STOMP THE BLEACHERS!

Back in the early to mid nineties I used follow a few groups around LA that personified diversity within musical genres. An amalgamation of everything that was considered art fused with passion and soul, and then communicated through the second most powerful force on earth…music. THE WYLDE BUNCH is a group that shows us it's even cooler to be aware of this form of communication and to act accordingly. It's clear from one track to the next that this crew loves what they do. Even if they think they're just doing whatever it is they do….dig? But on a deeper level, they bring together what you like best about your favorite genre and welds it into a unique sound, influenced from other genres. Not easy to do with a large band. But all I can say after listening to their CD is damn, that energy is what we need more of in music today. Hopefully they keep going and can break through to that perfect place called commercial success without compromise. If the music can keep evolving the way they want it too, I don't see why not. I just wanna be there to see it happen.

YEAH, YEAH (STOMP THE BLEACHERS)

I don't know why but I hear this out the box and immediately think of my childhood in Carson, hanging out the park, eating home-made ice cream, cooking barbeque, and listening to Parliament and Funkadelic back to back. But the flavor is only different in one way. The new school rhymes and flowing over top of this image is sweetly contradictory. But wait there's more. That grinding six-string tosses hints of any great Prince funk song, brilliantly respecting the rock element on the low end. I like how WYLDE BUNCH arranges the music. It fills the spaces with more space and keeps us honest to the funk. The beat is tight and I do dig that drum fill during the choruses. The horns are my favorite part of this song. Nice arrangements.I don't know. I kind of feel like partying after hearing a song like this. Most would probably have you believe that this kind of music won't sell, or masses of people can't get into it. I would look at that fool and probably challenge that maybe they haven't been paying attention. They've been saying the same thing about hip hop for thirty years now. About P-funk for longer than that. Everything starts somewhere which is kind of what I get out of this song. Coming out but coming out strong. Pssht! Outkast made it, whatchu you tryin' to say?

DUMB

Awesome! Now I dig this song for absolutely the wrong reason. I like the music because it takes me back to the college days where the rock jam was just as much fun as the party. But the music is the last thing I like about this song. I like the melody of the chorus. I can sing along to this song at just about any given time and twice on Tuesdays. But as catchy as it is, the melody is not why I like this song. Once again the horns deliver a perfect punch to the song, giving it an even more soulful color to the overall musical content. Alas, I must admit, that's not why I dig this song. No really it's simply the lyrical content. That's it. Out of all the things I like about this song, the subject matter grabs me. There's nothing deep about this song, I don't think. (Wylde Bunch holla at your boy if I'm wrong about that.) It's a fun melody to sing along to  but yet, All I kept saying throughout this catchy little tune, "Yeah I KNOW!" We all feel dumb about dumb shit decisions we make from time to time. I think the learning point of the this song is that we all do it. We all been there. It's always worst than the next person. But then again why are we keeping score? Maybe DUMB can help us figure some shit out.

NANANA

Now we talkin'. Musical. Truly artistic. WB is able to color between the lines. Extraordinary horn arrangements, sexy ass sheepskins action, a lively chorus section which double times into an Earth Wind and Fire-esq audio picture. It's all held down nicely by a dope live drum arrangement almost militaristic-funk. I would normally stop right there when a song does it for me. But that's just me. Tell me how do you feel about this subject matter? When I first heard this music it took a while to latch on to the lyrics. But you know when you go through stuff that hits kind of close to home how that make you feel? There's some things in this group of lyrics again, that I can listen to and say, .. "DAMN Yeah ME TOO!!" Well….. maybe I exaggerate a little bit… but just a little. Because once again WB paints a picture that we can relate to. This song is pretty well produced in my opinion, so well done to D Crawford.

