A couple of Singles hook up for a good time...

Satan’s Pilgrims 

The Way In To the Way Out / Solar Flare /  Journey To Eden

SP Records

This single revisits the soundscapes of the brilliant Psychsploitation album. The attitude in the production of that record was different from most Satan’s Pilgrims in that the sounds were more layered, with more production touches, while paying homage to a semi-generic (meaning bandless) brand of instrumentals you might hear in B-movie soundtracks. Clearly they have a love for this splinter genre, and this 3-song 7” is a delightful return. After listening to the vinyl a few times through, I pray that the Pilgrims will record another long player the Psychsploitation vein!

“The Way In To The Way Out” features a beautiful compact organ bed under rich guitars. It’s slow and steady, economical, but with just enough movement and lift to give it a peaking optimism.

“Solar Flare” spawns from Byrds jangle, with an miles long Echoplex repeat and Ichykoo Park flange flaring in and out. Ted Pilgrim,  known for being the consumate team player, really steps out on drums here. So many layers, all audible without mucking things up. This track is a psychedelic blast.

“Journey To Eden” creeps out on the “Slaughter on 10th Avenue” riff before taking you on a hallucinogenic ride to inner outer space. So many things going on here in two minutes– heaviness, shimmering melodies, intense organ, and the mind warping analog effects. Another superb piece of music.

Bloodshot Bill

Peeling / Shark Tank / Another Wave / Scattered Peaks

Hi-Tide Recordings

I never heard of Bloodshot Bill. He’s a one man rockabilly act from Canada, but clearly he has a woodie for surf music, especially the primordial low-fi variety. His songs can’t be called melodic, as the guitars work tightly with each other. What Bill does really well is mines the looseness of the teenage sound, the dawn of surf when Link Wray and Duane Eddy were an influential presence. Though this is a one man show, he really creates a, “recorded all at once,” band sound. He’s light on melody, but whacks at the heavy riffs, and has a great guitar tone. All the tracks sound great, and this slab really grew on me with repeated listens. A great find for Hi-Tide.

"Peeling" - A two note minimalist riff with guitars doubling in octaves, the overtones creating an accidental other-worldly sci-fi tone.

"Shark Tank" - A SoCal menace, a looseness, a lowlife turns into a romp stomp. The toms thud throughout and there’s some counterpoint in the guitars. Kinda reminiscent of Dick Dale when he wasn’t trem picking. 

"Another Wave" - The most surf song of this set, though still minimalist. Bloodshot Bill has a great feel for the surf drums. You can practically hear the tape melting from the overdriven recording. 

"Scattered Peaks"- Kind of a dirty stroll with the a Duane Eddy style lead over an acoustic rhythm guitar. Nasty stuff, like a knife-fight breaking out at the prom.

The 8th KFJC Battle of the Surf Bands

The 8th KFJC Battle of the Surf Bands

The Press Release:

History: During the golden age of surf music in Southern California, Los Angeles radio station KFWB held monthly dances for teens featuring local surf bands like The Chantays, The Surfaris, The Bel-Aires and hundreds more. These bands would become known as the fathers of the surf rock sound, recording hits like Wipe Out, Pipeline, Penetration, Mr. Moto and Miserlou. In 1963, Del-Fi Records releases an LP featuring the best bands from the KFWB Battle of the Surf Bands series.

Today: Bands continue to create and perform surf music and stations like Los Altos Hills' KFJC continue to play it. Though the station is known for it's eclectic playlist, KFJC has long been dedicated to instrumental surf music– many DJs regularly include surf cuts on their shows, and DJ Cousin Mary's show, "The Reverb Hour," runs weekly on Saturday nights at 8PM. 

On May 18, KFJC presents The Eighth KFJC Battle of the Surf Bands. In keeping with the tradition of the legendary Surf Battles of the early 60s, bands are given 10 minutes to present their best material and show, making for a fast paced and exciting 4 hour event.

The show went off without a hitch. The Art Boutiki in San Jose proved to be the perfect venue, and everything came together perfectly. Here's what I wrote after the show:

Some thoughts on the Surf Battle last night... 
First, the bands, who agreed to play for ten minutes in a stressful, no soundcheck situation. Who gave up a paying Saturday night gig to help support a radio station. Who waited in line to buy beer and food and didn't ask for backstage accoutrements. Who were eager and ready to get on stage as quickly as possible, and used the backline without swapping stuff, and then got offstage so the next band could get on. They showed each other respect in so many ways. Everyone stuck to the short set and they're the ones that made the show run on time.
Second, KFJC, who has supported eclectic music for 60 years, and surf music specifically in tangible ways- airplay, albums, show support, flying around the world to broadcast shows. Their crew set up the live video and audio feed. They, almost exclusively, promoted the show. Special thanks to Cousin Mary and GM Grawer for taking on these events (and they don't get paid either).
Art Boutiki was the best and most perfect venue for this event. The sound was fantastic, not to loud and well tuned due to Jason and Dominic behind the board. Thanks Dan Vado and your entire staff.
Thanks to Fred Lammers for the amazing poster!
My thanks to people who loaned equipment- Johnnie Hamilton for the bass amp, Mel Waldorf for the tanks and Showman head. Jeff Stretch Riedle for the cymbals and pedal. My right hand man for this event was Eric Ruel who showed up early and stayed late for the loading. And most of all, Karen Broder Dobronyi who ran the merch table, helped in countless ways, and keeps me honest.
And, most importantly, to all the fans, old and new, and especially all the kids (please form your own bands now!) You guys came and were so enthusiastic! You are keeping the music alive.

