FDF Volume 4 Issue 317 - The Samples - The Last Drag

Album – The Last Drag

Artist – The Samples
Key Players – Andy Sheldon – bass. Vocals, guitar, trombone. Al Loughlin – keyboards, piano. Jeep MacNichol – drums, percussion. Sean Kelly – guitar, vocals

Produced By – Marc DeSisto + The Samples

Release Date – September 24, 1993

Overview – Originally Kelly and one time guitar player Charles Hambleton met in Vermont and then moved to Boulder Colorado where “The Samples” were formed in 1987. They'd play out and about and get picked up by Arista before being dropped. They'd release this album, their 3^rd on a new independent label. The band mix styles of pop, folk and reggae to create very unique sound and style. Never getting “too big” the band toured and had its own grass roots following which would result in a larger fan base. They'd again sign to a major, this time MCA, who then also seemed to run in to label issues and the band was dropped. They continued on, and have, albeit with considerable line up changes.

FDF Comments (aka the songs) - Sixteen tracks about 61 minutes the record starts with the acoustic guitar led “Little Silver Ring". Kelly has a powerful voice that sounds full and once the band comes in with the trademark jangle of the guitar it all falls in to place. MacNichol keeps a slow and steady pace whole Sheldon has some subtle bass line work under the melody.  "Everytime" is a  pretty melodic song with nice layered vocals More piano with percussion fills.  "Still Water" seems a litte mellower for the verse, but the chorus has some good pushes between Sheldon and Kelly. Closest we've gotten to a guitar solo so far is here. MacNichol hones in on the ride cymbal. "Eatonville" is a mellow tune and sorta dull, It finds hte band in a darker place and it feels ununinteresting at times.  "The Streets In the Rain"  trademark guitar sound. Solo, has the elements that keep it familar and strong.  "When The Day Is Done" is an acoustic guitar lead song that repeasts the title a lot. "Taxi" fun keyboard line/bouncy drums. Lots of shaker feel..foot tapping fun. Builds to a little more buzzy guitar which is a nice change. Loughlin seems to be the focus. "Carry On" has that guitar sound is back. Just vocals and guitar until MacNicol rolls up and Loughlin adds some layer, but it keeps an even pace. Some vocal harmonies and a bit more vocal soaring later which is nice. "Conquistador" has a very quick drum intro, figure a rocker, but not. Trademark sound and feel, but good towards end. "Misery" finds Sheldon locked in low bass groove, percussion instuments and it sort of feels like it is trying to start off. Keyboards with steel drum. MacNichol does evertything on his own on this track. "The Last Drag" acoustic guitars and crickets with dogs baking at start, whale sounds later "Darkside" odd song title for a more uptempo song. Hammond organ sounding bouce fun tune. Mandolin playing too. "Nitrous Fall" has the jazz lounge sound. Layered vocals, sort of dark/slow though. Canned claps and sort of a mellow mood describe "Prophet Of Doom" and “Playground” has a slow open but almost goes ska without the horns..well until the end. The album concludes with "Smile For The Camera" acoustic guitars with a quiet flamenco feel to round it all out.

Where are they now? - The band has gone through many changes with Kelly being the only member still in the band. He is working on a new Samples record. Loughlin is still recording under “Highway 50”. MacNicol is playing drums as “Mr Anonymous”. He recently did some drum tracks for Ranking Roger (The English Beat).  Check out what Sheldon has been up on on his reverbnation page

FDF Overall Take - I honestly struggled with a lot of this record. The reviews on sites like amazon are glowing and you'd expect most fans that take the time to comment would sing its praises. Where it is good I really like it, but that same guitar sound gets a little old to me. I find it pretty tame, sorta in the vein of Dave Matthews and the like. The guys are talented for sure, it just isn't overly interesting to me personally. Not terrible, worth a few short bucks for sure.

Find out More, Follow em and Buy

Official site

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Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.

