91 Results for : drips
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Investing in DRIPs: Using Dividend Reinvestment Plans to Achieve Financial Freedom (The INCOME INVESTING FOR INDIVIDUALS Series)
Investing in DRIPs: Using Dividend Reinvestment Plans to Achieve Financial Freedom (The INCOME INVESTING FOR INDIVIDUALS Series): ab 4.49 €- Shop: ebook.de
- Price: 4.49 EUR excl. shipping
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The Brain Drips Yellow
The Brain Drips Yellow - An Invocation of Madness: ab 5.94 €- Shop: ebook.de
- Price: 5.94 EUR excl. shipping
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Chatelaine Saloon
Listen up, cowboy: Former leader of the band Taconite Haven. One solo CD, Chatelaine Saloon from 2004...there is a new recording rumblin' 'neath the floorboards at Underwood Studios. It'll creep out of the darkness in mid-2007. There may be some shows, but till then, it's just a late night rumor. The falcon has recorded and produced albums for Big Ditch Road, Martin Devaney, Bob McCreedy, Tom Feldmann, Hojas Rojas, Inwood Radio, House of Mercy Band and many more. The folowing is a review of the most recent record: Mark Thomas Stockert Chatelaine Saloon Eclectone Records (2004) I always tell people that if they're reading an album review and the writer goes on and on about the packaging, that's a pretty good sign that either he/she hasn't really given the release a proper listen or that they did and it was so bad, offensive, or just plain boring that the CD jacket was the only thing about it worth mentioning. In the case of Mark Stockert's latest, Chatelaine Saloon, neither of those options hold true. Yeah, the CD IS in one of the sweetest packages I've ever come across, either on an indie or a major release, a triple-gatefold with groovy, velvety material covering the outer skin, but for once a label (in this case, Martin Devaney's relatively new outfit, Eclectone) has actually put as much effort and TLC into an album's look as the artist did it's feel. And believe me, this record is chock fulla FEEL. Singer/songwriter/guitarist Stockert surrounded himself with a whole passel of expert musicians, vocalists, and fellow songcrafters for Chatelaine Saloon, an album that holds the rare distinction of containing music that's so timeless, so universal, so wholly AMERICAN, that, despite the fact that much of it is played on or through electric instruments, it could easily be stripped down to it's bare, acoustic essentials and make just as much of an emotional and psychic impact were it to be performed live at an 1874 frontier saloon, a Depression-era porch pickin' party, a backwater 1950's revivalist tent, or a hip modern folk club. Kicking off with the dreamy, rolling licks of 'Cowboy Song,' (Not a cover of the Thin Lizzy rocker, but astute pop music fans will notice that several of Stockert's song titles recall classic hits of the past, including 'He Don't Love You,' 'Oh Daddy,' 'Wild Thing,' and 'Hush,' but you can rest assured that the tunes on this album are all originals) a melancholy hopin' song with jagged guitar riffs and simple but drop-dead-gorgeous lines like, 'I wonder if I'll ever be married to a girl with bright, shiny eyes/And I wonder if I'll ever be married to sunshine and blue skies...' Stockert immediately establishes himself as both a musician and a wordsmith who's working the same dark, mysterious artistic soil as ex-Son Volt frontman Jay Farrar, Will Oldham, and Jayhawks co-founder Mark Olson. 'He Don't Love You' (yes, I keep wanting to add, '...like I love you, if he did, he wouldn't break your heart...' too, but that's NOT this song, dammit!) has a loping, cow-poke groove and features happy-blue honky-tonk piano and lines that reference that instrument as well: 'White Cadillac, long saloon/Drives you back from my mind too soon/But like a nine-fingered whorehouse honky-tonk piano player without a knack...he don't love you the way I do/But I won't love you if you don't want me to...' Stockert sometimes sings in a deep, lonely voice, sometimes in a tragic, near-whisper-though his utterances are always clear and concise-and on first listen, these songs seem almost too understated to grab you by either the heart or the balls. But take my word for it, after your second listen, you'll be hooked. 'Oh Daddy' oozes out on grainy slide guitar, weird bell sounds, and a dire banjo/guitar line, a hypnotic road trip song for some slightly off-kilter traveling salesman with scotch on his breath, a statue of Jesus, and (to paraphrase Jon Dee Graham) a small dark spot in his trunk that just won't go away. 'Light Me Up' unfolds over a minor electronic maelstrom and a half-drunk/half-holy chorus of partners-in-crime, then jumps the rails to morph into a catchy, keyboard-driven cow-pop nugget that'd sound equally at home between 'Dark End Of The Street' and Mark Eitzel's 'Fresh Screwdriver' on a mix CD. Superb songwriting, an easy-going, kinetic relationship between the players, and honest, no-bullshit production make this album a sure bet for a lot of local year-end Best Of 2004 lists-and recent positive reviews in such esteemed publications as No Depression hint that this whole project might be a lot bigger than either Stockert or Devaney could've hoped for. 