The Madeira • Center of the Surf

 

Review from Storm Surge of Reverb (by Hunter King):
Center of the Surf is a live recording of surf giants The Madeira playing at the 2017 Surfguitar101 Convention in Torrance, CA: essentially the center of US surf music fandom and surf music history. The Madeira sounded better live, and this recording of them live sounds better than they did live. It really does sound massive and ferocious, and not to mention they're played at a faster tempo than their album versions. Despite the added menace, "Sandstorm" still gives me goosebumps every time. The results on "Tribal Fury", "Sandstorm" and "Intruder" are even more immersive: the thickened texture, intensified groove, and vaulting solo lines both amp up the thrills and bring out the lush romanticism at the core of the band's melodies. The audience at Surf Guitar 101's 2017 convention erupts with delighted applause and encouragement at every opportunity throughout the Madeira's set — and their reaction's on the money! It's an absolutely glorious amount of noise, a gigantic wall of sound that'll leave you thinking "whoa" in-between tracks. The awe-inspiring climax of the event was when they were joined by Jonpaul Balak and John Blair for a ridiculous 5 guitar massacre. This is a really incredible live record and perhaps the best way to hear some of the greatest hits of one of the greatest surf bands.
https://www.stormsurgeofreverb.com/content/madeira-release-center-surf

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Reseña de Storm Surge of Reverb (por Hunter King):
Center of the Surf es una grabación en vivo de los gigantes del surf The Madeira tocando en la Convención Surfguitar101 de 2017 en Torrance, CA: esencialmente el centro del fandom del surf music y de su historia en Estados Unidos. The Madeira sonó mejor en vivo, y esta grabación de ellos en vivo suena mejor de lo que sonaron en vivo. Realmente suena masivo y feroz, y además se interpretan a un tempo más rápido que en las versiones de estudio. A pesar de la ferocidad añadida, "Sandstorm" todavía me produce escalofríos cada vez. Los resultados en "Tribal Fury", "Sandstorm" e "Intruder" son aún más inmersivos: la textura engrosada, el groove intensificado y las líneas solistas que se elevan amplifican las emociones y sacan el lush romanticismo en el núcleo de las melodías de la banda. El público en la convención Surf Guitar 101 de 2017 irrumpe en aplausos deleitados y ánimos en cada oportunidad a lo largo del set de The Madeira — ¡y su reacción es acertada! Es una cantidad absolutamente gloriosa de ruido, una gigantesca pared de sonido que te dejará pensando "guau" entre temas. El punto culminante asombroso del evento fue cuando se les unieron Jonpaul Balak y John Blair para una ridícula masacre de 5 guitarras. Este es realmente un disco en vivo increíble y quizás la mejor manera de escuchar algunos de los mayores éxitos de una de las mejores bandas de surf.
https://www.stormsurgeofreverb.com/content/madeira-release-center-surf

 

themadeira.net ...

Key Depositfiles for 2 WEEKS

 

 

 

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Sugar Ray & The Bluetones • Blues from Sibculo

 

Review from Blues Blast Magazine:
It has been a long gap since 2020's Too Far From The Bar so it is wonderful to have a new album from one of the great blues combos. Sugar Ray Norcia and drummer Neil Gouvin have been playing together since school days and bassist Michael 'Mudcat' Ward has been in the band for many years but this is the first Bluetones album for experienced guitarist Rusty Zinn. Recorded over three relaxed days at a small studio in Sibculo, Netherlands, the album demonstrates the sheer ease with which these guys play together. The material is half originals and half covers, blending the band's signature sound of Chicago blues with elements of cajun, rockabilly and even cowboy music!
Ray's harp leads the way on his 'No More Chances', the whole band in perfect sync as Rusty adds a stinging solo. The loping style of Jimmy Reed can be heard on 'High And Lonesome' (though Ray's harp is far more muscular than Reed's) before Rusty demonstrates his mastery of T-Bone Walker's style on 'Mean Old World', the longest cut on the album and one of the best. 'Blind Date' is a song that the band has recorded before (on 2016's Seeing Is Believing); the version here is longer and really rattles along with lots of harp from the start, the rhythm section underpinning everything, Rusty adding nice arpeggios behind Ray's vocal: "I never forget a face, but with you I'll make an exception"! "Bloodstains On The Wall" is a 1953 obscurity originally recorded by Frank 'Honeyboy' Patt, describing a murder scene, given a suitably menacing tone by the Bluetones.
Rusty provides two numbers: "Dream Girl" is a little different to the rest of the album, rockabilly with cajun accents and sung by Rusty in a lighter vocal style, Ray's harp sounding almost like an accordion to match the song; in contrast "Rusty Nail" is a powerful, chugging instrumental credited to Rusty and Neil whose drumming propels the tune. Little Junior Parker released "I'm Holding On" in 1959 and it suits the Bluetones well, with Ray's commanding vocal and Rusty's fluid solo; "You Got Me Wrong" is an obscure Billy Boy Arnold 'B'-side, classic Chicago blues. The album closes with a second instrumental, "Wait And Watch", this time written by Ray and Mudcat, a wistful tune which will recall those scenes in Westerns when the cowboy takes out his harmonica at the night time fireside.
Like every album they make, this one delivers great blues with no filler, making it one to find and treasure.
https://www.bluesblastmagazine.com/sugar-ray-the-bluetones-blues-from-sibculo-album-review/

