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REVIEWS, INTERVIEWS, AND ARTICLES COVERING ARTISTS FROM ALL OVER THE WORLD.
Release Date: October 1, 2025
Label: Independent
Raphael Groten and his son Oliver are Leo & The Goat, and
their maiden release is Shine.
Raphael, known for his solo acoustic guitar releases, is now
venturing into a new world of funk and light atmosphere with his latest
release, Shine. This unique blend of funk, jazz, and blues, with electric and
acoustic elements, promises a musical journey that’s both familiar and
refreshingly new, all for the love of music.
So, get ready for an eclectic mixture of instrumentation and
clever vocalizations. There is never a dull moment.
“The Regulator” begins with funky riffs from the electric
guitar, as some additional sounds are added to the composition as it grows and expands
its reach. The bass is solid, and some subtly jazz-inflected keys are added.
The lead guitar comes in with some sharp leads, as it gives way to a heavy bass
lead, then it makes a full circle, and a violin is added. This is a complex yet
enjoyable blend of Americana, acoustic, and electric elements that was a fun
listen to get your head into the right space for what may come next.
The title track,
“Shine,” continues the flow, and right away, they move away
from instrumental music to add vocals. The vocals are a rap, but very pleasant,
as the music is a combination of funk, blues, and jazz that come together,
bringing everything they have to offer to the listener. This one has some
good hooks and thoughtful vocals for you to think about. A flute makes its way
into the mix, which is quite beautiful. The bass is a giant, along with the
percussion, in keeping this on track.
“Ride” keeps things funky and fresh with some easy keys that
float over the top as the rest of the elements come to the front of the
composition. The guitar is key here with some crisp acoustic licks. Then tenor
sax is added, giving the piece a definite jazz-funk feel. With horns and the
funky backbeat, it reminded me of Steely Dan.
In “Diggin’ in the Garden” the horns continue to assert their
presence as the vocals return to kick this one off. The vocalizations have a
soulful Dr. John inflection. It comes from the depths of one soul to sing like
that. The electric guitar has a retro funk sound you would have heard back on
70s releases, like from Issac Hayes, for instance. This is a nod to Mother
Nature and her healing ways, encouraging you to get down on your knees and dig
in to feel the earth between your fingers. Funky and bluesy, it gets into your
consciousness as your feet can’t help but move. Diggin’ in the garden, diggin’
for the truth…
“Silver Linings” proceeds at a slow tempo with the guitar,
drums, and bass. Then a Spanish-flavored acoustic guitar arrives tastefully. A
sound effect that is like something flying away is an added interesting
element. The leads on the acoustic are divine and resonate clearly within the
framework of this composition. To switch it up, an electric guitar adds its
color and vibrancy. The transition is well executed while keeping the tempo on
the low end, nice and smooth and easy.
“Cornerstone” features cool guitar effects as Raphael starts
singing. The backbeat is steady and consistently tight as Raphael delivers
another rap. This is not rap that is abrasive or loud because their message is
spiritual and very thoughtful for each listener to absorb and process. The
lyrics are a great message to deliver to those willing to listen. “To clarify
and amplify to be the best of we need to be” is an example of their message.
The funk holds on firmly musically as the vocals are mixed well and just an
icing on the cake.
“Riff Raph” promises to entertain with a lot of sharp guitar
work straight away. The bass and drums keep the funk alive as the guitar
answers in so many ways. The flexibility of the instrument is evident, and the
use of pedals provides some cool effects. With clarity and crispness, the
guitar playing shows it can make funk, jazz, and blues shine in every note.
This one is an instrumental gem and one of my favorites.
“Puddin’” proceeds with synth sounds, transitioning into a
diverse array of instrumentation, and the vocals return, maintaining their
one-instrumental-to-vocal track flow. The guitar lives in the subtle yet
effective funk lines, and the bass is absolute and very important as usual.
This time, Rebecca Kodis’s voice and violin are added
for a change in texture. for a change in texture. All I could think about, looking at the
title, is Moe of The Three Stooges saying “Puddin Head!”