'Chicky Boom,' my personal fave from this collection (and that's a tough call, because I really do like every song on here), kinda drips outta your speakers at first, like the last couple of reluctant drops from a morning-after bottle of whiskey, Stockert talk-singing the first lines in that weary, devil-may-care-but-I'm-not-sure-I-do-anymore tone of his. And just when you think you're gonna sink back down into the depths (not that you mind sinking, by this point) the tentative pickin', weeping steel guitar, and choppy drum beats coalesce into another beautiful, bibulous half-waltz and Stockert's voice picks up like Deputy Festus on the old Gunsmoke T.V. show after Miss Kitty'd pour him a closing time shot on the house: 'Chicky-chicky boom, yeah!' 'Devil' finds Stockert and his 'House Of Strange Sounds' players (a take-off on the handle of his pals, The House Of Mercy Band, the line-up includes Dave Downey, Jim Hauf, Dave Schultz, Jimmy Peterson, Peter J. Sands, Brian Fessler, Brian O'Neil, Eric Luoma, Steve Murray, Adam Wortman, Darin Wald, Alicia Corbett, and Kevin Pinck) trotting out a Creek Dippers-esque ramble about personal demons and searching for a place (inside?) where 'the devil's got no hold on you...' 'Wild Thing' features more stump-preacher banjo, strange, disembodied voices, and that rollicking honky-tonk piano. And it's got about as much in common musically with The Troggs' nugget by the same name as Ton Loc's wacky hit did. But then again, this record's not about '60s psychedelia, fuzzed out garage guitars, faux rap, lifted samples, fashion, or funky cold Medina. It's about capturing a FEEL, like I said before. And that's exactly what it does. Lots of feelings, to be accurate. Like Jessco, The Dancing Hillbilly and The Dashboard Saviors once said, it's about love, sorrow, hatred, madness ... and anything else that might be boiling just beneath that shiny surface you allow the rest of the world to see. You might not find any answers here (Stockert's clearly still searching himself), but if you're not touched by the raw humanity and the genuine passion running through Chatelaine Saloon, you probably never knew the questions in the first place. The final track, 'Hush,' moans it's way deep down into your ears with sad slide guitar, wispy acoustic pickin', and Stockert's cracked, broken voice summoning up the ghosts of Hank Williams, Nick Drake, and The Scud Mountain Boys simultaneously, literally putting the proverbial cherry on top of this batch of well-crafted, heartfelt, spiritual tracks. And although the album (or it's author and players) never can seem to make up it's/their mind(s) about whether this is a beer-soaked, bleary-eyed Saturday night drinkin' record or a 'damn-I-can't-believe-I-did-that-shit' Sunday morning confessional, by the time you've reached the end your soul makes that decision for you. The cool thing? It's different every time. Try it yourself- and whether you end up with the perfect soundtrack for creating future regrets or one to live them out with, there's no doubt you'll dig the music along the way. Available in all your finer local mom-n-pop record shops. Chicky Chicky Boom!!- Shop: odax
- Price: 25.46 EUR excl. shipping
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Cut the Body Loose
This is the debut CD by the St. Louis-based Funky Butt Brass Band. It's a broad mix of traditional New Orleans jazz, raucous Chicago blues, greasy funk, even a little twangy country and Southern rock. The band is made up of members of Gumbohead, The Feed, Musica Slesa and other veteran St. Louis groups. 'Cut The Body Loose' was engineered and mixed at Shock City Studios by Tony Esterly, and mastered by Brad Sarno. "Although a sousaphone and marching snare drum are part of the [Funky Butt] experience, the local sextet is well-versed in all things funk. It's razor-sharp horn section blasts out the sort of punchy stabs that have made thousands of white people dance to Tower of Power, while it's unhinged rhythm section recalls the greasy funk that drips from fingers and collects in the gutters of New Orleans." ~ The Riverfront Times "The CD is the total package, folks. Everything here is first class. [FBBB] proves that you don't have to be from, or living in, New Orleans to feel the funk." ~ STLBlues.net 'It's safe to say that The Funky Butt Brass Band uses the New Orleans brass tradition as a base and then builds off of it. 'If You Love Me Like You Say' is a heartfelt soul number in the Stax Records tradition, while the slide guitar gives a country & Western flair to the taxpayer's lament on 'Hey Yeah.' Each instrumentalist adds his own flair. Saxophonist Ben Reece comes off sounding like Tom Waits sideman Ralph Carney on the dirty blues of 'Gone Gone Blues,' while trumpeter Adam Hucke uses solos to test the upper octaves of the instrument. Special attention must also be paid to sousaphone player Matt Brinkmann, who supplies the band's rumbling bass lines. It's a reminder that funk can come from the unlikeliest places - even an unwieldy, oversized hunk of metal.' ~ The Riverfront Times.- Shop: odax
- Price: 39.69 EUR excl. shipping
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Testify!
