I've been reading Ian Christe's truly excellent book, The Sound of the Beast: The Complete Headbanging History of Heavy Metal. It's been a favourite of mine for years, and since I have little new reading material at the moment I decided to dig back into it and read it cover to cover. Christe's truly astonishing depth of knowledge and knowing smirk shine through his well-constructed narrative of the history of heavy music from its inception in the late 60's up until its publishing date in 2002. Anyone with an interest in metal or rock music should read this book, which also contains a series of handy genre guides listing essential recordings in all styles of metal.
Christe also curates and contributes to a fantastic blog at Bazillion Points Publishers which speciallizes in metal-related books, films and food. They have a particularly great collection of obscure metal demos from all manner of underground (and sometimes above-ground) bands. Check it out for an unholy collection of all manner of grimy,dungeon-production thrash, death, black and power metal filth by teenagers who can barely play their instruments. In other words, its fucking awesome.
Tuesday, August 30, 2011
Monday, August 22, 2011
Anchor
So I recently got a job at a local radio station, which is part of the reason the updates have been fewer and farther in between for the last month and a half. Although it started as a promotions gig, (set-up for remote broadcasts, appearances at public events, handing out free stuff and calling contest winners etc.) I've just this past week started to branch out. On Thursday and Friday I took part in the launch of a new top 40 music station, SoNIC 104.9FM and got to operate the board for a few hours. If you're reading this blog, chances are you won't like the music, just like I don't, but a job is a job. Today, I've been thrown into the fire so to speak, as I've been giving updates on-air for NEWS 1130 from Vancouver's 101st summer fair, the PNE. I think it's gone pretty well, in fact I'm writing this update in between cut-ins. So yeah, I have a cool new job, it's going well, and I'm making inroads to a real career. I'll be starting the world-class Radio Broadcast program at BCIT in a few weeks, and I'm already getting paid to go on-air at a major radio station in one of the three largest media markets in Canada. So life is going well.
Honestly, I do have reservations about being part of the machine. Rogers Communications, who owns the stations I work for, is one of the largest companies in Canada. Moreover, the radio business is cutthroat, and I've already seen collegues of mine get terminated in purely bottom-line decisions. I've made my dissatisfaction with how radio has served music for the last few decades clear in this here blog previously, so there is no need to get into that here. That being said, if I can make a living talking into a microphone about my two greatest passions, music and sports, I think I could live with that. And maybe, just maybe, I can make some changes for the better from the inside. Okay, maybe that's a long shot. Clearly, some day I'm gonna have to set up my own pirate radio station, purely for the love of music. Someone has to play Captain Beyond and Sir Lord Baltimore. Keep on rocking everyone.
Honestly, I do have reservations about being part of the machine. Rogers Communications, who owns the stations I work for, is one of the largest companies in Canada. Moreover, the radio business is cutthroat, and I've already seen collegues of mine get terminated in purely bottom-line decisions. I've made my dissatisfaction with how radio has served music for the last few decades clear in this here blog previously, so there is no need to get into that here. That being said, if I can make a living talking into a microphone about my two greatest passions, music and sports, I think I could live with that. And maybe, just maybe, I can make some changes for the better from the inside. Okay, maybe that's a long shot. Clearly, some day I'm gonna have to set up my own pirate radio station, purely for the love of music. Someone has to play Captain Beyond and Sir Lord Baltimore. Keep on rocking everyone.
Sunday, August 21, 2011
Red Fang - Murder The Mountains
Band: Red Fang
Album: Murder The Mountains
Label: Relapse
Year: 2011
Oregon's Red Fang first got my attention a few years back when their LARPing-themed music video for the excellent "Prehistoric Dog"single made the rounds on the internet. The EP which contained that devastating track, as well as an earlier one, were promising releases by a good heavy rock band on their way up, but did not match the awesomeness of their shining moment. Still, it was enough to get them signed to Relapse, and high expectations have followed. With their new full-length Murder the Mountains now available to the world, its time to see if these guys really have what it takes to deliver the goods.
