sábado, 31 de agosto de 2019

Sweetkiss Momma - Rock (USA)


SweetKiss Momma comes from the area of ​​Seatle in the north of the USA and also sounds on their third release as The Allman Brothers and Lynyrd Skynyrd. The American band SweetKiss Momma (from Puyallup, USA) debuted 2010 with the album Revival Rock, followed by A Reckoning Is Coming in 2014. The band has had several band members, but front man Jeff Hamel has been the constant factor for all those years. The current line-up is, besides Hamel, the brothers Jeff and Troy Moss on guitar and vocals, bass player Kevin Dale and drummer Zach Cooper.

On the ep are five songs in the best tradition of Southern Rock, comparable to Lynyrd Skynyrd and The Allman Brothers, but also to the Australian Southern Rock band Dirty York. Sturdy guitars, raw vocals and songs that dip into the blues, rock and country. What You’ve Got rattles the boxes with a sharp guitar and punish rhythm. Hot Mess and Rockwell are even firmer and glow and growl. What I Like About You is a cover of the American rock band The Romantics. It is, certainly compared to the original, a lazy and heavy Southern Rock version, where the riff in the song is very similar to Slave from The Rolling Stones of the album Tattoo You. Like You Mean It is a bit quieter compared to the first three songs, but has a pleasantly honking sax (think Bobby Keys in Can't You Hear Me Knocking of the Stones).

Bass – Kevin Dale
Drums – Zach Cooper
Guitar, Vocals – Jeff Moss, Troy Moss
Vocals, Guitar, Harmonica – Jeff Hamel



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More Rock


quarta-feira, 28 de agosto de 2019

Frank Zappa History - It`s ALL one album - Chapter XXXIV


As little as he may look like the straight world’s concept of “best musician of the world,” and as freaky an image as he and the Mothers of Invention may have, Frank Zappa has done much to influence and guide pop music throughout the world.

Besides introducing a sense of musical anarchy long before it was popular (and now being copied by other bands), Zappa was also among the first to produce a rock album as if it were a single piece of music. (“Freak Out” was no “Sgt. Pepper,” but it definitely was an inspiration to the Beatles, among others.) Utilizing what he calls “visual aids” and creating a vast complex of musical style and technique (based on everyone from the Penguins to Edgar Varese), Zappa has a firm idea about where pop music is at — however pretentious that appraisal may sound. He also has notions about where our ailing society is at; his satiric lyrics are unparalleled.


Zappa quickly discounts anyone who calls him genius, but it must go unchallenged that he and his ideas are important not only for pop music but for all music, not only for the rock world but for all the world. It is as Spencer Dryden, drummer for the Jefferson Airplane, says: “If we have to have a spokesman for what is going on today, musically and every other way, Frank Zappa gets my vote.”

When musician Frank Vincent Zappa (1940-1993) was diagnosed with prostate cancer in 1990, he said, "What can you do? People get sick. Sometimes they can fix it, and sometimes they can’t." He shelved his plans to enter the 1992 presidential race, but with his satirical irreverence, what a campaign it would have been!

"Politics is the entertainment branch of industry," Zappa once observed.

An outspoken advocate of creative freedom and First Amendment Rights, he once explained his political views: "There is nothing creative about a right-wing administration." Left-wingers, he believed, "are no better, using artists and creative people as propaganda to further their goals." His solution? "I think common sense is the way to go."


"Music, in performance, is a type of sculpture. The air in the performance is sculpted into something," said Zappa who experimented, wrote surrealist lyrics, and offered loud music and dizzy light shows.

"My work is art," he said, pressing the limits of creativity and greatly admired for his vigilante outrageousness. His music won commercial and critical success.

"Never stop until your good becomes better, and your better becomes the best," he advised.

Zappa, the deviant, never drank and abstained from drugs, but chain-smoked cigarettes and drank coffee incessantly. He recorded about 60 albums and in July 1994 the International Astronomical Union eulogized him by naming a Czech-discovered asteroid “Zappafrank.”


And here is the Music!!!

The Synclavier System was an early synthesizer and sampler, manufactured by New England Digital. First released in 1975, it proved to be highly influential among both music producers and electronic musicians, due to its versatility, its cutting-edge technology and distinctive sound.
Frank Zappa - composed his 1986 Grammy-winning album Jazz From Hell and recorded the works of Francesco Zappa in 1984 entirely on Synclavier. Also, the posthumous two-hour Civilization, Phaze III was allegedly around 70% Synclavier-made.
Here is a compilation fo many works with Synclavier:

(1991) Synclavier Works - S&C


Talking about the Synclavier



This was a radio station promo for the FZ approved re-issue catalog. All tracks are the original versions (the versions that were first released); Tracks 1, 3, 5, 8, 10, 14 & 18 (all tracks with titles that end with "...") are short interview excerpts from a WBAI Zappa tribute which aired January 22, 1994. The cover has the "my pumpkin" picture from Absolutely Free, and the CD and under-the-tray insert have the smoking-and-playing picture from the back of the Guitar CD booklet.

