Those who love the late, lamented, oft-troubled band known as Badfinger are hereby put on notice to check out Fallout Record’s 2006 reissue of the eponymously titled Stateside debut album of South African pop-rock band The Flame. Originally released by the band in 1970, the album has been a much-sought-after collector’s item for those into power pop and classic rock. Produced by Carl Wilson of the Beach Boys but not sounding at all like that band, the album is sure to turn the heads of many music fans who hate the suckery of today’s modern rock and wish it sounded like it used to when it used to…um….rock.

While it is easy as a reviewer to compare The Flame’s special brand of rock to the Beatles and the above mentioned Badfinger, there are many layers to the band’s sound, probably owing to the band’s South African origin. Sure, the material is above average melodic rock by a group of musicians who had no doubt paid attention to the templates laid down by the best of the English bands of the ’60s but that’s not all the band offers. It’s also got depth and soul, and it’s far from being just a Sgt. Pepper pastiche. But, before I comment on the band itself too much, I would like to make a few comments about the reissue label, Fallout Records.

Fallout Records is a direct descendant of Radioactive Records, a controversial record label that recently had to shutter it’s doors thanks to some lawsuits won by the Jimi Hendrix estate. It seems the owner of Radioactive Records issued a slew of Hendrix live tapes brought to them by an outside party without permission from the Hendrix family, which is why they were released on Radioactive instead of the Hendrix estate’s own label. During the trial it became well known that Hendrix wasn’t the only artist being ripped off by the label. Radioactive Records specialized in rare psyche albums from the 1968 to 1973 period but instead of licensing the albums from the previous labels or artists themselves, Radioactive would just sell “needle drops” of those rare albums. For those who don’t know, a “needle drop” is a term for a CD recording made from a regular vinyl album and not a master. In other words, most Radioactive releases are bootlegs, albeit authentic looking bootlegs. When Radioactive closed down, Fallout suddenly came to life and one can only think that Fallout is doing business the exact same way. So, just for your knowledge, whenever you purchase a Radioactive Records or Fallout Records release musicians are not being paid for their work and most often they will be “needle-drops” as is this release. Fortunately, for those interested in checking out the band, the sound is excellent for such a process and is one of the better “needle-drops” I’ve heard from these labels.

Now, back to the music.

A four-piece started by Blondie Chaplin and the Fataar brothers (Steve, Ricky and Edries), the band released a couple of albums in its’ native South Africa and had even scored a couple hits there (most notably a cover of the evergreen soul ballad “For Your Precious Love”) but had trouble gaining a foothold in other markets with their R&B-based pop sound. Caught live by Wilson during a Beach Boys tour overseas, the band was invited to be a part of the Beach Boys’ label, Brother Records. While initial recordings were tentative and pedestrian, the Beach Boys’ organization owned their own studio and gave the band plenty of time to experiment with their compositions and flesh them out. Wilson obviously saw a lot of talent in the band, and rightfully so, as this album is one of the greatest pop delights ever released in the ’70’s, despite its’ low sales. Sunshine-filled pop rock of the highest order, the band’s top-flight musicianship gave the songs more muscle than most bands recording the same type of music. Unfortunately, the album did not take off despite the backing of the Beach Boys and their team at Brother Records.

Thanks to the album’s low sales, a second stateside album was never released (although one was recorded – hopefully these tapes will surface one day) and two of the now-defunct band’s four members were drafted into the Beach Boys themselves, Ricky Fataar and Blondie Chaplin. The other two Fataar brothers left the music business entirely. Chaplin and Fataar’s tenure as Beach Boys was short lived, however, and by 1975 they were out of the band and out doing solo projects. Music geeks may notice their names as session players and singers on tons of albums with Fataar’s claim to fame being a member of The Rutles and Chaplin’s recent notoriety stemming from a long tenure as a sideman for the touring version of the Rolling Stones besides tossing out a solo album here and there.

This album will appeal to all fans of late ’60’s and late ’70’s rock as it mixes a bunch of elements ranging from British rock to folk to some psychedelic touches as well. After listening to an album like this one can only wonder what could have happened to the band should their album have been a success. Their songs compare favorably to anything by McCartney, Pete Ham or Emmitt Rhodes. Tempering the pure joy at checking out a discovery like this is the tinge of sadness when the realization hits that there could have been more music from this great band if only more people had been listening. Still, this is a mighty fantastic album by a band you should check out immediately.

