There's a backlog of entries I've been meaning to post. First up, video from my performance with the Insect Surfers at last year's (2014) Instro Summit.
Tuesday, June 16, 2015
Wednesday, April 22, 2015
Creative Loafing article on the Southern Surf Stomp
Original source may be found here.
Chad Shivers has his finger of the pulse of the Atlanta surf scene.
Outside of Southern California, the Atlanta surf scene might be one of
the strongest in the nation, despite the majority of residents remaining
unaware of its existence. It’s slightly off the beaten path and out of
sight from even the most discerning music fan, but there’s a community
of people here who are wildly devoted to music that was left for dead.
The resurrection is somewhat slow, but surf is on the rise again in
Atlanta.
Getting into surf music 20 years ago after hearing a Ventures song at a house party, Shivers formed his first surf group, the Squares, almost immediately thereafter. From there, he founded Sorry No Ferrari — not surf, but instrumental nonetheless — and most recently progressive surf band Moonbase. He’s also a member of the Mystery Men?, who are a staple of the Atlanta surf scene. In early 2014, he started the Southern Surf Stomp, a monthly surf showcase at Kavarna in Oakhurst. In the surf community, both in Atlanta and nationally, Shivers is helping to usher in a resurgence of the genre.
Shivers invited me into his home to talk about the music while he made BBQ, something he’s also quite good at.
Surf music feels like something that its fans keep in their back pocket. Surf fans have a deeply personal relationship with the genre, its bands, and the scene at large. What is it that resonates
with you?
Just as much as the music, I think it's community. It has that punk rock idealism, but without a lot of the pretense. You don't have to be or look a certain way. It's fun music and you can choose to push it or not. So many variables, but they're all legitimate.
After being killed by the British Invasion in 1964, surf music made a resurgence in the '90s with bands such as Los Straitjackets and Man or Astro-man? and has maintained an underground status. Why such a devoted yet small following?
I think it's small and devoted, and I'm not trying to sound pitiful, because we're all each other has. We don’t have a big following except each other and it’s very insular. It’s not by our own device, but it’s just an outlier in most people’s tastes.
There's also a lot of cool stuff you can grasp onto with surf music; there's a lot of history and, I hate to say it, but gear is a big component. By its nature, the music has to be more technical because you're playing all of your melodies on guitars or another melodic that's not voice. I think people can grasp on to whatever they want to with surf. I was having a discussion with Eddie Angel of Los Straitjackets for the podcast and brought up the fact that they wear Mexican wrestling masks when they play. He mentioned that that helps because people don't want to see middle-aged guys play surf music. I think that's why people like it, because anyone can play it — it's not a young man's game or an old man's game, it's everybody's game.
I also think there's a great parallel in heavy metal. Surf might not have the same youth appeal, but it’s technically proficient, very gear based, very community based. A lot of surf players come from metal.
To me, Dick Dale sounds like metal much of the time. And Metallica, specifically Kirk Hammett, is clearly indebted to Dick Dale.
And Dick Dale will tell you he's responsible for metal (laughs).
The Southeast seems to have a growing, if not flourishing surf scene centered around Atlanta with the Drive-Invasion, the Clarkston Surf Fest, and other regular events. Can you talk some about Atlanta’s relationship with surf?
The South in general, not just Atlanta, has a great scene. Austin, Texas has a great surf scene with a monthly surf show that they do. Tons of bands, great bands. North Carolina has a great scene.
Alabama has historically had a great scene, which leads me to Atlanta. We've had some heavy hitters in Atlanta, but by proxy of Alabama. Originally, Man, or Astro-man? was based in Alabama and kind of moved to Atlanta. And also, the Penetrators — that’s what we all rally around in Atlanta. I don't think there would be an Atlanta surf scene without those guys. They started in the early '90s and carried the torch for Atlanta.
Where do you see Atlanta’s surf scene right now?
I'm very happy with the Atlanta surf scene. I think it's great, I think it's growing, and I think it has a lot of potential. But I have realistic expectations; I don't think it's going to be the next big thing, but I think if people get in on the secret, they're going to want to be a part of it. We have amazing bands. We have The Surge, El Capitan is now active again, Gemini XIII, my bands MOONBASE and the Mystery Men?. Not to toot my own horn too much, but I think the Mystery Men? have kind of picked up where the Penetrators left off with The Stomp and touring California. That's why I wanted to start this, to showcase the talent.