“Play” is the first time there were two consecutive vocal tracks
that dismiss my previous statement about how they offered variety by switching
back and forth. However, the vocals are not predominant here; it’s the
instrumentation that clearly takes the lead with some stinging leads from the
electric guitar as the bass takes the melodic path. Consistency is what makes
all this music so strong from start to finish.
“Eastslide” is a play on words. One quick look at that title and
you think it’s Eastside. The guitar is the main instrument at the beginning of
this funk-filled musical journey. Fittingly, they close it out with some
reverberating electric guitar leads, as the bass reminds you of its paramount
importance in this genre.
Shine is an enjoyable, light-hearted listen that will keep your interest due to the outstanding musicianship and clear production values. The high musicianship and production quality are evident throughout, enhancing the listening experience and leaving a lasting impression.
Keith
“MuzikMan” Hannaleck-MuzikMan.net Founder
Ocotber 1, 2025
Tracks:
01. The Regulator
02. Shine
03. Ride
04. Diggin' in the Garden
05. Silver Linings
06. Cornerstone
07. Riff Raph
08. Puddin'
09. Play
10. Eastslide
Note: I have included an interview with John Blair, who played a crucial role in completing this film, despite the passage of 30 years and the untimely death of the person who started it.
I would paraphrase that as the life and death of surf, and how it has continually renewed itself from the first to the third wave and into the present day. It's a story of resilience and adaptability, inspiring a whole new generation of bands and listeners.
The genre is often cited as both simplistic and powerful. Over the years, many subgenres have formed, making the genre more complex and eclectic. Many of the cornerstones have remained, like having songs generally run in the 2-minute-plus range and providing colorful artwork for recordings ranging from 7” 45s to full-length albums.
A series of events led to the creation of this music and contributed to the culture of surfers. Before surfers claimed the music as their own, they listened to jazz because it was complementary in terms of expression, much like riding the waves.
The Rendezvous Ballroom and The Lighthouse were key venues at the beginning. Dick Dale, considered the father of surf, was eventually fired from the ballroom because someone deemed it "evil devil music." Now, how silly is that? Yet, many people bought into it. That, of course, did not stop the tidal wave of interest that was to happen. Soon, there would be hundreds of surf instrumental bands all over the U.S., and it would spread worldwide.
At least that is how it all started with the King of Surf, Dick Dale. His influence is undeniable.
The genre remains male-dominated to this day; however, when it first began, there were two central female characters, Kathy Kohner and Kathy Marshall. Kathy Kohner (Gidget, which stands for girl midget) decided that she wanted to write about her experiences, and her father took all the notes, wrote the book, and it was later adapted into a film in 1959. That propelled everything else to new heights, prompting an increase in movies and music about surfing. Kathy Marshall was good enough to play on stage with Dale and join a band. Dale anointed her “The Queen of Surf.” There is more to the story, of course, but you will have to watch the film.
Eddie Bertrand (of the Bel-Airs and Eddie and the Showmen) asked Fender to build a cabinet with two speakers for a bigger sound. And they did, but wanted it hushed because they were not producing them. Then, within a month or so, it became the standard, and Fender reaped the benefits.
John Blair formed Jon and the Nightriders in 1979 and released Surf Beat '80. This is what ignited the second wave to save the genre from falling into obscurity. It never truly went away; however, everything covered in the film was part of the music's growth and reach.
John had a significant hand in this documentary and handled all the narration for the film. He had the perfect demeanor and voice to pull it off.
When the 1990s rolled around, it was dubbed the “third wave.” At this time, some bands decided to mix punk with surf, creating an entirely new sound. So now surf morphed into something else entirely, spurring on a whole new generation of bands and listeners.
So that is the short version of what you will see and hear in this excellent documentary. It will create awareness and provide many people with a valuable history lesson on surf instrumental music. There is always something else to learn other than what you already know, so make sure you check this film out!
Keith “MuzikMan” Hannaleck-Surf Music and Art Founder
July 7, 2025
This was a great conversation, and learning about how things happened for John was fascinating.
Give it a listen!
Release Date: August 22, 2025
Label: earMUSIC
If you are familiar with the artists, you may be speculating
about what the song will sound like before you hear it. It is instrumental,
ambient progressive music from start to finish, albeit with a few vocals. It
certainly conforms to the instrumental heading.
