| | Jinga Quintet Structure Of Survival CD - Import Jinga Quintet Discography of CDs
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Structure Of Survival Music Jinga Quintet Structure Of Survival Songs Structure Of Survival Review
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Purchase Structure Of Survival CD To buy, Click on price to add to cart | Brian Culbertson Live From The Inside CDs (2009) With DVD
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| | The Forbidden 5 Chop You Up! CD (2007)
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You've probably heard that old line, "writing about music is like dancing about architecture." But what is writing about music ... that's about film? Well, I don't really know, but you're looking at it.The Forbidden 5 is the official band of Dormont cult-film emporium Incredibly Strange Video, drawing inspiration for songs like "Luther the Geek" and "Night of the Bloody Apes" from that store's shelves. Which seems a little odd until you realize that the band is fronted by ISV's crazy-maned owner, Bruce Lentz, who just so happens to possess a top-shelf punky croon that's equal parts Joey Ramone and Danzig. And really, who more appropriate to sing a hiccupping chorus that ends, "psycho rat fink fuck a go go"?On the 12-song debut, The Forbidden 5 Chop You Up!, Lentz is backed by Michael Athey and El Koppertan (guitars), Joseph Elzer (drums) and Derek Anderson (bass). Most of the songs are straightforward frankenpunk workouts with ghoulishly humorous lyrics and touches of distorted surf-guitar runs. The exceptions to this formula are among the album's most welcome diversions, such as the instrumental, "Fang Boner," and the Kinky rock&B of "Slice and Dice."Perhaps you could call Forbidden 5 "lifestyle" music, a good soundtrack to a balanced diet of nostalgic cultural obsessions and basement hobbies, and retro musical tastes, entertainment choices and personal style. Or perhaps it's best considered as a secondary text, an irony-heavy gloss on primary pop-cultural artifacts. Whatever the case, if your chosen form of transportation is a de-commissioned hearse, or you don't wanna be buried in a "pet sematary," or you regularly laugh in the face of -- kitschy -- death, this one's for you. -Aaron Jentzen, Pittsburgh City PaperPittsburgh Calling: A capsule look at Pittsburgh bands making newsThursday, May 03, 2007Pittsburgh Post-GazetteTHE FORBIDDEN 5Tactic: Surf-garage-punk inspired by the Sonics, Stooges and Cramps and a store full of B-horror movies. Cast: Bruce Lentz, vocals; Michael Athey and El Koppertan, guitar; Derek Anderson, bass; Joseph Elzer, drums. Hatched: Two years ago when Lentz, who owns Incredibly Strange Video, was able to round up four other guys for his mission of rock 'n' roll band that slices and dices. "I was in a band called The Dogs, from Erie, ...
| | Norman Brown Just Between Us CD (1992) Remastered; Digipak
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All songs written by Norman Brown except "Love's Holiday" (M. White/S. Scarborough), "Moonlight Tonight" (Norman Brown/Angel Rodgers), "Too High" (Stevie Wonder), "Sweet Taste" (K. Williams/N. Brown).
When Motown released Norman Brown's Just Between Us in 1992, the occasion marked not only the guitarist's first effort, but also the first release on Motown's new contemporary jazz imprint MoJazz. Ultimately, the guitarist fared better than the label did. Brown's debut hit the street at a peak of sorts for the contemporary/smooth jazz genre. The music recorded in music studios that concentrated on creating easily identifiable grooves over improvisation for the pleasure of listeners who also liked funk and soul had become a highly marketable brand and was achieving record numbers in sales. Critics hated it -- for the most part -- and referred to it as "elevator music with a beat" or "the new disco" (as if the latter were a bad thing).
Brown's obvious gift on his instrument caught jazz critics by surprise. This man could not only groove, but he was a monster player and improviser. It was obvious from the first notes of "Stormin'," the album's opening cut, that Brown had been deeply influenced by George Benson, but also some of the other revered soul-jazz players of the past, like Billy Butler and George Freeman. What they didn't take into account was that Brown knew a lot about making records coming into the process. He arranged the majority of the material here and had spent considerable time with the album's chief producer, drummer, composer, and recording artist, Norman Connors, who had enjoyed a string of hits after coming out of the "spiritual" soul-jazz era" of the '70s to become a major chart player.
Brown's sound may have owed to Benson, but there was so much soul in his playing, and it was also so deeply rooted in adult ...
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