Guitar by Stevan Pasero. Wonderful classical guitar arrangements of traditional Christmas music. I’ve heard many other more famous classical guitarists, including Charlie Byrd and Liona Boyd, attempt this but Pasero’s stand above the rest.

2) The Christmas song I would not like to hear again: “The Little Drummer Boy,” a monotonous, monochromatic dirge with no noticeable redeeming value.

Mark Snyder, CEO, PMPNetwork.com

1) I’ll always enjoy John Lennon’s “And So This is Christmas,” Bobby Helms’ “Jingle Bell Rock,” the Carpenters’ “Merry Christmas, Darling,” Nat King Cole’s “Christmas Song,” The Beach Boys’ “Little Saint Nick.” All are great tunes that I can listen to all year round. None are religious enough to ruffle my tender feathers.

2) None. Music cannot irritate me, unless it is by Michael Bolton or Barry Manilow. I save my stress for PMPNetwork.com!

Jason Frederick, Los Angeles-based (but Hamilton, Ontario, Canada-raised!) arranger / orchestrator / producer

1) I’ve always been fond of “I’ll Be Home for Christmas.” I love the bittersweet; always have. That’s the one that, for me, takes the big left turn into the Twilight Zone of bittersweet that no other popular Christmas songs do. Sure, you can be dreaming of a White Christmas like the ones you used to know. That’s fine. Or anticipating Christmas day while soaking up the positive energy of the city as you hear the Silver Bells. Great. But saying that you’ll be home for Christmas, planning for all the fantastic warmth of the holiday season and all that you miss so much with complete certainty that it’s going to be a reality, and THEN, admitting to yourself that “only in my dreams” will it probably happen. That gets me every time. Such strength in remaining positive when it’s just so clear that it most certainly won’t. No matter how often I hear that song, it still gets me right here, that sense that even through the sweetness, all is pretty much lost. Much like “The Green Green Grass of Home,” it’s got drama, suspense, a little romance, tragedy, and a surprise ending. It’s an epic Christmas song.

2) As for ones I can’t stand, I heard a lot of the “Millennium Mix” of Kenny G performing “Auld Lang Syne” last year. I can’t say it’s bad, because I’m sure it accomplishes exactly what Mr. g wanted it to, but it sure was irritating.

Jeffrey Thames (King of Grief), host/producer of “Sound Awake” on KPFT-FM Houston

1) Without contest, “Jingle Bells” as parlayed by The Singing Dogs. I’ve always been a dog lover (that’s not to say I don’t love my three cats), and hearing a bunch of purty puppies bark a holiday classic never fails to make me smile. When I first got it on CD in 1990 (bless you, Dr. D), I played it for my Doberman, Sam (may he rest in peace), and he just stared at the speaker for the full time it was on. Nothing like music to help you bond with your savage beast. Plus, legend has it that they were signed to RCA after Nipper heard them harmonizing around a fire hydrant. Ah, folklore.

2) Ask me again about a week before Christmas after I’ve been properly inundated…

Iñaki Orbezua , editor, Otoño Cheyenne magazine

1) Basically, there are two Christmas recordings that I never tire of hearing, year after year, and those are Spector’s Christmas album (an obvious one I know, but I just love this one record so much …and because it’s like the first concept album in the Pop era, and I kinda like concept albums) and the second one is by a Spanish singer by the name of Raphael: his classic Four Christmas Songs EP (an excellent version of “The Little Drummer Boy” in Spanish) from the mid-60’s will never be absent from my turntable on Christmas time. This guy is still singing today, he must be around 55-50 years old, and is now singing on the Jekyll and Mr. Hyde musical here in Spain. He’s awesome!!!

2) I could name quite a few Spanish artists that make horrible Christmas music, but then again when I think of people like Michael Bolton and Mariah Carey doing those IRRITATING Christmas albums… then I wish it was summer again!

Toby Ward, ex-drummist / full-time music junkie

1) My favorite Christmas record is “Wipe Out” by The Surfaris. There’s just something about a good drum solo that I consider to be holy.

2) The Christmas record that irritates me the most is “Who Let The Dogs Out” by the Baja Men. It’s being played everywhere right now, so I assume it’s a Christmas song, and it’s just too religious for my tastes.

Tony Wilkinson of American Music magazine

1) The Phil Spector Christmas album, which is just the wonderful masterpiece of how to capture the feel good spirit of Christmas, ’Twas The Night Before Christmas by Huey Piano Smith and the Clowns, which is sheer rockin’ fun to listen to, and Christmas With Tammy Wynette, in which Tammy pours her heart and soul and the quality/feeling with which she sings the songs is simply awe inspiring. Lastly, it has to be Christmas with Elvis: his voice and emotive singing were never in grater shape. From this comes my all time favorite Christmas track, “Santa Claus Is Back In Town.” This track is full of absolute raunch and grind, and the lavish expression in the curl and sneer of his singing leaves one in no doubt what this Santa is coming down your chimney after. Pure excitement.