(1995) Kill Ugly Radio Some More


This was a radio station promo to promote the new Strictly Commercial compilation. All tracks are the original (first released) versions, except 3 & 19, from Strictly Commercial, 20 from Stage #3, and 23 from Stage #6; Tracks 1, 5, 9, 12, 15, 18 & 21 (all tracks with titles that end with "...") are short excerpts from an interview conducted by Ben Manilla for WLIR-FM. The exact interview is presently unknown. The cover has the "my pumpkin" picture from Absolutely Free, and the CD and under-the-tray insert have the smoking-and-playing picture from the back of the Guitar CD booklet.


(2001) The Sheik's Rehearsals



Tracks 1-10 & 13 are rehearsals from Culver City 16-Aug-1978. Tracks 11-13 live in Neunkirchen am Brand 25-feb-1978. And note that nothing on this bootleg is actually recording sessions nor rehearsals for Sheik Yerbouti. The rehearsals are for the tour after the "SY tour".




Recorded at the 1968 Schaefer Music Festival held at the Wollman Skating Rink in New York City's Central Park. Frank Zappa's original lineup of the mothers of invention boasts a relatively sparse catalogue of decent to great sounding live bootlegs, but unfortunately vinyl releases of these shows (besides common releases like "Tis the season", "the ark" and the somewhat-recent B13 reissue of the artisan acetate) is limited to either rare or collectors-only type releases that go for ridiculously high prices that would limit them to only the most devoted of Zappa fans and record collectors. This double LP of the Wollman rink performance is the first original mothers release i've seen that appears to be targeted at casual bootleg collectors, as well as devoted fans, and it's pretty great, despite a few flaws. 





Frank Zappa’s first orchestral-only edit of the music sessions recorded at Capitol Studios during 1967. This self-described “ballet” was never officially issued until 2008 on the posthumous collection Lumpy Money. Here it makes its debut on limited edition 45rpm burgundy vinyl with FZ’s original album design. Mastered directly from the reel-to-reel analog tape master by Chris Bellman at Bernie Grundman Mastering in 2017.


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The best of Frank Zappa in Valvulado

domingo, 25 de agosto de 2019

Frank Zappa History - Anything, Anytime, Anywhere - Chapter XXXIII


Zappa has referred to his output as one big project, being held together by a conceptual continuity. This motto was more an attitude towards music than something you might call a development of a Zappa style: anything was allowed. Another slogan he liked to use was "AAAFRNA": anything, anytime, anywhere for no reason at all. This study contains over 400 note examples, showing a huge variety in every aspect: meters, rhythms, styles, instrumentation. About anything is coming by in such a creative manner that many consider Zappa a genius.

This following review has been looking at the musical component of Zappa's output through note examples, trying to find out what some of its characteristics are. Examples in this study all across Zappa's career have dealt with the following topics https://www.zappa-analysis.com/conclusion.htm )



SCALES 
- Zappa uses all types of scales. He applies the normal major and minor scales, as well as their modal variants and occasionally the pentatonic scale or a self-created one. He allows all kinds of chromatic passages. The Burnt weeny sandwich section gives an overview.
- In various compositions the scales are changing rapidly ("Sleep dirt", "Punky's whips").
- The tonal structure ranges between easy continuingly repeated progressions ("Cheap thrills") and completely atonal music ("Mo 'n Herbs vacation"). 

CHORDS 
- For his melodies he uses the regular 5th and 7th chords as well as larger unusual ones like 11th chords. The Zoot allures section gives a short overview. Some examples of conventional chord progressions are "You're probably wondering why I'm here", "Cheap thrills" and "Doreen". Progressions via larger chords are for instance "It must be a camel", "Duck duck goose" and "Five-five-FIVE".
- The same applies for chords formed by melodic lines. "Put a motor in yourself" is an example of a piece where strings of notes form enlarged chords. The opening of "Why Johnny can't read" represents a 13th chord in the form of an arpeggio.
- Some examples of harmonic fields are given, where Zappa is mingling as good as all notes of a scale ("9/8 Objects", "The mammy nuns", first bar of "Uncle Meat"). Such examples resume Zappa's attitude to harmony: I can do whatever I want without any restriction.
- Examples of atonal chords can for instance be found in the "Mo 'n Herbs vacation", "The perfect stranger" and "Sinister footwear I" examples. 