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Reseña de Blues Blast Magazine:
Ha pasado mucho tiempo desde Too Far From The Bar (2020), por lo que es maravilloso tener un nuevo álbum de uno de los grandes combos del blues. Sugar Ray Norcia y el baterista Neil Gouvin llevan tocando juntos desde los días de escuela y el bajista Michael 'Mudcat' Ward lleva muchos años en la banda, pero este es el primer álbum de los Bluetones para el experimentado guitarrista Rusty Zinn. Grabado durante tres relajados días en un pequeño estudio en Sibculo, Países Bajos, el álbum demuestra la facilidad con la que estos chicos tocan juntos. El material es mitad originales y mitad versiones, mezclando el sonido característico de la banda de blues de Chicago con elementos de cajun, rockabilly e incluso música de cowboys.
La armónica de Ray lidera el camino en su 'No More Chances', con toda la banda en perfecta sincronía mientras Rusty agrega un solo punzante. El estilo acompasado de Jimmy Reed se puede escuchar en 'High And Lonesome' (aunque la armónica de Ray es mucho más musculosa que la de Reed) antes de que Rusty demuestre su dominio del estilo de T-Bone Walker en 'Mean Old World', el corte más largo del álbum y uno de los mejores. 'Blind Date' es una canción que la banda ha grabado antes (en Seeing Is Believing de 2016); la versión aquí es más larga y realmente avanza con mucha armónica desde el principio, la sección rítmica sustentando todo, Rusty agregando bonitos arpegios detrás de la voz de Ray: "I never forget a face, but with you I'll make an exception"! "Bloodstains On The Wall" es una pieza oscura de 1953 grabada originalmente por Frank 'Honeyboy' Patt, que describe una escena de asesinato, a la que los Bluetones dan un tono adecuadamente amenazador.
Rusty aporta dos números: "Dream Girl" es un poco diferente al resto del álbum, rockabilly con acentos cajun y cantado por Rusty con un estilo vocal más ligero, la armónica de Ray sonando casi como un acordeón para complementar la canción; en contraste, "Rusty Nail" es un instrumental poderoso y traqueteante acreditado a Rusty y Neil cuya batería impulsa el tema. Little Junior Parker lanzó "I'm Holding On" en 1959 y le sienta bien a los Bluetones, con la voz imponente de Ray y el fluido solo de Rusty; "You Got Me Wrong" es una cara B oscura de Billy Boy Arnold, blues clásico de Chicago. El álbum cierra con un segundo instrumental, "Wait And Watch", esta vez escrito por Ray y Mudcat, una melodía melancólica que recordará esas escenas de westerns cuando el vaquero saca su armónica junto a la hoguera nocturna.
Como cada álbum que hacen, este entrega gran blues sin relleno, convirtiéndolo en uno para encontrar y atesorar.
https://www.bluesblastmagazine.com/sugar-ray-the-bluetones-blues-from-sibculo-album-review/

Play on: Now, Then, and Fleetwood Mac: The Autobiography

 

After forty-six years of being on the road, this is the right time to look back in a way I've never done before: now and then. This is the story of my life in rock and roll -- and how the band that has meant everything to me came to define me. I'm looking forward to sharing it with you."

Mick Fleetwood has been a member of the ever-evolving Fleetwood Mac, one of the world's most successful and adored bands, for over four decades. Here he tells the full and candid story of his life as one of music's greatest drummers and bandleaders, the cofounder of the deeply loved supergroup that bears his name and that of his bandmate and lifelong friend John McVie.

In this intimate portrait of a life lived in music, Fleetwood vividly recalls his upbringing tapping along to every song playing on the radio, his experiences as a musician in '60s London, and the earliest permutation of the band featuring Peter Green.

Play On sheds new light on Fleetwood Mac's raucous history, describing the highs and lows of being in the band that Fleetwood was determined to keep together. Here he reflects on the creation of landmark albums such as Rumours and Tusk, the great loves of his life, and the many incredible and outrageous moments of recording, touring, and living with Fleetwood Mac. Fleetwood describes these moments with honesty and immediacy, taking us to the very heart of this multilayered journey that has always been anchored in music.

Through it all, from intense love to plaintive heartaches, from collaborations to confrontations, it's been the drive to play on that has prevailed. Now, then, and always, it's Fleetwood Mac.

 

Mick Fleetwood (Author),  

Anthony Bozza (Author)  

 

Alphonse Mucha

 

 

Patrick Bade and Victoria Charles