2) As to the most duff Christmas track, there are several and one of the paramount selections has to be “The Chipmunk Song” by Canned Heat and The Chipmunks: just a sheer travesty and pure waste. However, my choice as the worse all-time Christmas recording has to be “A Not So Merry Christmas” by Bobby Vee. Apart from bearing a remarkable similarity to “Run To Him,” the sheer wimpness of the cut is breathtaking. It is bury-your-head-under-the-pillow time and blot-out-the-world time, if one has the misfortune to be in audible range when this played. Excruciating, to put it mildly.

Shane Faubert of The Next Big Thing

1) There seems to have been a Christmas song by Kenny Laguna that I heard once, really liked and never heard again (was it a dream?) but we won’t count that. “Little Drummer Boy” by Joan Jett is my favorite of the songs I actually hear on commercial radio, but the Christmas song I love the most is (of course?) “I Wish It Could Be Christmas Everyday” by Wizzard. It has a great melody, but what I really LOVE about it is the fact that it is so incredibly messy. You can’t get tired of it because you can never hear it all… lots of layers and swirls. Nutty and perfect.

2) The David Bowie/Bing Crosby duet of “Little Drummer Boy/Peace on Earth” is pretty bothersome. Reminded us that David Bowie really WAS Anthony Newley’s successor after all.

Rockin’ Ronny Weiser of Rollin’ Rock Records

1) “Santa Claus Is Back In Town,” “Santa Bring My Baby Back To Me,” “Blue Christmas”: all three by ELVIS. Also, I would like to hear more Hannukah songs!!

2) Many of the others, especially the archaic European sounding stuff. It’s annoying to hear it over and over. I’m an American and I generally prefer American music!

Tammy Ferranti of Tammy and the Lords of Misrule

1) Hmmm… “What Child is This?” because the melody comes from the traditional “Greensleeves,” one of my favorite tunes in 3/4 waltz time. It is also fun tune to try and play in 4/4 by the way! Try it.

2) “I’m Gettin’ Nuthin’ for Christmas,” because when I was a child my parents would sing this song whenever I misbehaved – especially when Christmastime was approaching. “I’m gettin’ nuthin’ for Christmas. Mommy and Daddy are mad. I’m gettin’ nuthin’ for Christmas. ‘Cause I aint been nuthin’ but bad.” (God, who did this song anyway? It wasn’t Soupy Sales was it??? And what about that other awful song? “All I Want For Christmas Is My Two Front Teeth.”)

Marty Wombacher, editor, Fishwrap magazine

1) “Helter Skelter.” That song always makes me think of Christmas …and also of chopped up impregnated actresses.

2) “The Twelve Days Of Christmas.” Hello? Christmas is only one day long. Like, DUH!!

Bob Brainen, WFMU-FM DJ

1) Fave: “Christmastime Is Here” by Vince Guaraldi (from “A Charlie Brown Christmas”?) NRBQ do this song live with a wordless vocal, “duh-duh-duh….”: just lovely.

2) Least fave: MOST Christmas songs.

Johnny J. Blair, bassist for none other than Monkee Davy

I don’t get irritated at any Christmas songs because they have an expiration date.

BTW, I think the first artist to do a punk version of “Jingle Bells” is (in a departure from imbedded folkieness) Noel Paul Stookey in 1972 or 3.

I love the Yogi Yorgesson Christmas parodies. Stan Freberg did some too.

I may be the only person who has ever noticed that the song “Winter Wonderland” has absolutely nothing to do with Christmas per se. It’s just as relevant in February, as is “Jingle Bells.”

Lach, Father of the NYC anti-folk scene, and current proprietor of Fortified Records as well

1) “Blue Christmas” is the first to come to mind. Elvis still had a little bit of the other-wordly unknown radio sound. It’s embracing and lonesome at the same time. I also like the Joni Mitchell “Comin’ On Christmas” from the Blue album. Hell, I just like sad Christmas songs.

2) Maybe Bruce’s. It was fun the first year but now it’s got a ton of Corporation radio fucking it up the ass.

Mark Johnson, whose 1992 “12 in a room” album all but kick-started the entire Pop music renaissance

1) “The Chipmunk Song.” Why? Because “we can hardly stand the wait” always sounded like “we’ve been hoggish and ‘go wayne’ (my best friend’s name at the time was Wayne) …that’s all that mistaken rock lyric stuff I’m into. But REALLY, FOLKS…what a record! Really: it was Number One, original, and a great melody. I don’t hear it enough at Christmas time! The B-side was a song called “Almost Good,” or that may have been the B-side to Alvin’s orchestra. Let’s hear it for David Seville. HE WAS IN REAR WINDOW!!! Played a frustrated songwriter!

