Pipeline Magazine’s Album of the Year- Spin the Bottle

Pipeline Magazine announces Album of the Year 2018

Frankie & the Pool Boys

"Spin the Bottle"

Of course, we are flattered and amazed to be selected. There were many excellent surf music releases this year, so we had lots of competition, though they are all our friends, so I hope we are inspiring each other to do our best work. 

There are only two fanzines that review surf music now– Pipeline and The Continental, which won't review our stuff because it's run by our label, Double Crown Records. (I do salute Sean Berry for his journalistic integrity!) Pipeline has been publishing for ever, I think four issues a year, so at #109, that's 27 years(?) at least. So, thank you to Dave Burke and Alan Taylor for the honor!

The band members must be recognized for their commitment to recording. Building the 20 songs took about three years. Each song went through a long process of refinement before we felt they were ready. Jonathan Rodriguez, Abraham Aguilar, Jono Jones and Karen Dobronyi. What a team!

Then our producer Dusty Watson made his thoughts known and really tightened our screws. Gary Mankin did a fantastic job recording and mixing, and Gary Hobish mastered us to satisfaction.The incredible Fred Lammers came up with images that perfectly captured our tone. Sean at Double Crown put the CD out and handles distribution. Then we took the show on the road with tour management support from Lorenzo Valdambrini, Vincent Minervino and Magdalena O'Connell, Jeff Hanson and all the club promoters. Thanks to all! - Ferenc

Here's the text of Pipeline's review in issue #109:

Spin The Bottle is Frankie & The Pool boys' third album on Double Crown and is a full hour's worth of music featuring 20 tracks. That's 14 new originals, plus two covers and four vocal versions. Fear not instrumental fans as the vocals are sequenced together after the 16 instrumentals so you can always bail out early if you wish.

Eschewing their earlier approach with numerous guest players, this time the Pool Boys cut all the instrumental tracks over one weekend with just the five members plus the legendary Dusty Watson producing. A front line of two guitars and organ facilitates both a wide range of sounds and some excellent arrangements, as guitarist Ferenc Dobronyi says: "There are fast ones, slow ones, some groovers, some art, some dopey stuff..." Well, I wouldn't go so far as dopey but there certainly is plenty of variety. What is quite remarkable, however, is just how approachable these original works are. Despite their substance, it's easy to get into them on first play, and they hold your attention, too. With such classy compositions and nothing reaching the four minute mark this is a rare example of an album you'll want to listen to all they way through, track by track, without skipping a single note.

Seafoam Angels sets the bar high with organ augmenting the lead guitar on this proud, uptempo melody. Poser is a snappy beater that's built over damped reverb picking, an effect which features even more on Tan Line Fever - a surf instrumental to treasure for sure. El Valenciano has a fast-flying double-picked melody, and organ leads of The Surf Coaster's Magic River with it's Bo Didley beat. With it's great cascading rhythm The Wet Season has a lead reminiscent of Davie Allan, only without his fuzz box) and on Fast Loud Hard too, this is a real screamer that drills its way into your head - in a nice way of course.

Hand 'em High is most tastefully delivered in the Booker T arrangement, and while Kill Devil Club is the only track that comes close to dopey it is rescued by its guitar sounds. In fact the array of guitar sounds helps maintain the interest throughout, especially on the expressive mid-tempo ballad Summer Cold with much feel in its playing and fine arrangement. Tumbling drums underpin the descriptive lead of Raise Hell and the instrumentals end with a blast as Pool Boy Stomp takes us all out with guns blazing. The four vocals follow, but don't miss Summer Cold featuring Kayla Fowler which is luxuriously sensuous with an exquisite guitar solo. Highly recommended.  Alan Taylor

7" Singles Spotlight

7” Singles Spotlight

Satan’s Pilgrims

Taco Truck / Neahkahnie

Double Crown / Hidden Volume

I always look forward to new Satan’s Pilgrims music, a band that seems to be reenergized and commited to extending their long and storied career. Their new music is just as full of life as songs from 25 years ago. This single has a good looking sleeve with bold colors and graphics. Liner notes are in Spanish, so they’re not much help to me. On these recordings, there’s little stereo imaging, except for a slight split on the rhythm guitars.

“Taco Truck” is an uptempo chugalugger. The opening notes suggest another song, but I can’t quite put my finger on it. After that, the dance beat propels onward, with steady 1/8th notes in the bass and rhythm guitars. This number adheres to a pop song format with a well developed bridge and short lead break.

“Neahkanie” is slower and darker, with an open arrangement so you can hear the big, natural room sound. Overall it has an epic feel, big as the mountain it was named for. Great song and really evocative of the trad sixties sound.