The latest Groovegrinder album is available now and it is called The Daily Grind. I have been playing this an awful lot recently, usually several times a day and goes like this…. Track1 “Funky Bone” is a perfect opening track and introduction to their funkaliscious style of feel good rocking R & B which leaves you wanting much more, it is foottappingly feel good song that uplifts and seduces ending with a fun voice box manic giggle. Track 2 “One Hundred Miles” is a story of a man in despairing to be home, rolling along in fine Groovegrinder style once more and as in all of their tunes proving the quality of this band. Track 3 “Lazy Man” downs the tempo into a bluesy ballad that that foot a tappin’ while as on all the songs proving the quality of this band of musicians who work together so sweetly creating a sound so rich, joyful and addictively funky. Track 4 “Pocket Full of Stars” is yet another traditionally grooving R & B style feel good masterpiece with some excellent harmonica work from Jon complimenting his great vocals which top the perfectly rolling backbeat so beautifully laid down by Adam on the drums and Philip plying his collection of basses so well. Ross works the guitar sound so beautifully, all in the Groovegrinder sound is truly ‘alive’ with so much heart and soul. Track 5 “Once Bitten (Twice Shy)” has more of a bluesy feel, the song title tells this and it is a showcase for both Ross and Jon, Philip and Adam provide a rich, sweet treacle like tight & smooth backdrop to the whole Groovegrinder sound. Track 6 “No 3rd Degree” has an intro which is proof to what I have just written, Groovegrinder get back into the funky groove with this number, full of hard-hitting catchy choruses and Grooveriding rythyms. Track 7 “8pm in The Cadders” a seductively Smokey tune that rolls away so dreamily floating along on deep but funky bass rythyms laid down by Philip. Track 8 “Sweet Mama Sugar Cane” keeps the funky beat going strong and brings the tempo back up. As always there are some lovely licks from Ross on this number and Jon has a lot of fun here also, being accompanied by Ross so well on the vocals, as on all the tracks. Lastly, track 9 “Get Anther Round In” closes this fine collection of songs to perfection. Deeply R & B with Jon getting right into the swing with his harmonica and vocal style so finely tuned and worked. An R & B and blues laden masterpiece that completes the album leaving you wishing for more.

I was invited by Groovegrinder to accompany them to a gig of theirs in a venue at a local seaside resort, and gladly accepted the invitation.  Groovegrinder played a great couple of sets lasting the better part of two hours with a short cider and cigarette break in-between. During these two sets Groovegrinder played all the numbers from The Daily Grind along with some tunes from the forthcoming EP available in January 2010. One of these was a tune titled “Yo! You Right”, this is a kickin’and jumpin’ little number, one that really sets the pace going so well. I am looking forwards to its release excitedly. There were a few covers that suited their style and blended perfectly with the set being finely executed, the most notable was “Blackberry” originally by The Black Crowes.

In a nutshell, Groovegrinder really are a great band playing a great set and keeping feel good  R & B and Rock’n’Roll alive in fine fashion while adding their own funky style.  They are keen to add more bookings as they just love to play live, you can contact them through www.myspace.com/groovegrindergg Or www.groovegrinder.co.uk. Or Email groove_grinder@hotmail.co.uk.

I was in no rush to hear their fifth album, “Save Me, San Francisco”, especially after hearing the rather silly and annoying first single, “Hey Soul Sister”. But after a few more tracks in the album really picks up, sending you back in time to their early days. Train has finally stopped taking themselves so seriously and simply recorded a fun roots-rock record – their specialty, and what most fans fell in love with in the beginning. Additionally, Pat Monahan sounds fantastic on this record – he seems re-energized and has written melodies that allow him to showcase how great of a vocal talent he really is.

Train are full steam ahead on this one from the get-go…the record is short and sweet, but most of the songs are bright and playful, free of the over-production that dragged down their last couple of records. Fans of the first two albums are going to appreciate “Save Me, San Francisco” the most. Catchy songs abound, but the highlights include “Parachute”, “You Already Know”, and “Brick By Brick”.

