a complementary if brief surf raiders bio/overview

DO MOST YOUNG PEO­PLE KNOW WHAT "SURF MU­SIC" IS? That's REAL surf mu­sic, the kind played by a guitar-and-rhythm-section-and-no-singer group! Many people—including non-record col­lect­ing older folk—think of the Beach Boys’ early har­monies when they hear the term “surf mu­sic,” but that was never con­sid­ered surf mu­sic by surfer guys and gals (dudes and bun­nies?). 1 In­stru­men­tal surf mu­sic was dom­i­nated by a heav­ily re­verbed Fender gui­tar sup­ported by a promi­nent bass line, one of the few pop mu­sic gen­res that placed em­pha­sis on what was of­ten just a part of the rhythm sec­tion. This mu­sic had its fif­teen min­utes… Con­tinue Read­ing a com­ple­men­tary if brief surf raiders bio/overview

surfing guitars and instrumental surf bands of the early '60s

ARGU­ING THE 'BEST' ROCK GUI­TAR PLAY­ERS of the '60 is prob­a­bly a pretty dumb way to waste time—and "Surf­ing Gui­tars" will not be do­ing that! Con­sid­er­ably more con­struc­tive and in­ter­est­ing would be an ar­gu­ment as to who were—and that's in­ten­tion­ally plural—the most ‘cre­ative’ play­ers. Of course, to reach any kind of con­sen­sus there would re­quire that we first agree on a de­f­i­n­i­tion of ‘cre­ative’ in that con­text! For in­stance, Jimi Hen­drix is of­ten cited as rock's most cre­ative player, pe­riod. But was Jimi's in­ven­tive­ness in 1966–1967 (which in­cludes both the ARE YOU EX­PE­RI­ENCED? and AXIS: BOLD AS LOVE al­bums… Con­tinue Read­ing surf­ing gui­tars and in­stru­men­tal surf bands of the early '60s

my review of outlaw blues for goodreads

WHILE I HAVE USED GOODREADS AS A SOURCE on my web­sites, I have not ac­tu­ally par­tic­i­pated in the com­mu­nity of read­ers and re­view­ers. Un­til now: I just posted my first re­view for Paul Williams's book Out­law Blues for Goodreads. Oddly, it is only the sec­ond re­view of this im­por­tant book (and the first was luke­warm). Here it is in its en­tirety: it's brief be­cause most re­views should be ei­ther en­thu­si­as­tic teasers or ven­omous put-downs. Nei­ther re­quires a lot of words . . . "Paul Williams' Out­law Blues col­lects ar­ti­cles, in­ter­views, and re­views from Williams' Craw­daddy mag­a­zine, where he was pub­lisher, ed­i­tor, and con­trib­u­tor. This pa­per­back edition—one of… Con­tinue Read­ing my re­view of out­law blues for goodreads

talking with ken barnes on his career as a rock journalist

A few weeks ago, I re­ceived an in­vi­ta­tion from a young mu­si­cian in Eng­land to make a con­nec­tion on the LinkedIn site, the “world’s largest pro­fes­sional net­work.” Re­luc­tantly I ac­cepted it, de­spite the fact that I have yet to meet any­one who has ac­tu­ally ben­e­fited pro­fes­sion­ally from any of their LinkedIn con­nec­tions. Nonethe­less, I cer­tainly don’t know every­one on that net­work, so maybe I was miss­ing some­thing. I cor­re­sponded briefly with this Eng­lish­man through LinkedIn be­fore we ac­tu­ally con­nected in a more mean­ing­ful man­ner (read about it here). The meet­ing of him and me in­spired me to re­turn to LinkedIn,… Con­tinue Read­ing talk­ing with ken bar­nes on his ca­reer as a rock jour­nal­ist

on paul williams, the father of rock journalism

IN 1980, I WAS LIV­ING IN ST. HE­LENA! I was 28-years old and liv­ing with the woman of my dreams—whose ini­tials, BEM, will look fa­mil­iar to every sci­ence fic­tion reader—in Napa Val­ley, Cal­i­for­nia. I had a day job learn­ing the care and main­te­nance of plants at Four Sea­sons Nurs­ery, which I en­joyed, as plant peo­ple tend to be friendly peo­ple. I was also buy­ing and sell­ing out-of-print records, haunt­ing the many used shops in the Bay Area (es­pe­cially the thou­sands of records in the dol­lar bins at the back of Rasputin's), and sell­ing them through ads that I ran once a… Con­tinue Read­ing on paul williams, the fa­ther of rock jour­nal­ism