2) I tire most of modern attempts to put over Christmas music by people who just think it’s good to do for their careers and do bad things the rest of the year. You can always tell who they might be.

Linda Gail Lewis, Jerry Lee’s sister and Van Morrison’s sometime singing partner

1) I think it’s Nat King Cole’s “Chestnuts Roasting On An Open Fire.” There’s just something about that song; his voice is so beautiful and the song is so beautiful. It reminds me of being at home on Christmas and being with my parents; they’re deceased now. It reminds me of that time in my life when me and my brother, my sister, and my parents were all together.

2) I’m such a big Christmas person and I love Christmas music so much, I don’t even know if there’s one that exists like that. I get so in to all that. I was talking to Van about it the other night and he was saying how he dreads this time of year and I’m saying, “Oh, it’s the greatest thing in the world! We can watch Scrooge and Miracle On 34th Street. I love all that stuff so much. The biggest speeding ticket I ever got came when I was driving my kids back from somewhere one night and we were singing Christmas carols. I was making like 90 miles an hour, I kept going faster and faster because the carols were getting faster and faster. I talked that highway patrolman into giving me a ticket that said I was making 75 or something, or else they would’ve taken my insurance away. I said, “I was singing Christmas carols, please don’t do this to me.” The Singing Cats are the only thing. My husband’s niece has that damned recording and I don’t like her anyway – and you can quote me on that. Some times we have to get together with her because it’s one of those things you have to do, and that bitch will put that damned thing on. It’s horrible: “Meow meow meow, meow meow meow, meow meow meow…” It’s really bad.

J.R. Taylor, writer for the esteemed New York Press and Playboy.com

1) With the citizens of Whoville about to be made villains in a big-screen travesty, it seems more important than ever to celebrate “Welcome Christmas” from How The Grinch Stole Christmas. The Waitress’ “Christmas Wrapping” is also way overdue to be animated as a Christmas special. But my personal favorite Christmas moment remains “Merry Christmas, Neighbor” by the cast of Bonanza. This song truly captures the warmth of the holiday. The Cartwrights always had a real sense of neighborly love …even though their ranch took up most of the county.

2) As for the worst, it’s easily The Pogues doing “Fairytale of New York” (”featuring Kristy MacColl,” of course, as a million pop geeks immediately proclaim). What a lame and safe excuse for Christmas sentimentality. Naturally, college radio continues to embrace the song as a hipster holiday classic.

and
Gary Pig Gold of The Rock and Roll Report

just has to say
Merry Pigmas, everybody !!

and See you back here
next year,

www.GaryPigGold.com

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Intense Nick's CD Review: "Wish" mini EP by Sarah Coburn

‘Wish’ is a beautiful song for the festive season that was originally written some years ago and re-recorded recently due to requests from a close friend. It begins with a beautiful acoustic guitar intro to be joined by Sarah Co’burn’s smooth dulcet vocal tones. It is a song about losing someone close at this time of year, although somewhat reminiscent and melancholic but is heartfelt and caring. These are the two most important aspects of the season, and is put across so well in this acoustic format. Thanks not only go to Sarah Co’burn but also to ‘Broxy’, the founder of European Klassic Radio for requesting the re-recording of this song.

‘Abandoned’ is a new song which Sarah wrote after watching a documentary about the abandoned children in Mogilino, Bulgaria. The children in this institution were treated appallingly. It is another acoustic track with the guitar being provided by ex Anubis guitarist Andy Hart, who worked on the arrangements for all three tracks. Another truly
thoughtful and caring song, perfectly executed.

..‘The Gift’ follows the pattern and format of the first two songs but is a little more quirky in its execution. Another thoughtful and caring song but this time it is about getting to know somebody in a new relationship. All three of these songs capture the imagination in truly thought provoking and passionate way.

A heavier version of ‘Abandoned’ will be on the new Anubis album called Waking The Dead, due to be released in March 2010. I cannot praise Sarah Co’burn enough for the writing of all three of these songs and also the Anubis team comprising of Andy Hart, Pete Williamson and Simon Lees. I guess that Kevin Bartlett (Anubis Drummer) was on tea
making duties!

The Wish mini EP is available either through the Anubian web pages
http://www.myspace.com/theanubisprojectuk
http://www.myspace.com/anubisisis

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Happy Holidays To All From The Rock and Roll Report!

On behalf of everybody here at The Rock and Roll Report we wish you all a safe and happy holiday season hopefully spent with those you love and a healthy and happy New Year!

We will continue to publish throughout the holidays and we have a great end of the year Podcast for you so try and stop in once in awhile in between drunken egg nog Christmas carolling and fighting with the inlaws over whose turkey is bigger. We gurantee you a smile and some happy ears.

All the best and thank you for reading and making our little rock and roll website what it is today!

Mark and the whole Rock and Roll Report Team!