METERS 
- Apart from the standard 3/4 and 4/4 meter, Zappa uses a wide variety of odd meters. They range between 7/8 in "The legend of the golden arches" and very uncommon ones like 33/32 in "Punky's whips". The Roxy section gives an overview.
- His use of meters can be either stable throughout a song, changing every now and then, or changing frequently.
- The Ludwig study, chapter 4.1, gives some examples of how Zappa uses meters as an element to give structure to a song (not included in this study).
- The Roxy section lists some examples of simultaneously using two meters. 

RHYTHM 
- A desire for rhythmic variation is very persistent in his music. The Roxy section gives some general outlines.
- Part of his music follows normal rhythmic patterns. Another part demonstrates complicated syncopic figures within a meter ("Another whole melodic section", "Down in the dew").
- Some of his compositions are full of irregular groupings. "The black page" has become his best known effort in this area.
- Zappa himself described his rhythms as speech influenced. "The ugliest part of your body" (bars 13-16) and "Wild love" are two of the examples in this study. 


STRUCTURES 
- Part of his output contains the standard pop-music thematic structure in the form of a two or three time alternation with a solo in between.
- There are examples of songs that have a scent of classicism (see the orchestral favorites section).
- Some of his songs contain a multitude of themes ("Brown shoes don't make it", "Bwana dick").
- Part of his output is through-composed.
- The variety in structures can be demonstrated via the list at the end of the One size fits all section. 

GUITAR SOLOS 
- The guitar solos constitute a body of work by themselves. Other than his written compositions the solos are more forming a stylistical unit.
- In some cases Zappa used a transcribed solo as the basis for a composition ("While you were art II", "Sinister footwear III").
- For his guitar solos, contrary to his other compositions, he likes to keep using the notes of one scale, of which the keynote is given by the accompaniment. His solos are mostly in Dorian, Lydian and Mixolydian.
- He likes to play over two alternating chords, pedal notes and vamps. Solos over chord progressions are less frequent.
- His preferred meter for soloing is 4/4, though uncommon ones as the 9/8 and 12/8 alternation in "Trance-fusion" happen too. 


STYLE AND SOUND 
- The variety in styles and sound in Zappa's music is flabbergasting. He wrote for smaller and bigger rock groups and jazz ensembles, chamber orchestras and larger orchestras. The same composition could be arranged for any of these categories.
- Zappa's styles cover as good as all regular styles from the 20th century, ranging between jazz, main stream pop and unconventional rock music, as well as between tonal and atonal chamber music and orchestral works. Some styles are used frequently, others only touched upon, as tangos, disco and rap. 

A FEW TENDENCIES 
Some preferences in his music have been commented on: 
- A lot of his music is based upon the single melodic line. In pieces as "Uncle meat", "King Kong" and "The black page" the lead melody is written out in detail. The chords to be used are indicated by their symbols and the bass is indicated via pedal notes. These harmonies and bass could be filled in in a different way for every tour anew. 
- He doesn't apply a lot of counterpoint. 
- He likes sudden changes. 
- He prefers music on an emotionally abstract level, meaning not less emotional than other kinds, but difficult to translate into words. 
- The instrumentation is functional for playing the notes of the music. 
- Zappa uses different combinations of amplified and acoustical instruments. 


Hardly any rules apply to his music and the preferences just mentioned have their exceptions: 
- There are sections with an explicit role for chord progressions. They can be using regular chords as well as ignoring traditional harmony. 
- Various examples have been given of different types of counterpoint. 
- Some of his songs can be clearly emotionally identified. 

CONCEPTUAL CONTINUITY - AAAFNRAA 
So the picture we get is a very rich one, making it impossible to say what's typically Zappa. It is true that melodies that are rhythmically and harmonically irregular have the effect of sounding Zappa-esque, but in Zappa's music this can go into all directions without losing coherence and it doesn't apply to all of his music. He refused to let any stylistic or technical boundaries play a role in his music, thus bringing together the different directions music has been taking in the last decades. Apparently this was a natural process for him ( Zappa himself talked about a "conceptual continuity"). The early theme from "Run home, slow" of 1963 for instance already shows the combining of modern harmony with a jazz styled rhythm. It's not to say he has done everything: he has for instance never applied the classical sonata form with various movements. His conceptual continuity is not a musical style, but an attitude like another famous expression of his: anything, anytime, anywhere for no reason at all (AAAFNRAA). 