FDF Volume 4 Issue 316 - Judas Priest - Turbo

Album - Turbo

Artist – Judas Priest
Key Players – Dave Holland – drums. Ian Hill – bass. Glenn Tipton – guitar. K.K. Dowling – guitar. Rob Halford – vocals.

Produced By – Tom Allom

Release Date – April 14, 1986

Overview – Formed in Birmingham England in 1969 Judas Priest would go on to become one of the biggest names in the genre of “heavy metal”. This is the tenth studio album from the band. This record was the first record where the band tested the waters with guitar synthesizers. The band had intended for this release to be a double album but they decided to go with a single. This album would sell well, but fans and the band had a love/hate relationship with it as fans felt it started to dip in to “glam rock” a bit too much. Still, it makes “most essential” metal lists to this day....and around this time "Heavy Metal Parking Lot" was filmed.  (seriously...take your time and watch this if you've never seen...even if you have...) “Graham, like gram of dope”

FDF Comments (aka the songs) – Just nine songs and a tad over 40 minutes the album opens with

"Turbo Lover"    Halford starts off quiet as Holland hammers out the drum line, the guitars are kept in check for a bit, but it all comes together as the chorus just erupts. No before Halford brings the slow and steady vocal crescendo. On the chorus you really get the feel of the guitar synthesizers that were so polarizing to fans, but the bass work of Hill is a bit more prominent.  "Locked In" opens with the dual guitars and then one changes to the synthesizer. It has a driving beat and Halford remains strong with his soaring operatic vocals. This is the first track that has more of a backing vocal section as well with it filling out the tune along side Holland's big fills. Downing and Tipton trade metal guitar licks and all is right in the world. “Private Property” fuller band on vocals, but still simple guitar work at start and we get the guitar solo.  "Parental Guidance" 80's sort of slock intro with the two guitars, pause, drums come in etc. Its still a pretty fun tune, didn't age the best, but solid idea of the band at the time. “Rock You All Around The World” has the dual guitars with big crash downs before driving beat, before lyrics a quick guitar fill. Halford is really solid, but the constant repetition of the title is a little off putting. “Out In The Cold” slow keyboard into, with the drums feeling labored before the band comes in, one of the longer guitar solos on the album, still far more keyboards that fans might have wanted.  “Wild Nights, Hot & Crazy Days” - big guitar intro, stadium drums. “Hot for Love” sorta the same old. Choppy keyboard fill later, long guitar solo. “Reckless” what we've come to expect. Nothing really new and doesn't help or hinder the record as a closer.

Where are they now? - Barring a hiatus from 93-96 the band has been active since 1969. Downing “retired” from the band in 2001. Holland left the band by the end of the 80's. Hill, Tipton and Halford are still with the the band and a new record is due in 2013.

FDF Overall Take - I am even less than a casual fan of the band. I like what I like it seems and even that casual a fan one could see how long time fans may have found this record a bit off putting. Where it rocks, this record is up there with the heaviest of music at the time, but some of the change ups are sort of odd. If you can get this for cheap it is not terrible, but if you are curious about the Priest, a best of collection will suit you fine.

Links

Official site

Buy it!

Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.

FDF Volume 4 Issue 315 - Soul Coughing - El Oso

Album – El Oso

Artist – Soul Coughing
Key Players – Sebastian Steinberg – double bass. Mark de Gli Antoni – keyboards, sampler. Yuval Gabay – drums. Mike Doughty – vocals, guitar.

Produced By – Tchad Blake, Pat Dillett, Optical

Release Date – September 29, 1998

Overview – This is the third and final album from New York City band “Soul Coughing”. Doughty and de Gli Antoni got together after working in the theater and they'd enlist like minded players to create the band. Blending hip hop to electronica to jazz they were a hard band to put a real solid genre on. They'd be singed to Warner Brothers from the start and release a total of three records. This album, like the two others would sell “okay” in the US garnering “Gold” record status. (500K+ sold) They'd disband in 2000 after some internal tensions over credits and publishing.