Clarkston Surf Fest, which turned into Douglasville Surf Fest, drew a bunch of bands from out of town to Atlanta. That definitely helps put bands on the map. Drive-Invasion maybe a little less so, because we always get the side stage. But, historically, it has been good; Los Straitjackets have played, Man, or Astro-man? played. There was a whole surf stage [there] in 2013. Having a central focus to these festivals is really helpful to the scene because we all meet each other and become friends. Again, there’s a lot of patting each other on the back, but I think that’s great because we’re all encouraging each other. It’s like a family reunion every time we have fests.
Festivals are a good opportunity for a general audience to get an introduction to something as specific as surf because people can find something they identify with. They can jump around between stages. These types of festivals build community and raise the music's profile.
Right.
Let’s talk about the Southern Surf Stomps. They’ve existed for a little over a year now and are fully booked for the next several months. What are they? What prompted you to start doing them?
It’s a monthly surf show. My goal is to get one local, one regional or national surf group, and one non surf group to bring in different audiences. Most people don’t want to listen to three surf bands play all night, sometimes even myself. I think it creates a different environment and a different experience. We try to do little things each show to make it more than just a show, such as booking a DJ, doing a podcast to promote it, and keeping a blog. We do highlight videos after the shows that get a lot of compliments. It brings attention to our little scene and to what we’re doing.
I started doing these because we have some many great bands here and I thought this was the next logical step to bring different acts here, showcase all of that, and show people how cool Atlanta’s surf scene is, even historically.
Kavarna is an interesting choice for a venue for the Stomps since most of our “rock” music in the city feels rooted in the East Atlanta, Little 5, and Poncey-Highland neighborhoods. Why Kavarna?
The reason we chose Kavarna is because my friend Greg Germani used to put on these great country shows. He used to bring great bands from Nashville. I went to see Chris Scruggs play and it was a really great vibe, a really great experience. I had played Kavarna, but not in an ideal setting. When we were looking for places to do the Stomps, it would have been a difficult sell to clubs, so we went with Kavarna because they’re more open to different ideas and something that they can book monthly as long as they have patrons. I’ve been surprised with the turnouts because at our Crazy Aces show [in February] we had over 100 people.
People have responded really well. I think people like the atmosphere. We talked earlier about surf being an Everyman’s game. Anyone is welcome, they can bring kids, and it’s not just people at a bar. People are there to see the music and have a good time, which everyone gets and responds well to. It’s a different kind of vibe. Is it for everyone? Probably not, but I enjoy it, even going to shows there I enjoy.
Where do you see it going in the future?
I have a lot of ideas. From the start, my goal has been to set the bar high, but the expectations low. Aim for the stars, but don’t be disappointed if it doesn’t work out. It’s funny, many people in the surf community, and maybe even myself, didn’t think we could do this, we didn’t think it would happen, we didn’t think people would come, and we didn’t think we could get all the bands. We’re pretty surprised and encouraged.
As far as big goals, I’d like to get some more national names in, I’d like to get a West Coast group to play, we’d like to build a festival centered around the Stomp, which we’re working on. I’d like to do little things like a webcast of the show, so people can watch from home around the country. We’ve had people come from Kentucky, we regularly have people come from Athens and Augusta, people have come from Florida, Nashville, Alabama, all over the place.
A really crazy goal I have is to expand it to other cities. I’m in discussions with someone now about doing a Southern Surf Stomp somewhere else. One reason I want to do that is that you look at '50s and '60s music, and they had a circuit. Now, if you’re a band, you go on tour and just hope for the best. I think if you have an established thing once a month that’s not overcrowding, you have more incentive for bands to come out from further, potentially make a little more money, and play to bigger audiences.
What defines surf music? On the surface it seems clear: surf beat, reverby guitar, single note leads, generally instrumental, often space themed. But the genre feels more nuanced than that. You have argued that the Ventures aren’t actually a surf band, but, instead, an instrumental band. If this is the case, what makes a surf band?