Satan’s Pilgrims

Splashdown / Dr. Mortis

Hi-Tide Recordings

Another excellent double A sider from Satan’s Pilgrims, who are building their catalog toward another singles compilation in a few years. More great cover art, this time with busty aliens. This single has a brighter fidelity than Taco Truck, so the instruments are more distinct, but the stereo pan remains minimal.

“Splashdown” is based on a repetitive riff in the verses and non-melodic call and response in the choruses. Big reverb tank kicks throughout are the hook. The whole song has a great flow and seems to be over way to soon.

“Dr. Mortis” is a creepy deal with a wheezy keyboard setting the tone over a locked down mid tempo groove. The layered guitars find their space, coming together for unison lines, but mostly sticking to the surf approved arrangement of one wet damped rhythm and the other more forward with the melody. I love how the song ends mid fade. I’m sure this song made it to quite a few Halloween play lists this year.

The Victors

Tinker Tailor / Taking You Down

Self Released - no web presence
I’ve never heard this band before, and the single was given to me because “I might like it.” I do! It immediately presents itself as late 60’s Raspberries power pop, though I’m sure their influences are much more obscure than my musical knowledge. I always prefer black vinyl, but I have to say that the clear vinyl is really swank. Great attention to details in the sound and presentation.

“Tinker Tailor” keeps the strong lead vocal out front, dripping with swagger. Crunchy guitars and Moon-y drums keep the song popping. It’s a got a real full sound.

Wow- the first few bars of “Taking You Down” are real ear candy. This song is much more modern than the A side, the melody flattens out, but the song blows up when the guitar solo enters. There’s a lot going on here, headphones are a must.

The Surfrajettes

Party Line / Toxic

Hi-Fi Recordings

The Surfrajettes have an image and authenticism that has brought them, immediately, to the fore of modern surf music. At this point, the mantle is theirs, if they want it. But released music has been slow in coming from the group which is now at least three years old. Seems like they have a crafty Svengali telling them that less is more, keep the people hungry, etc.  But, I expect that they have a really high level of quality control and choose to be careful about how they present themselves.

“Party Line” is a song poised to pop out of your speakers, with a long, nicely building intro that establishes the fun before the guitar melody comes in for the verse. If you expect a simple tune, you’ll be surprised to hear a dark bridge, then some nifty two guitar interplay, syncopated stops and finally a bass and drum breakdown in the outro. This song has a flow.

I’m happy to say that I’m not familiar with the original version of “Toxic” so I can take this version on it’s own merits. There are parts of this song that are delicious, especially the intro, the chorus, the pre-chorus with the hooks and the little solo. There’s a couple other parts that seem kinda stiff, like The Surfrajettes are trying to adhere to closely to a vocal arrangement. But, by my fourth listen, I can see how it all holds together. The guitar tones on this song are absolutely fantastic. Also, I see that the video for this song has a combined viewing of 7 million or so, so that makes The Surfrajettes THE BIGGEST SURF BAND IN THE WORLD.

Whateverglades

Side A -Player / Your Good Girl’s Gonna Go Bad

Side B - What’d I Ever Do to You / Two More Bottles of Wine

No Egrets Records

Whateverglades is a Bay Area country band that rocks. (Country rock is something entirely different, right?) I don’t really have the country music vocabulary to be able to compare Whateverglades to other artists, so I won’t insult them, but I’m sure there’s other people doing this sort of shit-kicking, seems like a fun genre. They’re a great unit, just fantastic players all around, and they’re playing mostly originals. This 7” is packed with great music!

“Player” is a salty, Stonesy groover, with a strong lead vocal and lyric, playful and exuberant, this is a radio ready hit (if radio still existed.)

“Your Good Girl’s Bone Bad” has a two step roll and Duane Eddy guitar lick pushing an empowered lyric, in the tradition of country honk that is defiant out of necessity.

“What I’d Ever Do To You” opens with a nod to Nancy Sinatra’s “Boots”, and the vocal is just as expressive. Though the lyric is focused on the singer’s entrapment, she’s clearly going to be moving on soon.

Whateverglades are unafraid to draw comparisons with Emmylou Harris' as they take on her "Two More Bottles of Wine". That's dicey when a legend's song is so well know, but they make it their own, rocking it out and picking up the tempo a little. I thank them for not ending with a ballad (trying to show their range and sensitivity and such.)

The Kilaueas - "Touch My Alien" LP review

The Kilaueas

“Touch My Alien”

LP on Allscore  

CD on Double Crown Records  (available January 2019)

Listen and Download from Bandcamp.com   

A new Kilaueas album is always an anticipated and warmly greeted event. They’ve had a long career and earned well deserved love for their over the top live shows and consistently high-quality recordings. Their international touring has helped spread the legend, and Ralf Kilauea has big personality, whether he’s combing his hair mid-song, being an MC at the Surfer Joe Festival or pounding schnitzel with a Fender while wearing a bunny suit in YouTube videos. In social media, he’s outspoken and not afraid to take on surf music’s sacred cows or lampoon elitists. 