Singles Reviews May 2019

Singles Reviews 6/2019

El Zeb - Belgian guitarist Sebastian Fevry is backed by super-surf rhythm section of drummer Dusty Watson and bassist Sam Bolle. I guess I thought El Zeb would favor comparisons to Slacktone, but this is something entirely different. Kinda lo-fi and punkish, not the expansive pallette of chords and drama that Slacktone is.

"Lane Splitter" is psych-punk assault. The rising melody line reminds me of the Chocolate Watchband with a little bit of the Insect Surfers' tone. Sam’s bass is so thick he’s making up for the the lack of rhythm guitar. This is driving stuff, careening really, barely hugging the curves between berm and cliff on a treacherous stretch of coastal Route 1.

"Pounding Surf"- The real pounding here is by Dusty who’s beating the shit out of his drums. The chromatic melody isn’t that engaging, but it builds to a mystical conclusion that is most satisfying.

"Road to San Felipe"- tightly fingered Spanish melody with a Staccato rhythm guitar. I love when the two guitars come together at the end, one cascading, the other nudging counterpoint. Plenty of space to hear the reverb springs.

"Dad’s 65" is outright hot-rod, a constant snare tatoo and a simple chord structure. I love the dopplered sound effects.

I was surprised by the lo-fi nature of this album. It’s really direct and in your face.

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Soraia - “Still I Rise” 

I usually don’t listen to this kind of stuff, but this is a powerful pop single, with a great lead vocal, a positive message and a big, rock production. Plus, the band is great live.

“Still I Rise” -Live, the band has a garagey vibe, but producer Steven Van Zandt gave this recording an early 80s sound, and I have to admit to a weak spot for that. She has big pipes, and she really stretches them on the well written song.

The B-side is a cover of the New York Dolls “Trash.” Soraia did a good job with it, but you really shouldn’t touch songs like this, you’re never gonna beat the original.

Bandcamp

I’ll be honest, two years ago I didn’t know what Cumbia was, and then, everyones talking about it. I still don’t know if the word refers to the beat, or is a catch all phrase for a vibe. I’ve heard lots of different bands described as Cumbia, and they can sound really different- from pop vocal to instrumental psychedelic. My friend Jonathan joined this band Mariposas Del Alma just after they put out this single. I love it! "I Love You For All Seasons" was originally recorded by and a Top 10 hit for the R&B trio The Fuzz in 1970.This version retains the tight harmonies of the original but is set over a groovy Latin rhythm, with hints of a Sly Stone production. I love that they sing the first verse in English and the second in Spanish. It’s really groovy and this is definitely THE song of the summer 2019! For you instrumental lovers, the B-side has no vocal, just great vibes, though I wish they had done a bit of a dub remix with it. I look forward to more from this trio, they are going places!

Bandcamp

This Space Agency single came out in 2016. It’s immediately identifiable, as nobody else is doing what the Space Agency does. Their sound is led by a highly effected (though extremely vintage) guitar, over a psychedelic padding, and no one has the balls to mix the drums as low as the Space Agency. That just makes all the other layers much more audible. Somehow, Simon Jones' production gets a genuine out-of-phase mind warp that’s only possible with a two-track recorded with the head really out of alignment. If you like “Psychsploitation” era Satan’s Pilgrims, and want to go a little deeper, you must know about the Space Agency.

Bandcamp

The Wave Chargers made a huge impression on me at last summer’s Surfer Joe Festival. They are a really modern surf band. It's not that their tones are outrageous, they were really tight, and the rhythm section worked in mechanical way. And then there are those those piped polo shirts... The single is packed with four songs, the first two on side A are originals and have good movement in the structure and melodies. The WCs have good dynamic range, though they mostly function in “this one goes to 11” mode.

Side B mixes it up a little with some raw sax on a cover of “Crossfire” and a I-IV-V romp with “Les Cavaliers de l’Apocalypse sant des sufeurs” Did I mention that they are a French band?

Bandcamp

The Volcanics "Forgotten Cove" album review

A hundred years from now, connoisseurs won’t make a distinction in the eras of surf music, it will all be viewed as one big wave. From the early 60s through the troubled teenage years of the 2000s, surf music’s presence has waned and waxed, but clearly isn’t going away. Any generation can authentically channel the teenage mindset– a bit of wonder, a touch of innocence and a bunch of testosterone– through a tank reverb and a Fender amp, and let it rip. 

The Volcanics present themselves as men who haven’t forgotten the pimple years. The blue sweaters, the cartoon motifs and the insane volume that would have Mom yelling into the basement to turn that noise down. Out of their commitment, they find new music and especially melodies that seat their songs squarely between the classics of the genre. It’s like these songs were there all along, waiting to get written.

