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An EP release from The Sea-Jays delivers a soiree of surf rock color and approach with such addictive and warm textures that somehow can give off moods and as the record unfolds you start to become more and more attached to the overall atmosphere that the record puts out there because it's addicting and feels amazing to listen to honestly.
The A Touch Of Terror EP has some incredible performances by all parts. The surf rock element is so strong here but it also brings in those classic jazz and rock elements in the mix while remaining cinematic as well.
Just as you might expect, the guitar work is astounding throughout this whole record. There are tons of great performances but there are also a slew of musical hooks that stick around in your brain for hours or even days after the songs have ended, and the only way to really satiate that is to go back and listen to this record all over again.
This is indeed the kind of EP that you listen to from beginning to end. The songs have ways of telling stories or interconnecting with each other and it feels like it's a concept album.
I love this aspect about it because you can kind of feel the vibes each song gives off and if you listen to the whole thing. This record pulls you away from wherever you are and whatever you're doing and it puts you in this other kind of mysterious and colorful world for a little bit.
There is that noir film aspect going on throughout this record. That whole aesthetic kind of floats around to the atmosphere and ethers of the songs.
Now, the performances from all aspects of this record were incredible. You can tell that these guys have a real love for their craft and that love is for writing songs together and putting them out into the world. All the drum performances and percussion are amazing. They really added the drive but also had a lot to do with the aesthetic and the feel of these tracks and how they came across. Whether they were going to be a little bit more intense or laid back.
This record seems to actually have two drummers, (Dave Klein & Matt Laug) involved along with the bassist (Sam Bolle) and guitarist (Corky James) who all come together to put something special out.
Of course, tons of great effects add to the surfness of this record. A lot of the guitars have that classic tremolo or reverb that has more of a twang and builds on that vibe even more but again, all elements of this come together perfectly.
There's something about this record that almost feels like it was recorded live on the floor to an extent. It feels almost like everyone involved was feeding off of each other's energies the whole time giving this record a kind of live performance vibe.
It was a gorgeous record that had so many layers of textures that came with it and it does indeed put out this aesthetic that you end up getting engulfed in. It feels great to get engulfed in it though.
Not only would I suggest listening to this album in full, but also doing it with headphones on because it's one of the best ways to soak it all in.
Again, some great layers and textures going on and it's quite an experience to listen to the whole thing with headphones on so you can catch all of that the way it was meant to be caught.
Take a deep dive into this record as soon as you can and remember where you heard it first. - BUZZ SLAYERS
https://www.buzzslayers.com/post/a-cinematic-surf-rock-ep-from-the-sea-jays
"SUN, SAND, SURF & SIDEWALLS" Third Edition
By Tom Tourville
"This is an interesting way to view the history of surf and hot-rod music: through autographs of bands and solo artists that made all the records that we've loved over the years. Not just autographs, either, but a ton of interesting graphics from photographs to record labels to concert posters. One of the adjacent benefits this book provides is a way to confirm the authenticity of any autographs in the book that the reader may already have on record labels, LP jackets, photographs, etc."
THE M-SQUAD Hollywood Soundtrack Quintet
"Live On the Sunset Strip! "
Celebrating 60 Years (1959—2019) of the Greatest Jazz TV and Film soundtracks!
This came out last November, but deserves some ink, here. I am not affiliated with the band, in any way. I recently got this CD, and was totally blown away. If you like spy, crime jazz, soundtrack music, this is as good as it gets. Every performance is a gem. It's a phenomenal selection of songs, played with absolute conviction and authenticity. Mike Vernon's stellar band is top-notch, in every way.
You can purchase the CD from band member Nelson Bragg at: steelderrickmusic.com.
Here's a couple of quotes:
Jonny Whiteside (writer for the L.A. Weekly)
"THE M SQUAD! It's a very special album release set from these 'crime jazz' specialists, a most formidable mob of deep skill and smoldering capabilities whose marvelously atmospheric song selection, exquisite execution and all around hardboiled mysterioso noir appeal is unrivalled. Led by the ferociously gifted Texas guitar slinger Burnin’ Mike Vernon, these malefactors churn out a gloriously rendered combination of technical perfection, soulful involvement and well chilled, reliably lethal grooves as featured on their brand new "Live from the Sunset Strip" disk."