I'm happy to report that Red Fang has ripped out one of the most enjoyable rock records of 2011, tinkering with their basic formula just enough to demonstrate real musical growth while playing to the group's strengths and laying down a pounding assault that does keg stands on your ear drums. They've even been kind enough to make another, equally hilarious music video for their single, the massively overdriven twin-lead guitar collossus "Wired." Working strictly from a palette of exclusively fuzz-guitar abusing 70's van music by way of late 80's and early 90's grunge and alternative rock, Red Fang do not dress their music up with psychedelic flourishes or progressive instrumental pyrotechnics. Everything here sounds lean, hard and powerful. The performances have a live feel to them that sounds as natural as practice pad jam session. It's just that the musicians are good enough and their material interesting enough so as to give a professional polish to the band's rampaging assault.
Although they play up the image of beer guzzling dirtbags in their videos, these guys clearly care about the craft of music. Their tight, well-arranged brand of stoner rock is beyond the grasp of most garden variety pot heads, even if they are too enamoured by a half with some of their influences. In particular, sludge trudges like "Malverde" betray a Melvins influence so obvious that they wouldn't sound out of place on Stoner Witch. More often however, the band's ability to shift tempos and cadences, not to mention building to powerful eruptions of guitar/bass,/drums brings some much-needed variety to their previously vanilla hard rock. When they put the elements together, as on the fucking killer "Dirt Wizard," Red Fang prove themselves to be capable of great things. Now all that remains is for them to further refine their vision.
The record sounds great, and the association with Relapse is notable in that Murder the Mountains sounds as if it had some money backing it. Chris Funk gives the band a slick sheen that retains much of the rawness inherent in their sound, allowing them to be both clear and heavy. Some prospective rock fans might be turned off by what they feel is a radio-friendly mix, but honestly I think Relapse is smart enough to know radio won't touch a band like Red Fang anyways. If their straightforward approach alienates a few metalheads by being a little too 'middle of the road' for some, most music fans who can appreciate a great riff, powerful vocal hook or crushing groove will find much to like here.
Album: Murder The Mountains
Label: Relapse
Year: 2011
Oregon's Red Fang first got my attention a few years back when their LARPing-themed music video for the excellent "Prehistoric Dog"single made the rounds on the internet. The EP which contained that devastating track, as well as an earlier one, were promising releases by a good heavy rock band on their way up, but did not match the awesomeness of their shining moment. Still, it was enough to get them signed to Relapse, and high expectations have followed. With their new full-length Murder the Mountains now available to the world, its time to see if these guys really have what it takes to deliver the goods.
I'm happy to report that Red Fang has ripped out one of the most enjoyable rock records of 2011, tinkering with their basic formula just enough to demonstrate real musical growth while playing to the group's strengths and laying down a pounding assault that does keg stands on your ear drums. They've even been kind enough to make another, equally hilarious music video for their single, the massively overdriven twin-lead guitar collossus "Wired." Working strictly from a palette of exclusively fuzz-guitar abusing 70's van music by way of late 80's and early 90's grunge and alternative rock, Red Fang do not dress their music up with psychedelic flourishes or progressive instrumental pyrotechnics. Everything here sounds lean, hard and powerful. The performances have a live feel to them that sounds as natural as practice pad jam session. It's just that the musicians are good enough and their material interesting enough so as to give a professional polish to the band's rampaging assault.
Although they play up the image of beer guzzling dirtbags in their videos, these guys clearly care about the craft of music. Their tight, well-arranged brand of stoner rock is beyond the grasp of most garden variety pot heads, even if they are too enamoured by a half with some of their influences. In particular, sludge trudges like "Malverde" betray a Melvins influence so obvious that they wouldn't sound out of place on Stoner Witch. More often however, the band's ability to shift tempos and cadences, not to mention building to powerful eruptions of guitar/bass,/drums brings some much-needed variety to their previously vanilla hard rock. When they put the elements together, as on the fucking killer "Dirt Wizard," Red Fang prove themselves to be capable of great things. Now all that remains is for them to further refine their vision.