This may be quite an auditory journey if you are passionate
about music without words. In the same instance, you may be open to exploring
something entirely different, which is also good.
Rothery made the choice well. Quaeschning performs synthesizers,
vocals, guitar, and drums on the recording. The guitar parts give it the
progressive rock elements, so it’s not too far out on the ambient side. With
many years of experience playing guitar for Marillion and other projects, he
was a good fit to complement all the keys and synths.
Every track segues into the next, making it sound like a vast,
ever-changing composition with five proper tracks. Two contain three parts, one
contains two parts, and the whole comprises 10 parts.
One way to briefly explain what you hear is atmospheric ambient
layers of keys and synths with additional key guitar parts and very few vocals.
It is primarily and purposefully instrumental to focus on the dual talents of
these two gentlemen.
It is not even close to being Marillion, but it can mirror what
Tangerine Dream sounds like in the more ambient textured layers. Layers is the
descriptive word here; many parts meshed into each other. It is an incredible
challenge to listen to what is going on. And I say that in the most positive
and supportive way for this amazing musical project.
You will hear spacey parts and changing tempos, and in some
instances, I could imagine the music being used in a film or documentary. The
epic sound, tempo, and rhythm shifts make this a listen you will be glued to
until it's over.
The most challenging aspect of this type of music is keeping a
listener interested and energized with anticipation. Remember, this is not
background music; these are bona fide compositions of musical excellence.
While Bioscope has not broken new ground with Gento, it is a giant leap
for the artist to step out of the familiarity of their main bandmates and
comfort zones.
Steve Rothery and Thorsten Quaeschning have created a marvelous musical journey with Gento. Fans of their respective bands will enjoy this extensive collection of compositions. This is as progressive as it gets for such a project outside the realm where they usually reside.
Keith “MuziMan” Hannaleck- Progressive Music Reviews Reviews Founder
June 19, 2025
Tracks:
1. Vanishing Point (Pt. 1, 2 & 3)
2. Gentō
3. Kinetoscope (Pt. 1 & 2)
4. Bioscope (Pt. 1, 2 & 3)
5. Kaleidoscope
Label: Little Hartley Music
The
title, When Shadows Talk, reflects the album's theme, which explores the
emotional depth and complexity of human experiences. As Fiona herself says, 'My greatest hope is that my music makes
a difference.'
I had a detailed overview of what each track meant to the
artist, but I decided to listen and respond to what I envisioned in the music.
I like to stand by that thought process, as each of us who listens will have a
blank canvas to create what the music inspires us to think, feel, and absorb.
As the piano began to play its lovely notes in 'Stasis', I was
immediately moved by its beauty and intimacy. Fiona's playing is fluid and
rhythmic, and I was drawn into the music's stillness, despite its inviting nature.
The emotional stimulation and sense of stillness coexisting were a unique
experience.
"The Ghosts of War Are Marching" seems like an ominous
title, and I think this should feel "haunting" with echoing piano
keys, which is precisely what it sounds like. The melancholy and realities of
war set in and bring my thoughts to my father, who served in WW2. The emotional
pain and depth of loss if you are involved in killing another human being must
be insurmountable. We all have heard the term "hauntingly beautiful,"
which perfectly explains this composition.
"Lava and Snow" are opposites in temperature and
textures, so I wondered how different this track would sound. It starts most
beautifully like measured steps down a path to a destination. Gradually, the tempo
picks up, and the rhythm and force of the music change, like the flow of lava
from an active volcano. However, there is no explosion from the top; it is
gradual and consistent, like how Fiona's fingers press the keys. This was like
beauty in motion, developed in my mind's eye as the snow cools the molten hot
lava, it hardens, and the notes are forever trapped inside you.
"Angel's Message" is the longest track at 5:20. It
immediately gives recognition to classical influences as I know them. The title
indicates one of spirituality and prolific communication to all listeners. I
found it very interesting separating her hands on the keys. To me, that is one
of the fascinating aspects of the piano and how one person can play two parts
and make it one gorgeous symphony of sound. One woman, one piano, and the
creation of resonating sounds of piano keys that draw you in, and permanently
hit you all at once. I am astounded by her sense of rhythm and the
incorporation of different tempos; it's the song within a song.