CLASH

…Of the titan emotions. "I see that nothing's what I planned it to be…..But in my life I keep on telling myself, It ain't that bad…" I think I had enough of the Wylde Bunch calling me out and shit. These are words that I am just now starting to incorporate into my affirmations and my mantras. You gotta understand, if you are a lover of true art and can immerse your very being into that piece of art, you can truly understand anything. You have to respect that some of us want to hear just a little bit more positivity in the world. I ain't saying we should eliminate negative subject matter in music or even say that we should censor it. But can we please level the playing field a little bit? I'll be honest I wasn't really diggin this one until I paid closer attention to the message of this song. For me, I got the message that I should appreciate the things I have in my life and stop complaining about what I don't have. The message you get out of it might be vastly different than mine. But as long as you pay attention you can pick it up. Whatever your interpretation.

LOSE IT

Hey Wylde Bunch, ya'll were rolling down some Hollywood avenue and this shit just popped out huh? Am I close though? See it's hard for me to hear this obvious club hit and not think of bumping it up to 128db on the block out the back of the Hyundai…. Interesting image for me since I don't do none of that. I don't own a Hyundai. But I will bump some music in the right settings. I dig your vibe on this one because it's guaranteed ass shaking. I like the live sampling. I'm old school so really, back in the day, a live music rap group always had to sample their stuff live because the DJ wouldn't always show up to the show. Another great melody, and another great horn arrangement. I'm starting to sound like a broken record. I only have one extra caveat for this song. What we hear on digital is NOTHING compared to the experience live. I think I honestly would say that even if I never saw them live first. I think it's obvious in this collection of songs that a band like Wylde Bunch would be a spectacle as well as recording performers. 

ON TOP

I don't if anyone remember me saying back in November that I come from Musical theatre. I take great pride in that because I got to learn a little bit of what I was trying to do musically. This arrangement gives me that same feeling. Kind of like I was watching a trailer for a movie. But unfortunately it was only a trailer. I find myself wanting much more of this tune. WB maybe ya'll can add another key change in there or bust out a whole new C section. A sign of a good song is one that keeps us wanting more. Another positive message, but more af a personal flavor to it. I feel you guys. We'll get there. Song is still too short though!

MANCUB SUGGESTION

One of my band's main focus for our album 3-Finger Charlie, was to keep that live band feel within the controls of modern production. It's not an easy task. At least in my mind it can be done successfully. But quite honestly, it seems too hard to keep a perfect balance. Sometimes the scales tip too far one way or the other. Either it'll sound too produced or too UN-produced. Sometimes we get lucky. But as artists I think it's incumbent upon us to make our music BE that balance so that there would be no need for a scale at all. Mixing in some slow jams or slower jams, or more stuff like NANANA, I think will benefit WYLDE BUNCH. I suggest WB keeps doing what they're doing. Keep challenging themselves to create this style of music so that it evolves into something only identifiable by The Wylde Bunch. Good luck!

                                                                   -Mancub Kerijo Solo

THE WYLDE BUNCH

PRODUCED BY DROP SQUAD, DANIEL CRAWFORD AND KEN MICHAEL

CO-PRODUCED BY VERNON HEARD

WRITTEN BY DAMON CRAWFORD, ISHMAEL FERGUSON, BRANDON JORDAN, JENEE DIXON, LARRY BEAN, KEN MICHEAL

WELCOME TO THE GET DOWN

Welcome to the jam! So if it is at all possible can you, the casual music lover, just take a small step toward tolerance? Here's a group of artists that sincerely work hard to be inclusive, intuitive, and genuinely free-spirited. They are opening their arms to you, the casual music lover, so why not give them the same respect? I say all this because regardless of the potential commercial success for an artist it takes a very special ear to accept large portions of eclecticism. More than that, if you are a casual music lover, you probably don't listen to anything but what you might hear on your one or two favorite radio stations.

But let me help you out with something. I'm willing to bet that your handful of radio stations is not all the same type of music. I'll take it one step further. I'm also willing to bet if they are all the same, they are more than likely pop or top forty stations which plays the same rotation of rock, pop, hip-hop, classic, classic rock, soft jams, or smooth jazz. Trust me when I tell you, expanding your horizons is not farther than a leap of faith.

In 2001 I saw Ghost at the Viper Room for the first time in Hollywood. My band and theirs I think played a gig together but we didn't know each other at the time. I forgot why or for what reason we went to the Viper Room that night.  I think it was maybe to promote an upcoming show….somewhere. My girlfriend at the time, my guitar player and a couple of other friends were having a grand ol' time when they stepped on stage. The audience (mostly chicks in the front row) responded with passion toward this extremely groovy, funk, white boy rap group.