Following Ralf’s lead is an unbelievably talented and tight unit with longtime colaboraters Tom Kilauea on guitar, Jaque Kilauea on bass, and for the first time on a Kilaueas long player, Perzi Perzborn on drums. Perzi is a veteran of the German alt rock scene, and has toured the world over with his band Plan B. He is solid, sure-footed and inventive, as are all the guys. The sense of humor The Kilaueas exude has a way of coloring the band’s music, which bubbles with optimism and unexpected delights. Just look at the song titles and you’ll know these guys keep a positive perspective.

Musically, one thing that immediately sets The Kilaueas apart is that the second guitar, rather than playing a straight rhythm pattern, will often play a repetitive riff behind the lead, and engage in frequent call an response with the lead. By not mucking up the sonic space with constant 8th notes, there’s room in the arrangements to hear subtleties. Another trademark is the brevity and focus of the songs, not a shred of unnecessary fluff here. I didn’t review all of the 17 songs here (yes, you get your money’s worth!) but there’s isn’t a dinker in the bunch, this album is a blast!

Highlights from Side A:

A really strong opener with “The Ace of Space,” a heavily caffeinated rocker that, aside from everything else going on within it, has one of the coolest drum fills you’re likely to have ever heard. “Why Do Fools Fall in Lava” (great title) is tuneful and hooky, like a conversation between two lovers convincing each other to elope, and embark on a wondrous life together. Such drama! “The Twang Files” heaps menace over a dragging pace with spy themes heavy on the melodic minor scale. “Pe Langa Plopii Fara Sot” is chamber surf, starting out traditionally before the guitars dampen to elegant pizzicato– I can imagine dancers at a show having to invent waltz steps for this one. “R.F.T.P.B.T.O.N.R.” (they should make a contest to guess what those initials stand for) is the epic of this disc. It’s a slow, dark, majestic grinder with wonderful, completely analog sounding space effects, that builds and builds.

And the very strong B Side:

If “The Dark Wave Swells” is meant to poke fun at the Bambi Molesters album title, it’s surely an honor for them to have such a great song written in homage. “Touch My Alien,” isn’t space themed as you might imagine, but alien in the original meaning. The use of middle eastern scales, which even though, as surf music fans, we’ve heard in a thousand other songs, still sounds foreign and mysterious. (And then they hit you with a completely unexpected bridge.) I’m not sure why “Getaway Board” isn’t called “Imperial Surf Troopers” as suggested by the spoken introduction, maybe they're saving that title for a future song, but it’d be a bang up song even if it were called “Poop.” Last year’s hit single, “The Men from M.E.N.S.C.H.” appears here in a re-recorded version, losing none of the original’s vigor, and the addition of maniacal laughter spooks up the bridge (brilliant idea!) “Zambezi Nocturne” is sexy surf slow jam, filled out with vibraphone and congas, for those intimate moments that pop up 3/4 of the way through an instrumental album. “A Song Called Horse” leans toward Spaghetti Western, or may Spätzle Western in this case. I love the background vocals in the last verse. Following after is a reprise of “Horse” with acoustic rhythm and whistling for the lead, a very tasty finish to this delightful album.

The Imperial Surf Troopers do recon at George Lucas's Industrial Light and Magic:

The Men from M.E.N.S.C.H. video

Black Flamingos "Play Speedway and Other Hits" album review

Black Flamingos

“Play Speedway and Other Hits”

Hi-Tide Recordings 

Listen and download Speedway at Bandcamp

The Black Flamingos new album further explores their surf-noir sound, warmly filling the tracks with a bare bones rhythm section that places Robbie Butkowski’s lush guitar in the spotlight. There are some minimal, and always very tasteful side accompanists, padding a production that sounds period specific to the late fifties. The tracks have a natural ambience, and I don’t detect a shred of digital embellishment or trickery. Just some talented session cats sitting in a room together, making music.

“Play Speedway and Other Hits” is not an album that relies on gimmicks, shock or bluster. It has a tonal minimalism that focuses on the prowess of the lead voice. The arrangements are uncluttered, so you can really hear the reverb fall-off and the cymbal sizzle. I think every song is augmented by some kind of 4th instrument- an acoustic guitar or percussion- but they rarely repeat, and the trio remains the focus.

The first song, “Speedway" is the lone epic in the set, a slow burner starting with legato chords, then a two-step groove picks it up as the dragster engines alight The chorus shakes with additional tambourine, then featured breaks for the rhythm section and a crunchy lead guitar solo to kick it into high gear. 