With “Save Me, San Francisco”, Train is finally ‘back on track’: it is easily their best release since their masterpiece, “Drops of Jupiter”.

iPOD-worthy: 1, 4, 5, 6, 7, 8, 9

Train on MySpace. Official site.

From beginning to end this is an album that will not only engage your ears, but will also engage your inner being.  Trevor mixes reggae style with a rock and roll edge and smoothes it all out with deep, soothing vocals.  His music has an undeniable refreshing tone of unity that leaves behind a feeling of inspiration and his sound is somewhere along the lines of Matisyahu, Ben Harper and Michael Franti. He has however found his own voice and it’s one of love, hope and connection.

The first track, “Internal Heights,” is a melting pot of cultures which leads the listener into some island-influenced serenades like “Who You Gonna Turn to” and “The Lime Tree.”  If one thing is evident in this album, it’s Trevor Hall’s passion for music and for bringing people together.  Not only are the songs rich in sound, but the music enriches your soul.

Growing up in South Carolina, Trevor knew from an early age that he was meant to make music.  As a young teen he would come home every day after school and spend time playing guitar and writing songs. After being fortunate enough to attend the Idyllwild School for the Arts in California, Trevor saw how music could bring people together and from there his after-school hobby developed into the beginnings of a full-blown career.

Currently on tour with Matisyahu, Trevor was generous enough to take some time to talk to The Rock and Roll Report.

Q: Your sound is very much that of an “old soul”.  Can you tell us about the influences that helped develop your musical style?

A: Ever since my youth, I have been greatly inspired by reggae music. Especially roots reggae that brings the spiritual message. I was so attracted to that one drop rhythm [because] it really resonated with me how anyone could move their feet to it. That was the foundation for me. Now I am really inspired by Indian music and other music from around the world. As for my lyrics, I am greatly inspired by the mystic poets such as Hafiz, Rumi, Kabir, and Rabindranath Tagore.

Q: Did your upbringing and family play a role in the positive and hopeful messages that are typical of your music?

A: My family has always been extremely supportive: they have showered love on me ever since I was born. I believe that a child’s youth shapes their whole lives. They made sure that I had the freedom to express myself through music.

Q: What has been the highlight of your musical career so far?

A: By the grace of the Most High, I have been extremely blessed to play with all types of people. The highlights have not been only playing with people, but forming friendships as well.

Q: You’ve been on the road quite a bit lately, do you have any anecdotes about the people you’ve met or what you’ve experienced?

A: The road is always surprising. You never know who you are going to see or what is going to happen. This time around we had a little funny situation where we ran out of gas in the middle of nowhere in Montana. Within moments my drummer, Chris Steele, flagged down a car of three cowboys and got in the car with them to go get gas. After he left, my bass player, Super Mario, and I wondered if it was the best idea. Wondered if we would ever see him again. Chris returned and we made it to the next gig [laughs].

Q: “Unity” is one of those songs that sounds extremely natural and organic and really has the ability to bring people together. What was the writing process for that song and how was the experience of working with Matisyahu?

A: I’m in the dressing room right now in Illinois [and] just got off stage with Matisyahu singing that song. It is always a blessing sharing the stage with him; I love him greatly and really hope he continues to flourish. “Unity” was written during our last tour together during the time of the Mumbai shootings. There was a Jewish Temple there and the couple inside had died. Matisyahu knew of the people so it really hit a little closer to home. The whole tour we were really discussing and meditating on why people fight and kill in the name of God and religion. It made us so unhappy. Also, there were other things happening on that tour that were related to that situation. The pot kept brewing and brewing until that song came out the last show of the tour.

Q: Where do you feel you are at this point in your musical journey? And where do you see yourself in the near future?

A: I try not to think about the future or where I could be. I am blessed to be playing music every night and doing what I love. Where the Almighty wants me, She shall put me there. I have no fear.

Q: You’ve come really far at a young age, but was there ever a time when you didn’t think you’d make it? Or when you weren’t sure that this was the right path for you?

A: Plenty of times. That even happens now sometimes when I am really tired and burnt out. But those thoughts pass quickly. Music is what I love, but I also believe that it is my service to the world and to others. It is my duty – no matter what happens.

Q: Are there any final thoughts you’d like to leave for your fans and the readers of The Rock and Roll Report?

A: Thank you for taking the time to read this article. I hope the music inspires you in a positive way. Love all, serve all and tell the truth.