Rocky Jackson - Testify! (High Life Records) Though a proud son of the Lone Star state that has produced an extraordinary number of blazing guitar slingers, Rocky Jackson goes to the heart of the blues where the seductive groove and emotional expression meet like "the Southern crossing the dog." On his new CD he digs into the deep mojo of the southwest as well as Chicago and the Delta, and the result is a rare treat for the body and soul. Of course, "T" for Texas also stands for "tone" and Jackson has it pouring out of his guitar like boiling molasses. Ernest W. "Rocky" Jackson III was born May 29, 1947 in Austin, Texas. Completely self-taught, he started playing bottleneck and lap steel in the sixties after seeing Hound Dog Taylor perform. Surprisingly, a move to L.A. in the seventies allowed him the chance to play more straight ahead blues on the active Southern California scene. From 1980-88 he was a member of the Magic Blues Band that backed many blues luminaries, including George "Harmonica" Smith, Paul Butterfield and Coco Montoya. He cut Blue Streak as a trio and following the recording of Squeeze Here in 2006, Jackson recruited the backing band for live performances. He opens his 13-song set of covers and originals with a dark version of Muddy Waters' "I Just Want to Make Love to You," making it a hypnotic incantation of raw carnality inflamed by his stinging lead licks. His original "Big Legs Don't Mean Fat" follows with a jaunty shuffle and wry lyric content that declaims, "Those fine long legs, man, is where it's at." "Voodoo Spell" gets all funky with a spooky guitar/bass unison lick contributed by guest bassist Hank Van Sickle that is driven forward by the fatback drumming of Eliot Witherspoon. Visiting primary roots, Jackson offers his creative take on the Robert Johnson classic "Stop Breakin' Down." With harmonicist Michael Fell filling and soloing on his "Mississippi saxophone," Jackson sings with controlled passion that perfectly complements his razor sharp slide accompaniment. A pilgrimage to the West Side of Chicago produces the minor key "Like Magic" that pays homage to Magic Sam. A musical spell is cast on the saucy, slow blues instrumental with Fell's warbling harp and Jackson's rhythm guitar before the leader opens up with a solo of uncompromising lyricism. "I Wanna Testify (About My Baby)" shuffles in with a swinging, finger-snapping bounce given buoyancy by bassist Joel T. Johnson as Jackson extols the virtues of his woman. As opposed to many of his contemporaries, he sings the blues with unforced authenticity that is totally convincing. John Lee "Sonny Boy" Williamson's "Early in the Morning" finds Jackson and Fell dueting like a modern day Buddy Guy and Junior Wells. Powered by a churning bass string riff, the tune subtly rocks as it sets a flexible foundation from which Jackson soars and Fell explores the upper range of his harmonica. Without breaking stride the band transitions smoothly into the epic, heavyweight slow blues of "Shoulda Never Left Texas" featuring an extended, smoldering intro and two devastating solos from Jackson. The centerpiece of the disk and a vocal and instrumental showcase, it is a jaw-dropper that will have aspiring blues guitarists scurrying to the woodshed. Jackson's voice drips with world-weary resignation as he defiantly responds to his "blues" by screaming and crying through his axe. "Chicken-Legged Woman" is a dynamic change of pace as Jackson overdubs two acoustic guitar parts, strutting his Dobro slide chops with unquestioned authority. Jimmy Reed's obscure tribute to Sonny Boy Williamson, "Don't Say Nothin'," has the band locking into the chugging boogie shuffle rhythm with conviction and power. Jackson then strikes a potent electric country blues stance on his "In the Doghouse Now" with appropriate imagery intensified by his guitar doubling the vocal hook. Keeping his set percolating "down in the alley," he next proffers a dead on, greasy version of Waters' classic "Long Distance Call" with nasty, snaky slide and a raw, shimmering harp solo from Fell. Apropos of a record that tells it like it is, the closing track, "L.A. to Austin" spins an autobiographical story that is both literal and symbolic of Jackson's return to his home state. Musically it is also his tribute to Hound Dog Taylor as he rips and runs on the electric slide with lusty abandon. B.B. King once said, "The blues are simple, anyone can play them, but would you want to hear anyone play them?" It should be added that it is not simple to come up with a recognizable signature sound and delivery, but Rocky Jackson is well on his way. Anyone who has caught his explosive live show or hears this record will certainly "testify" to that fact. Dave Rubin Staff Writer Guitar Edge Magazine.- Shop: odax