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Live, Love, Laugh and Cry with 'Thao and The Get Down Stay Down'

A complicated web of human interactions and emotions has never sounded so fun and playful as it does with Thao with The Get Down Stay Down. Thao’s music is indie rock at it’s finest, with elements of chamber pop and alternative folk mixed in for good measure. It’s catchy, quirky, and everything you’d expect from a band that sounds like they could be your best friends. Thao’s voice and lyrics are laced with an innocent sexiness that enhances the fun and fresh melodies of the band and the music strikes a balance between being both relatable and danceable.

The band’s latest album, Know Better Learn Faster, boasts songs like When We Swam, which instantly make an audience want to sing along. The title track is another standout and highlights their ability to produce an escalating progression of sound and emotion. The music portrays a kind of human quality that lets us know that this is a band that has lived their lives like the rest of us: just trying to figure it out as they go along and doing their best to enjoy the ride, even through the pain.

Thao was gracious enough to take some time out during the band’s current US tour to answer a few questions for The Rock and Roll Report.

Q: At what point in your life did you know that you wanted to be a musician?

A: I think I knew very young, around 13, that I wanted to be a musician. I didn’t fully commit to the idea until the end of college when I intentionally left myself no other option. By this I mean I refused to even consider going to grad school and did not have any other kind of job lined up.

..Q: Along your journey, have you always felt supported and confident that you were on the right path? Or have you met roadblocks along the way?

A:: I think in this realm I have walked a very charmed path and am incredibly grateful for how things have seemed to fall in place without much grief.

Q: Your music has a very playful sound, will you tell me a little about your writing process?

A: Well, first I like to have incredibly complicated interactions with humans, and then I like to make questionable decisions, and then it helps if they do too, and then I cry, and then I write a song.

Q: Very cleverly put. That being said, I’ve always heard that being in a band is like having many relationships at once – what is the group dynamic like with your band?

A: Adam and Willis are dear friends of mine and we are very familiar with each other’s living habits. It’s like living with your co-workers in a van on a weird extended business trip. We are a tight-knit bunch when we are together, which is very frequently, for what seems like unnatural amounts of time in closed spaces.

Off tour we try our best to tend to our regular lives. We’ve known each other for a few years now, but in touring time that’s about seventeen years. We are a goofy bunch with very tame tendencies, like watching the Food Network in hotel rooms after shows. And the Discovery Channel. We love Man vs. Wild.

Q: It sounds like you have a lot of fun on the road, do you have any really great/funny stories that stand out?

A: Once, at a Super 8 (motel) in the Midwest, Adam woke up and his leg was in what we thought was drying blood, not his own!, and while he was in the shower trying to scorch off his skin I went to talk to the people at the desk and I said “Um, we have blood on the sheets,” and the woman at the desk took it into the back room and then returned and said matter-of-factly, “It’s not blood,” and I said, “What is it?” and she said, “Fecal matter!”

Q: That is definitely memorable, but maybe not in the best way! … What can we expect at a typical show?

A: You can expect a lot of dancing around and hair and me almost falling over too much, because of the moving around and the cables and not because I’m drunk, and Willis wearing this necklace full of tiny plastic and rubber animal toys that he made himself, and Adam wearing this necklace with just one rubber horse head from the same place, and us succintly recapping events of the day/week. For instance, on the drive to San Diego I was very concerned that an SUV ahead of us had a part of itself dragging on the ground, but we got closer and it was just a black pair of those plastic balls hanging from the hitch. You know what i’m talking about? The ball-sac ornaments? I think they are called truck nutz or some such. Terrible. Those things are terrible.

Q: I don’t think I’m familiar with those, I’ll consider myself lucky. So what’s coming up in the near future?

A: Well, we are all flying to Tokyo tomorrow because our new record is being released over there. Then we are going to Europe in January for tour, and then we are going on a West Coast tour with the Thermals in February. And then we are going to sleep.

For more Thao with The Get Down Stay Down: www.thaomusic.com and www.myspace.com/thaomusic

Know Better Learn Faster

When We Swam

Know Better Learn Faster

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CD Review: Andy Lehman and The Night Moves "Lowcountry"

Andy Lehman & The Night Moves released their sophomore effort, “Lowcountry” back in September on Ten Star Records. The band formed in 2007 and have been building a loyal following ever since. After hearing “Lowcountry”, I wouldn’t be surprised at all if they became the latest pop rock sensation.

To be honest, I was a bit taken aback on the first listen. The CD begins with a mellow 6 minute opus that tells a story about a girl named Ally who was going back to Mobile (Alabama). Memories of Bob Dylan’s “Stuck Inside of Mobile” kept distracting me from the story of Ally, but I was abruptly shaken out of my Dylan daydream with a gorgeous bridge that flowed into one of the most uplifting and memorable choruses I’ve heard in some time. Pretty, baby! The other thing that threw me at first was Lehman’s vocals…his voice is different…a little light, a little effeminate perhaps, but dammit I like it. His voice is smooth, soothing, and soaring at times – perfect for these laid-back and breezy Southern tunes. He sounds fragile and crystal clear – yes, his voice is like a wine glass – a cross between David Gates (Bread) and Kyle Vincent. Not that he can’t rock out, though, as you’ll read below.