I think you got it. The defining factor is reverb. I’m sure there are surf bands that don’t play with reverb, but I just don’t know any. Again, I’ll draw a parallel to heavy metal. It’s like a metal band that doesn’t play with distortion. It can happen — I think it does happen, but it doesn’t really fit the character of the music.
What are the three most essential surf albums? How about the most quintessential album from an Atlanta surf band, if those categories don’t overlap.
Hands down, the Penetrators Locked and Loaded is the quintessential, defining Atlanta surf album. You could argue Man, or Astro-man in there, too. [Nationally] Space Cossacks Tsar Wars, from the first wave, Eddie and the Showmen's Squad Car, and, most recently, it’s between Crazy Aces' Surfadelic Spy-a-Go-Go or Barbwires' Sea Rider.
There are waves to surf music?
Yes.
Chad Shivers' Southern Surf Stomp channels the past, present, and future of Atlanta's Surf Scene
Posted by Sean Zearfoss on Fri, Apr 17, 2015 at 3:42 PM
 |
| Jamie Galatas |
Getting into surf music 20 years ago after hearing a Ventures song at a house party, Shivers formed his first surf group, the Squares, almost immediately thereafter. From there, he founded Sorry No Ferrari — not surf, but instrumental nonetheless — and most recently progressive surf band Moonbase. He’s also a member of the Mystery Men?, who are a staple of the Atlanta surf scene. In early 2014, he started the Southern Surf Stomp, a monthly surf showcase at Kavarna in Oakhurst. In the surf community, both in Atlanta and nationally, Shivers is helping to usher in a resurgence of the genre.
Shivers invited me into his home to talk about the music while he made BBQ, something he’s also quite good at.
Surf music feels like something that its fans keep in their back pocket. Surf fans have a deeply personal relationship with the genre, its bands, and the scene at large. What is it that resonates
with you?
Just as much as the music, I think it's community. It has that punk rock idealism, but without a lot of the pretense. You don't have to be or look a certain way. It's fun music and you can choose to push it or not. So many variables, but they're all legitimate.
After being killed by the British Invasion in 1964, surf music made a resurgence in the '90s with bands such as Los Straitjackets and Man or Astro-man? and has maintained an underground status. Why such a devoted yet small following?
I think it's small and devoted, and I'm not trying to sound pitiful, because we're all each other has. We don’t have a big following except each other and it’s very insular. It’s not by our own device, but it’s just an outlier in most people’s tastes.
There's also a lot of cool stuff you can grasp onto with surf music; there's a lot of history and, I hate to say it, but gear is a big component. By its nature, the music has to be more technical because you're playing all of your melodies on guitars or another melodic that's not voice. I think people can grasp on to whatever they want to with surf. I was having a discussion with Eddie Angel of Los Straitjackets for the podcast and brought up the fact that they wear Mexican wrestling masks when they play. He mentioned that that helps because people don't want to see middle-aged guys play surf music. I think that's why people like it, because anyone can play it — it's not a young man's game or an old man's game, it's everybody's game.
I also think there's a great parallel in heavy metal. Surf might not have the same youth appeal, but it’s technically proficient, very gear based, very community based. A lot of surf players come from metal.
To me, Dick Dale sounds like metal much of the time. And Metallica, specifically Kirk Hammett, is clearly indebted to Dick Dale.
And Dick Dale will tell you he's responsible for metal (laughs).
The Southeast seems to have a growing, if not flourishing surf scene centered around Atlanta with the Drive-Invasion, the Clarkston Surf Fest, and other regular events. Can you talk some about Atlanta’s relationship with surf?
The South in general, not just Atlanta, has a great scene. Austin, Texas has a great surf scene with a monthly surf show that they do. Tons of bands, great bands. North Carolina has a great scene.
Alabama has historically had a great scene, which leads me to Atlanta. We've had some heavy hitters in Atlanta, but by proxy of Alabama. Originally, Man, or Astro-man? was based in Alabama and kind of moved to Atlanta. And also, the Penetrators — that’s what we all rally around in Atlanta. I don't think there would be an Atlanta surf scene without those guys. They started in the early '90s and carried the torch for Atlanta.
Where do you see Atlanta’s surf scene right now?