 I'll be honest. I felt the same thing immediately but probably for a much different reason than them. I was taking a journey with them. I was digging the energy. The first thing that came to mind….well after I was thinking 'hey man, they're just like us'….was damn they got something going on here. It wasn't even good at that time. They were a little sloppy, but whatever. I was feeling the music and vibe. They were not good YET. Every year they got better and better and better. But what impressed me the most is that they didn't compromise the vibe.

And now seven years later, they've come of age in a way. They play live everywhere, but they live playing in their hearts. You can't break that down at all. You just gotta chill back with the CD, THE GET DOWN….

THE GET DOWN

….Is a living breathing depiction of what GHOST is all about. If you ain't partying with them, whatchu doin? The song itself is interesting because G Rhymes would have us believe that the flow is the most important thing in the song, but yet doesn't hold us to that belief. Because we can't help but tap our feet to the unmistakable groove of the music. His vocals are sharp. They force you to pay attention and listen. It isn't about his tonality but about how he's trying to present you with his words. In THE GET DOWN he doesn't have to be handcuffed by deep thoughts in the lyrics. Instead he makes you think it's more complex than it really is. How hard is it to say come on let's Get Down? What backs G Rhymes up? The phat groove. JD Bass playing pocket funk with soft funky sweetness. Love that line on the chorus. As a matter of fact it's one of my favorites bass lines on the CD. While Arch Legrone is holding down the supporting flavor of the harmonica spicing up the jam, Michael Bates blends that smooth guitar groove underneath the wafting vocals and the beat that don't quit. Tight man. I call songs that jump off the CD first the Prologue. This is quite the funky introduction.

KEEP IT MOVING

I can freely admit, that I am a SUCKER for keys. I don't know if this song needed it or not, but I do love a good Rhodes (even a fake Rhodes if played correctly) sound. That's what caught my attention of their second track. But not to go unnoticed is the very different vibe than I'm used to hearing with Ghost. I talked about expansion earlier; of course an audience can't be expected to expand their musical awareness, if the artist doesn't expand their music to make the audience more aware. I like this song because they used guests on the track. I love that family atmosphere on a record. It's how it's supposed be. Listening to this track baby. How can you not wanna get it on after you groove to this? It's like you partying on the beach with a some hot sexy people and you just happen to catch the eye and ear of a hot young thing, and then you have to rap to her/him. If for no other reason than to….well you know……get to know each other better. I get this picture a lot when I hear this song. It's like you're about get down….and a little dirty.

BABY WE CAN DO IT

Babeh! Big ups to the band for this song. It's dance hit to me. But if I'm not mistaken the lyrics add a sense of life's a hustle. So the choruses are sexy or at least made you think they're talking about sex, but the verse is something a little bit more than that. I get all kinds of pictures with this tune. One of them being that life is a hustle. And BABY we can do it means let go and get the job done. I tie that in very nicely to the sexy imagery of getting the job the done right in the bedroom. Another could be that you're about to get a beat down. Babeh we can that too. Or Babeh you ready to get me beat down. Take my word for it you'll find yourself singing along very easily in this song. The horns add a very nice touch to the arrangement. The musical breakdowns feature the horns in an inclusive way. The K9 Brass from Urban Family Dog does a great job of sprinkling in a bit of that Phela-esque, seventies style run that burned on the modern jazz scene back in the day. Of course it wouldn't be as awesome without the homeboy Lyle on drums. All you have to do is listen to the solo, and you can literally see the smile on his face. Way to go holding that beat down Lyle. Overall this is that live groove that translates well to digital. I know what I can do. Baby we can do it.

Thank you again for joining me. This time it's about that Holiday season that kept me from you in the month of December. Remember in November I hooked you all up with a hella good review for my favorite SoCal local band, CONJOB. If you haven't checked it out please do. In the meantime I saw some more of the hot local acts hanging around the Gig in Hollywood. You don't really know live music unless you see it live. Are there good live acts? Yes. Quite a few. Are there bad live acts? Unfortunately yes there are. In most people's negative opinion there're probably more of them than good ones. I beg to differ in one small way.