"The Lost Ballerina" is thought-provoking.
Interestingly enough, I just went to see the new movie Ballerina last night;
however, that is an entirely different setting and story. I heard an infinite
sense of rhythm and purpose, with hints of sadness all around the edges of this
thing of elegance, telling me the story. The playing is very purposeful,
creating imagery from beginning to end. It's gorgeous.
"In the Deep" is short at 2:22. The melody emanates an
unknown darkness. As the piano chords paint that picture, you feel like falling
into it. It feels real, as images of the deep ocean come to mind.
"Outside the Circle" can create emotions and thoughts
just by the title's implication. A circle is drawn to capture something; boundaries
are there, and you may feel trapped and unable to break free. But outside the
circle, you are "outside" looking in. You are free, but limitations
are imposed because you are not "in" the circle. The piano weaves its
tapestry of sound and light, giving more meaning to the track's words. The keys
ebb and flow like a river of sound coursing through your soul. Its simple
beauty defines the meaning of the words.
"Finding the Clearing" is an interesting choice of
words after the last track. This would indicate another path, an alternative to
any other that allows total and complete freedom. There are no lines in the
sand here; you can roam and discover your truth and destiny. Once again, the
piano's keys directly reflect that one thought that the title would indicate.
It sounds like a waltz or lullaby to soothe those who need that kind of
reassurance and calm to get into the clear.
"The Mirror" recalls looking into that glass. What do
you see beside your image? Do you define yourself by what you see in front of
you or what is inside you as a sentient and spiritual human being? The tempo is
slow and defined, and meant for you to "reflect" on thoughts that
immediately come to mind. Is the mirror inanimate, or are there other people
you use for that reflection? Perception is indeed in the eyes of the beholder.
I felt a realistic sadness to the track, although its beauty gave me hope.
"The Journey" is what you have been on, listening to
all this piano-based music. The journey of life and all that enters it is what
you are about. The music builds as does your life's journey. This is how the
piano's keys speak to you and all your senses. Music can be transitional, and
so is life. Fiona's playing is simply extraordinary on this track. The heart
and emotion come through clearly.
"Hitting the Glass" suggested the term "hitting a
glass ceiling" used in conjunction with corporations, where one stops in
growth and opportunities, and incites you to begin looking elsewhere for those
things. It's short and sweet, and the tone of the keys quickly conveys the message. It is the shortest track at 1:22.
"The Brown Bird" begins like a classical masterpiece,
with emotion and energy like a bird in flight. Then, with a quick shift down in
tempo, it suddenly lands. The music is short-lived, but the image is created
with immediacy and stays true to the last note played.
When Shadows Talk is a prolific title with music to
match. Fiona Joy Hawkins creates an instrumental piano masterwork with 12 thought-provoking,
colorful tracks. Her artistry and deeply felt emotions bleed through the keys
with a purpose and meaning beyond words.
The track titles evoke a thought, and your journey takes different paths as you move through the music. This is a must-listen for anyone who enjoys instrumental music, particularly piano-based music.
Keith “MuzikMan” Hannaleck-NAMR
Reviews Founder
June 12, 2025
Tracks:
01. Stasis (4:38)
02. The Ghosts of War Are Marching (3:07)
03. Lava and Snow (4:52)
04. Angel’s Message (5:20)
05. The Lost Ballerina (Solo Piano) (3:22)
06. In the Deep (2:22)
07. Outside the Circle (4:41)
08. Finding the Clearing (3:09)
09. The Mirror (3:14)
10. The Journey (Solo Piano) (5:03)
11. Hitting the Glass (1.26)
12. The Brown Bird (2:30)
Release Date: February 28, 2025
Label: Humbledragon
The recording's information promised a journey through sounds of
Asia, Afro-Cuban rhythms, Brazilian samba, and Bossa Nova, all immersed in jazz
and world music textures across the eighteen tracks. This promise was more than
fulfilled, as the album proved to be an absorbing and satisfying listen,
engaging the listener from start to finish.