"A venerable crime wave of Hollywood Noir crime jazz, spy themes and sounds of the Space-Age!"
Songs on the album:
Guitar - Mike Vernon (3 Balls of Fire, Fireballs, Jerry Cole, Link Wray, Nokie Edwards, Davie Allan & The Arrows)
Percussion - Nelson Bragg (Brian Wilson Band, Nelson Bragg Band)
Drums - Chris Roberts (Insect Surfers, 3 Balls of Fire, Davey Allan & the Arrows, and more)
Piano - Ted Hamer (Ted Hamer Quartet)
Bass - Doug Snyder (3 Balls of Fire)
You can purchase the CD at steelderrickmusic.com
More info at: https://msquadhollywood.com
I'm not much of a birdwatcher, but I can say that I was quite fortunate to have seen King Pelican in its natural habitat. It was in their hometown of San Antonio, Texas at Hot Joy, a hip little joint serving pan-Asian food, tiki drinks and Lone Star beer, all surrounded by amazing artwork by Jamie Stolarski (who created the art for this release) - the perfect setting for King Pelican's own special brand of instrumental surf guitar music. Lucky for me (and you!) the heady concoction of all of those elements has been captured by and expanded upon with EAST MEETS WEST.
The first two songs (east side) see King Pelican presenting the specifically Japanese musical style of Eleki, which was created in 1960s Japan by mixing the aggressive guitar style of The Ventures with Japanese modes, melodies and style, creating a new and unique form.
The following selections (west side) take the listener closer to King Pelican's home turf of the American Southwest, but through the lens of the Italian-made Spaghetti Western soundtrack, complete with lonesome whistling, 12 string, acoustic guitars and the bass VI adding to the Morricone influenced atmosphere.
But this is not another surf band pulling a few stylistic gimmicks on top of a basic surf song just to call it something else. King Pelican has obviously taken these specific musical sub-genres and have studied and devoured them before embarking on their own original Eleki and Spaghetti Western compositions. In other words, these are great songs and performances that pack a fun trip around the world into one EP.
~Ted Pilgrim
The new EP from King Pelican - EAST MEETS WEST is now available on Bandcamp! We'd like to thank our good friend, Ted Pilgrim from Satan's Pilgrims for writing the liner notes! Stay tuned for new on the 7" orange vinyl release!
BLACK VALLEY MOON FT. RAY VEGA “VAMPIRELLA”
From the opening chords you know this is going to be an intricate display of surf melody. Ray’s voice is smoothe and sounds right at home with the previously instrumental trio. The songs have an underlying voice of their own
Vampirella starts it off with a strong maniacal intro which switches back and forth swimming between the beat and swelling accompanying guitar. The intense attack is aggressive and filled with grit and it’s own grammar. The Spanish lyrics fit in perfectly.
Moonlight Bath is a display to guitar frenzied accuracy. Once Again, Ray Vega croons for the music madness with a super catchy chorus and sometimes badass vibe.
But with all that said...Laisse Tomber Les filles, the only instrumental track, soars with melody. Anyone familiar with April March will have a field day with this song. The melody continues throughout the song with guitar skats over each movement.
As far as surf music goes this a three song goldmine of complex guitar strumming and structure. I see the group is heading for a huge impact both technically and emotionally. Bravo guys 5-5
This 7” release will be available December 18th from Pi records
Here's our review from Pipeline Magazine:
THE TOURMALINERS
TOURMALINE DREAM
Baja Norte! / Pumphouse / Green Pipe / Tourmaline Dream / Espania / Glasshouse / Adios Saladita /
Leilani's / Stellular / Point Break / Fist Full Of Surf / LG / Amazing Grace (v)
If you're looking for a top notch surf band then look no further. The Touramaliners are Deven Berryhill's San Diego based group, Deven of course being the son of Bob Berryhill and also a member of his dad's band The Surfaris. Deven plays guitar and has written all the songs on this album and he is ably supported by some seasoned and highly skillful musicians, namely: Joe Dameron (guitar), Matt Clowminzer (guitar), Rob Glickman (bass) and Jake Najor (drums). But what is truly exceptional about this CD is the quality of the material. It is not unusual for us to be astounded by the playing ability of many modern surf bands and the way in which they convincingly re-create the surf sound, but then to be disappointed by their inability to write a half decent tune. There's no such problem here because just about every track is richly melodic and all are presented within especially well-crafted arrangements.