You probably need to just go out and see acts and really explore what they are trying to communicate before you judge it. And I don't mean once. Go out and see them again in another venue in a different crowd. Now if they still suck after that, cool. Then to you they just suck. I rather look for the potential in a band that I originally thought weren't so good, but have come to see a progression in them. In other words, they got better as time moved on and they got tighter, a little more expansive, a little more insightful.

Because I had to skip the month of December for a Mancub Music Review, I was going to do two reviews for you. Two bands that fit the description. One band is from Fresno, Central Cali, THE JAY ROSSETTE PROJECT, giving us the incredible style of urban latin-pop with a strong presence of funk blues and rock. A handful of JAY ROSSETTE'S influences I'm sure are quite present in most of the music.

The other such band, in my experience, is that of the techno-funk pop style group SHOTGUN RADIO. A pretty extraordinary group that sort of takes me back to the earlier-to-mid nineties. I listened to a lot of the early style electronica, and industrial funk experiments. Nine Inch Nails to Ministry to Crystal Method to Prodigy so on and so forth. And I have a feeling that throwback feel mixed with a fresh new modern sound could kind of bring a new light to the genre. It doesn't have to be so hidden away as much as it is right now, as the proponents of the genre try their damnedest to keep it out of the hands of the mainstream.

Since I had some issues to take care of first at the beginning of the year, I can only do one review for the month of January. I'll hit Shotgun Radio up first since I've seen and heard them more. I'll hook you up with my assessment of The Jay Rossette Project in a couple weeks.

By the way….stay tuned for a whole new MySpace page dedicated to Mancub Music Review.

Until then……

"I'm on a Shotgun Radio……"

Now understand something, I never thought SHOTGUN RADIO sucked. When I first saw them, I just thought they were only doing it for that select group of people who will enjoy it and pay money for it ONLY, as opposed to expanding their horizons and make for the thinking type to dance. But after seeing them a couple of times now live, and after finally listening to their 2006 CD "The Deserted Circus" I listened to what they were communicating to me. They didn't just paint pictures with the music, they took snap shots of both reality and fantasy from an introspective point of view. They got some personal stuff in this music. And sometimes that can get a little trite. Shotgun avoids that somehow. I think it might some of the poetry in the lyrics or maybe just the symmetry with the music.

It's musically interesting after the first time you hear it. Unfortunately, that is not the fault of the band itself, but rather the demise of passive gratification and the acceleration of instant gratification when it comes to new music. The style is not new, but I think Shotgun Radio's vision is fresh. Here's how….

OPENING with a mock cackle at pop in the 80's, I'm on a Shotgun Woah Radio, and spin it with an electro-rhythm and turntable mix. Nice job. You're probably laughing at that assessment, MARCEL SAXLUND lead vocalist of SR, if you were just fucking around and decided to pull that out cool. Just don't tell me you knew someone like me would come along and actually like it!

SONGS like PUSHOVER, gives me the willies because I used to listen to a lot of Nine Inch Nails, (I still do when ever I decide to turn on the radio) and SR did to me the same thing NIN did. It touched some part of my

philosophy in life. Something I could say yeah I get that. Dark genius Trent is Marcel and GRECO ROSSETTI figured out how to mix that strong, rather familiar progressive backbeat along with the electro backdrop and the hot hook. SR created an environment where that deep dark and aggressive thought can illuminate. Avoid the PUSHOVER. How many of us really do? I get out of this song that I'm about step out from the bullshit and become one with my purpose in life what ever that may be. I'm not sure if it was meant to be a positive song, but I got something positive out of it.

Have you ever wanted someone to just straight take a DIRT NAP? I bet you have. Freedom!!! I don't want to see you around. Hell yeah I felt like that. This is a hot song and most likely to succeed in a lot of the Tech circles in SoCal. But aside from that, I love the change up SR throws in it. Gives a slightly different perspective at why you want that thing gone. Especially her/him. You know the one. That one bitch/asshole that just didn't get it? Whatever the speaker is talking about, you get the feeling that he's been through this one too many times. Maybe he wants freedom and maybe he really doesn't.