After ”Speedway” the songs tend to be more focused in their scope. "Chicken Wire" makes me think of what a proto-Slacktone, with it's jazzy inversions and swinging beat, might sound like. “Rendezvous" picks up the tempo a little more, with Bukowski soloing over some crackling, reverb damped chords. Baritone sax introduces, then adds beef to “Haunted Hall” with it’s dramatic syncopations. "Malibu Run" is a stripped down take on the Richie Allan and the Pacific Surfers tune, revealing a possible source of inspiration for the Black Flamingo’s overall sound and melodic direction. "Kali Ma" is full-on exotica, with vibraphone as the second lead, over gently rolling jungle toms. This is one sophisticated composition!

The Black Flamingos "Okinawa"

As the needle drops on side two, the Flamingos downshift and the rpms peak as Butkowski’s tone thickens to feedback level on “Okinawa", which seems like it could have been a mid 60’s hit for the Ventures in Japan. Black Swan (not your pappy’s "Saturday Night at the Duck Pond”) is a new re-working of the Tchaikovsky theme, with guest fuzz guitarist Chris Barfield laying down the Davie Allanisms while Bukowski cleanly double picks around the elegant and iconic melody. Another cover follows, Mancini’s “Experiment in Terror” is downbeat but smile inducing, so different from the frantic Laika and the Cosmonauts version. “Shark Repellent” comes on strong with a trad surf vibe, again with a proto-Slacktone thickness to the chord inversions. Finally, “Eviler” twists the mind with a circular and confusion inducing melody, perfect as a cinematic coda to a strong set of material.

I must mention the sequencing of this album as being clearly well thought out as the tempos and intensity build then release, a brilliant flow on par with The Car’s’ debut album.

Declan O’Connell’s bass is always in the pocket; while he does take an occasional turnaround to shine, he keeps it busy, but in the background. In a trio format, he has a lot of room to move around without intrusion. I don’t know if he recorded with the short-scale Mustang bass he uses live, but he has a nice hollow tone here, passing for an upright in vibe. Drummer Vincent Minervino remains subtle and supportive, a model of restraint. I think there’s an old saying about the hardest thing to do is make it look easy, but that’s these guys in a nutshell, so very good.

Overall, The Black Flamingos’ “Play Speedway and Other Hits” is a pretty chill set. I keep thinking about the warm jazz albums on Blue Note– of course this isn’t jazz, but it has that honest, live approach where the musicians are hearing and playing off each other’s subtleties. It’s a great set.

Bradipos IV - Lost Waves • album review

The Bradipos IV

Lost Waves

LP on  Area Pirata Records

Download from Bandcamp

From the first needle drop, Lost Waves goes vein deep into the rock. It’s surf music, done by guys who love rock’n'roll. The beat is steady and insistent throughout, the bass heavy on the quarter notes, and this is clearly a “live in the studio” recording. The instrument set up doesn’t waver from song to song, with guttural, deep guitars leading, while the reverb sustain drifts on and on. You can hear the air moving between the instruments as the mix is hugged in a thickness of warm compression. The Bradipos IV guys have been together so long, they have a musical telepathy; they don’t step on each other’s toes and out of that ego free relationship comes plenty of space for each guy to support their brothers, and display their own abilities.

There are three covers and nine originals. The cover songs are perfect choices, and, perhaps, create moods that the originals don’t. “Siboney" is the most familiar, and it’s easy to compare to so many other band’s versions. What makes this version exceptional is the lazy, in the pocket phrasing of the lead and the Mexi-Cali groove that brings some western heat. The obscure opener, “Ghost Hop” is kind of an instant party and sets the tone for the album. Chris Barfield’s “Heart Full of Nothing” mashes up riffs from “The Good, The Bad and The Ugly” with a little bit of Jeff Beck’s lick from the similarly titled Yardbird song.

I am greatly intrigued by the originals. The songwriting of the Bradipos IV has become so identifiable and trademark. The songs are credited to the whole band, so I don’t know who wrote what, or whether Francesco or Massimiliano is playing lead. In fact, the band members don't even take a credit for what instruments they play.

“Lost Waves” is a compelling and lyrical song, fully fleshed out with an intro and bridge, and lifting modulation. It’s motivating, but with a hint of sadness. “Night Creeper”is mis-named, it doesn’t creep and it’s not dark. It’s a classic up-tempo song descended a few generations from Podolar’s “Midnight Run," the snare and tom rolls propelling towards the finish line. “Deep Mojave” at 3:55, feels like the epic here. Opening with a fanfare and working through melodic verses and staccato turnarounds, a breakdown bridge and peaking with a guitar solo that completely cuts loose and speaks of freedom and release. “Deep Mojave” is the kind of song where I get the feeling the author is working out some personal shit, in the healthiest way. “Hangover Serenade” explores the dynamics of surf guitar, moving through open string pull-offs, arpeggios, double stops, and palm muted drip. Underneath the masterful guitar playing is a beautiful song in the Astronauts style, with a snakey melody and mood changing passages. The slowest song on the album is "The Steel Valentine", but it’s no ballad. The brush rolls on the snare hint at a spaghetti western lamento, and the dark melody set against lightly picked chords or chunky wallops recalls the Bambi Molesters. 