FDF Comments (aka the songs) – The 14 song 57 minute disc begins with "Rolling", a track that ended up getting some radio play. Starts with Gabay's drum and then Doughty starts to sing in a low baritone, a little monotone, but still showing a bit of range at the same time. Steinberg comes up a bit later with some deep bass and De Gli Antoni adds in his accents off the keyboards. It is easy to hear the “jazz” tag as well, with the complex changes and layers. “Misinformed” continues with the complex playing. The band keeps you interested for sure, and the break down with Gabay and De Gli Antoni towards the end is a lot of fun. The bands biggest single came in "Circles"  with Doughty taking the lead on a guitar that sounds slightly out of tune, but the bass and drums roll it to a fun “summer” sounding tune. “Blame” is a little slower to get started, clocking in just over 5 minutes Steinberg has the lead here, laying a fun bass line before Gabay gets on the hi-hat and pushes everyone along. The bass work shines for the duration. "St.Louise Is Listening"  is another one of the tracks that was released as a single. It is darker than the other two singles with Doughty having a little growl to his voice, and the band slowly working under him with just a few guitar notes played under the rhythm of the band.. Steinberg teases a Led Zeppelin bass line on the intro to “Maybe I'll Come Down” and finds the band going towards the dark still, but “Houston” has the fun keyboard intro and the band seems to get a little more light hearted again, but the song feels like it keeps wanting to open up, but doesn't. It does go right in to “$300” that finds Doughty and Steinberg on the attack and Gabay joining the fun. The track uses a Chris Rock stand up line that was taken out of reverse. It works well as the 'chorus” to the song, a clever way to use the sample. Doughty takes the lead on “Fully Retractable” before Steinberg adds the bottom and Gabay starts to lay the drum line. The song has a heavy bottom to it and it seems to have a slow plodding feel to it. “Monster Man” moves with a heavily distorted guitar. De Gli Antoni is busy on this track with a lot of samples and keyboard fills. The oddness continues as expected with “Pensacola” a dark and slow song with hushed vocals. “I Miss the Girl” is the first seemingly uptempo song in a few, with Doughty pushing everyone along and we get those really solid sounding “grinding” moments. The final two songs “So Far I Have Not Found the Science” and “The Incumbent” are both solid bookends to the album. “So Far..” is a bit more uptempo but the slow build of Incumbent keeps you waiting for the “burst” and leaves you satisfied.

Where are they now?  De Gli Antoni works on film scores. Steinberg has been busy recording or touring with bands/artists as diverse as the Dixie Chicks to William Shatner. Gabay formed a band “UV Ray” and continues to work as a session musician. Doughty continues to be very active both in the studio and on the road. He has released over 6 albums since the dissolving of the band.

FDF Overall Take – Musically there is a lot of variation to the style. Its rock, its alternative, its jazz...and for the most part its interesting. The band seemed to do things on their own terms and do shine a little brighter on the “singles” making them stand out a little more. Still, there is more good here than bad, and if you play any instrument each person does something unique enough, often enough to keep your attention.

Links

Band page  with updated news.

buy

Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.

FDF Volume 4 Issue 314 - Hum - Electra 2000

Album – Electra 2000

Artist - Hum
Key Players – Tim Lash – guitar. Bryan St.Pere – drums. Jeff Dimpsey – bass. Matt Talbot – guitar, vocals

Produced By – Brad Wood and Hum

Release Date – October 19, 1993

Overview – This is the second album from Illinois band “Hum”. The band, who would blend elements of post rock into their sound were well known for big sounding guitar tracks. They'd garner some success on their follow up "You'd Prefer an Astronaut" with its lead off single “Stars” and release a fourth full length, but due to lackluster sales the band was dropped from their label.