..Following the brilliant opener is another in the vibe of story-telling Harry Chapin called, “You Can Leave The Light On”. It is another great track with intelligent lyrics, a catchy chorus, and an insightful mix of electric and acoustic guitars. “An Arrow Flew” is the standout ballad with another winning sing-a-long chorus. So not to put us asleep, Lehman wisely slips quickly into a peppy and sunny tune called “Million To One”, whose simple lyrics enchant us almost as much as the 70s bubblegum vibe (complete with handclaps). The rest of the CD struggles to meet the very high bar set by these first four tunes, with “I Smelled You on the Breeze” and “All Along The Roads We Walked” coming closest. While not one of my favorite tracks, “Wolf In Sheep’s Clothing” is notable – it rocks more than any other song here, and gives Lehman the opportunity to show us the versatility of his vocals. He not only holds his own against the wall of guitars, but even throws in a Robert Plant inspired falsetto in the chorus!

The production is top-notch and truly remarkable for an unsigned band…this is no doubt attributable to the expertise of Rick Beato, who has previously worked with Shinedown and Jump Little Children. The songwriting is terrific, with beautiful chord progressions and well-placed harmonies that you’ll appreciate more with each listen.

I also thought it was cool how the final track, “Back To Where The Roads Are Mud”, ends with a subtle reprise of “Ally Went Back”, nicely looping you back to the beginning of the CD. Clever little tricks like this indicate that the band is thinking outside of the box, not just worrying about single tracks, but also keeping the entire album experience in mind for their listener. I expect great things from this band and can’t wait to hear what they do next. Keep those choruses melodic, keep the chord changes interesting, and keep those harmonies soaring!

Don’t miss the chance to check out Andy Lehman & The Night Moves for free – go download three tracks for FREE at the web site now.

iPOD-worthy: 1, 2, 3, 4, 6, 9

Andy Lehman & The Night Moves on MySpace. Official site.

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Sweden's 'Dirty Passion' love their own music, Guns N' Roses, Motley Crue not so much - but best of all, they'll always speak their mind

Perhaps it’s just me, but if I had the ability to change one thing about today’s rock scene, I’d bring it back to the ‘80s. Say what you will but I’m a sucker for the era when rock was raw, dirty, unapologetic and, well, mind-blowingly good.

Sweden’s Dirty Passion seem to share my outlook. Formed in 2006 in Malmö, Sweden, Emil Ekbladh (Vocals), Christopher Olsson (Guitar), Björn Wilander (Bass) and Markus Winberg (Drums) draw from the greats of that very scene, infusing their musical stylings into their own tracks to end up with a sound that is simultaneously nostalgic and modern. And, of course, always rockin’.

In early 2010 Dirty Passion will be touring Europe with Faster Pussycat and Enuff Z’ Nuff, and before they set off Emil took some time out to talk to The R&RR about all things rock.

..Q: Lets begin with the basics – how did Dirty Passion start?

A: We all met in 2006. The other guys had been looking for a good singer for a long time when I finally came into the picture. I found an ad and came to the audition and it just took off from there.

Q: When you’re writing music – is there a process you follow?

A: We usually start with guitar: a good riff or melody. Then we go on with the vocals and lyrics. It just comes naturally.

Q: As a band, do you find that songwriting gets easier with time?

A: When we find the time and inspiration to write new songs, it’s not that hard. What’s really hard is to find the time. We’re a busy band trying to keep in contact with our fans, booking gigs, recording and rehearing and so on. In the end, we always come up with some good shit though.

Q: The sound reminds me of some of my favorite 80s rockers, like Mötley Crüe – who are the bands you draw most inspiration from?

A: To be honest with you, no one in the band really listens to Mötley Crüe. We find our inspiration in bands like Guns N’ Roses, Kiss, Europe, Whitesnake and Thin Lizzy. We like it old school, but we listen to a lot of music from different periods.

Q: You’ve released several promo CDs over the years, what’s in the works now?

A: We’ve released several promo CDs since the start [and] we got a lot of offers from different labels, but we won’t sign anything until we feel we’ve found the right label and the right deal. There’s a lot of really shitty labels out there that won’t do anything good for you. It’s a matter of finding the right people for the job and we’re here to stay so we’re not in a hurry.

We just released a couple of new songs: D.O.A. and Killing My Dreams, as well as a promo video for D.O.A.

Q: Your favorite Dirty Passion song that you’ve recorded so far?

A: I think I would have to say Self-Destructive. It’s just a damn good song with nice guitars and good lyrics. There’s a lot of feelings in the song and it’s just kick-ass ’80s style.