I'm very happy with the Atlanta surf scene. I think it's great, I think it's growing, and I think it has a lot of potential. But I have realistic expectations; I don't think it's going to be the next big thing, but I think if people get in on the secret, they're going to want to be a part of it. We have amazing bands. We have The Surge, El Capitan is now active again, Gemini XIII, my bands MOONBASE and the Mystery Men?. Not to toot my own horn too much, but I think the Mystery Men? have kind of picked up where the Penetrators left off with The Stomp and touring California. That's why I wanted to start this, to showcase the talent.
Clarkston Surf Fest, which turned into Douglasville Surf Fest, drew a bunch of bands from out of town to Atlanta. That definitely helps put bands on the map. Drive-Invasion maybe a little less so, because we always get the side stage. But, historically, it has been good; Los Straitjackets have played, Man, or Astro-man? played. There was a whole surf stage [there] in 2013. Having a central focus to these festivals is really helpful to the scene because we all meet each other and become friends. Again, there’s a lot of patting each other on the back, but I think that’s great because we’re all encouraging each other. It’s like a family reunion every time we have fests.
Festivals are a good opportunity for a general audience to get an introduction to something as specific as surf because people can find something they identify with. They can jump around between stages. These types of festivals build community and raise the music's profile.
Right.
Let’s talk about the Southern Surf Stomps. They’ve existed for a little over a year now and are fully booked for the next several months. What are they? What prompted you to start doing them?
It’s a monthly surf show. My goal is to get one local, one regional or national surf group, and one non surf group to bring in different audiences. Most people don’t want to listen to three surf bands play all night, sometimes even myself. I think it creates a different environment and a different experience. We try to do little things each show to make it more than just a show, such as booking a DJ, doing a podcast to promote it, and keeping a blog. We do highlight videos after the shows that get a lot of compliments. It brings attention to our little scene and to what we’re doing.
I started doing these because we have some many great bands here and I thought this was the next logical step to bring different acts here, showcase all of that, and show people how cool Atlanta’s surf scene is, even historically.
Kavarna is an interesting choice for a venue for the Stomps since most of our “rock” music in the city feels rooted in the East Atlanta, Little 5, and Poncey-Highland neighborhoods. Why Kavarna?
The reason we chose Kavarna is because my friend Greg Germani used to put on these great country shows. He used to bring great bands from Nashville. I went to see Chris Scruggs play and it was a really great vibe, a really great experience. I had played Kavarna, but not in an ideal setting. When we were looking for places to do the Stomps, it would have been a difficult sell to clubs, so we went with Kavarna because they’re more open to different ideas and something that they can book monthly as long as they have patrons. I’ve been surprised with the turnouts because at our Crazy Aces show [in February] we had over 100 people.
People have responded really well. I think people like the atmosphere. We talked earlier about surf being an Everyman’s game. Anyone is welcome, they can bring kids, and it’s not just people at a bar. People are there to see the music and have a good time, which everyone gets and responds well to. It’s a different kind of vibe. Is it for everyone? Probably not, but I enjoy it, even going to shows there I enjoy.
Where do you see it going in the future?
I have a lot of ideas. From the start, my goal has been to set the bar high, but the expectations low. Aim for the stars, but don’t be disappointed if it doesn’t work out. It’s funny, many people in the surf community, and maybe even myself, didn’t think we could do this, we didn’t think it would happen, we didn’t think people would come, and we didn’t think we could get all the bands. We’re pretty surprised and encouraged.
As far as big goals, I’d like to get some more national names in, I’d like to get a West Coast group to play, we’d like to build a festival centered around the Stomp, which we’re working on. I’d like to do little things like a webcast of the show, so people can watch from home around the country. We’ve had people come from Kentucky, we regularly have people come from Athens and Augusta, people have come from Florida, Nashville, Alabama, all over the place.
A really crazy goal I have is to expand it to other cities. I’m in discussions with someone now about doing a Southern Surf Stomp somewhere else. One reason I want to do that is that you look at '50s and '60s music, and they had a circuit. Now, if you’re a band, you go on tour and just hope for the best. I think if you have an established thing once a month that’s not overcrowding, you have more incentive for bands to come out from further, potentially make a little more money, and play to bigger audiences.