Joining Ron on this multicolored musical project are a group of
esteemed musicians. These include Latin Grammy-winning Afro-Cuban jazz pianist
Hilario Durán, known for his innovative compositions and virtuosic playing,
percussionist Rick Shadrach Lazar, whose work with Manteca and Loreena
McKennitt has earned him a reputation as a master of rhythm, and guitarist Bill
Bridges, whose collaborations with Lena Horne, Tony Bennett, and Peggy Lee have
solidified his place in the jazz world. Also contributing are bassist Steve
Lucas, known for his work with Bruce Cockburn and Levon Helm, George Koller, a
versatile bassist who has worked with Holly Cole, Peter Gabriel, Phil Woods,
and Dizzy Gillespie, and master tabla player Muthu Kumar, a student of Zakir
Hussain and former member of Alice Coltrane's band.
"Havana Sun" immediately captivates with
its Latin essence of percussion, setting the stage for the other instruments to
weave their way over that strong foundation. Ron's flute adds an airy and
joyful sound, while the piano, bass, and nonstop percussive elements drive the
piece from start to finish. The rhythms and beats are extraordinary and
irresistible, with the flute adding a jazz overtone to the mix and the piano
taking flight. It's a vibrant, colorful, and moving piece that embodies world
music's essence.
"Kindness" moves on to other lands in the Far East
with its definitive textures of the Chinese erhu player Xiaoqui Lin. The track
is picturesque, capturing the atmosphere and tradition of millennia gone by.
There are also the delicate strings of a harp that I heard to accentuate the
unique beauty of the erhu. The mixture is stunning and memorable.
"Isla Grande" provides a magnificent piano to help
create that Latin atmosphere. The piano blends with the percussion elements and
Ron's flute, which flits in and out like a beautiful bird in full flight. I am
reminded of some of the music of Flora Purim, and I might add, most fondly. The
music is sublime and relaxes you from head to toe.
Then, to take things in an entirely different direction (an
ongoing feature of this recording), "Angkor Wat" features the
Cambodian Pie Pook woodwind instrument. The sounds emanating from that flute
are mystical. Some folks may also consider it eerie, as it has many
atmospheres. Either way, you will interpret what you hear, as it immediately
pulls you in with a mesmerizing effect.
These are four examples of how diverse musical styles, genres,
and cultures can make a listen multicolored and eclectic. The merging of the
world musically does have its advantages. I appreciate how Ron Korb brilliantly
incorporates that inspiration into his compositions using the flute as the lead
instrument. Taking a non-traditional lead instrument and mixing so many genres takes
tremendous talent and skill; Ron does so consistently from start to finish.
All good music has a power and strength, and all these tracks have that one factor of persuasion and force upon you that will resonate long after the last note is played, making Global Canvas one of the year's most highly regarded world music releases of 2025.
Keith “MuzikMan” Hannaleck-MuzikMan.net
Reviews Founder
June 4, 2025
TRACK LIST:
1. Dream of the King Prelude 0:46
2. Dream of the King (cinematic flavour Asian flutes, cello & harp) 3:29
3. Desire Prelude (feat Muthu Kumar tabla) 0:57
4. Desire (feat Muthu Kumar tabla & Japanese koto) 4:59
5. Havana Sun (feat Latin Grammy Winner pianist Hilario Duran) 4:41
6. La La Formosa (Brazilian Samba) 4:48
7. La La Formosa Postlude (percussion by Rick Lazar - Samba Squad) 1:26
8. Kindness (feat erhu Chinese player Xiaoqui Lin) 4:10
9. Isla Grande (feat Latin Grammy Winner pianist Hilario Duran) 4:16
10. Bossa Guitar Prelude (acoustic Brazilian guitar) 0:51
11. Bass Flute Bossa (Brazilian Bossa Nova) 3:24
12. Blue Heron (jazz crossover with piano, flute, violin, cello) 4:37
13. Azure Nights (Latin mid tempo) 4:12
14. Angkor Wat (featuring Cambodian Pie Pook woodwind instrument) 4:29
15. Hinamatsuri (featuring Japanese bamboo flute, koto & shamisen) 4:41
16. Peace Flute (featuring bass flute) 3:31
17. Three Kingdoms Prelude (Asian flutes & Korean percussion) 0:45
18. Three Kingdoms (featuring erhu & Korean percussion) 3:37
Release Date: May 1, 2025
Label: Independent
Although I was a newcomer to Frankie and The Pool Boys' music, I
immediately recognized their Endless Drummer as a heartfelt tribute to
the 'first wave' of surf instrumental music from the '60s. Their respect for
this era is palpable in every note.