For more info on Trevor Hall visit: www.trevorhallmusic.com and myspace.com/trevorhall

The project has been in the works since 2005 and four years later the result is an intricate and distinguishably refreshing sound that leaves no questions in regard to the love and devotion these musicians have for what they do. Although fans would easily be able to recognize Josh’s vocals, John on the bass, and Grohl on drums, the combination is quite unique, having little resemblance to the respective bands these musicians have been a part of. The album has traces of influence ranging from rock to funk to psychedelic, subtle similarities to both Queens Of The Stone Age and Zeppelin are inevitably present upon first hearing, but overall quite innovative in its own right.

A few standout tracks for me include ‘Scumbag Blues’ a really catchy tune with a great danceable groove, also ‘The Interlude with Ludes’ makes use of really clever lyrics with a playfully dark quality, the song feels like it’s being sung from a ship lost at sea, you’ll know what I mean when you hear it. Another great track is ‘No One Loves Me & Neither do I’ it’s the first song on the album and it successfully sets the tone for the rest. The use of the keytar, slide guitar and mandolin throughout also adds an interesting feeling to the music, and sets it apart from a lot of other rock out now.

The album possesses a certain mystery and sensual quality, which can be attributed to several things including Josh’s singing, along with the way the instrumentation is executed. It’s haunting and captivating without ever demanding too much from the listener. All players masterfully embrace their talents and collectively produce something exciting and unique. This may very well be at the top of my list as album of the year.

Being talked into doing this album wasn’t hard (over a couple of bourbons with a young metal band) and this seemed like a reasonable request, but to make it a bit more challenging Doobie decided to play everything himself and record it in his own studio while it was still being built. The result will be his first Solo album and the first released material with Doobie as the only musician.

Thanks should go to friends Rob Vorell from Derringers Music and master musician Darren Mullan for their wisdom and support, Andy Griffiths from Frets and Sticks Music and Daniel Hughes for use of their personal kits and to Kaye and Jac Dalton for the loan of assorted guitars and basses.

Today I would like thank Doobie Whitehorn  for taking some time out to do this for us his Fans

Welcome Doobie and before we start I just wanted to say Welcome to The Rock and Roll Report,We Love Your Tunes.

Shaz: So your new Album “Touché” has just been released?

Doobie: Yeh, it’s my first ever Solo Album. I heard Mike Oldfield’s “Tubular Bells” when I was a kid and just couldn’t believe that one guy played every instrument on it so it was something I just had to try one day. So you could say it’s been planned for a long time and when the opportunity came up I grabbed it and just ran with it.

Shaz: Could you please list the instruments you ended up playing on “Touché”.

Doobie: All vocals, guitars, bass, drums, percussion, piano, mandolin, banjo mandolin, piano accordion and used a keyboard for any brass or stings that are on it.

Shaz: What can you tell me about your instruments? (i.e., Are you subject to brand loyalty or will you play with whatever’s available? What made you choose the instruments you have now? Was it cost or was it a style/mode /brand/color preference?

Doobie: My favourite guitar right now is a 1974 Gibson Marauder. I’ve had this guitar for years but kind of rediscovered it after a bad car smash (not my fault mind you) and it was comfortable to have around my neck because it’s a reasonably light instrument. It has a unique tone that’s different to any other Gibson and you can really get it to bare it’s teeth and bite.

Shaz: What genre of music do you consider your work to be and who are your major influences?

Doobie: JustRock. The new Album ( Touché ) has a fairly broad musical spectrum to it  with influences probably from Zeppelin to The Beatles to The Angels, all the stuff I grew up with, there’s even a song on it called “Wind It Up” that feels to me like it has a Little Feet style swing to it. I also spent allot of time listening to different producers and their techniques as I was after a big fat overproduced sound but with a 70’s & 80’s looseness to it so it gave it a bit of life.

Shaz: Are you a member of any music organizations?

Doobie: Yeh a few little known ones like, The I want my life to be fun if that’s ok with you Guild, The unofficial church of the sweaty guitarist and The society for asking why it takes so long for agents
to pay the bands.

Shaz: Where have you performed? What are your favorite and least favorite venues? What are your touring and recording plans?