The record sounds great, and the association with Relapse is notable in that Murder the Mountains sounds as if it had some money backing it. Chris Funk gives the band a slick sheen that retains much of the rawness inherent in their sound, allowing them to be both clear and heavy. Some prospective rock fans might be turned off by what they feel is a radio-friendly mix, but honestly I think Relapse is smart enough to know radio won't touch a band like Red Fang anyways. If their straightforward approach alienates a few metalheads by being a little too 'middle of the road' for some, most music fans who can appreciate a great riff, powerful vocal hook or crushing groove will find much to like here.
Thursday, July 28, 2011
Stupid
"(The Norwegian massacre) is nothing compared to what happens in McDonalds and Kentucky Fried shit every day" - Morrissey
I fucking hate that guy.
I fucking hate that guy.
Wednesday, July 27, 2011
Econo
Record collecting is an expensive hobby. Anyone who has ever paid good money for a record that didn't deliver the goods, or was forced to swallow a hefty price tag to take home that special limited edition knows what I'm talking about. But not every record that is worth owning has to cost an arm and a leg. Either due to over-saturation of the marketplace or perceived musical mediocrity, the following records can easily be found in your local used section for a handful of change each. Some of these are worth having for a song or two, and others are solid albums throughout. In any event, picking up one of these classic rock staples won't break the bank, and all will make a solid addition to any rock fan's collection.
Alice Cooper, Killer, (1971) - Alice Cooper (the band) released this collection of vicious motor city glam rock on the heels of their Love It To Death breakthrough. It's not totally flawless, but solid, sleazy rockers like "Under My Wheels," "Be My Lover" and 'You Drive Me Nervous" are as tough and immediate as anything in the catalog, while "Dead Babies" was a live favourite at the time. I suppose the absence of a big hit along the lines of "School's Out" or "I'm Eighteen" is the reason that this record is so easy to find second-hand, even though it was released smack dab in the middle of the band's 1970-1973 peak. This run ended with the very good Billion Dollar Babies, a bargain-bin staple as well.
Blue Öyster Cult, Tyranny & Mutation, (1973) - For some reason the first three BOC records (recognizable by their black and white covers) are always in the bargain bin. These are the best records the band ever made. On these tight, heavy and well-arranged records, Blue Öyster Cult established themselves as one of the only American proto-metal bands capable of going toe-to-toe with the mighty British arena lords that dominated heavy rock in the mid '70s. Tyranny & Mutation sports some of the band's true classics, opening with the one-two punch of "The Red and The Black" and "OD'ed on Life Itself." There isn't a weak track on the album, and "Seven Screaming Diz-Busters" perhaps best exemplifies how these brainy bruisers could marry a heavy gut-punch attack to complex musicianship.
Creedence Clearwater Revival, Cosmo's Factory, (1970) - No question this is the best CCR record. Hot, swampy rock n' roll has never been done any better. It opens with one of their gnarliest jams in "Ramble Tamble" and about two thirds of the songs are staples on the various greatest hits compilations that exist.
Deep Purple, Burn, (1974) - Burn was Deep Purple's first record after the departure of Ian Gillan and Roger Glover, but it was actually a better album than almost anyone could have expected. The title track is a phenomenal six-minute assault featuring scorching guitar and organ work by the band's two powerful lead voices, John Lord and Richie Blackmore. For that song alone it is worth owning. New singer David Coverdale gives a solid performance to boot, and there are plenty of other worthwile rockers here.
Jethro Tull, Benefit, (1970) - I bought this purely because it contained the leslie-damaged prog-rocker "To Cry You A Song." The rest is a great representation of Tull's complex amalgamation of heavy space-folk-blues. To be honest, these guys have a lot of overlooked records, and if you are a fan of one, its a safe bet you'll like plenty more. The 1970-1975 period is all good, and intermittently they have good songs and records before and after that.