Side two (yeah it’s LP only!) opens with "Big Sur Nightmare," another song title inspired, it seems, by the Bradipos’ 2016 California tour. Another well put together song, with a satisfying bridge. I love it when the guitars play octaves with each other for the last verse. “Tumbleweed Stomp” comes on strong, but settles into slightly lax groove, allowing the guitars to push. The upper register melody in the second verse lifts the song to a cerebral place, clearing the mind so the body can move with the beat. “PJ Run” (named for Paul Johnson?) has a familiar feel, the drums once again push in the Astronauts style, and the Fender Rhodes bell tones give the mix a quiet vibe, even though the song is really moving. Finishing  the album, and our journey around California, we end in the refinery city that is “El Segundo.” It’s gritty, tom heavy and dark, but a little sunlight peeks through when we get a little Chuck Berry action, and then a tumultuous coda and a long reverb and amp buzz trail.

Lost Waves is honest surf music played without pretension. The songs are original and have a style honed to individuality through the vision of four collaborators who clearly value each other’s abilities. My only real beef with the sound is that the drums are too dry for my taste, and stick out of the atmosphere created by the swirling reverbs. Great album, and highly recommended!

Les Agamemnonz- a love letter

I just got back from the Surf Guitar 101 Convention in Los Angeles. There were so many great and impressive bands-- Surfer Joe, The Black Flamingos, King Pelican, Urban Surf Kings, Fascinating Creatures of the Deep, The Kaisers of Kalifornia, and the tributes to Paul Johnson and The Sentinels.



But, the band that put it through the roof for me were Les Agamemnonz from France. Coming out barefoot and in togas, they've got synchronized moves, some young guys with really long hair, so they really stood out. Their music is just fantastic. I love their CDs (available from Green Cookie Records). If you haven't heard them, just check out this one song:

Some really new and fresh ideas here, but still well within the friendly confines of surf music. I don't really think of them as pushing boundaries like, say, the Mermen do. It's just that they have found so much unexplored acreage that we didn't know existed. The ingredients are the same, but the recipe is new. Too many food metaphors?

For their USA tour, Hi-Tide Recordings has released a digital single with two new songs. It's available from Bandcamp, where you can listen to the complete songs before you buy. It's the best $2 I've spent in a long time. Here's my review: 

Les Agamemnonz

Diana b/w Lacrymos

digital single on Hi-Tide Recordings

“Diana” has a very unusual structure, starting with a stately guitar line over an unstructured drum solo, slowly accelerating up to tempo. This is about as risky as anything I’ve ever heard within the confines of trad surf. As the band falls in, the guitar line permutates to become the main, and very catchy, melody. The song continues to stir and build as the production becomes fuller, augmented by acoustic guitar and keys. It’s quite a passionate and emotional experience. I guarantee you’ve never heard anything like this before, but will want to listen to it over and over. This is bold, innovative, but sounds like a lost gem from the early 60s.

The B-side, “Lachrymos” is a slow, forlorn stroll, with a familiar 50s structure. The raw guitar tones have an honesty of heartbreak. There are elements that hint at redemption, but I get the feeling that the author is looking back with regret, more than optimism. Another spacious production, with natural room and analog instrument sounds.