Doobie: I’ve played all over Australia in all sorts of venues from pubs to concert venues but my favourite gigs are the unusual ones that pop up. Like I got flown to Hamilton Island for 4 days to play just one night on a big stage they’d set up on the beach with Pyro’s, bonfires and limbo contests all around, it was very cool. As for touring I’ll go anywhere anyone wants me, I love it. The recording plans depend on how this Album goes, if it seems to be working and people are liking the concept of this Album then I’ll get on with a follow up otherwise I might just get together with some other Muso’s and do another Band one. It’s pretty easy for me as I own a studio so I can virtually do what I want when I want to.

Shaz: Who is it that sits down and writes your songs? Or is this a joint effort….

Doobie: This Album was all me but previous ones I’ve collaborated on as well as helping other artists write for their Albums. I’ve also written soundtracks for a few films and documentaries but most of them have been solo efforts.

Shaz: Could you briefly describe the music-making process

Doobie: If only there was an easy recipe for this I’d bottle it and be rich. Songs can come from anywhere, no-one really knows what triggers the ideas. They can start with a riff, a lyric or even a drum rhythm. For me the process after the initial song is written starts with me programming a rough sequence on a keyboard so I can play with the feel of the song a bit. Then I’ll go into the studio and record a click track as a timing guide. I’ll then lay down a rhythm guitar and guide vocal before the real fun starts. I pull the drum kit out and bash away then play with some bass lines. After that it’s just a matter of recording layer after layer of guitars, piano, mandolin or whatever the song needs. The guide vocals are then replaced and harmonies put on and the very last thing I record is any percussion like Tamborine or Cowbell as these can be used to really lift parts of the songs that seem to drag a little. Then you go and hire a psychiatrist to help you get through the mental fatigue of trying to mix down a complete Album and once that’s done take it away for mastering by someone with a fresh set of ears and it’s complete.

Shaz: How has your music evolved since you first began playing music?

Doobie: Really it’s more than just your music that evolves. The longer you do it the more contacts you make and the more you understand the industry. You really want different parts of the industry to help in different ways as your evolving as an artist. Starting out your grasping for anything that will help propel you to some sort of stardom without really understanding what your doing but that’s ok, it’s all part of the learning curve and it works. You kind of need that so as you progress as an artist you can take that experience and put yourself in front of the right people at the right time to benefit the artist you’ve become as well as trying to control the pace of your career as much as you can so you can handle it and not burn out either mentally or artistically.

Shaz: What has been your biggest challenge?

Doobie: The biggest challenge of my career and life happened when only about a month short of finishing this Album I was in a near fatal high speed head on crash. It wasn’t just the physical rehabilitation but mentally getting back on track and getting motivated to finish the project and build up the momentum again after it had been literally stopped dead.

Shaz: Well we are all stoked you pulled through it and came out Rocking…..well done doll….

Shaz: So, how would playing in the Australia (where you are from) differ from playing  somewhere like the USA ?

Doobie: The sheer size of the market there is huge compared to Australia.

Shaz: What are your thoughts on rock and roll, and how would you define it?

Doobie: It’s the most fun you can have while fondling a piece of timber and knowing people pay to watch you do it and take photo’s. I bet that statement comes back to bite me one day.

Shaz: Which of your songs are you most proud of and why?

Doobie: “The One” & “I’m Gone” because of their arrangements and probably “Comfort Zone” because I took one verse and one chorus, put a repetitive riff behind it and made it work as a song.

Shaz: What is life like as a musician in the age of the Internet?

Doobie: The good thing is it’s taken your audience from being just the boys down at the local pub to a global marketplace and you can network with other industry people worldwide. The bad thing is you need to wade through all the crap out there to make that decent network of people that can all work with and help each other.

Shaz: Whom and what inspires you, musically and otherwise?

Doobie: Anyone with talent whether it be natural or worked hard to obtain, good people and people with the strength to overcome adversity.

Thank you Doobie this has been so awesome and it always rocks to catch up with you…….. We hope to see you Rocking It Live someday soon!!!!

Hugs Shaz (On behalf of The Rock and Roll Report)

You can purchase hard copies of Doobie’s album through Paypal via his website or download it from iTunes.
http://www.doobiewhitehorn.com/

Or visit his Myspace at
http://www.myspace.com/doobiewhitehorn

Enjoy a free download of The One courtesy of Doobie and The Rock and Roll Report!