FDF Comments (aka the songs) – The album is nine tracks long clocking in just shy of 50 minutes in run time. Opening with "Iron Clad Lou"  its a slow and quiet build up with St.Pere slowly rolling across the kit as Lash, Talbot and Dimpsey play a few notes, come the 1:31 mark St.Pere rumbles across the kit and off they go. Talbot's vocals are up front, and what they lack in perhaps a “classic power” they fill in nicely with the barrage that is going on. This band makes a big sound for four guys. Its simple, tight and pummeling. About the 3:40 mark Dimpsey lays down a quick shift on the bass and the other three find this great grinding riff. St.Pere keeps it tight and tosses in some great fills off the ride cymbal and Lash goes after a solo. The buzz saw grind of the guitars will get your blood flowing as it just drives and drives. This goes on for a bit before another quick burst of the earlier hook and then St.Pere closes it all down. “Pinch and Roll” starts off quiet, but don't let that fool you, they attack with full force once more. The vocals are a little compressed and the production focus seems to be on the slap of St.Pere's drums (which is fine) but Dimpsey also seems to have a nice bass line going, that at one point is the lone instrument going. Talbot goes after this one, singing quickly and getting to the scream level as the song builds to climax. Lash and Talbot play well off one another and the sound continues to be massive. “Shovel” follows suit with the big drum intro and the guitars layered on each other and Talbot continues to be sort of pushing the vocals. “Pewter” starts off a bit quieter, which in a way can be a welcome change. Talbot is far more at ease, not pushing the vocals, singing almost in a hushed tone. Lash, St.Pere and Dimpsey are solid companions here as Talbot works to bring the vocals up and they swell in unison to a glorious explosion after the verse. The song still has the driving and heavy feel as Talbot seems pressed futher vocally. “Scraper” is lead by St.Pere and Dimpsey at the start. Talbot has compressed vocals again as Lash chops some guitar lines but St.Pere and Dimpsey must have collapsed at the end of this tune, its just a driving tune that doesn't seem to let the two have any down time.. “Firehead” is about as slow as the band gets. This is mostly reflected in the delivery of the vocals. Talbot seems almost passive on the delivery as the band works behind him, its a good sign on the record the band is more than a one trick pony. The band tries some different phases on the guitar for a unique sound. "Sundress"  is another blast, with the two guitars really going at it, something about this tune is right on all levels. “Double Dip” is another track that breaks from the mold. Dimpsey gets the lead here with a melodic bass line and the band seems to loose direction on this, its not the best of tunes on the record, the end makes up for a lot of it. The album closer though is the stuff of, what should be, legend. “Winder”. Dimpsey loops on a bass line as St.Pere comes along, then Talbot and Lash. As the band locks in to a swirly, fuzzed out guitar intro Lash solos over the top and St.Pere tosses in some odd tempos, suddenly it all slows and Talbot starts to sing quietly. After a few lines it hammers down and the sound of the guitars is to die for. Just this massive brick to the face. We get this repeated, each with the same result of “holy shit”. After the first time it happens the band has a musical interlude and Lash keeps a solo somewhat in check, but by the second time he takes off more. St.Pere is a machine here. He and Dimpsey are the glue and as the second explosion looms you'll wonder why this song isn't huge. It has ALL the elements of a rock song. For what seems like minutes the band just jams, and it builds (start about 4:28) and when St.Pere hits the drums like they owe him money the whole band is just on the attack. Walls and walls of riffs and guitars and bass and drums. For fuck sake just LISTEN to it. This tune should have been, or should be called as an influence far more often.

Where are they now? - The four guys have gone on to various bands and other side projects. They've all seemed to have started families and will occasionally play reunion type shows. The bands official site (see below) is updated, albeit it not too frequently with the goings on, including a re-press of “You'd Prefer” with some sad news in that the band had nothing to do with it and may see no money from its release.

Just something fun to add to the post. This picture is of the the debut as an original pressing. The first 1000 pressed had the logo in black/white. Notice the “stock” image, used above has the red inside. I got this signed when I saw the band on tour and it was cool to hear them each acknowledged that I had a very early pressing of the album Before ebay and all that stuff, its the version my cd shop had in stock

FDF Overall Take - The production on the record is not too bad and you can hear everyone and everything well enough. There might a few lulls here, but the upside is more prevalent. The first and last songs are worth it alone, and why this band, or album is not mentioned more as influential albums is beyond me.