Lynyrd Skynyrd, Street Survivors, (1977) - Street Survivors was released just a few days before the tragic plane crash which killed singer Ronnie Van Zandt and guitarist Steve Gaines. Its been hard to overlook that grim fact when listening to the album, the band's darkest. "That Smell" in particular reeks of death and foreboding. Meanwhile, "What's Your Name" is still in frequent rotation on classic rock stations. The definitive southern rock band, no one ever combined crunching arena-rock dynamics with countified outlaw swagger like these boys did, and this record is one of their best. There is plenty of heavy boogie to be found within these grooves, as Skynyrd came up with its best batch of songs since their breakthrough record, Second Helping. It might not have been intended as a farewell to the classic lineup, but it still makes for one hell of a memorial.
Neil Young & Crazy Horse, Re-ac-tor (1981) - The early '80s is usually thought of as a fallow period for Neil creatively, as his musical muse frequently took a back seat to various personal, legal and political concerns. Still, the man and his iconic backing band were just two years removed from their astonishing Rust Never Sleeps album and tour, and its not as though they forgot how to play in that time. Crazy Horse's trademark troglodyte stomp is all over Re-ac-tor, and Young wails on his guitar throughout, seemingly in love with coaxing as many different sounds as possible out of his instrument. The album does suffer from a lack of melodic inspiration and some rather stupid songwriting (The nine-minute "T-Bone" is by far the worst offender) but "Shots" is one of Young's best jams with Crazy Horse. To those who don't care for Young's country and folk inclinations, this should be right up your alley; the whole album is packed with lumbering, shambolic hard rock. Re-ac-tor is not a first-rate Neil Young record by any means, but if you can pick it up for a few bucks you won't be disappointed.
Pink Floyd, Obscured By Clouds, (1972) - Obscured By Clouds, like Music From the Film: More, is a soundtrack to a movie I have never seen. It is an often-overlooked entry in Floyd's intimidating discography, particularly because it happened to precede Dark Side of The Moon, and is rarely mentioned today. Despite, or perhaps because of this, its always been one of my favourite entries. From the fuzzy organ drones that open the record to the ethereal vocal chants which close it, Obscured By Clouds is a compelling example of the powerful cinematic quality and pristine sound of the band's best work.
Robin Trower, For Earth Below, (1975) - Although it lacks any of the standout tracks which marked Trower's breakthrough record, Bridge of Sighs, For Earth Below is probably the next-best effort in his whole discography. Highlighting Trower's smooth, liquid virtuosity and adding a subtle funkiness to the arrangements, the songs on here are solid throughout. Personally I'll be far more likely to throw this one than any other Trower album on and listen to it front to back. The first side is particularly strong, with "Shame The Devil" and the title track illustrating the gorgeous colours with which Trower loved to paint his sound creations.
Rush, Caress Of Steel, (1975) - Rush's fantastical 12-minute sorcery rock epic "The Necromancer" is itself worth the price of admission. The multi-part suite goes from virtual silence to screaming lead guitar breaks and heavy-death grip riffs and finally to a triumphant finale, telling throughout a tale of adventure which would do Tolkien proud. That magnificent song notwithstanding, "Lakeside Park" and "Bastille Day" are upbeat rockers that rank easily with the best of early-period Rush's work, though "I'm Going Bald" is too silly for its own good. Side 2's "The Fountain of Lamenth" is the band's first stab at a sidelong composition, and it does have its share of interesting moments which includes some particularly excellent bass playing by Geddy Lee. Caress of Steel is easily the best of the first three Rush albums.
ZZ Top, Fandango! (1975) - One half studio, one half live, and all great. The live material features a storming take on Elvis' "Jailhouse Rock," while the studio side is a worthy followup to Tres Hombres. In particular, the John Lee Hooker boogie of "Tush" would go on to become one of the band's most enduring and recognizable songs. After Tres Hombres and Eliminator, this is the record that all ZZ Top fans should own.