Tikiyaki 5-O "Tone Control" EP review

Tone Control is the second EP from Tikiyaki 5-O, the rock unit and more portable version of the Tikiyaki Orchestra. It’s all instrumental, and the guitar tones are clean and wet so it should appeal to fans of surf music, but this is not a surf album. The vibraphone and tropical percussion of the Orchestra are missing, but the juicy flavors in the chord progressions and atmospherics take the songs far beyond the pale. The EP has six songs and starts off with three originals. 
I’ve probably listened to El Atacor a few hundred times at this point, and I’m still not sick of it. It’s the heaviest hitter here with a compact arrangement and a severe twang on the guitar. The verse alternates between staccato picking and legato vibrato dips. I can’t help but think about Jim Bacchi’s metal past as I listen to this one, though I know he’s really holding back from where he could have gone. He’s a “taste" guy now.
Sidewinder was written by Brian Kassan, the keyboard player, and starts with menace but the verse is singable and then the chorus turns round with a series of major 7th chords to lighten the mood. The bridge floats through an intricate dual guitar harmony and then rides the major 7ths through the outro.
Leave the Gun is the second Jim Bacchi original and as the name suggests, carries the intrigue of a spy on spy romantic interlude. There’s the moody set up, a hopeful turnaround, and then the ticking bomb throughout the breakdown reveals that the affair will be short lived. The ambivalence of the last chord leaves the story line hanging.The last three songs are covers. 
John Barry’s theme for The Ipcress File is ripe for a Tikiyaki recipe, the spy sound owned by the harmonic minor scale which plays Jim’s chorused guitar melody against tense, modulation wheel heavy keyboards and chilling harpsichord backing. Laika & the Cosmonauts did a similar version, but T5O’s version is more focused.
Then they drop the bomb with a cover of McCartney’s “Eleanor Rigby” though it’s retitled and significantly reworked as Elenor Bigsby here. Vamping on the riff and groove to Pipeline, when the familiar and iconic melody comes in, it’s a jarring and perfect juxtaposition. Don’t most early surf bands site the emergence of the Beatles as the reason surf music died? Why not reclaim it, and add a little “Penetration” into the mix as well. 
A taste of Exotica returns in the straight forward cover of Podolar’s “The Quiet Surf”. They’ve slowed it to a gentle crawl augmented with bongos, bird calls, crashing tides and cymbal swells for atmosphere. I keep thinking I’m having a reverie in an opium den, with an occasional lucid thought that I know I’ll never act on. If you loop this song, be prepared to spend afternoon doing nothing.
Jonpaul Balak and Pablo Baza are a tight and educated rhythm section. Brian Kassan's keyboard palette is varied and appropriate for each song (he also plays guitar.) Jim Bacchi is a fearless producer and this album is a satisfying diversion that will continue to surprise with repeated listenings.

Insect Surfers "Red Mesa" new video

Just finished this video for Insect Surfers, a song from their new album Datura Moon, this is "Red Mesa." This is part of an ongoing series, all shot in my garage. Who will be next? Who knows...

Insect Surfers "Red Mesa"

And here are the first two videos in the series.

Tikiyaki 5-O - "El Atacor"

The Kilaueas "The Men From M.E.N.S.C.H"

Upcoming shows for 2018

Frankie and the Pool Boys upcoming shows: 

Sat July 21 - Rio Nido Roadhouse, Guernville

Sun July 29 - The Ritz, San Jose

Fri Aug 3 - Purple Orchid, El Segundo

Sat Aug 4 - Surf Guitar 101 Con, Torrance

Sun Aug 5 - Surf Dogs, Huntington Beach

Th Aug 16 - Kung Fu Necktie, Philadelphia PA

Fri Aug 17 - 10th Avenue BBQ, Belmar, NJ

Sat Aug 18 - Asbury Park Surf Music Festival, NJ

Thur Sept 27 - Cornerstone, Berkeley w/ The Ventures

Th Oct 25 - Forbidden Island, Alameda
Fr Oct 26 - Art Boutiki, San  Jose

Fri Nov 30 - Alberta Street Pub, Portland OR

Sat Dec 1 - Daryl's Tavern, Seattle WA

Album Review: Fascinating Creatures of the Deep

Fascinating Creatures of the Deep

Float on Forever EP

This five song EP was recorded and prepared in time for Fascinating Creatures of the Deep’s spellbinding performance at Surfer Joe Festival, where they gripped the crowd’s attention. Their set seemed essentially different in pace from every other band, and they played the only true ballad of any band I heard there.

The group is led by Adrian Cavlan, lead guitar and songwriter, Gary Boodt on rhythm, and Paul Zimmerman on bass. The drums were played by Bay Area surf music scenester “Stretch” Riddle, whose cred and chops are unchallenged.

Adrian’s songs, in general, are non linear and veer from the verse/chorus/repeat cycle in interesting ways. Which is to say that it’s not trad, although the instrumentation is, except for the use of an acoustic guitar for the rhythm. Adrian is a bitchin’ guitarist!

This EP does not disappoint, and like their live set is patient and well paced. The first three songs are uptempo rockers. The first song, “The Coldwater Kid” is distinctly non linear, using a variation on the James Bond theme as an intro anchor, a solid verse riff, then a nod to “Diamondhead” here, some jazzy spikes there, and dramatic stops to finish, all in 3:02.

“Rail Grabber” is locked down with a steady surf beat and rolls, while the throaty leads tells a gripping story of one surfer’s long ride through repeated peaks and valleys. I love when the guitar goes for double reverb in the bridge.

“Panic at the Point” is even more cutting with a standard 2+4 snare and big pounder opening riff. The rising, diminished, bridge chills like ice water pouring down the neck hole of your wet suit. (This has never happened to me, but I can imagine).