Q: Do you ever think of doing a song in Swedish?

A: No, we will never do a song in Swedish. I think by doing so, we would close the door to most of our foreign fans. We’re here to hit it big time and you won’t get anywhere by writing lyrics in Swedish.

Q: If you could collaborate with any artist out there, who would you choose?

A: That’s a tricky question. Who would we not choose?

Q: What’s been the best show you’ve played so far?

A: So far, our best show would probably be the one we played in Bochum, Germany. We got the opportunity to open up for American rock legends Y&T, which was really cool. A huge audience, we were at our best and also got to meet some of the coolest guys in rock history. That was a really good night.

Q: Any pre-show rituals before you go on stage?

A: I try to relax as much as possible. It’s always wild onstage, of course, and usually the after parties are crazy, so I guess I need that relaxing time.

Q: The most surprising thing about Dirty Passion?

A: This band has never signed a record deal, but we’ve got a larger following than most of the locals bands with record deals around here.

Q: The ultimate standout moment so far?

A: The best moment so far was landing the deal as opening act for Faster Pussycat and Enuff Z’Nuff on their European Glam Jam 2010 tour. We’re just a “small” band from Malmö, landing deals with Hollywood – That’s pretty cool!

Q: If you weren’t in Dirty Passion, what do you think you’d be doing right now?

A: If I weren’t in Dirty Passion I’d probably not be here today. Music keeps me alive, it keeps me above ground. I’m not interested in working a shitty job to survive, I’m just here to “make it” with my band. Actually, weather we make it big time or not is not important. I just do what I love to do and that’s all there is to it. That’s what matters in the end.

Q: Forced to choose one CD to listen to for the rest of your life, what would you go for? (Double CDs are cheating.)

A: Guns n’ Roses – Appetite For Destruction. That’s one hell of an album. Great songs, raw production and just kick ass all the way through!

For more Dirty Passion: http://dirtypassion.net/

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CD Review: Preacher Stone

If you like your rock ‘n’ roll down and dirty with a large slice of bluegrass then Preacher Stone will be right up your dusty alley.

Hailing from Charlotte North Carolina, this five piece consisting of Ronnie Riddle (Drums), Marty Hill (Guitars), Benny Huntt (Guitars), Josh Sanders (Bass), and Brett Enman (Drums), have created a debut offering of blues orientated rock songs fit for any hoedown.

Opener “Not Today” is raw sounding with slabs of guitar licks and a underlying bed of keys, which would not sound out of place on a Lynyrd Skynyrd album. Stand out tracks include the infectious “Livin’ Proof” with it’s funk driven riff and powerful vocals, and the more gentle “Blood from a stone” which has a country feel to it, but still packing a punch.

..Preacher Stone obviously have a sense a humor that is brought to the fore in the gloriously titled “Old fashioned ass whooping sum bitch”, and “Tractor pull”, which were quite possibly written with tongue firmly in cheek.

There are a couple of filler tracks on the album, “Southern Hospitality” being one of them, and musically they are not breaking any boundaries, but what is on offer here is a collection of fun, hard rocking anthems to dance around your hat to.

www.myspace.com/preacherstonerocks

Aaron Phillips

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The Rock and Roll Report Band of the Week is Wizardry

One of the perks about being a music journalist is the opportunity to be made aware of artists you ordinarily would never have even heard of if not for the plethora of publicists, labels and ambitious band members flooding my email box , proclaiming what they have to offer is going to “shock the very foundation that which the musical world stands upon.” Now, of course 99.9% of it is either an out and out lie or completely subjective (based on the opinions of parents – mine consider me to be a “catch”), but that just means that .01% manage to rock my world. And that’s also .01% that I never would have had the pleasure of knowing existed.

Brooklyn’s Wizardry falls into that very exceptional category. Brooklyn, already being home to some killer metal acts over the years (Biohazard, Type-0 Negative, Genghis Tron), has always been a hotbed for hardcore, so inspiration is in abundance.

..But being inspired is one thing. Going out there and blowing the fucking doors off its hinges is something entirely different. Wizardry’s self-titled debut starts hauntingly slowly but immediately by the enticing drum beat on the album’s opener “Nigh Invincible” and in fact all five minutes of the slowly-building track, you just know that something beyond comprehension is around the corner. Their sound clearly takes their cue from where progressive industrial metal bands in Brooklyn’s past left off, but instead of trying to get too “cute,” they stayed the course, reminding listeners why New York Metal is so revered in the worldwide scene.

Having just played their first show together less than 18 months ago, Wizardry has already amassed serious recognition as a band to be on the lookout for.

RRR (Seth Fischer): How long have Wizardry been doing their thing?

Wizardry: 2 years, this Thanksgiving.

RRR: What were you guys doing before Wizardry?

W: Writing. Some kicking it around open mics and such. Playing bass in a couple bands.