Several different influences and sub-genres emerged during surf
music’s golden age, and nearly all are touched upon in the 15 tracks here. They
are brought to life again with all the colors, imagery, and musical excellence
that one group of musicians can muster and make authentic. They do it with
exuberance and excellence from beginning to end.
Here are the drummers that contributed to the 15 tracks: Dusty
Watson (The Sonics, Slacktone), Lorenzo Valdambrini (Surfer Joe), Jeremy
Rexford (Pollo Del Mar), Enrico Ragni (Bradipos 4), Gracie Malley (Greasy
Gills), Naotaka Seki (Surf Coasters), Pieter Dedoncker (Los Venturas, Surfer
Joe), Martyn Jones (The Mermen), Eric Ruel (Drifting Sand, Pool Boys), Tony
Bald (The TomorrowMen, Combo Tezeta), Pablo Baza (Tikiyaki Orchestra), and
Jonathan Rodriguez (The Deadbeats, Combo Tezeta).
So here we go, kicking things off with "Grind My
Beans." Right from the first note is that familiar drum beat and
steady bass line. The guitar is soaked in reverb and echo, and then Ferenc, not
one to hold back on his leads on guitar, cuts loose with some rocking lines as
the piano occasionally comes in for a little sprinkle here and there. The
sounds keep gaining in intensity and complexity as it reaches a crescendo of
sound, then the downward turn of the tide to fade out perfectly.
"Wiggle Room" begins with the unmistakable sound of a
Hammond organ, a staple of '60s music and TV shows like I Dream of Jeannie. The
organ is the primary driver here, evoking a nostalgic, psychedelic sound that
was popular in that era. Ferenc gets another opportunity to show us his skills
on the six-string with a strong showing.
"Seki Go Eleki" takes another twist and turn with
slicing guitar licks, the whammy bar, and fine glissando playing. There are
many subgenres and a multitude of elements in surf. This one is in high gear
from start to finish, with colorful sounds and plenty of tempo changes.
"Swamp Thing" is purposeful in its
approach to create the image of the famous character in horror flicks.
The bass and drums are key here as the guitar lays down its
pinpoint licks, as that bottom end prods along like the track's namesake. Then
suddenly, a saxophone enters the mix to give it more swagger with a bluesy
feel. This one is a real rocker with just enough elements of surf to safely
stay in the confines of that genre without drifting too far out to sea.
"Tattoo of a Broken Heart" takes a different approach,
with a spaghetti western feel yet rockin' every step of the way. Again, we see
how the surf sub-genres can significantly change one track. However, the guitar
reminds you that the core here is surf instro. Towards the end, it sounds like
the cowboy just jumped on the horse and rode into the sunset. A very cinematic
track!
"Moorea Mon Amour" is very tasteful and reminded more
of what Ferenc would be playing in his main gig, Pollo Del Mar, with those
psych elements woven into this blanket of musical excellence created here. A pleasing
rhythm is put down by the bottom end, and the spooky-like organ adds more
flavor to the finish.
"East of the Reverb Dial" has a shimmering water and
warm sun sound. The bass is prominent here, and the guitar takes different
roads to enhance all the instruments that populate this track. The feeling
captured here is intrigue and mystery, like spy vs. spy but very surfy. The
elegant guitar lines find the perfect landscape to land on.
"Chroma Key" begins with a vintage '60s organ sound.
The guitar comes in strongly, with intense playing that beautifully mixes rock
and surf. Then, some more gorgeous glissando picking creates an atmosphere familiar
with the classic first wave. Some of the leads played here are excellent; it
was like a newly sharpened blade cutting through anything with ease. It is the second
longest track at 3:51.