- Price: 22.88 EUR excl. shipping
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Homestyle
Thumbtack Smoothie -bring a helmet and a microscope- Fury unleashed digits whirling amid chunks of molten synthetics and the power of sound, thunder from the depths and the heights of a code unknown .Through pulsation's of noise removed from the twelve tone system haunting melodies mirroring relentless shadow boxers emerge. For true connoisseurs of experimental electronic music. This artist doesn't easily fit into your standard electronic categories. Group members - one Albums - thumbtack smoothie - electrickitchentableland (2001) thumbtack smoothie - math is hard (2002) thumbtack smoothie - homestyle (2003) thumbtack smoothie - fall back (2006) THUMBTACK SMOOTHIE (a.k.a. Carl Coletti) made the strange transformation from studio session/live drummer (with bands like The Walkers,The Neighborhoods, Ottmar Liebert and Luna Negra, the Jason Newsted-led Godswallop and Pancake Circus) to experimental electronic musician. His new album Fall Back (Quake Trap, 2006) reflects an artist reaching towards the peak of his extremely weird powers. 8 years ago, he was a drummer who stumbled upon the (then) Metallica Bass-player's portable sampler. Today he is easily one of San Francisco's boldest sonic alchemists. Naturally transferring his percussive knowledge to drum programming and sound manipulation Thumbtack Smoothie creates his densely layered tracks by loading his herd of samplers with insanely intricate sonic entities of his design and then plays the sampler pads real time improvising and responding to the overdubbed layers of sound as only a drummer of his caliber can. While tapping the sampler pads his waving hands disturb infrared light D-Beam controllers that change the parameters of the effects on his samples. This level of control shifts Thumbtack Smoothie into the territory of insane puppet master in complete command of his audio assault. This unorthodox style of track creation/performance unhinged from traditional production methods allows Thumbtack Smoothie's tracks to soar to places unexplored in the realm of experimental electronic music. Press - Some of you might be aware of Thumbtack Smoothie's deeply layered experimental electronic blanket's of sampled distortion and rugged beat-work on albums like 'Math is Hard' (Manic Obsessive, 2002) and 'ElectricKitchenTableLand' (Manic Obsessive, 2001). This year Thumbtack Smoothie released 'Homestyle' (Quake Trap, 2004) --also found in KUCI's RPM music library --where decomposed digital sounds interact with organically placed glitches, twitches, distorto beats and odd tweaks. It's an equation of electronics that twists and turns like mechanical insects lost in a frozen landscape in 2010. (Digital:: Nimbus experimental electronic radio KUCI 88.9 FM) Thumbtack Smoothie - Homestyle - CD - Quake Trap Quaketrap Recordings sent me these two highly experimental albums along with a compilation album to listen and immerse myself in their artist's auditory madness. The album Homestyle is the more bizarre of the two.What I found on this release may be music for individuals with a taste for oddly processed experimental electronic music that, according to the CD sleeve, was manipulated with infrared D-beam controllers. It's a 54-minute journey to a world you have never been to. A world that was uniquely created and belonging solely to the mind of the producer. Thumbtack Smoothie has given this world a tangible form in the likeness of a CD for people who desire to explore this realm but do not realize it yet. This is Thumbtack Smoothie's third release and it continues his science of melding drum & bass with eccentric sample material and fleeting appearances of I.D.M. as well as plenty of reverb, filtering, modulation and ring modulation. Notable tracks are: Never At Dusk, June Louder, Moondoggy, Sore Eye Soire, Scrunchie Misplacement Incident and Lil?? Dropper. ( Craig N. - Vital ) Thumbtack Smoothie - Homestyle - Quake Trap Something ruptured, something crude. San Francisco is imploding with a whole new sound. On his third full-length Thumbtack Smoothie's Homestyle has some in common with Amon Tobin, the rabid percussion is just left of center and the beats are ready to pounce at the quick. 