But either way, if WE can't identify with either side, then we really won't understand the artistry of this song. I find myself singing along to it for a second, then all of a sudden I listen to it in the middle, and the by then end of the song I'm belting it out along with Marcel. Nice job.

I have one. You know, THE PIT in your stomach? That little knot that feels like you've been socked in it so many times it now looks like a cavern….?  No?  That's just me? Damn. Well you know what I'm talking about right? It can be created by just about anything that frustrates and plagues us. Our country's policies. Our relationship with spirituality. Our disgust for ourselves and in how we treat other people. It can be created and dug by our own shovels. Things are all the same, never change, only blood remains. Damn. Dark ain't it. It's not something I like to say that's true to. But if you've been in that state of mind THE PIT seems to get bigger. This is another hit song on the CD in my opinion, because the careful use of the music paints the correct picture. Envision Les Claypool from Primus singing through a device that makes his voice sound like Trent Reznor. But with funky-ass beat behind it! Wow. It's kind of good to have innovation not be so intrusive, you know? By that I mean, originality can come from the simple things as well as the complicated ones. I love this song because of the beauty of its simplicity, added to the color of deep electric dark violet, AND the subject matter repeating as if it is coming from our own consciousness. That combination makes for a cool listening experience.

Man I'm so tired of having to HUSTLE SOMEONE just to get some shit done. I would love to get to that place where everyone could just chill out and believe in what I got to say truthfully and not trying get somewhere with it. Dance grooves that make you think while you stomp your feet. Nice job DJ LUMIS. I like the old school Dee-Lite-like feel. A little east coast flavor. I dig it.  Sweetness in that verse is pretty choice. I dig the hook because of the picture it paints. I see that cityscape somewhere in between 2am and 6am. (Maybe I meant it was more of the snap shots I was talking about earlier.) If you're out at that time of night, most of the time you're about to get in trouble. I mean one rolling-stop-through-a-sign away from possibly getting into trouble with Johnny law or the neighborhood's watch patrol…. And I don't care whether it's Beverly Hills, or South Compton. You better have your Hustle guard up. Either you're going to do the hustlin' or you're about to get hustled. It's an experience I've witnessed and without the capability to HUSTLE SOMEONE, you're bound to get busted or hustled. I have done both. So I dig this tune for the content more than anything. Once again the simplicity of the song is what makes the communication of it so perfect. Doesn't matter where you are or come from, everybody's gotta hustle someone. Truth. Dig it.

THE BILDERBERG CONSPIRACY is like if Rob Zombie could actually rap with a good voice. Once again the content is what is extremely interesting. I want to be totally honest with you…… I need SR to hook me up the lyrics of this song. I know you wanna be all cool, and not put the lyrics on your jacket, but understand something, so far I've been listening to this track over and over again because I am fascinated by your overall conversation of this material. As I've said before music you can dance to and think at the same time is an extraordinary talent. SR continues the darker thematic with the magic of rhythms that are insatiable and relentless. Oh yeah if you're not familiar with the Bilderberg Group, trust me and check out this article: http://news.bbc.co.uk/2/hi/uk_news/magazine/3773019.stm. Now I don't know what SR is trying to convey in this song other than equating the speaker's power of manipulation to the ideals of the Bilderberg group. Marcel….that's some scary shit yo… J

Oh BLACK WATER, keep on rollin'…. Not this song. I need a flashlight for this one. For two reasons, too. One is that this will be a shining success on the airwaves if SR plays their cards right. I think it has the best chance overall for obtaining a wider audience. That's not to say the others don't. And two, because again the darkness reminds me of the times when I truly understood what that darkness was there for, and quite frankly I still battle and feel at times today. We all go though those times in some form or another. Just a matter of how look at them right now. This is my absolute favorite track on this CD because I get to reflect on things like that through songs like this. The dark genius in it is how it's dropped on our consciousness. The hook is tight and the beat is funky rock salt and pepper tasty. Love how SR depresses us so carefully and gently. By gently I mean SR gives us a groove that kind of lets us feel free to wallow a little bit in the negative reality while stomping it out on the dance floor. But once again, as only talented bands can do is give you that picture while maybe inspiring us to change the current of the BLACK WATER. 