"The Ambassador's Twist" immediately gets you in the
right mindset with the word “twist.” Then the "percolator" guitar
sound makes its entrance. This is spot-on 60s surf; it doesn't get any more
original than this. The band stepped right into that period, picked up their
equipment, and started playing like they created it.
Guitar-based music works well for this band, and this track
speaks to that loud and clear. It is so crisp and clear, which is what first
attracted me to this music in the 90s, when I was in love with The Ventures and
The Shadows.
"Quicksilver" reverts to more atmospheric surf rock,
creating all that imagery associated with being on the beach in an exotic
island setting. The track's title may not indicate, but that is what you will
hear—it's all there. There are lots of changing tempos and musical shifts,
making it one of the more complex tracks. Some of the best guitar work yet is
on this one.
"Brotherhood Way" is another shift in approach with a
more mellow introduction. The bass and drums are significantly slower as the
guitar returns to the reverb-drenched sounds, as delicate keys pepper it in
choice places. This is mesmerizing music, and suddenly the sounds get more
dramatic with the drums becoming louder and more purposeful than another quick
shift with the guitar plucking way down on the fretboard and a gradual
explosion of sounds in the most beautiful way, with all the instruments coming
together. This is their masterpiece. All the elements of surf, island sounds, psych,
and rock merge for just shy of 4 minutes.
"Super Bloom" starts with a strange sound, like a
subway coming to a halt. Then boom! This takes off into rocking surf instro
land. The energy is at the highest level at all positions in the band. The
guitar playing is extraordinary, as it usually is. The difference here is some
consistently rocking and rapid-fire surf licks coming at you full force. The
slower parts on guitar are surf spy thriller-like licks before they go back to
cutting it loose and rocking.
"You Only Live Twice" has a tribal rhythm and a nice
piano at the outset. Then the guitar comes in nicely with some smooth lines.
The rhythm is island-like, as if you were watching the dancers at a luau in
Hawaii. Such beauty is created here, putting you in a different time zone and
setting from start to finish.
"Walk Away Renee" is a classic '60s tune many folks
will remember fondly. This is a big step away from all the previous tracks. The
eclecticism of this music is a tribute to all the contributing talents, and
this is one more example of their abilities to change things radically and
still pull it off impressively—very nice instrumental cover.
"More Memories Than Time" is the closer, and now you
are wondering how this will end after the last track. Well, here we go with
another huge change, this time with vocals. It sounds like vintage pop-rock of
the '60s to a tee. The drums and bass are spot on, and the keys and guitar are
superb. This music is excellent, and the vocals are delightful. Listening to
this track, I thought of the Yardbirds more than once. It gave me chills.
Endless Drummer is a marvelous trip in the
way-back sound machine with stellar modern-day production values. The best of
both worlds collide for a fantastic and consistent album. My interest did not fade
once while listening to all 15 tracks. My interest and attention intensified.
The eclectic approach makes this a classic recording for many music lovers. Of course, there is a lot of cross-over appeal and nostalgia, and the central core of their sound, surf, serves as the springboard to many treats and ear candy.
Keith “MuzikMan” Hannaleck- Surf Music and Art Founder
May 29, 2025
Tracks:
01. Grind My Beans 03:13
02. Wiggle Room 02:53
03. Seki Go Eleki 02:29
04. Swamp Thing 03:15
05. Tattoo of a Broken Heart 02:52
06. Moorea Mon Amour 02:15
07. East of the Reverb Dial 02:51
08. Chroma Key 03:51
09. The Ambassador's Twist 03:19
10. Quicksilver 03:32
11. Brotherhood Way 03:58
12. Super Bloom 03:14
13. You Only Live Twice 03:09
14. Walk Away Renee 02:20
15. More Memories Than Time 03:53
I had a great conversation with Jim Abrahams, the lead guitar player of the surf instrumental band The Breakers. We discussed all the work that he and his friends did for the Surf Rally For Cali: Fire Relief Compilation, featuring various artists.