'Clyde's Edge' certainly opens the package with an imploding whiff of absinthe. If you have ever played Pong on acid, this may be the sordid soundtrack. Something of a relentless blur. The Smoothie takes an amoeba-like sound, something edgy and organic, and struggles with it's silly putty edges, stretching it to the brink on tracks like 'Dodgeball Mentality' and 'Fragmentation Key' (which sounds like a two-parter, separated by a few tracks in between). He takes low-fi rhythms and hyphenates the backend, stunting the beats, roughing it up a bit. Where things take a synchronous turn is on 'June Louder' where added is a bit of piano, lain aside a big, bad post-rock wall of percussion. Things become much more interesting a few minutes into the track when a revving of game sounds start up a modulated drag race. Part Bi-God 20, the resemblance to early 90s industrial-goth is fragrant, but not exactly the point. ( TJ Norris - Igloo Magazine ) Math is Hard Thumbtack Smoothie (Manic Obsessive recordings) Who was it that said Collage was the art of the future? Some of the most interesting sounds that are being made today cannot be so easily be categorized. Those of you that know me know that I'm smiling right now, as I hate categorization. (If you don't know that by now, after reading this column, consider yourself forewarned.) Thumbtack Smoothie, who hails from San Francisco, does not have a problem mixing hip-hop, trance, electronic, trip-hop, drum n' bass and every other bit of noise that he can muster up, to create a sprawling, blippy psychotic trip through the ventricles that we call life. This CD explodes in your face. There is nothing neutral or relaxing here. It is what it is and there are no apologies for it. That's the beauty of this m?lange of sound that drips, bleeps, screams out of it's nerve endings that convulse sporadically like a nervous twitch in your arm. This is an experimental journey that takes you for a roller-coaster ride full of jolts and heaping mounds. You think you know the road ahead of you, only to end up doing a three sixty in reverse, followed by a screeching stop. This recording is meant to open the pores in your body that need a deep cleansing. Awaken your senses. Wake up people. I really dug the trip hoppy sounds of 'Sea From Grain', with buzz saws going off in the background. One of my favorite cuts is 'Still in a Cloud'. There's this sample that repeats like a floating string section and over the top, you can hear a muffled voice saying,'boring, boring, boring.' This recording is anything but boring. This is experimental music of the highest order. Available through cdbaby.com.(Midwest Ursine 'On The Turntable' May 2002 ) THUMBTACK SMOOTHIE: math is hard 'Thumbtack Smoothie's music looks at me naked and then takes my skin off and wears it - still dripping - traipsing around the kitchen singing in some alien tongue.'(Micro Vard - Club D'elf) THUMBTACK SMOOTHIE: math is hard Frenzied and frantic, the level of intensity on this CD is as abstract, yet exact as that description. For true connoisseurs of experimental electronic music. This one doesn't easily fit into your standard electronic categories. (CD Baby - editors picks May 2002) THUMBTACK SMOOTHIE: Math Is Hard (Manic Obsessive Recordings) Thumbtack Smoothie is a relatively new artist from Northern California who produces delicately crafted yet dark ambient electronics. (digital:: nimbus experimental electronic radio KUCI 88.9 fm) THUMBTACK SMOOTHIE - Math Is Hard (Quake Trap) Thumbtack is one of those vigilante types playing by his own set of rules.originally the drummer for Pancake Circus, Thumbtack branched out a few years back and began encoding the results of his own sophisticated programming -(of which, Math Is Hard is his second release). The r- Shop: odax
- Price: 22.11 EUR excl. shipping