RRR: How did you guys meet up? Love of the music or love of the sci-fi?

W: It all came together while rehearsing for our annual Halloween show at Union Pool. We had a great time playing Black Sabbath, and a bunch of cover tunes together to a rowdy audience. We all met through working and patronizing bars in Williamsburg and decided we needed to form the band we wanted to see.

RRR: How would you describe your sound?

W: Epic.

RRR: Influences?

W: Black Sabbath, Celtic Frost, Lamb of God, Black Flag, Iron Maiden and on and on…

RRR: The songs seem to have a very fantastical theme surrounding them. Not to mention the name of the band ‘Wizardry’. What’s it all about?

W: WIZARDRY is just a cool as hell band name. After that, everything just rolled into place. Thanksgiving, 2007, we decided on the name and conceived the stage show, image, etc. to go along with it. We really miss seeing bands make an effort to entertain an audience, so we decided to be that band.

RRR: Do you find that particular style prevents some from taking you too seriously, despite how solid the music is?

W: Sure, but to us, it’s total freedom. We’re not interested in bestowing our political/religious beliefs on you, or gushing about how our last girlfriend broke our heart. We’re here to create worlds and usher you unto them. The key is to be timeless, not timely.
The music is obviously the focal point of the band. We don’t practice in our costumes, though flame lamps certainly help. I think halfway through our show, the jaded audience warms up once they realize we can play, and the songs are tight.

RRR: The video for “Under the Wizard’s Sleeve” has a fantasy, but very 80’s grainy feel to it.

W: Thank Paul Kermizian for that one. He did a killer job! We froze our asses filming that one upstate NY, in the winter. It was a great drunken, treacherous time filming that one and it exceeded all of our expectations.

RRR: How has the response for the album been?

W: Great! Especially because a lot of positive reviews are from people who haven’t seen us yet. The songs stand up by themselves.

RRR: Brooklyn has always had a storied history with metal. Do you feel that there is a certain level of standard that must be met?

W: Maybe nowdays. Though, 2 years ago, the metal scene was sparse at best. Now, there’s a whole bunch of great bands around. The metal community is the biggest bunch of sweethearts in town. HULL, Wetnurse, La Otracina, NAAM, Mutant Supremacy, to name a few. None of them sound like one another. All equally kickass. I believe the metal community respects each other’s differences while embracing our common love of metal.

RRR: What comes first, the music or the lyrics?

W: The music comes first. We title it. Then hand it off for lyrics, and vocal melody.

RRR: Was the album written with a theme as far as how the sounds would progress as a whole?

W: Lyrically, the album was definitely written with a theme. Musically, that’s just what came out of us at that given time. When you start planning what your music should sound like, that’s when things get real stale.

RRR: Most surreal moment?

W: After giving a shout out to DIO, in Cortland, NY (birthplace of RJD), the stage manager pulls out an enormous beautifully rendered chalk portrait of Ronnie and places it on stage with us. Thank you Cortland!

RRR: Expectations for ’10 and beyond?

W: We’re pretty much ready to record our second album, as well as writing a whole new crop of tunes. The music is indeed getting more driving, punishing, and all around fun to play.
In the meantime, we really hope everybody enjoys our most recent album. It’s available now to download through http://www.cdbaby.com/cd/wizardry and through paypal through our myspace.
We look forward to meeting everybody as WIZARDRY steamrolls through their towns!

www.myspace.com/wizardrylives

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CD Review- Various Artists: A Minnesota Christmas

The time of year has come when people start thinking about the holidays and Christmas music. And each year, the catalog of music to search through grows bigger. Depending on what your taste in music is, you can find many albums that can make your holiday season more festive.

Just recently, a few musicians from the state of Minnesota got together to create some music to make the 2009 Holiday Season very festive; that CD is called Home For the Holidays: A Minnesota Christmas.

..Home For The Holidays: A Minnesota Christmas was created with the idea of raising money during the Holiday Season to help a few local charities in the Twin Cities area of Minnesota make the time a lot merrier for residents of that region.

The CD of Home For The Holidays: A Minnesota Christmas begins with a song that was composed by one of Minneapolis, Minnesota’s best-known musicians, Tim Mahoney. Tim and his mother Kathy create a little holiday magic with Kathy’s composition of “You Are My Christmas” as Tim sings with his mother as he plays the piano to create a song for the modern Christmas celebration.

The next track on the album is a track entitled “One Small Child/We Three Kings. The blended songs are arranged by the A’capella group of The Blenders. The group takes a very traditional approach to the song and lets the listener enjoy the band’s vocals

The CD takes the listener on a trip through the many different styles of music found in the Twin Cities of Minneapoli and St. Paul. From the piano driven sound of Tim Mahoney, to the A’capella styling of The Blenders, to the many other styles and genres of music that are created by the artists that took part in the making of this album, there is something for everyone’s tastes on Home For The Holidays: A Minnesota Christmas, including the Celtic Rock created by Wild Colonial Bhoys.