On November 5th, I was in the audience for the Helen Money concert. One of the bands there to open the show was Oberlin, OH’s Like Bells. Like Bells is a trio made up of Garrett Openshaw, Gabe Baker and Will Mason.

Garrett Openshaw, Gabe Baker and Will Mason met while they were attending classes at Oberlin College. As the trio of Openshaw, Baker and Mason were taking the courses needed to complete their studies at the institution, they were also busy creating a new band that features an Indie/Experimental Rock style. With Openshaw on Violin/Viola/Vocals, Gabe Baker on Guitars, and Will Mason on Drums/Keyboards, the band already had an unusual combination of musical instruments to make up their sound; so when the band started creating their music, the music being created was different and fresh. It’s that sound that was captured on Like Bells’ 2008 self-titled release.

The self-titled release from Oberlin’s Like Bells is instrumental; the music contains only the viola/violin of Garrett Openshaw, the guitar of Gabe Baker, and the drums and keyboards of Will Mason, with only a little embellishment from the vocals of Openshaw. As the band contains both guitar and violin, the music from the band has both rock and jazz qualities in it at the same time. When Gabe Baker and his guitar are the main focuses of the music, the band’s sound is based in the indie-rock mode. And when the band isn’t focused on the guitar playing of Baker, the band’s sound is a little bit more experimental in nature.

The CD from Like Bells contains 10 tracks. The best thing about the album is that you can just put the disc in the player, press play, and just let the album play out.

The album starts out with the track “Atlas,” one of the songs the band played live in concert. It is a great song that allows both Baker and Openshaw to take the spotlight and give the song a feel of both indie-rock and jazz at the same time. The next song on the album that caught my attention was the song “Can I Say Something To You?” The song is a three-minute slow jam that almost has a folk feel to it. Even though the self-titled album from Like Bells is an instrumental release, the band keeps the pace moving and keeps the music from getting stale by changing their direction from song to song. Openshaw, Baker and Mason, the three members of Like Bells, really know how to keep its audience entertained……….and their 2008 self-titled release proves it.

Many bands have been created from students that have attended Oberlin College over the last two decades, or so. Some of the bands that Oberlin College has produced have been: Package From Sally, little things, Circle With a Smile, and one of my favorites- Lovin Ripe Haggis. While these groups were good, not one did anything outside of the Oberlin area. Like Bells, the latest band from the Oberlin area, has done what very few bands from the school have done: They’ve started having a following in the city of Cleveland; and for good reason: The band has talent and their sound is very listener-friendly.

As has been said before, the best way to listen to the self-titled album from Like Bells is to place the disc in the CD player, put your headphones on, turn out the lights, and just let the music surround you. The music created by Like Bells is perfect for those times when you just want to enjoy some good music and relax. And what better thing to say about someone’s music than to say that it makes you feel good.

To find out more about Like Bells, check them out on MySpace at www.myspace.com/likebells. Like Bells’ self-titled release is available on Cleveland, Ohio’s Exit Stencil Records. The album is available in both CD and vinyl versions. The label features other bands worth finding on their roster. Some of the other bands include experimental rock band Mystery of Two and HotChaCha, an all-girl band that is also a bit on the indie side of Rock. To find the label, go to www.myspace.com/exitstencilrecordings.

To check out Like Bells and their self-titled CD, simply click on the album cover below:

That something in question, comprising of five uppity Oxford and Cambridge drop-outs who, alongside one itinerant American cartoonist, somehow joined forces in 1969 London to produce forty-five British (plus two German) half-hour television shows, five full-length motion pictures, three theatrical musicals, five (authorized) books, seventeen original (and one unreleased) audio albums and six video games (and counting), now tell The Whole Story – including, yes, even some of the “naughty bits” – in their (even the dead one’s) very own words throughout Monty Python: Almost The Truth (The Lawyer’s Cut), Eagle Rock Entertainment’s one and only three-DVD and/or two-BluRay disc video box set containing six hour-long episodes plus an additional one hundred and eighty minutes of bonus material.

Strictly numerically speaking, that is.