The CD opens with Baja Norte! which has a sinister-sounding surf riff at its heart, a sort of surfing Peter Gunn, topped with a tuff melody played on the low strings and skillfully embellished by additional harmony guitar lines. In fact that is a characteristic of many of the tracks: second or third guitar lines being added or woven into the melody to create extra interest. Pumphouse is similarly overflowing with ideas with one memorable sequence following on from another, guitars galore and they all having something special to say. Even Green Pipe, which starts out with a lazy reggae beat but ends up somewhere else altogether by virtue of its wonderful chorus which suddenly flows in and washes warmly over you.
Tourmaline Dream is simply magnificent. It has an almost tropical feel with a solid snare beat set against a busy acoustic rhythm guitar, when in drifts a melody on electric guitar that is so full of yearning and tenderness that you are instantly captivated. And just when you think it cannot possible get any better guest acoustic guitarist Cesar Gervasi suddenly joins in, initially playing in harmony with the electric but then breaking away to solo in an almost jazzy way before again returning to harmonise with the electric. Fabulous!
But really just about every track is great. There's the zippy Espania with its bright and breezy attack of guitars, the brooding Adios Saladita with its grand opening chords and moody lead, Leilani's chirpy sounding ukulele rhythm topped with an Eddy style twang, Point Break with its hectic drum intro, bustling guitars and Surf Beat style middle-eight, the dramatic Fist Full Of Surf with its majestic lead and shades of a spaghetti western theme – all just super! In fact it's easier just to mention the single disappointment on the whole CD, Amazing Grace. This is basically a casual blues featuring just harmonica and acoustic guitar with a longish spoken introduction and a rough vocal praising Jesus and the Lord. It's a rather incongruous inclusion, but just remember that the other twelve tracks are absolutely super and this has to be a top contender for Pipeline's album of the year. Simply superb.
https://facebook.com/thetourmaliners
Center of the Surf
Calling The Madeira a Surf Band is like calling the Boston Pops a municipal orchestra, it’s true, but doesn’t really tell the whole story. One of the great things about the Boston Pops is that they could play familiar songs, and make them sound recognizable, yet include complexity that was there for the taking if you cared to give it second, deeper listen.
Likewise, The Madeira operates on more than one level. At first listen, it is Surf music, well performed and accessible, but there is more to it than that. Going past a casual listen you can hear a complex harmonic concept and some devices not commonly heard, such as Hungarian minor scales which add a refreshing element which set this band apart from many of their peers.
In this day of low cost home recording, it is possible to have nearly infinite takes and each member can contribute parts recorded in the comfort of their own home, but live recordings are another matter altogether. There’s nothing to hide behind in a live setting, which brings us to their latest offering. Together, let us Journey to the Center of the Surf, which coincidentally, is the title of the first track.
Journey to the Center of the Surf starts off with an energetic introduction gives way to a melody with depth and then refrains which return to the energy of the intro. The bridge breaks the tension and returns us to a variation on the melody with the high energy refrain shortly thereafter. One never quite knows what to expect next in Journey to the Center of the Surf.
Hail, Poseidon! starts off sounding a bit like an ‘80s Pop tune, think U2 or The Police, but then goes into a clear minor key melody with an ascending motif which builds tension until it cascades back to the starting point of the melody. Somewhere around the 60% mark the intro is repeated and while the timbre is quite different from the body of the song, it fits perfectly.
Ancient Winds is mellow, but still energetic. To my ear, the harmonic structure is what stands out the most. Descending chords resolve in interesting ways. Once again, this is a song full of surprises.
