Stoner Central #7: Jalamanta

Based on simple riffs and often tropical and latin imagery, "Jalamanta" slowly unwinds its grooves and trips without ever raising its voice to a shout. With Brant responsible for all the instruments and songrwriting (except for one song), you could say that this is the yin to Kyuss and Fu Manchu's yang.
Drew

JALAMANTA is easily in my top ten albums of all time. The only thing I dislike about listening to it is that it ends. Its just smooth groove after smooth groove. It almost reaches a euphoric level. I have had Jalamanta since its release and a week rarely goes by without several listens. It will be the soundtrack to my summer night smoke sessions, I can tell you that much. There is no one label that can be placed on this album. All I can say it that if you are a fan of rock music on any level, you should own this masterpiece. Brant is the man!
HEDROC

Jalamanta has been my favorite thing Brant has ever done and my CD copy has had its case melted in the dessert sun, been dragged accross hundreds of miles of road trips, and been left on repeat for hours upon hours of love makin nights, drinkin nights, smokin nights, or just plain "fuck I'm tired and beat down play me something to soothe my soul" nights.
koi





Stoner Central #1: Behind the Wall of Sleep
Stoner Central #2: Blues For the Red Sun
Stoner Central #3: To the Center
Stoner Central #4: In search of...
Stoner Central #5: Dopesmoker
Stoner Central #6: Sea of Tranquillity

Ontbrak nog in de openings post

quote:

Call It whatever you like - stoner rock, desert rock, doom rock, just plain old rock and you come up with the best rock and roll created by the best bands currently busting their ass to bring you their sounds. This music is a blend of the best of 70's rock and roll with modern experimental riffs and beats. This is what makes 'stoner/doom rock' the best underground music scene since the 'Seattle' scene hit.

En in de titel mag nog een dubbelepunt

En TimoBasso, ik ga niet naar Mastodont/Dozer - het worden TheDwarves

quote:

Op dinsdag 1 maart 2005 18:55 schreef TimoBasso het volgende:

focus me meer op de blues en country tegenwoordig

Ook niets mis mee. Ik neem aan dat je stevig aan de Hank Williams bent ...

Een beetje tussen de blues en de stoner (niet heel heavy wel heel "groovy" en behoorlijk 60s achtig): Little Barrie (met de CD We are little barrie). Erg leuk!

quote:

Op dinsdag 1 maart 2005 19:07 schreef TimoBasso het volgende:

[..]

uncle tupelo,ryan adams,drive by truckers.. heerlijk

Van alle drie heb ik ook een CD. Een muziekstroming war ik ook wel een zwak voor heb (maar dat wist je al aangezien je post in Country, Blue Grass & Blues - dat topic is ook al weer twee-en-half jaar oud )

quote:

Op dinsdag 1 maart 2005 19:07 schreef TimoBasso het volgende:

Zelfs Nick Cave and the bad seeds.. luister ik hederdaags na

Heb ik ook pas vrij laat weten waarderen (mn Let Love in vinnik OK)

Maar laten we on-topic blijven: ik verheug me al behoorlijk het 10e Roadburn festival

quote:

Op woensdag 2 maart 2005 23:49 schreef Rex_Everything het volgende:
...

welkom terug

Aan een slaapplaats in Tilburg kan ik je niet helpen. Ik neem misschien daar zelf een hotel ...

De 20e april kan je in ieder geval ook al vrij houden aangezien BB&THe Bros dan in Leuven zitten.

Tourschema van de Europese tour:
April 7th - fly to London
8th April to 23rd April with Vic du Monte's Idiot Prayer (USA)
24th April to 2nd May with Winnebago Deal (UK)

April 8 Antwerp, Belgium (Hof Ter Lo)
April 9 Tilburg, Holland (ROADBURN festival at 013)
April 10 Wuppertal, Germany (Live Club)
April 11 Marburg, Germany (KFZ)
April 12 Hamburg, Germany (Molotow)
April 13 Goteburg, Sweden ( Sticky Fingers)
April 14 Oslo, Norway (Garage)
April 15 Stockholm, Sweden (Mondo)
April 16 Copenhagen, Denmark (Rust)
April 18 Berlin, Germany (Mudd Club)
April 19 Lingen, Germany (Schlachthof)
April 20 Leuven, Belgium (Sojo’s)
April 22 Deventer, Holland (Burgerweeshuis)
April 23 Amsterdam, Holland (Melkweg)
April 24 Nuneaton, UK (Queens Hall)
April 25 Sheffield, UK (Corporation)
April 26 Glasgow, UK (Barfly)
April 27 Milton Keynes, UK (Woughton Centre)
April 28 London, UK (Garage)
April 29 Cardiff, UK (Barfly)
April 30 Liverpool, UK (Barfly)
May 1 Dublin, Ireland (venue tbd)
May 2 Nottingham, UK (Rock City)


Leuke review van de Hulk - CD. Weet iemand wat de release datum is?