What defines surf music? On the surface it seems clear: surf beat, reverby guitar, single note leads, generally instrumental, often space themed. But the genre feels more nuanced than that. You have argued that the Ventures aren’t actually a surf band, but, instead, an instrumental band. If this is the case, what makes a surf band?
I think you got it. The defining factor is reverb. I’m sure there are surf bands that don’t play with reverb, but I just don’t know any. Again, I’ll draw a parallel to heavy metal. It’s like a metal band that doesn’t play with distortion. It can happen — I think it does happen, but it doesn’t really fit the character of the music.
What are the three most essential surf albums? How about the most quintessential album from an Atlanta surf band, if those categories don’t overlap.
Hands down, the Penetrators Locked and Loaded is the quintessential, defining Atlanta surf album. You could argue Man, or Astro-man in there, too. [Nationally] Space Cossacks Tsar Wars, from the first wave, Eddie and the Showmen's Squad Car, and, most recently, it’s between Crazy Aces' Surfadelic Spy-a-Go-Go or Barbwires' Sea Rider.
There are waves to surf music?
Yes.
Sunday, January 25, 2015
Looking forward to 2015, reflections on 2014
Personally, the first half of 2014 was difficult for my family with the loss of my father. I believe he would have been proud of my accomplishments within the past year. My father was integral to my musical development starting a young age. Recognizing my ear early on along with my elementary school music teacher, my parents were supportive of my joining the Atlanta Boys Choir even sending me abroad to perform, about which my dad bragged even into my adulthood. When I was in college, I was having a tough time of it not knowing exactly what path I should take when he suggested music. I went on to study classical guitar and was engaged and enthralled by the study of the guitar and music. My dad was quite a musician himself with a beautiful voice and knowledge of the keyboard and music theory. Singing of course with the family at Sandy Springs Baptist church where my grandfather was minister, he would later go on to study voice in college and sing barbershop, which he loved, with the Marietta Big Chicken Chorus.
At the beginning of 2014 I thought there to be no way it could exceed the previous year, but was happily mistaken. Last year was the point in time where my heroes became my peers. When I was in high school one of my best friends Morgan, drummer of the Squares, purchased Rhino's Cowabunga surf compilation box set and I remember hearing a certain tune in particular. It started with ambient bells and was slow, moody, and thoughtful and has resonated with me ever since. That piece was Insect Surfers' "Polaris" and last year I had the opportunity to play the song as a part of the band for Instro Summit. Still reeling from the experience, shortly after I got home I received an email from Ivan Pongracic of the Madeira asking if I would be willing to fill in for their rhythm guitarist, Patrick, on a river cruise in Milwaukee which of course I couldn't refuse. Ivan is one of my favorite guitarists of all time and Madeira is one of the top surf groups in the world. Both were experiences I will cherish for the rest of my life and am grateful for the opportunities. As if that weren't enough, MOONBASE were finally able to record and release our debut album "Creation Myths".
2013 found me serving a different role for me as producer for the very first time. 2014 found me serving yet an even more different role as promoter. What started as a simple question asking friends if they would be interested in attending or playing a monthly surf show here in Atlanta has grown into quite a success, pulling in what I believe to be an excellent number of patrons and some of the best bands not just that the South, but the entire country has to offer. Out of the show, the Southern Surf Stomp, has also emanated a blog, twitter feed, Facebook page, and podcast.
Honestly I don't know what this year will hold but have high hopes and expectations. I already have some excellent shows and plans for the Southern Surf Stomp. MOONBASE wishes to perform more out of town shows. Both The Mystery Men? and Jeffrey Bützer and the Bicycle Eaters expect to record. Of course I'd love to produce and fill in for more groups but will have to see just where the year takes me.
At the beginning of 2014 I thought there to be no way it could exceed the previous year, but was happily mistaken. Last year was the point in time where my heroes became my peers. When I was in high school one of my best friends Morgan, drummer of the Squares, purchased Rhino's Cowabunga surf compilation box set and I remember hearing a certain tune in particular. It started with ambient bells and was slow, moody, and thoughtful and has resonated with me ever since. That piece was Insect Surfers' "Polaris" and last year I had the opportunity to play the song as a part of the band for Instro Summit. Still reeling from the experience, shortly after I got home I received an email from Ivan Pongracic of the Madeira asking if I would be willing to fill in for their rhythm guitarist, Patrick, on a river cruise in Milwaukee which of course I couldn't refuse. Ivan is one of my favorite guitarists of all time and Madeira is one of the top surf groups in the world. Both were experiences I will cherish for the rest of my life and am grateful for the opportunities. As if that weren't enough, MOONBASE were finally able to record and release our debut album "Creation Myths".