Links

Fan Site 

Hum's You Tube Channel

Buy it!

Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.

FDF Volume 4 Issue 313 - Neds Atomic Dustbin - God Fodder

Album – God Fodder

Artist – Neds Atomic Dustbin
Key Players – Dan Worton – drums. Matt Cheslin – bass. Alex Griffin – bass. Gareth “Rat” Pring – guitar. Jonn Penney - vocals

Produced By – Jessica Cocoran and Neds Atomic Dustbin

Release Date – May 11, 1991

Overview- The band was formed in 1987 and right from the start they were “different”. Taking their name from a 1960's Radio show they'd stand out because of the two bass players. Something that is rarely seen. This is their debut album and it would generate much buzz on the college scene. They'd continue to write and perform, to wild fan reaction before taking a break in 1995. The full band would reform in 2008, and although they are considered “active” there is not a major plan for new music. We took a look at "Are you Normal?" many moons ago if you want to read about that one.

FDF Comments (aka the songs) – Thirteen tracks just over 40 minutes in length. Leading off with the double bass assault of "Kill Your Television".   The band has a particular bounce to them from the Worton drum line and the results of the two bass players is immediate. Rat throws down a quick phased out guitar run but its the chugging bass work from Cheslin and Griffin that stands out. Always a wild pleaser this song stands up years later. “Useful” finds Penney a little more at ease vocally and the band is tight behind him changing the tempo on a time and pushing each other to a quicker release. “Selfish” lifts a sample from “Die Hard” with the “Why don't you wake up and smell what choo shoveling” and then Griffin finds a high, capo driven bass line. He playes a Rickenbacker bass so the ring to it is distinct. Rather than a lead and rhythm guitar, Ned's does it with two bass players so you get the high and low melodies. "Grey Cell Green" was the first single to the US and Worton rumbles across his drum kit as Cheslin and Griffin seem to battle with each other, then Pring. It is a wild romp, full of fist waving moment. “Cut Up” finds the band with a bit more of a stuttered attack on the guitar, but leading in to the verses the melody of the two basses is outstanding. They play off each other so well, never outworking each other. The track ends and "Throwing Things" comes right at the listener. Another rowdy attack, this has a great dual bass break down towards the end. Pring does have a chance to shine, but no solo is ever too long, which works for the band. The band finds a little more a mature sound (its still a track that cooks along) with “Capital Letters” and again its Worton, Cheslin and Griffin who are the leads, a lot of fun to listen to. "Happy" is a perfect snapshot of the band, if you haven't heard of the band, look/listen, its all there. Catchy chorus, ringing bass lines and fuzzy guitar, you'll be jumping before you know it. “Complex” starts off quiet, but it goes right back at the listener. Again the dual bass parts are stand outs with the shot guitar solo to add the cherry to it. “Nothin' Like” has Worton taking control and the acoustic guitar adds another layer to the bands sound. The high/low bass lines continue to be interesting and often times more complex than one has come to expect from rock bassists. “Until you Find Out” has a some phased up drum intro and the band takes off. The change over at the chorus is perfect for the tempo and feel of the track. “You” also fades up with the swirling bass and drum parts. Worton is pretty laid back as Rat bites on the guitar and the dual bass assault continues to draw smiles. The album concludes with “What Gives My Son” a rowdy response to the boys response perhaps when they were going to be “rock stars”. It is a wild and rowdy album closer.

Where are they now? - The band took some time off but have since re-formed. Although no new studio albums have been released the band is performing “Ned-Stock” in November 2014.

FDF Overall Take -  Some of this has aged better than others, but if you were a live music fan at this time they were so fun live it was hard to not love the studio records too.  The energy came from studio to stage all the time.  The dual bass playing is a lot of fun, and still not a lot of bands try this.  It works more often than note.  This is a great early 90's snapshot of music.  Grab it.

Links -

Official Site
Facebook
Twitter

Buy it!

Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.