[ Bericht 14% gewijzigd door Doc op 04-03-2005 12:38:26 ]

Die digipack uitgave van Hulk hadden ze hier ook. Ik heb 'm dan ook gekocht. Nog niet helemaal gedraaid (had ook 3 andere CDtje gehaald: Hellacopter en Raging Slab en Ian Brown, die staat nu op...)

Goh, dat TeePee records nog bestaat. Ooit een erg leuk en erg anti-TeePee records verhaal gelezen dat door Danny Brown van Hermano geschreven was over wat voor klote platenmaatschappij dat TeePee records wel niet was.

Hulk beluisterd en is best een heel aardig CDtjes. Een paar echt leuke nummers, een paar beetje wat minder aansprekende nummers, maar wellicht dat die nummers me na een paar keer draaien beter liggen.

Het was eigenlijk een interview, maar waarschijnlijk een e-mail interview want hetis een hele monoloog. Toen ik dat stuk las dacht ik "dit is een perfect opstel" qua opbouw en derglijke van het verhaal. Later in het interview bleek dat Dandy Brown in het dagelijks leven ook leraar Engels is en ook bezig was met een boek. Ik zoek het wel weer eens even op.

De strekking van het verhaal was dat je de meeste platenmaatschappijen -en TeePee records in het bijzonder- niet kon vertrouwen.

Gevonden. Niet zo geniaal als ik me herinnerde, maar desalnietemin a fun read.


Q: You’ve had some issues before with record labels that could be viewed as less than favorable. How do you see the business now and how do you personally conduct your bands and projects with the experiences you’ve had? Can you talk about your relationship with TeePee Records?


D. Brown: Hot damn, Deanna, cutting right to the chafe I see. It’s really no secret that I’ve had numerous, and I mean numerous bad experiences with record labels and people who are in the “industry,” over the years. On the other hand, I’ve had a handful of record labels that have been completely honest and hard working people get behind my projects. I think that if there is one bit of advice I could give to anyone getting ready to sign a “deal” it would be to get to know the people who are going to be promoting, selling, and collecting the profits from your project. And I don’t just mean “get to know” on a casual basis. I mean really get to know them. Talk to them as much as you can before you sign. Dig into the psyche of those motherfuckers and make sure they are people you can believe in ethically and philosophically. Call and ask people who distribute their product what kind of experiences they have had with the label. Call and ask other bands on the label what kind of experiences that have had with the label. Of course, you are going to have your attorney look through and approve of any contract, but no matter how iron clad that contract is you had better be ready to either go to war or concede defeat if that label turns out to be a bunch of criminals. Really, it’s easy to say that you are going to sue someone, but how many people have ever gone through the bullshit and financial burden of that process?

Let me give you a couple of examples just to show you what I mean.
With Meteorcity Records, I am in continual contact with the folks who run the show there. If I have a question about any of my releases, my questions are answered in a realistically timely fashion. When it’s time contractually for them to show me the sales figures and a general report on any of my releases, they send it to me. Plain and simple, right? Now that is a good experience, and really the way an indie label should be run . . .by people who are honest and generally ethical businessmen.

And then there are those folks like the ones who run TeePee. Let me just give you a few facts about what can happen even when you think you have taken every precaution and been as straight forward with a group of people who run a “business” as you can be. Hermano had a great attorney go through every millimeter of that contract when we entered into agreement with TeePee. Really, the parameters of the agreement we have with them are airtight, but when a label such as TeePee decides they simply will not pay or report, there is a whole slew of shit that a band has to go through in order to make them do the things they are contractually obligated to provide.