Alice Cooper, Killer, (1971) - Alice Cooper (the band) released this collection of vicious motor city glam rock on the heels of their Love It To Death breakthrough. It's not totally flawless, but solid, sleazy rockers like "Under My Wheels," "Be My Lover" and 'You Drive Me Nervous" are as tough and immediate as anything in the catalog, while "Dead Babies" was a live favourite at the time. I suppose the absence of a big hit along the lines of "School's Out" or "I'm Eighteen" is the reason that this record is so easy to find second-hand, even though it was released smack dab in the middle of the band's 1970-1973 peak. This run ended with the very good Billion Dollar Babies, a bargain-bin staple as well.
Blue Öyster Cult, Tyranny & Mutation, (1973) - For some reason the first three BOC records (recognizable by their black and white covers) are always in the bargain bin. These are the best records the band ever made. On these tight, heavy and well-arranged records, Blue Öyster Cult established themselves as one of the only American proto-metal bands capable of going toe-to-toe with the mighty British arena lords that dominated heavy rock in the mid '70s. Tyranny & Mutation sports some of the band's true classics, opening with the one-two punch of "The Red and The Black" and "OD'ed on Life Itself." There isn't a weak track on the album, and "Seven Screaming Diz-Busters" perhaps best exemplifies how these brainy bruisers could marry a heavy gut-punch attack to complex musicianship.
Creedence Clearwater Revival, Cosmo's Factory, (1970) - No question this is the best CCR record. Hot, swampy rock n' roll has never been done any better. It opens with one of their gnarliest jams in "Ramble Tamble" and about two thirds of the songs are staples on the various greatest hits compilations that exist.
Deep Purple, Burn, (1974) - Burn was Deep Purple's first record after the departure of Ian Gillan and Roger Glover, but it was actually a better album than almost anyone could have expected. The title track is a phenomenal six-minute assault featuring scorching guitar and organ work by the band's two powerful lead voices, John Lord and Richie Blackmore. For that song alone it is worth owning. New singer David Coverdale gives a solid performance to boot, and there are plenty of other worthwile rockers here.
Jethro Tull, Benefit, (1970) - I bought this purely because it contained the leslie-damaged prog-rocker "To Cry You A Song." The rest is a great representation of Tull's complex amalgamation of heavy space-folk-blues. To be honest, these guys have a lot of overlooked records, and if you are a fan of one, its a safe bet you'll like plenty more. The 1970-1975 period is all good, and intermittently they have good songs and records before and after that.
Lynyrd Skynyrd, Street Survivors, (1977) - Street Survivors was released just a few days before the tragic plane crash which killed singer Ronnie Van Zandt and guitarist Steve Gaines. Its been hard to overlook that grim fact when listening to the album, the band's darkest. "That Smell" in particular reeks of death and foreboding. Meanwhile, "What's Your Name" is still in frequent rotation on classic rock stations. The definitive southern rock band, no one ever combined crunching arena-rock dynamics with countified outlaw swagger like these boys did, and this record is one of their best. There is plenty of heavy boogie to be found within these grooves, as Skynyrd came up with its best batch of songs since their breakthrough record, Second Helping. It might not have been intended as a farewell to the classic lineup, but it still makes for one hell of a memorial.
Neil Young & Crazy Horse, Re-ac-tor (1981) - The early '80s is usually thought of as a fallow period for Neil creatively, as his musical muse frequently took a back seat to various personal, legal and political concerns. Still, the man and his iconic backing band were just two years removed from their astonishing Rust Never Sleeps album and tour, and its not as though they forgot how to play in that time. Crazy Horse's trademark troglodyte stomp is all over Re-ac-tor, and Young wails on his guitar throughout, seemingly in love with coaxing as many different sounds as possible out of his instrument. The album does suffer from a lack of melodic inspiration and some rather stupid songwriting (The nine-minute "T-Bone" is by far the worst offender) but "Shots" is one of Young's best jams with Crazy Horse. To those who don't care for Young's country and folk inclinations, this should be right up your alley; the whole album is packed with lumbering, shambolic hard rock. Re-ac-tor is not a first-rate Neil Young record by any means, but if you can pick it up for a few bucks you won't be disappointed.