And then, the EP takes another dramatic turn with two cinematic slow songs, which is somewhat surprising if you know of Adrian’s background in the Bay Area punk scene.

The first, “Float on Forever,” strikes me as being deeply introspective. Slow, moody and clean minor key surf guitar noodles over sub-bass. It’s a full two minutes before a slow stuttering drum beat joins, at which point the song reveals a bit of light in the melody. This is thoughtful, quiet surf at it’s best. You may not know what’s on the composer’s mind, but it’s sure to bring out big thoughts in yours.

“Push On Long Strider” was inspired by the onstage heart attack suffered by Stretch, and his recovery. Thinking about losing a talented friend is surely inspirational, although not the kind of inspiration anyone wants to have. It starts out with slow wave rolls and an ominous string bend, suggesting a transition to a darker world. The rhythm guitar begins a steady Bolero beat and the lead comes in on top with Spanish musings. The tempo remains steady but builds in intensity quickly, and you know you’re in for an epic ride. Even at nearly four minutes, this song is much too short.

In fact, with just five songs I feel the whole EP is too short, and hope and wish that Fascinating Creatures of the Deep continue to write and record, with a steadier output. Can you tell I loved this record? Great work guys, this EP is outstanding!

Tan Line Fever-- the end of the road, the end of the tour

Sunday July 1, Cecina 

We had an early call on Sunday morning, another long road day. We got out of Scauri without incident and to the A1. After yesterday, the wide and smooth black top lanes are more than welcoming, and the Fiat can top at out at 130 mph for much of the trip. For some reason it seems like a long, uphill grade the entire way to Rome, and then a slight downslope all the way north to Firenze. 

Our only stop is at a mega Autogrill, the kind with the restaurant spanning over the 6 lane autostrade. While I wish I didn’t have to drive the whole time, it is a great way to see the country. In general, the driving etiquette has been pleasant. One law I really like is that you are not allowed to pass on the right, so slower cars are forced to stay in the right lanes.

At Firenze, we turn southwest towards Livorno on the FiLiPi highway. One of the coolest roadside sights I’ve seen is a shuttered Autogrill. It looks like it’s been abandoned since the 80s. It’s humble in size compared to the one we just stopped at, and sits alone in a field with knee high weeds pushing through the cracks of the parking lot. I’d love to shoot a commando style video there.

We pass through Livorno and down the coast, driving by the cliff side club where Jono and I played for Surfer Joe 2009 with Pollo Del Mar. Both sides of the narrow coast road are packed with scooters and tiny cars, making it single lane in places. The beaches, clubs, and rocky spaces under bridges are packed with sun worshippers. 

Cecina is about 45 minutes south of Livorno, where we turn left towards the coast. As we get closer to the coast, we drive through a huge forested area for camping, which dumps us out on the dirt beach road. The Spot 1 surfing school is at the very end, and I slowly make my way, trying not to run over teenagers playing cards in the middle of the road, dogs, wandering children and elders, lovers only paying attention to their others, and cars wedged sideways into too tight parking spots. And finally, an impenetrable wall of scooters.

Jono and Abe go to assess the situation, the club owner advice is "Deal with it." While we’re waiting we meeting a parking lot attendant named Pazouki from Ghana, and I ask for his story-- he’s been in Italy as a refugee for 18 months, and it still struggling with the language, but likes the people and is happy to be here. He doesn’t have much pull with the parking situation, but seems like a really nice guy. Luca Valdambrini pulls up in his PT Cruiser, bringing us an amp to use. He knows exactly what to do, and he and Jono start moving the scooters manually to the sides. With a wide enough path cleared, I can get the van passed.

The Spot 1 is a place where you can rent sailboats and water gear, surfboards, SUPs. There’s a piece of plywood to put the drums on, the amps sit on top of driftwood, and the rest of us will have our toes in the sand. We look straight out on the water, and as for the ladies bathing suit style, I can only say, more buns than a bakery! The snack bar has rolled out huge tatami mats and groups have their happy-hour cocktails and eats on the beach in front of us. We start playing around 7, two sets until 9, and are the soundtrack for a mellow beach party. 

This is a perfect last gig, a completely unique and memorable experience. But, I promise I won’t get philosophical, even though I’m really tempted. 

The drive back up to Livorno on the coast road was easier, slightly less traffic. The biggest difference is that the beach wear has been swapped for dance clothes as the kids return from their campgrounds for the nightlife. We stopped by the Navy Hotel to drop off our gear, and then went to the hub, the Surfer Joe Diner to return all the gear. There’s another huge event happening at the diner, and Monday night in Livorno is no less lively a week after the Festival. Jon and Abe had some mediocre pizza experiences so they went out to find the perfect slice as a proper send off. Us older three hung with Luca for a snack, and then walked back to the Navy.