The facts, as I see them, go something like this. When Hermano signed with TeePee, those guys were the most cordial sweethearts in the world. They gave us a few bucks to help out with touring (promoting the record so that they could sell more, of course), and they actually provided us with one report about five months after the record was released. That report gave us a significant number of records that had been sold, and that was based upon sales merely three months into the release of “Only a Suggestion.” Essentially, there were more than enough sales in that report to cover nearly all of the financial assistance they put into helping us release it. But, of course, we found a number of discrepancies in that report, and somehow they were attempting to state that we owed them an enormous amount of money. We owed them! How that happens with a record that they didn’t sink a dime into as far as a recording budget to recoup, and only gave us a few thousand dollars to help out with tour support I haven’t the slightest idea.
The turn for the worse with those guys, though, came a few months later when they wanted to enter into negotiations for a second record. We were more than happy to send them a budget and get things up and running with another release, but they refused to meet the financial requirement we would need to produce that record. I don’t want it to sound like we put this enormous number out there, either. Truly, it was a budget that barely covered our travel and tracking, and living expenses. Look, I love to create music, but I also have a wife and children to feed. The budget they sent back to us would have basically put me in a situation where my family’s well being would have been in jeopardy. I’m sure everyone realizes that recording a record from the beginning of the process to the end isn’t something that is done in a day, or even just a weekend. It would be insane and irresponsible for me to lose money on recording a record and have my family go without food or shelter. When I did the first Hermano record, I sunk about $3000.00 out of my own pocket into the production, but I was single and didn’t have even half of the responsibilities that I carry on my shoulders today. That’s not a cop out. That’s just the way it is, and the way I’ve chosen things to be.

Anyway, when we couldn’t see eye to eye on the second record, it was at that very moment that TeePee began to refuse to issue any more reports to us, or, in general have any kind of contact with us that wasn’t filled with animosity or threats. Really, Deanna, it was so fucking petty that I just had to ignore it for a while and allow my management to attempt to deal with them. After about eight more months went by, though, without a report, I began to get a little offended by the fact that not only were those guys refusing to contact and provide us with some kind of data, but they had also reneged on their obligation to pay back Frank Kozik the money they owed to him for being the initial backer of the project. That’s an entirely different story in itself, but briefly Frank had been one of the first people to believe in what Hermano was doing . . . enough to foot the bill for completing the record. I don’t know Frank Kozik well, and actually almost every time I’ve spoken with him he has sounded like a real asshole on the telephone, but beyond all that Frank was the man who stood behind the Hermano project when he knew damn well that American Records wasn’t going to allow him to release “Only a Suggestion,” and that took some real balls in my opinion. That’s another tangent as well, though! To get back to the point, I was determined from the very beginning to make sure Frank got his money back for helping us out, and had that included in the contract with TeePee, but, of course, they haven’t paid him off either . . . at least not to my knowledge, but, then again, I wouldn’t know that either because I haven’t seen a single goddamn report on “Only a Suggestion” since that first one I received nearly two years ago. It’s funny, but at that eight month point, after numerous emails and telephone calls from everyone in Hermano, our management, and our attorney concerning receiving a report, I began to let a little steam off in the press about these facts, and suddenly, after almost a year of hearing nothing from TeePee, I began to receive threatening email after threatening email from them saying that they were going to sue me for libel for mentioning the truth about how they have dealt with me and the rest of Hermano. To tell you the truth, they are extremely hilarious, and I sometimes pull them out just to take a look at how pathetic some people can be. A few of my favorite quotes from them are these:

“Since you took the first shot, I will make it my mission to bury you and Hermano.” 10-10-03

“Dale and I are going to post your last royalty statement and pull the sheet off this fucking sharade.” 10-10-03

“Fuck you, Dandy Brown. I’ve got nothing to hide.” 10-16-03

“All of you (bands) are the same. Blame the label for why you and your band are unsuccessful.” 10-16-03

“I can’t wait to fuckin’ see you so that I can unload all my frustrations on your pathetic bald head.” 10-17-04

Really, the emails are all filled with shit like that, and I can only respond by saying that I have been anxiously waiting for him to post my royalty statement on line! At least then I could see it. Nothing to hide? Well, then why in the hell haven’t I received a statement for nearly two years? Why hasn’t Frank Kozik been paid? And I’m still waiting for Tony to show up and unload all of these frustrations he wrote about. Immediately after he sent me that one, I replied with my address, directions to my house, and what time I get home from work. I’ve yet to see him.

I know I’m going off on this subject . . . maybe a little too much. The fact of the matter is, though, Deanna, I’ve just gotten sick with this entire situation. It just blows my mind that this episode has boiled down to a matter of principle where I’m left with the choice of having to spend a shit-load of money and give up a fuck-load of my time in order to pursue a few grand to the good once the entire experience is over, or simply give it up. What else am I left to do other than bitch?
Get to know those motherfuckers first!

Dit kom van http://www.stonerrockchick.com/rdcindex.php/?aID=Interviews&myID=62 waar ook de rest van het interview staat.

Oeh, wat een zelfbeheersing, nipeng!

Zondag(middag?) 10 april (de dag na Roadburn) speelt High on Fire in de Goudvishal samen met Winnebago deal en ik geloof ook nog een band (dat is ook wat onduidelijk op de site van de Goudvishal). Wellicht dat ik daar heen ga (hangt een beetje van de dag ervoor af ...)