The Volcanics present their new album, Forgotten Cove, with all instrumentals. They are great singers, but to have truly unhyphenated surf music, it can’t have vocals. (And, it’s a personal thing, but while I find that reverbed instrumentals are still moving and relevant, as soon as I hear lyrics that ape the innocence of the sixties hot rod/girls scene, it sounds really dated.)

Forgotten Cove is focused on the band, and most songs sound like they are easily pulled off live. Just a few production touches here and there– sound effects, acoustic guitars that you probably won’t hear on stage. There’s a certain sexiness, a danceability, that sets The Volcanics apart. The songs retain simplicity, but also are original. Nods to standards are inevitable, but The Volcanics do not grovel before legends, they seem quite confident in their skills. 

Forgotten Cove is an album full of variety, a great set from a band that continues to grow and clearly is here for the long haul. 

My picks: “Sunset Rider”, “El Dorado”, “Panic Run”, “The Traveller”

Available from Double Crown Records and Hi-Tide Records

"Game of Thrones" theme done Spaghetti Western style

The final season of Game of Thrones has started. The title theme is outstanding, and immediately gripping, filled with drama and movement. The only problem is that its not a spaghetti western. So, Frankie and the Pool Boys have fixed that, and "released" our version. When I say released, I mean it's available for download from Bandcamp. If you like it, drop the 99 cents for the download :) Of course, you can also listen to a preview for free.

People don't leave a lot of comments, but if you think of a good Game of Thrones/Spaghetti Western mash-up title, please post it. I like "Once Upon A Time In The Westeros"

Game of Thrones Theme on Bandcamp

Shigeo Naka "Nippon Eleki Beat" liner notes

These are the unedited liner notes for the new Shigeo Naka CD, "Nippon Eleki Beat". The notes in the CD were edited to fit.

Hello Traveler, and welcome to Japan!

If you haven’t already met, I’d like to introduce you to Shigeo Naka, a contemporary guitarist with a strong love and affinity for the sounds of the early 60s. The music on this album is a nostalgic trip to an exciting time for baby boomer bands, when Japan exploded with creativity along with the rest of the planet.

Japan popularized the inexpensive compact AM radio, and the sounds of the world filled the ears of Japanese teenagers, who were quick to pick up the trends and assimilate them within their culture. Amongst the most popular styles playing on international airwaves were the surf and instrumental sounds– with no lyrics to cross the language barrier– coming from America Britain and beyond. Bands like The Ventures, The Shadows and The Spotniks gave birth to Eleki, with it's focus on strong melody and a hyped up guitar as the lead voice. This led musicians like Takeshi Terauchi, The Sharp Five, Yuzo Kayama (Japan’s answer to Elvis Presley) and many more to release records with a distinctly Japanese feel, that, unfortunately, were slow to leave the Japanese archipelago.

Shigeo Naka is much too young to have been around for the first wave of Eleki bands. As a young guitar prodigy, his tastes were wide and he immersed himself in all manner of rock. His big break came when he put together an instrumental group called The Surf Coasters, which went on to release 25 albums after making a popular debut on a Japanese Star Search style show. The Surf Coasters were met with critical and fan love, and have toured the world, with Naka as lead guitarist and songwriter. As a first call session guitarist, Shigeo showed his range backing hard rock as well as power pop artists. 

“Nippon Eleki Beat” is Shigeo Naka’s fourth solo album, and he returns to the sounds that first inspired him. With one original, the rest are covers of some of his favorite 60s songs done in the Eleki style. The opener “Karasu” (meaning “crow”) and  track 5, “Rainy Pavement” were originally moody vocals sung by the legendary Yuzo Kayama. Track 2 is The Sharp Five’s “Golden Guitar,” which has become one of the most recognizable Eleki songs around the world. Track 3, “Bombay Duck” is a bit more obscure, but has been covered by both The Shadows and The Ventures. “Furimuite Kyoto” is an original song by Naka, written for the kimono singer Madoka Ogino, and her vocal version is also included as a bonus track. (You will notice Miss Ogino as the cover model of this album.) Track 7 comes all the way from Sweden’s The Spotniks, who, together with The Shadows and The Ventures, are counted as one of the most famous instrumental bands of the 1960s. Track 7, “Blue Rainbow" was a vocal song originally recorded by legendary Japanese GS band The Blue Comets and was a hit in 1968.

As you enjoy your travels though the monumental cities and sweeping countrysides of Japan, let the music of Shigeo Naka be your soundtrack, calling forth an optimistic time of discovery and harmony.

–Ferenc Dobronyi January, 2019

1- Rainy Pavement - Yuzo Kayam vocal

2- Golden Guitar - Sharp Five

3- Bombay Duck - Shadows/Ventures

4-Furimuite Kyoto - Shigeo Naka

5- Karasu - Yuzo Kayam vocal

6- Blue Rainbow - The Blue Comets vocal

7- Jupiter Special - The Spotniks

8-Furimuite Kyoto Vocal - Shigeo Naka

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