The Argonaut starts with classic high energy drums followed by a flurry of energy from the lead Guitar which then builds to the melody. The energy and feel are reminiscent of Dick Dale while the melody sounds like it could easily fit a SciFi theme. Behind all of this, the rhythm guitar drives on providing a very solid sonic backdrop.
Leviathan fits its name well. There is little consensus about what a Leviathan actually is, a sea monster, crocodile or some other kind of frightening beast from the deep, but this song contains more than enough drama to cover all of the above. It is the feel of classic Surf at its best. A key change a little past the halfway point boosts things slightly along the way, but the song hardly needs it.
Into the Deep is more introspective and provides a change of pace. One could easily imagine this song in the background of a quiet interlude in a James Bond movie. Of everything on the album, this strikes me as the most evocative. Could this represent the thoughtful period one would feel after surviving an encounter with a Leviathan? Whether intentional or not, the order of these two songs, Leviathan and Into the Deep, is perfect.
Dilmohammed sounds very much a part of the Middle East. The mind is drawn to visions of ancient marketplaces, tents and camels. Starting somewhat softly the body of the song comes on strong. The Surf drums work beautifully against the melodic motifs. The sound is exceptionally simple and straightforward, contributing to the impression of the ancient bazaar. It is appropriate that this song was first recorded on an EP entitled Ruins, it sounds like it should accompany a movie scene set in a place that was very busy, and filled with intrigue, long, long ago.
Undercurrents is a song with a strong melodic element, supported by a solid clean sound which harkens to early Surf and even before. This melodic element does not, however, restrict the harmonic motion in any way. There’s a lot going on in this relatively short song.
Ricochet is originally from the Sandstorm CD. While the speed is right up there, the energy level is a bit more relaxed. A Shadows device of repeated ending to a phrase is employed at the end of the first verse and as rapidly as the notes come along, the timbre of the lead guitar is bright but nowhere near harsh. I hear a lot of Shadows in this track.
From this point on, the quartet becomes a sextet with the additions of John Blair on guitar and Johnpaul Balak on bass. The power increases noticeably with these additions and a powerful band becomes a sonic juggernaut, without resorting to heavy distortion. Never does the sound use definition.
Tribal Fury has a power that is reminiscent of Link Wray. While nothing on this album could be described as languid, this track is like a string of powerful locomotives moving a heavy line of cars up a mountain pass. “This ain’t your pappy’s surf music” is spoken at the end and indeed, it is so.
Sandstorm starts off twangy, a la Duane Eddy but then the Surf feel comes to the fore. After the bridge the song mixes it up, returning to the Duane feel at times but never straying too far from the less laconic feel of Surf as opposed to the twangy vibe of Instrumental Rock’s first guitar hero.
The Intruder (Listed as Intruder #1 & Intruder on the Ruins EP) starts off almost softly (in a loud sort of way due to the live setting) and proceeds along the lines of a modified Andalusian Cadence which brings to mind Flamenco Music. About a minute and a half in the pace becomes considerably less laid back and the energy of the song goes off-scale, complete with power chords, as Intruder #1 gives way to Intruder. Having two basses and two rhythm guitars on this track redefines the term “Wall of Sound”. About halfway through there is a lull which then slowly builds back to a much higher level of energy. The bass plays arpeggiated figures which contribute to the melodic interest of the tune as it reaches a climatic, and sudden end.
One thing that strikes me is the quality of the writing. Patrick O’Connor wrote five of the songs, Ivan Pongracic wrote or co-wrote five songs with the two remaining songs apparently having come from outside of the band. None of the songs are predictable, most of them are harmonically rich, even complex. None of the songs are particularly laid back, with the exception of Into the Deep, but the overall level of energy and excitement varies greatly, even in different passages within the same song.
I will add only this, from my perspective as a player. Playing Surf without sounding shrill is far from an assured outcome. It takes skill and experience to find the balance. Well played Surf music is a technique-intensive exercise for all musicians. In many ways, the songs on this album are probably as challenging as many classical pieces. The right-hand tremolos involved amaze me. What I hear on this live recording stands up well to the standards of speed set by Dick Dale himself. The sound of the band avoids the all-too-common mistake some Surf bands make of too much reverb. (All banter aside, it is possible to have too much reverb on a Surf recording and it can really detract when overused.)