Pink Floyd, Obscured By Clouds, (1972) - Obscured By Clouds, like Music From the Film: More, is a soundtrack to a movie I have never seen. It is an often-overlooked entry in Floyd's intimidating discography, particularly because it happened to precede Dark Side of The Moon, and is rarely mentioned today. Despite, or perhaps because of this, its always been one of my favourite entries. From the fuzzy organ drones that open the record to the ethereal vocal chants which close it, Obscured By Clouds is a compelling example of the powerful cinematic quality and pristine sound of the band's best work.
Robin Trower, For Earth Below, (1975) - Although it lacks any of the standout tracks which marked Trower's breakthrough record, Bridge of Sighs, For Earth Below is probably the next-best effort in his whole discography. Highlighting Trower's smooth, liquid virtuosity and adding a subtle funkiness to the arrangements, the songs on here are solid throughout. Personally I'll be far more likely to throw this one than any other Trower album on and listen to it front to back. The first side is particularly strong, with "Shame The Devil" and the title track illustrating the gorgeous colours with which Trower loved to paint his sound creations.
Rush, Caress Of Steel, (1975) - Rush's fantastical 12-minute sorcery rock epic "The Necromancer" is itself worth the price of admission. The multi-part suite goes from virtual silence to screaming lead guitar breaks and heavy-death grip riffs and finally to a triumphant finale, telling throughout a tale of adventure which would do Tolkien proud. That magnificent song notwithstanding, "Lakeside Park" and "Bastille Day" are upbeat rockers that rank easily with the best of early-period Rush's work, though "I'm Going Bald" is too silly for its own good. Side 2's "The Fountain of Lamenth" is the band's first stab at a sidelong composition, and it does have its share of interesting moments which includes some particularly excellent bass playing by Geddy Lee. Caress of Steel is easily the best of the first three Rush albums.
ZZ Top, Fandango! (1975) - One half studio, one half live, and all great. The live material features a storming take on Elvis' "Jailhouse Rock," while the studio side is a worthy followup to Tres Hombres. In particular, the John Lee Hooker boogie of "Tush" would go on to become one of the band's most enduring and recognizable songs. After Tres Hombres and Eliminator, this is the record that all ZZ Top fans should own.
Monday, July 11, 2011
Wishbone Ash - Wishbone Four
Band: Wishbone Ash
Album: Wishbone Four
Label: MCA
Year: 1973
Wishbone Ash's stately amalgamation of folk, jazz, rock and progressive tendencies is vividly displayed on their most concise and direct album. Wishbone Four was their attempt to crack the North American market after establishing themselves in the first class of British rock bands with their previous album Argus. As such, it was suitably their hardest rocking effort, relatively free of Argus's pastoral English folk influence and progressive arrangements, as well as dialing back the medieval lyrical themes somewhat. Each side kicks off with a full tilt rocker, followed by a moody slow-builder that climaxes with a dramatic lead guitar section. "So Many Things To Say" and "The Doctor" both showcase the band's complex musical interplay while hitting as hard as any songs in the band's repertoire. The band's facility with melodic guitar solos is the focus on these songs, with lead guitars dueling aggressively over a dextrous rhythm section. "Ballad of the Beacon" is a lovely melodic rocker that climaxes with a memorable solo, as does "Sorrel", where all four musicians rock expressively in a mellow jam. "No Easy Road" is another compelling rave-up that even features a classic early '70s Stones-style horn and piano rocker arrangement. There are solid songs throughout the record, and in particular "Rock & Roll Widow" is a lilting outlaw tale featuring ethereal slide guitar, and also delivers the album's most memorable hook.
