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7 Years Bad Luck is an articulate blend of melodic pop-punk singalongs and furious hardcore bellowing. Given that Glasseater is a punk band at heart, the album lyrically deals with the rather generic topics associated with its genre. Luckily, the group's efficiency with each musical style makes listening to a vocalist whine about girls and being treated poorly thoroughly enjoyable. Glasseater's ease at switching from happy punk to cheerful fury is done as swiftly as a chameleon altering its color to blend with its surroundings. The group shows growth from their earlier material, as each member seems much more comfortable with their instruments and seems to have no cares in the world as they surge through each song. 7 Years Bad Luck makes for an uplifting experience, and easily holds the listener's attention after repeat plays. This album would be a highlight in any music collection. ~ Jason D. Taylor
Glasseater: Jason (vocals); Ariel, JC (guitar); Anthony (bass); Julio (drums).
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The premiere CD release on Kid606's own label, Tigerbeat6, Kid606 and Friends, Vol. 1 is as the title implies a collection of collaborations and remix efforts, appropriate enough given the kid's own notoriety when it comes to mind-melting transformations. Some of the efforts actually appear to be Kid606 mixing others rather than being remixed in turn, but whatever the exact source of all the tracks, the end results are a merrily chaotic treat. A good number of the selections fall squarely into the frenetic and ever-expanding realm of glitch techno and IDM, stop-start loops and extreme vocal and musical cut-ups, and much more at play. Each of the guests involved does bring his ...
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These two albums, recorded in 1967 and 1968, are the cornerstone of the Red Krayola legend and two of the most famous records in avant-garde '60s rock. Originally released on Lelan Rogers' fabled International Artists label (home to the 13th Floor Elevators and Bubble Puppy, among others), these albums are uncompromisingly weird artifacts that move right beyond psychedelic into "freakishly strange." Parable of Arable Land is the better-known of the two, having been recorded in a legendary one-day session where the core band (including singer/guitarist Mayo Thompson, bassist Steve Cunningham, and drummer Frederick Barthelme, who would later gain considerably more fame as a novelist), invited a group of fellow travelers, including the Elevators' Roky Erickson, into the studio to record the "Free Form Freakouts" which appear between the proper songs. Of those songs, the almost punky "Hurricane Fighter Plane," with a squalling organ solo by Erickson, and the plain freaky "Pink Stainless Tail" are the highlights, but the ...
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California recording artist Jimmy O tragically and suddenly suffered a fatal heart attack just after a concert, doing what he loved to do. Jimmy's latest CD "At Every Turn" has been finished up by his widow Mary and has now been released. On May 9, 2003, Jimmy O performed his last showat the Coach House in San Juan Capistrano. Jimmy'sperformance that night was his normal fantastic putting on a show for the audience as he always did. With his Fender Showmaster firmly in hand Jimmy O burned up the fret board, but always in a tasy restrained manner, letting the songs themselves set the pace. Jimmy O's greatest thrill was playing guitar, singing, and performing to an audience. "At times he plays fancy riffs...there's a great economy about his playing as if he were choosing every note to mean something special" - Jon Pepper, Southland Blues. Jimmy O had for the past two years been working as a guitar slinger and singer for other groups, Blues Gone South, The New Boxtops, and others. Jimmy was a great addition to any band and as always the musicians, who worked and played with Jimmy, ...
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1961 was unquestionably humorist Dick Gregory's breakthrough year. After numerous nightclub and television appearances Gregory's first long-player In Living Black and White (1961) was issued to considerable acclaim, even charting at a very respectable number 23 on the Top Pop Album survey. More than simply a comedian, Gregory was able to diffuse and dilute the racial bias being felt throughout America with his own seemingly innocuous observations. In actual fact, Gregory's modus operandi was to point out some of the glaring inconsistencies that existed between traditional old-school rationales and the newer, hipper and, for its era, radical points of view emerging from outside the establishment. So different were Gregory's insights, a narrator of sorts is incorporated to place the artist in context. 2000s listeners -- many of whom won't be familiar with the concept of the comedy or the "party record" phenomenon to begin with -- will undoubtedly be non-plussed by the presence of ABC Network's so-called "Man on the Move" Alex Dreier as he tempers Gregory's act -- basically telling Middle America that is it OK to listen. Dreier sets the stage, which is located at the original Chicago, Il-based Playboy Club, and without wasting a beat, Gregory immediately spins the media's skewed mentality back to them. He tells his audience that instead of reading the local Windy City area newspapers -- which were concurrently calling him the "...white Mort Sahl... -- they should read the "Congo Daily Tribune" and see where they are "...calling Mort Sahl the white Dick Gregory. Each of the LP's eight tracks ...
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