Released Jun 16, 2023
“The Dark Side Of The Moon” will always remain Pink Floyd’s greatest achievement. A landmark album in every respect and housed in one of the most iconic album sleeves of all time.
Statistics for its sales – 50 million worldwide and counting – and chart history – 15 consecutive years on the Billboard 200 - are mind-boggling. As the album enjoys its 50th anniversary year it still shows little sign of waning in its popularity as new generations of music lovers discover its wonders.
Its release in March 1973 saw the album go straight to No.1 in the US and No.2 in the UK. Previous albums had been a hit and miss affair, a series of tracks both with lyrics as well as instrumental, but “The Dark Side Of The Moon” presented a more literal concept, a continuous piece woven with tracks dealing with the pressures of life, birth, death, war, mental illness and inequality to name a few. This clearly struck a chord.
Similarly, their live shows had built a steady cult following too, which had seen their new album previewed live as a work in progress since January 1972. However, it was with the release of the single “Money” to FM radio in North America that it suddenly propelled the band into the sphere of stadium touring.
Consequently, their live shows began to take on another dimension, becoming a multi-media extravaganza with inflatable props, pyrotechnics on a massive scale and a giant circular projection screen featuring specially made live action and animation films.
Pink Floyd had finally arrived in grand style and with it followed a slew of highly regarded conceptual albums and live shows that are remembered as nothing short of spectacular.
As author Glenn Povey explains, “Pink Floyd were a unique phenomenon. They broke the mould both in terms of recording technique but also stage presentation and created a mystique that set them apart. My ongoing research into their history has spawned many books but here I have collated all of their performance and recording history surrounding this remarkable album.”
Inside this box of delights you will find the complete recording history of the “The Dark Side Of The Moon”, documentation of all the live performances of the album by the band, previously unpublished photos and illustrations as well as facsimile memorabilia including photos, programs, handbills and passes.
This super deluxe box contains:
• Signed and Numbered certificate by the one of the world leading Floyd authorities and author Glenn Povey
• Reproduction of very rare and interesting; memorabilia, photos, posters from the era
• A CD of interviews with the band recorded in the day.
The first one is from 1972, where the band discusses being on the road, the “Live at Pompeii” film, the band are very relaxed and laughing. Richard Wright says at one point, “We understand each other very well. We are very tolerant of each other”. Nick Mason says, “We are all from the British aristocracy with the exception of David Gilmour….”
This band interview is a rare gem, from a band which seldom gave interviews. It’s sure to raise an eyebrow or two looking back from 2023.
The longer interview is over 30 mins long with Richard Wright, where he discusses touring and looking back at “The Dark Side Of The Moon”, the band’s inner workings on how they write and play together, solo albums, along with living in the English countryside.
This CD of interviews, along with all the memorabilia and legendary Floyd historian Glenn Povey’s commentary makes this limited-edition super deluxe box set, the perfect companion to the official “The Dark Side of the Moon” set.
A must for all serious collectors of Pink Floyd.
To pre-order: https://www.musicglue.com/pink-floyd-glenn-povey-a-visual-tour/products/pink-floyd-dark-side-of-the-moon-super-deluxe-edition
Press inquiries: Glass Onyon PR, Billy James, PH: 828-350-8158, glassonyonpr@gmail.com
Robin provided some great insight into her life and music.
Thank you Robin!
Label: 2020 Deko Music
Free Angel Express expels a great deal of energy and vibrato to capture its audience in a melodic, keyboard-rock rush. While few tracks fall slightly short of keeping the momentum booming (i.e. – “Roll the Stone” and “So Glow”), the album shines with genre experimentation and blending. Furthermore, the band’s revival might just land them on solid ground throughout the 2021 new year, should this album get the recognition and consumption it deserves by rock, pop, and metal enthusiasts alike.
Gregg Keniston - MuzikMan.net Staff
April 15, 2021
Track Listing:
01. Sledgehammered
02. Set It On Fire
03. Free Angel Express/Resist/Outta Here
04. Not For Nothing
05. Glass
06. Everything You Take
07. Roll the Stone
08. Blue Rondo
09. Can’t Get Satisfied
10. Woke
11. Shadows Aching Karma
12. So Glow
13. Rise to the Light