Drummer Steve Upton throughout demonstrates great range in moods as he hammers together a complex structure for his bandmates in a manner akin to Bill Bruford, but he can also call to mind Keith Moon's unsophisticated intensity with his heavy tom rolls. Bassist Martin Turner alternates nimble bass patterns in the higher registers of his instrument with slow, supportive beds for the guitarists to solo over. The vocals consist predominantly of appealing harmonies and lyrics that seem to conjure up memories of some fantastical past age that never existed. They do not ever really get heavy, but the highly melodic lead guitar interplay between Ted Turner and Andy Powell is the chief appeal of this band.
There are a few missteps, as the ballads on each side come off as slightly saccharine and tend to bore. "Everybody Needs A Friend" in particular is notable for being way too long at almost 9 minutes. This one glaring flaw aside, these songs are all well-crafted, highly formal compositions. With commercial concerns clearly in mind, Wishbone Four features the clearest production of any of the band's albums up until that point. Moreover, its constituent parts are more comfortably rock rather than folk or progressive-based as on their earlier records. The guitarists use a wider variety of effects than on previous albums, with more aggressively overdriven distortion and liberal use of the wah-pedal replacing the neo-classical flourishes of Argus. The combination of solid compositions and impressive musicianship makes this a solid entry point into the band's discography.
Wednesday, June 29, 2011
Playlist
New Music For Old People (aka the new classic rock)
White Stripes - Hello Operator
Hives - Hate To Say I Told You So
Modey Lemon - Feed The Babies
Black Lips - Hippie Hippie Hooray!
The Mooney Suzuki - In A Young Man's Mind
Black Keys - 10AM Automatic
Brian Jonestown Massacre - Open Heart Sugery
My Morning Jacket - One Big Holiday
Magnolia Electric Co. - Dark Don't Hide It
Nebula - Atomic Ritual
Comets On Fire - Pussy Foot The Duke
Black Mountain - Don't Run Our Hearts Around
Dead Meadow - At Her Open Door
Witchcraft - It's So Easy
Wolfmother - Where Eagles Have Been
The Sword - Freya
Witch - The Seer
Litmus - Rays Of Sonic Light
Earthless - Cherry Red
Awesome Color - Transparent
Thee Oh Sees - Ruby
Wino - Release Me
Priestess - Lay Down
Ladyhawk - I Don't Always Know What You're Saying
Red Cedar - Take It Back
Woods - Rain On
Astra - Ouroboros
I made this partially because I hate it when people say, "there's no good music anymore," or "music was way better in...(whatever time music was way better)." More importantly, I made this for my Dad. He's been surprising me lately. He's discovered Youtube since retiring and is getting onto all kinds of old bands he missed out on. He wanted to know about Motorhead the other day! I figured it'd be a while yet before he got to anything made in this decade unless I gave him some help.
White Stripes - Hello Operator
Hives - Hate To Say I Told You So
Modey Lemon - Feed The Babies
Black Lips - Hippie Hippie Hooray!
The Mooney Suzuki - In A Young Man's Mind
Black Keys - 10AM Automatic
Brian Jonestown Massacre - Open Heart Sugery
My Morning Jacket - One Big Holiday
Magnolia Electric Co. - Dark Don't Hide It
Nebula - Atomic Ritual
Comets On Fire - Pussy Foot The Duke
Black Mountain - Don't Run Our Hearts Around
Dead Meadow - At Her Open Door
Witchcraft - It's So Easy
Wolfmother - Where Eagles Have Been
The Sword - Freya
Witch - The Seer
Litmus - Rays Of Sonic Light
Earthless - Cherry Red
Awesome Color - Transparent
Thee Oh Sees - Ruby
Wino - Release Me
Priestess - Lay Down
Ladyhawk - I Don't Always Know What You're Saying
Red Cedar - Take It Back
Woods - Rain On
Astra - Ouroboros
I made this partially because I hate it when people say, "there's no good music anymore," or "music was way better in...(whatever time music was way better)." More importantly, I made this for my Dad. He's been surprising me lately. He's discovered Youtube since retiring and is getting onto all kinds of old bands he missed out on. He wanted to know about Motorhead the other day! I figured it'd be a while yet before he got to anything made in this decade unless I gave him some help.
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