The Pool Boys, July 1, 2018 Italy. The end of the road, the end of the tour.

Monday July 2. Goodbye

The first message I read this morning at 8:15 was from Jono, saying that Abraham and Jonathan were through security at Florence International and on their way. Jono is staying with his wife and daughter for another 5 weeks of travel around Europe.

Karen and I went with Lorenzo to return the van, then finished business with him at the diner, and talked about the future world domination of all things surf music. At 2, Lorenzo dropped Karen and I at the Livorno train station. We are headed south to Caserta to visit the Bradipos and then to Naples where we will fly home on Friday.

So ends the rock’n’roll portion of the trip. Thank you dear readers for following along!

-30-

I love Rocky Road

Saturday June 30, Scauri

Pretty much pack and go after a light breakfast of sweet rolls at the Agritourisma Casamia hotel. Let’s just say that we got our 25 euros worth from this place!

I hadn’t really looked at a map but assumed that we’d be taking highways to Scauri, but this was definitely not the case! It turned out be an intense three hours of driving in a southwest direction across the skinniest part of the Italian peninsula. It’s also where the biggest mountains are, separating the verdant Adriatic coast from the more arid Mediterranean side.

Our course was about 1/4 super highway, then some on separated two lane, and a big chunk of it was little more than paved cart path. We went over a mile long bridge near Lago di Bomba with a stunning view of the hillside town of Villa Sta. Maria, to a horse cart path in less than a couple kilometers. Our van barely squeezed through the barricades that prevented larger vehicles from taking the route. The weird thing is that I never saw other options for roads, the highway merely dumped us onto a curvaceous trail better suited for ox cart. Where did all the trucks go? From the town of Quadri on SS652 all the way to Castel di Sangro I was white knucklin’ it. I will never forget this drive.

We were ready for lunch and stopped in Venafro. The only thing we could find was a pizzaria which was fine. We walked around a little. A few weddings happening in town, you know this by a honking processional of cars flying white lace from the antenna. From Venafro, it was all downhill, with a brief ride on the A1, Italy’s major artery, and then back to a two lane road to the coast and Scauri.

Scauri is another beach town, weathered and bleached. It feels packed, pedestrians fill the sidewalks on the main drag and the beach promenade. Our hotel is the Aurora and the staff is really friendly. It’s a big and plain place, no rugs. It’s a family place with toddlers and grannies mingling and the floors can be divided into suites as needed.

While Jono dipped in the pool and Abraham dipped in the Mediterranean, Karen and I took a stroll around town. By the beach and the many beach clubs, the sunbathers are packing up. We turned inland and walked to the main road and found a grocery store and tried to get some healthy snacks. I’m really craving peanut butter and asparagus. The spread is easier to find, even if it’s Skippy.

It was only a 10 minute drive to the the Mary Rock club, just over a hill from Scauri and down a narrow dirt road. The restaurant overlooks a beautiful cove and beach where the umbrellas and chaise lounges are mostly empty at this time of day. The beach is rocky, with lots of sea glass (with a bar overhanging the water, you can imagine how many bottles get thrown over.) This part of the coastline faces due south, so we couldn’t see the sunset beyond the far hill of the cove to the west. We knew when the sun had gone down when the mosquitos came out.

We hang out to soak up the scenery until the Bradipos IV arrive after 7. They’re sharing our back line, so we all help load in. The load in is much longer than last night’s few feet. It’s a long skinny restaurant, and they clear out a few tables at the far end, near the stairs to the beach, as a stage. A good size PA is set up, though we never need them. Massi has brought his tattered but sweet Fender Vibrolux and a 1963 Jazzmaster for Jono, the best he’s ever sounded.

We share tables and food with the Bradipos, there’s a lot to catch up on. Karen and I will go to their hometown of Casserta in a few days so we mostly discuss plans. At 10:30 (or so, Italian style) they go on and play most of their new album. The songs are really great, and rock hard. (Watch this blog for a full review.) They close the set with two of my favorites, Amor e O’Bene and their classic version of Morricone’s "Titloli" from Fist Full of Dollars.

Around midnight (or so, Italian style) we get it rolling for an hour or so. The restaurant is full, and they’re active and enthusiastic listeners. Only one couple dares to dance. After the show, lots more chatting with the Bradipos and some locals, and we sold a few singles. We have been sold out of CDs for a few days- I thought the vinyl would be more popular than the CDs.

I want to give an appreciation to the amazing waitress at the Mary Rock. She worked 20 tables by herself from 7 til 1:30, then tore down the PA at the end of the night. She looked like a volleyball player, and did the whole shift in flip-flops. She kicked ass, and there’s no tipping in Italy.

Back to the Aurora by 2am, tomorrow will be another long driving day.