This study doesn't lead to big conclusions or grand theses that position Zappa's oeuvre in music history. One may see this as superficial or a lack of insight, but that's really the outcome that keeps coming back whether I had transcribed 30 or 300 examples. If I was to postulate a thesis, it would be: any thesis about Zappa's music in general is doomed to fail.

Another statement would be that Zappa belongs to the big guys in music history, otherwise I wouldn't be spending so much time on it. Musical analysis in the last resort however cannot serve as proof for the quality of music. It can only comment on someone's technical capacities and from this study can be concluded that Zappa's technical abilities are high. Quality also comprehends the creativity and uniqueness by which someone is applying his technical components. That is more a matter of common opinion among music lovers, that takes some time to crystallize. I have the impression that Zappa's doing okay in this process. 


COMPARISONS AND INFLUENCES 
In recent musicological studies and academic studies in general one is expected to come up with theses and theories. Just investigating and describing, as Ludwig did, doesn't seem to be enough anymore. Combined with the obligation of investigators working at universities to publish material, one might ask if things haven't been pushed too far. What seemed to be a good idea at first, this pressure has also led to feeble theories, biased presentations of facts and even fraud.
This study is of the old-fashioned descriptive kind, looking unacademic for its lack of associations with other composers, theories, movements etc. The reason for this is not that this couldn't be done, but because the outcome of this study is that Zappa didn't belong to a school, nor did he develop a particular style. His music is eclectic for its influences and unpredictable as it comes to adding new ingredients. The size of this study, being 1,000 pages, could easily be blown up to 10,000 pages by adding comparisons. Just to suggest a number of connections:
- Bach: ongoing variations of motifs (like Bach, preludes 1 and 2 from the well-tempered clavier book I, and Zappa, Marque-Son's chicken).
- Mozart, Beethoven: classicism (sonata-like constructions, variations of themes).
- Wagner: shifting through scales and chromatic passages, as well as through-composed music.
- Debussy: love of non-tradional chords within a diatonic environment and non-conventional means of structuring compositions.
- Stravinsky: love of changing meters and odd meters.
- Varèse: free atonality and instrumentation, in particular the importance of percussion sections.
- Duke Ellington and many more: arranging music for jazz ensembles.
- George Russell and his Lydian chromatic concept: see the left menu of this study, this one has been worked out.
- Johnny Guitar Watson and many fifties artists: interest in blues and doo-wop.
- The Beatles, Abba, Fleetwood Mac and many more: interest in mainstream pop music.
- Jimi Hendrix: soloing over vamps, as Hendrix did on the Band of gypsies.
- The Rolling Stones and many more: interest in rock and riffs.
I've largely refrained from doing this. It's unlimited. Anyone can decide for him- or herself if such comparisons are illuminating. If Zappa did belong to schools and when he did participate in movements, positioning him in a musicological-historical context via comparisons would make sense. If not, then unpolitely said it could also be called quasi-intellectual filler material. Apart from that it's not decisive. Bottom line is that composers aren't famous for their influences, it's based upon the merits of the music itself.


Let`s have some MUSIC!!!






Crush All Boxes was the name of an album that Zappa planned to release in late 1980, but Zappa decided not to release it after he had played it on the radio and it had been bootlegged. The songs were released later, on Frank Zappa - Tinsel Town Rebellion and Frank Zappa - You Are What You Is, but in different mixes. The cover was used for Tinsel-Town Rebellion; the old title is still vaguely visible.





Chalk Pie was the name of a live album planned for release in 1982. The track list was:

    1. Drowning Witch
    2. Envelopes
    3. Teen-Age Prostitute

    4. The Dangerous Kitchen
    5. Chalk Pie
    6. We're Turning Again
    7. Alien Orifice

    8. The Jazz Discharge Party Hats
    9. "The Torture Never Stops" guitar solo (title unknown)
    10. What's New in Baltimore?
    11. Moggio

    12. "The Black Page #2" guitar solo (title unknown)
    13. Clownz on Velvet
    14. Frogs with Dirty Little Lips


* Santa Monica 1981 musicians: Frank Zappa, Ray White, Steve Vai, Tommy Mars, Bobby Martin, Ed Mann, Scott Thunes, Chad Wackerman, Lisa Popeil and Nicholas Slonimsky
    * Munich 1979 musicians: Frank Zappa, Denny Walley, Ike Willis, Tommy Mars, Peter Wolf, Vinnie Colaiuta, Ed Mann, Arthur Barrow and Warren Cuccurullo




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