Frank Zappa - Joe's Garage: Acts I, II & III CD

Joe's Garage: Acts I, II & III CD music Seattle street punks the Rabid Dogs debut with the straightforward, efficient three-chord ramalama of Intruder. Adopting a melodic '70s punk sound indebted to the Ramones and the second wave of U.K. punks circa Sham 69, the Rabid Dogs add pretty much nothing new to a well-worn genre, neither lyrically nor musically. However, they do what they do with evident enthusiasm and better than average talent; in particular, singer Bryan Forrester has a great first-generation punk voice that recalls the era when listeners could actually understand the lyrics. So Intruder is a solid bit of retro-punk with a few genuinely catchy tunes, but only those fully committed to the style will be able to work up a more than passing enthusiasm for it. They're more like energized and excitable puppies than rabid dogs, then. ~ Stewart Mason Live Recording Recording information: Autopsy Room. Photographer: Gary Larson. The Rabid Dogs: Bryan Forrester (vocals); Nick Stang (guitar); Nils Larson (bass guitar); Herb Antich, Brandon Derning. Personnel: Herb Antich (guitar); Brandon Derning (drums).

Joe's Garage: Acts I, II & III album for sale Despite switching drummers, Ahleuchatistas continue to refine and develop their sound on Of the Body Prone. They offer up hyper-complex, turn-on-a-dime compositions that range from crushingly heavy to quite pretty. This is music that demands attention; it is decidedly not background music. In the past, tracks were generally on the short side, almost as though there wasn't the stamina for the tracks to be longer. That's not the case here, where only a few tracks are under three minutes long, and the opener and closer push nine and ten minutes, respectively (apparently the album was recorded after some intense touring). The heavy opener gives way to the tender and almost-jazzy "Owls." "Why Can't We Be in Jamaica?" has a nice Beefhearty flavor, while "Dancing with the Star" is spacy with nice guitar effects. Guitarist Shane Perlowin will sometimes step back and create soundscapes with delays and layering, while Derek Poteat takes the lead on bass. New drummer Ryan Oslance is absolutely unbelievable, moving from jazz to thrash to blastbeats at the drop of a hat (think Tatsuya Yoshida, perhaps with another set of arms). This music is clearly not for everyone, but those who make the commitment will be richly rewarded. It's the new post-everything instrumental onslaught. Impressive stuff. ~ Sean Westergaard Recording information: Hi-Five Studios, Asheville, NC (04/23/2009-04/27/2009). Photographer: Ryan Oslance. Personnel: Shane Perlowin (guitar); Ryan Oslance (drums). Audio Mixers: Darren Stroupe; Darren Stroupe.

Joe's Garage: Acts I, II & III buy CD music Two different ensembles in which trumpeter Roy Eldridge and tenor saxophonist Coleman Hawkins join forces are presented on this 1994 collection, in both cases playing exemplary modern jazz . The pair loved working together and represent one of the best combinations of star soloists from this genre ever executed. All references between the last word in the previous sentence and the slang expression "killing" (for playing really well) are intended. The Jazz Hour imprint's program starts off on-stage at the 1959 Newport Jazz Festival with some truly epic improvisation in terms of both length and inspiration achieved. The first three tracks go on collectively for well over a half-an-hour -- a stark contradiction of Charles Mingus' Grammy award winning liner notes in which he claims the elder generation of jazz players would never play long solos. Hawkins simply had no elders in terms of jazz tenor saxophone soloists, yet he spends an amount of time equivalent to three Top 40 hits on his "Joshua Fit the Battle of Jericho" solo, all the while making it seem like what he is doing is spreading apple butter on freshly baked bread. Even the warm, inviting opening of this gig involves multi-chorus statements, the combo members individually entering the scene as if popular characters in a radio comedy. Typically for a Bean & Little Jazz project, the band is superb. Pianist Ray Bryant and his brother, bassist Tommy Bryant are on hand, meaning this particular group passes the acid test for a bluegrass "brother band," (i.e. the good kind). Eldridge might as well be playing bluegrass, as quickly as he sets interpretive matter regarding chords and scales in motion. The Bryant brothers have meanwhile set aside the apple butter in favor of big portions of barbecue sauce and they don't care if it gets on the front of their shirts. Drummer Oliver Jackson fills out the group, although from previous imagery it may seem like the other way around. This event took place not that long before Jackson played on some of Yusef Lateef's earliest experiments with ethnic music and modern jazz. Hawkins himself was keeping pace with musical developments, his relationship with Eldridge itself taken as a sign that the saxophonist could still run with a younger crowd. As for the trumpeter, he was more than ready, considering his early years had been spent in carnivals, blowing copies of Hawkins' popular solos into the ears of gawkers on their way to the freak and girlie shows. Rhythm section players involved with these hornmen overlapped, interesting stylistic contrasts resulting along the way, maybe even more interesting than the carnival. The second group on this set is blessed with Jo Jones on the drum chair. Jones had backed Eldridge and Hawkins at a Newport Jazz Festival edition two years previously; at that point the drummer was also performing with the Count Basie big band. Factor in superb bebop and ballad pianist Tommy Flanagan and bassist Ahmed Abdul-Malik for a quintet that toured in the early '60s under the auspices of the American State Department. Whether "Bean and Boys" were part of a cold war propaganda campaign is hardly the type of issue addressed when this group sets out on its "Rifftide." Flanagan and Malik, with whom Hawkins also played in combination with pianist Thelonious Monk, divide up rhythm section duties the way families at holidays wish a roast could be carved. These tracks are much more compact servings than the Newport material. Still Hawkins lingers, spending about 20 seconds more than the norm exposing his most famous solo of all, "Body and Soul." ~ Eugene Chadbourne Two different ensembles in which trumpeter Roy Eldridge and tenor saxophonist Coleman Hawkins join forces are presented on this 1994 collection, in both cases playing exemplary modern jazz . The pair loved working together and represent one of the best com

