7 days ago
Nice ride Emilio! That's what I have in mind. But at the moment... "It's Fall Time!"
7 days ago
Cruising is still great at almost 48!
7 days ago
Hey Ted, if you bring your board to Livorno, I'll bring mine too!
6 days ago
working on my radio show for monday and my spell check keeps changing bambi molesters to bamboo molesters
6 days ago
Now that's funny!!!
6 days ago
just turned the big 3-0 and still cruisin as well
6 days ago
I still skateboard a little at 35...
5 days ago
my hubbie and i are both 62 and just spent 5 weeks cruising around idaho/montana/utah snowboarding. we boarded 30 days out of 34. woot!
5 days ago
mom_surfing--just caught your show! pretty good! waiting for next week!
3 days ago
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Double Naught Spy Car is releasing a new CD, "Western Violence," on October 16. Our CD release party is at Villains Tavern in downtown Los Angeles on Saturday afternoon October 13, with special guest Ben Vaughn. You can check it out on our CD Baby page. It's our first CD in several years, with our usual mashup of surf noir spaghetti middle eastern Bollywood funk prog rock twang guitar. Check it out, and let us know what you think!
Below is our press release/bio if you're not familiar with the band. Hope you dig the music!
Double Naught Spy Car is a mysterious band. No vocals, but the music sings.
“Western Violence,” their new CD, is a sweet, snarling, sardonic mashup homage sendup of Bollywood, stratocaster surf, Monkish jazz, Tiki lounge exotica, prog rock, and funk. Morass? No—these tracks are laser sharp and all intent, with virtuoso skills and advanced ideas that pull you into Spy Car's deepest forays into noise and beauty.
Who are these guys?
“Double Naught Spy Car rocks, socks, rolls, and sizzles. This is a swinging, raunchy, bluesy, throaty, growling band. Double Naught Spy Car rules. Woof.”
– James Ellroy, crime novelist
If you're from L.A.'s Echo Park/Silverlake musical scene spawned at Spaceland in the 1990s, you know Double Naught Spy Car well. On the scene since 1995, Spy Car has a legacy of sweat drenched epic shows with every band that counted, from House of Blues to Knitting Factory and Largo residencies to Al's Bar. They've backed up James Ellroy, Stan Ridgway, Moris Tepper, Stew, and a long parade of singer/songwriters, and stumbled into the legit modern classical world with the American Composer's Forum. They've play surf and new music festivals, new music festivals, were house band for Circus Sirius, shared stages with Pere Ubu, Banyan, David Lindley, and Jonathan Richman, collaborated with ex-Zappa and Beefheart alumni. If it's fringe or bold, with a palm tree in the background, Double Naught Spy Car has been there.
“DNSC combines dead-on noir flavor with a modern perspective that's bothbrutal and poetic. Many noveau-instrumental combos excel at retro vibe, but few mix the past and present so convincingly.”
– Joe Gore, Guitar Player Magazine
But who are these guys?
Drummer/percussionist Joe Berardi co-founded The Fibonaccis and Non Credo, has recorded/toured with Stan Ridgway, Robert Fripp, Rufus Wainwright, Donovan, Lydia Lunch, Nels Cline, James Black and The Whites, Frank Black, and Kid Congo Powers.
Bassist Marc Doten has recorded with or produced Shelby Lynne, Josie Cotton, Taj Mahal, Dave Alvin, John Doe, Poncho Sanchez, Marcy Levy, David Hidalgo, and forged the sound of Tony winning play Passing Strange, with Stew and Heidi Rodewald.
Guitarist/steel guitarist Paul Lacques launched alt country I See Hawks In L.A., world beat The Bonedaddys, polkameisters Rotondi, and has recorded or written with Bo Diddley, Polka Freakout (Grammy nominated), Peter Case, Davey Allan, Tony Gilkyson, Stew, and Eddy Mitchell, scored indie films and theater pieces, including his own award winning plays.
Guitarist Marcus Watkins has recorded/toured with Nina Hagen, 311, The Dust Brothers, Johnny Halliday, Stew, Moris Tepper, Flea, the Blue Hawaiians, Josie Cotton, Florent Pagney, and Geza X, and leads his gypsy jazz band The Bastards of Belleville.
“You guys blew my mind. It's so great to see somebody do something original.”
-- Paul Williams (the Paul Williams)
“Western Violence” represents a steady music evolution that began with first CD “Comb In Blue Water,” a reverb and twang drenched retro-with-dissonance album. Glowing reviews followed, and tracks appeared on many TV and film soundtracks. Songs like “janmichaelvincentrehab.com,” “Cake Left Out In The Rain,” and a riveting cover of Duke Ellington's “The Mooche” caught the ear of self proclaimed “demon dog of American crime fiction” James Ellroy, who collaborated with Spy Car for electrifying live readings in Los Angeles.
“The cream of the crop.” – Natalie Nichols, Los Angeles Times
“Danger High,” recorded by Steven Rhodes, stretched the genre boundaries of Double Naught Spy Car, with tracks like “Macedonia 6-5000,” “Naked Lurch,” and “Crosseyed San Paku” influenced by collaborations with Middle Eastern/gypsy musicians from the Aman Folk Ensemble. Again, tracks from the album landed in many TV and film soundtracks, and led to several scoring gigs, including “Fools Gold,” an indie feature starring Camryn Mannheim, and scoring two History Channel documentaries.
“Western Violence” goes a bit further with tweaked processed sounds and elements of hard rock and metal. Like all Spy Car recordings, this is real time, recorded live with minimal overdubs. Mixed by long time collaborator Paul Dugre (Los Lobos, Weezer, The Weirdos, X, Bad Religion), this is Double Naught Spy Car's most muscular and, dare we say, pop venture yet.
“Western Violence” hits the airwaves on October 16, with a CD release party at Villains Tavern in the Arts District of downtown Los Angeles on Saturday afternoon, October 13.
A brief Northern California tour is scheduled for November, and in February 2013 Double Naught Spy Car will do a series of shows with Stew in New York and East Coast cities. A Spy Car studio project backing up Mr. Smolin on his upcoming CD has just been completed. “Stewcar,” a collection of songs improvised on the spot by Stew and Double Naught Spy Car in three marathon sessions, with a grant from the American Composers Forum, will be released later in 2013.
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