(For the visitors to this site who call the Twin Cities home, there is an added bonus to check out the Home For The Holidays: A Minnesota Christmas CD- The CD comes with a coupon for free parking to the IBEW Holiday Lights in the Park. However, the coupon expires at the end of the year. )

Home For The Holidays: A Minnesota Christmas is very regional. While the artists on the CD may be well known in the Twin Cities, these artists may not be known outside of that region. Not only is the CD a great collection of well known tunes and newer original compositions, it is also a great way to discover some great talent that you may not have heard of before. To discover the CD of Home For The Holidays: A Minnesota Christmas, as well as the artists that took part in creating the CD, visit the website for the CD by simply clicking on the album cover below:

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Intense Nick checks out Psychedelic Shag

Psychedelic Shag (http://www.myspace.com/psychedelicshag,  http://www.psychedelic-shag.com)  are an electrifying new psychedelic/stoner/alternative/stoner rock band, cosmically hailing from Germany gaining much attention and a huge fan base globally, and deservedly so. They are now exploding onto the music scene with a supreme, bold debut album entitled The Sunlight Underground. Entirely self-penned, this important release on Stone Island’s elite ‘Stargaze International’ label is a compelling mind-blowing musical trip from start to finish with vibrant musicianship. The songs possess fire, overflowing with life experience, awareness and insight into the times we are living in right now.

..George Adam delivers high impact lyrics through powerful vocals seasoned with rich intonation and emotion. There is rhythm guitar from George and great lead from Michael Meier, and the full-on rhythm section of bass player Tom Mannhart and Germany’s much loved drummer & percussionist Tom Space, plus atmospheric harmony vocals and effects.

The Sunlight Underground comprises gut-punching kick-ass cosmic tunes with delicious dreamy psychedelicly trippy tracks such as ‘Welcome to Fairyland’ for which there is an exquisite video created exclusively for Psychedelic Shag’s new album by outstanding film makers Maximilian Wondrak, Alexander Hector & Florian Plattner. Album cover art work by Marc Durner. The album comes with love, space and peace, and a pointed message: don’t believe the propaganda…

This band is a powerhouse live act, having a wealth of experience and professionalism. They will kick up a storm! Psychedelic Shag are poised ready for festivals and venues and will excite and fully satisfy music lovers everywhere.

The Sunlight Underground kicks off with ‘Processor Overdrive’ which sets the pace in a true psychedelically rocking fashion. The combination of such high quality vocal melodies and driving guitar sound causes this tune to grip you from the start. Leading you straight into ‘Zombi Nation’, this is the tor de force of the album, driving so strongly while blending such strong and striking vocal melodies delivered with ample power. ‘Go Back to the Bang’ slows the tempo down somewhat and utilises some very pleasingly trippy guitar picks. Yet again it is another tune covering many astute social observations. ‘The Orange Season’ lifts right up once more after a gentle guitar and effects lead in Tom Space and the percussion kicks in along with the whole ensemble. This tune is a wholly uplifting and enchanting experience. As in all of the tunes on this disc, it exudes in sheer musicianship and is a fine example of their many skills. ‘Welcome To Fairyland’ paces the selection of songs as it flows gently in an exhilarating but relaxing way. Being at the midpoint of the album it gives the perfect opportunity to refill your bong in preparation for ‘The Good and the Bad Aliens’ which raises the pitch right up again. Don’t be deceived by the spacey synth intro which leads into the catchy combination of Georges excellent vocals, Toms frantically sensitive drum rythyms and the harmonic cacophony of George and Michael’s guitars being backed by the other Tom’s exuberantly flowing bass lines. ‘The Sunlight Underground’ is a perfect ‘come down’ tune, gently rocking along in a relaxing fashion while also uplifting in Psychedelics Shags trademark kind of way. ‘Cosmic Fallout’ runs as a perfect follow on to the previous title track. It has a true spacey feel to it while George keeps just a slight hint of angst to the vocals without bursting the atmospheric bubble. ‘Anunaki Powerstrike’ comes in with some Manzarek-ish keyboard licks returning and highlighting in the background. Michael’s guitar seems to go up a notch with his six string licks especially towards the end of the song in the final crescendo. ‘Omnahmashivaya’ closes. It begins with a truly classic bit of space rock synth with gentle tribal like percussion blending into the backdrop, then it blends into a slightly eastern orientated sound. Gradually backing vocals chant into play adding a shamanic feel to the track. This flows and continues onwards. This song is a truly musical ‘out of body experience’ tune and sets a standard of its very own.

I would rate this debut album as being equal to anything else in its genre including Masters of the Universe by the all time greats, Hawkwind. If you have any inclination at all towards Psychedelic or Space rock, believe me, you need this badly and should add it to your wish list immediately.

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