Joe's Garage: Acts I, II & III songs RANDY PARSONSBiography Randy ParsonsSongwriter, guitar, bass, vocals Randy Parsons was born in Chattanooga, Tennessee. Despite his southern roots, however, he has spent his adult life in and around New York City. He lives with his wife Patty in East Hampton, New York on eastern Long Island. Randy plays acoustic guitar, electric bass and sings. He studied music at New York University and the Juilliard School in New York. Randy has performed solo and with a band in New England, New York and Los Angeles, including at the former Folk City, the Bitter End, the Stephen Talkhouse (Amagansett, New York) and Guild Hall (East Hampton, New York). He played bass in concert for Grammy award winning songwriter Hugh Prestwood, including opening for Crystal Gayle. Randy's songs have been played on college and commercial radio in New England. He has three CD's: City and the Sky (1976); Right from the Start (1999), and; Go Ahead and Love Someone. (2002). Randy's music can be heard over the Internet at Broadjam . His song "Maybe I'm Running Away" was featured in ASCAP's Song to Song Showcase in New York in March of 1998. Randy and his publishing company Lily Hill Music are affiliated with ASCAP. Lily Hill Music is represented by the Harry Fox Agency in New York. Randy has completed songwriting workshops in New York with Hugh Prestwood, Henry Gaffney, Jeff Franzel and Shirley Washington. As a member of TAXI, the L.A. based independent A&R agency, Randy's songs and acoustic guitar pieces have been forwarded to film and television producers for use in various projects. For more information, contact Lily Hill Music, Box 480 East Hampton, NY 11937, 631-329-5206, lilyhillmusic@aol .

Joe's Garage: Acts I, II & III album for sale Track Listing of songs: Wiener Blut; Hereinspaziert; Valse lente; 3. Valse; Faust-Walzer La Valse de Faust; Donauwellen; Gold und Silber; Die Schlittschuhler op. 183; Frsstimmen-Walzer op. 410; 2. Valse. Moderato. Tempo di Valse; Aufforderung zum Tanz op. 65; An der sch blauen Donau. Walzer op. 314; Hofballte Op. 161; en Wellen; Blumenwalzer; Morgenbler. Walzer op. 279; Wiener BOp. 419; 2. Un bal; Ballsirenen; Kaiserwalzer op. 437;

Joe's Garage: Acts I, II & III CD music Audio Mixer: John Agnello. Recording information: Echo Park Studios, Bloomington, IN (06/02/1997-06/04/1997). Arrangers: Old Pike; Paul Mahern. Old Pike: Carl Broemel (vocals, guitar, lap steel guitar, banjo); Tim Jones (vocals, guitar); Mike Flynn (piano, organ); Jason Brammer (bass); Eric Hopper (drums). Personnel: Tim Jones (vocals, guitar).

Joe's Garage: Acts I, II & III buy CD music Track Listing of songs: The Dark; The Dark; It's So Hard; Lovin' Whiskey;

Joe's Garage: Acts I, II & III songs Bringing blues rock back for the 21st century, The Old Stoic mixes the styles of the old and the sounds of today, to create music which is timeless. The Old Stoic is comprised of Vocalist Alice Reid, Guitarist Jet Black, Bassist Andy Bartleson and Drummer Chris Yeates. Taking inspiration from the likes of Led Zeppelin, Muse, and Jimi Hendrix, this young band is looking to change the dynamics of the LA scene. Catchy rock riffs and scrumptious blues licks dominate the aural experience, while the, dare it be said ballsy raw vocals of Alice Reid brings the music to climax and back. A musical journey that must be taken in LIVE!

Joe's Garage: Acts I, II & III album for sale