The live performance is solid, the songs well-written and imaginative. This may be one for the record books.
Check out this review from Hunter at Storm Surge of Reverb:
Let me suggest that you skip the first track. It's a good song, but it's got a thin garage-surf sound that gets the wrong idea across.
OK now we're going. You've got brass, a lot more low end, and some whammy bar. This is a much better idea of what to expect from Los Kosmos. This is fun modern surf with playful progressive leanings. I get moments of later Los Straitjackets and maybe even early Laika and the Cosmonauts (especially "V Jope Fantik"). Give a listen to "Mega Hit" and see if that little keyboard bit doesn't tickle you.
There's a lot of creativity on this album and it's full of surprises. As one of the first records of 2018, we're off to a great start.
"Shootout" just WON FIRST PRIZE in the 2016 Dallas Songwriters Association Contest (Instrumental). The award page cites Insanitizers guitarist Conrad Swartz as the songwriter ("Squid" here on SG101). Here is a link to the awards page:
https://dallassongwriters.org/2016-dsa-song-contest-winners/
Along with that web page announcement is a video announcement, on the third in a sequence of video recordings of the contest awards program. "Shootout" is the first song on The Insanitizers' October 2016 album "Guitar Fun" and is followed by 21 more energetic guitar instrumentals. You can hear it at Insanitizers.com, and the CD album is sold by DWM Music, Deep Eddy Records, CD Baby, etc.
In this contest "Shootout" competed against instrumentals of any genre, so this shows that surf guitar music remains interesting and competitive. In recording the lead Conrad used a Rose Mariposa pickup near the bridge on a strat style guitar.
Martin Cilia's "Sleepwalk" EP on Bombora label
Sleepwalk - This is Martin's cover of the title track (original by Santo & Johnny), with stellar playing as well as typically lush echoes. IMO this is one of those timeless tunes (or something like it) that everyone should have in their pocket for the moment when you need to get some folks close on the dance floor. A beautiful example. Evident here, and throughout the album, rock-solid drumming by Lloyd Gyi, who should be well-known to many here by now and is an established fixture it seems now on Martin's solo work - the guy is simply incredibly versatile.
Search for Surf - Prominently notable are some exotic keyboard/synth arrangements that really complement the guitar voicing. The tune is a bit haunting in its approach. There is a faint, chordal backing vocal credited to Carmine Warrington and the keyboard work is done by Jim Moginie. Cool stuff.
No Sign of a Pipeline - This is a driving instrumental ballad (composer Michael Simic) that reminds me of some of the best work done by Martin on the Atlantics' albums Flight of the Surf Guitar or Point Zero. I could visualize them doing this live.
Lost in Waikiki - A Martin Cilia authored straightforward surf tune, with almost a hip Nashville-picker structure, but laden with Martin's classic tone. I can see Brad Paisley sitting on his couch thinking he'd like to have a go at this, but he's gonna have to call Martin first. In concept, this tune would've fit hand-in-glove with the previous full album release, Going to Kaleponi.
Surf Explosion - A tune I have an earlier version of and this new version has a slow, foreboding intro with some grit and lovely tremelo before launching into blistering staccato picking for the song that is one of those 200bpm E-ticket rides. In my view, the new intro really sets up the song & makes for a much more finished piece. In the tradition of things like "Flight of the Surf Guitar" this is sort of like "get in, sit down, hold on & shut up." For those interested Martin makes the full tab & MIDI backing tracks (with and without melody) available here:
Martin's stuff continues to please and his generosity, both to players in answering questions and particularly to this site, is well-known. I'm often amazed at how down-to-earth some of the really great players are - and there are many here at Surf Guitar 101 - that one has a hard time imagining that rapport existing in many other styles of music. Folks who, absent the music, you could simply have a nice chat with, whether it's down by a canal under a city street or via email 12,000 miles away.
Sleepwalk is available here, along with the video of the title track. Get it.