Yes, from their wickedly risqué yet far from humble beginnings upon Britain’s college Comedy Revue circuit through their infiltration of the U.K. television industry via children’s shows and the weekly David Frost Report, John Cleese, Eric Idle, Terry Jones, Michael Palin, Terry Gilliam (the American) and Graham Chapman (the dead one) were somehow finally offered thirteen half-hours to fill themselves for none other than BBC Television. And so it came to pass during the evening of October the Fifth, 1969 that Monty Python’s Flying Circus Episode 1, Whither Canada?, suddenly appeared on British tele-screens with a surreal socio-musical sketch entitled “It’s Wolfgang Amadeus Mozart.” Over the next three months, despite an infuriating variety of unpublicized, ever-changing timeslots, the show slowly-but-extremely-surely built a loyal audience of viewers captivated by its weekly parade of flying sheep, musical mice, crunchy frogs, naked ants, lumberjacks, murderous octogenarians, men with tape recorders up each other’s noses and, how could we forget, dead parrots.

Try as the once-staid BBC did to conceal this bizarre new program from its viewers, the Flying Circus carried onwards and upwards for an additional four years before spawning a full-length motion picture entitled Monty Python and the Holy Grail, financed by such Python fan(atic)s as Pink Floyd, Jethro Tull and Led Zeppelin. By now, the original British television episodes were popping up on American PBS-TV stations as well, and even Elvis Presley could soon be heard leading his hitherto all-American Memphis Mafia in late-night recitations of “The All-England Summarize Proust Competition” and even the Knights who say “Ni!”

Naturally, this lead to the Pythons’ own (anti-) Biblical epic The Life Of Brian being released, to much publicity-scooping furor worldwide, in 1979 – this time financed in full by the aforementioned ex-Beatle George mortgaging his castle and forming his own Handmade Films concern (all because he “just wanted to see the film” after original backers EMI pulled out at the proverbial last minute) (claiming the Pythons were, and I quote, trying to “crucify” their corporate body). Four years later came your own humble Rock and Roll Reporter’s personal favorite Python project The Meaning of Life before Messrs. Cleese, Palin, Jones, Idle, Gilliam and even Chapman decided to at last call it a day.

Until, that is, they set about launching a staggering series of century- and globe-spanning multiple-media re-launches, repackages, revivals and reunions that can only be matched by their frequently Farewell Tour-ing countrymen The Who.

Which brings us today to their latest, but I just must admit by far greatest grab at the penultimate [sic!] Python megabucks, Almost The Truth.

Meticulously programmed and packaged, filled with fact ‘n’ fun-filled interviews featuring even the mysterious “Seventh Python,” and of course stuffed with literal hours of clips, this is honestly (“almost”) the closest we’ve yet come to understanding the histories, inspirations, motivations and machinations behind everything from The Fish Slapping Dance on down. And its near seven-and-three-quarter total hours (!) on, and by, the group which truly has yet to be equaled as – you were right, George – the Beatles of comedy undoubtedly add up to what must surely be the final, final words on this most silly of subjects.

…..Until the NEXT posthumously Python-produced television, motion picture, musical, book, album and/or video game self-retrospective arises, that is…

http://pythonline.com/

www.GaryPigGold.com

Hailing from Australia, The Temper Trap has already caught the ears of BBC’s Radio 1 and countless SXSW critics and bloggers, and now it’s time that The Rock and Roll Report gets a taste of their newest album Conditions. These emotion driven melodies can transport you to an inner reflection and still manage to keep your toes tapping. You may not know it yet, but these guys are the soundtrack to your future.

There’s not a detail missed in these meticulously crafted tracks from the heart pounding “Sweet Disposition” (recently featured in Indie film “500 Days of Summer”) to the anthem-like “Fader” and the electronic-experimentation “Science of Fear”. “Drum Song” really showcases how the percussion of this band keeps you on your toes, and acts as the epitome of their instrumental capabilities (I’m not even usually an instrumental fan).

Every time I listen to this album, I hear something new, and fall in love over and over again.  Not since the Killers “Hot Fuss” album have I heard something so refreshing yet so instantly classic. If you can catch these guys at a small venue, do it now, because if they stay on this creative track, they’re gonna be up in the ranks with bands like Radiohead. This band deserves everything that comes their way and I truly believe this is one of the best albums of the year by far.

The Temper Trap Official Website

The Temper Trap Myspace

Conditions on Lala