All I wanna do is hear more shit like RESIDENT DJ Ft. Micah 9. Not much more to say than that for SR. I dig this head bobbin' shit they do. It's the cruising music that really let's you know if you got something special in hip-hop. Especially with joints like that Jim Jones reference drinking cool aid was pretty smooth. To me if SR can pull that off more, this could very well a top dog in some clubs. I want more babeh. Hook me up with it!

Oh yeah who the hell couldn't rave to a rave song? No see I said couldn't…. not wouldn't. I am aware of those who may not dig on the rave type rage. But DRILL CAGE is actually (only in my opinion) better than a large percentage of the rave music I was into back in the day. I have no idea what you are talking about really in the song. But until I get some lyrics I'll let SR know that this song RAVES. I dig it for that. I dig it for your use of that hot relentless drive most pill heads crave.

Their imagery is so evident by simply thinking carefully about what they are playing and not just dropping a bunch of noise onto a digital platform. I don't know what the reference is meant by "The Deserted Circus".  I'd be interested in hearing the story.

Clearly the middle of the CD is strong from one track after another. Well placed within the entire arc of the album from song to song. Not sure if SR meant to do that or not. But it really helps to experience this CD front back, track to track.

MANCUB'S SUGGESTION: Hook a brother up with some more positivity. Even if SR doesn't like for their style of music. Know why? You'd be surprised can come out of the things you that you really don't identify with or even like giving thought to. We had Depeche Mode, Nine Inch Nails, Primus, Ministry, Crystal Method, and a few others do their thing. I think to take control of everything they did and more, be extraordinarily eclectic with the moods of your subject matter. I find inspiration in things that inspiration doesn't necessarily exist. Maybe exactly the opposite of the existentialist point of view SR mentions in Drill Cage. But I can tell SR has the goods to have a fresh new vision with the music they create and plug into.

I'm sure most of us spend over an hour on the damn freeway here in SoCal. Are you just gonna listen to the same lame shit over and over again just to sell some Tide or a Lexus, or listen to an interesting style of music and communication through electronic atmosphere symbolizing our current times. This is the information age. So listen to the information that is being sent to you. SHOTGUN RADIO. Feed the mass hysteria…..The facts in stereo.

SHOTGUN RADIO @ The Gig Hollywood Saturday February  23^rd 2007. 9pm

All tracks recorded & mixed by GRECO ROSSETTI at Room 107 Studios Hollywood CA.

Produced By MARCEL SAXLUND  and GRECO ROSSETTI

MARCEL SAXLUND lead vocals/ lyricist

DJ LUMIS Cut master/ DJ

GRECO ROSSETTI music man

                                                                                       -Keri Johnson 11/06 

RESET

Words By Keri Johnson

Music By Keri Johnson and Josh Geller

Still facing changes

Which way to turn

Is suddenly not clear

You followed those fears

For so many years

Stop RESET,

This life ain't over yet

HELL NO!  This ain't as good as it gets

You got to keep on movin'

You got to keep on groovin'

Be sure to find some time to chill out yourself.

At 3 or 9 or 12 or 16 or 22 or 25 or 30 or 35 .......It seems like we start over with something, some kind of program in our lives, an update if you will. A new beginning with material or knowledge and life experience to help you clear a path toward whatever destination your life is headed.

With this understanding, we can easily see how an elder......or 39 or 40 or 47 or 55 or 60 or 65 or 70.....like maybe by 75 through 85 you will have amassed enough life experience to say that you are done with the check points. And the check points are more used as road signs pointing directly toward your ultimate residence.

So you know what I think? I think we might as well start using that reset button, update our system, and operate our lives accordingly from checkpoint to checkpoint, from life experience to life experience and expect it! Just press "Reset".... It's been a while since you've last updated.....

Kerijo