2013 found me serving a different role for me as producer for the very first time. 2014 found me serving yet an even more different role as promoter. What started as a simple question asking friends if they would be interested in attending or playing a monthly surf show here in Atlanta has grown into quite a success, pulling in what I believe to be an excellent number of patrons and some of the best bands not just that the South, but the entire country has to offer. Out of the show, the Southern Surf Stomp, has also emanated a blog, twitter feed, Facebook page, and podcast.
Honestly I don't know what this year will hold but have high hopes and expectations. I already have some excellent shows and plans for the Southern Surf Stomp. MOONBASE wishes to perform more out of town shows. Both The Mystery Men? and Jeffrey Bützer and the Bicycle Eaters expect to record. Of course I'd love to produce and fill in for more groups but will have to see just where the year takes me.
Sunday, November 30, 2014
Chad Shivers and the Silent Knights perform The Ventures and The Beach Boys Christmas albums 2014!
The Silent Knights are:
Chad Shivers (MOONBASE, The Mystery Men?, Bicycle Eaters) - lead guitar, vocals
"Little Saint" Nick Bazemore - lead vocals, guitar
David Northrip (the Fugitives) - vocals, guitar
Eric "The Talent" Balint (MOONBASE, Bicycle Eaters) - bells, percussion, keys
Matt Steadman - bass guitar
Sonny Harding (MOONBASE) - drums
The Jingle Belle dancers are Jessica Shivers (aka "Cherry") and Morgan "Mo" Bazemore.
Check out last year's performance:
*12/5 - Charleston, SC at the Tin Roof w/ Silver Bells. 9pm, $5, 21+.
*12/6 - Savannah, GA at the Wormhole. 10pm, more info at wormholebar.com.
12/13 - Decatur, GA at Kavarna w/ Caroline and the Ramblers, Fringe Factory DJ's. 8pm, $7, all ages.
12/18 - Marietta, GA at the Strand w/ Jeffrey Bützer/T.T. Mahony's Charlie Brown Christmas tribute, Jeffrey Bützer and the Bicycle Eaters. 8pm, $15, all ages.
12/19 - Anniston, AL at the Crimson Tiger w/ Kill, Baby...Kill! and many more. 8pm, $5, 21+.
12/20 - Birmingham, AL at the Syndicate Lounge w/ The Original Shake Charmers. 9pm, $10, all ages.
* with Sean Zearfoss (Small Reactions) on drums
Thursday, November 20, 2014
Tuesday, October 7, 2014
Surfrockmusic.com's "Creation Myths" review
"Review by: Justin Hayes
Remember that old Donny and Marie song from the 1970s - A Little Bit Country, A Little Bit Rock 'n' Roll?
Well, I have to give just deserts to the Osmond siblings for providing
me with a good way to describe a great band. MOONBASE is a little bit
surf and a little bit progressive rock. Better yet, this description is
from their Facebook page:
"MOONBASE is an instrumental rock band heavily influenced by the surf bands of the 60's, with progressive leanings."
Speaking of the 1960s and 1970s, MOONBASE would have set the world on fire back in those days, so it's no surprise they're well on their way to doing it now. Their debut album, Creation Myths, pays tribute to the early days of instro rock, then ups the ante by challenging the boundaries of our musical universe and our imaginations. Creation Myths delves into the realm of space. I'm talking deep space. Interstellar, intergalactic, cosmical, mind-blowing space. The kind that warps the space-time continuum of general relativity. Talk about myths of creation! This fearsome foursome are fundamentally fierce instrumentalists. Hey, maybe they're not myths of creation after all ... rather, MASTERS of creation. They're creating a unique and, at the same time, uniquely satisfying merging of sounds.
"MOONBASE is an instrumental rock band heavily influenced by the surf bands of the 60's, with progressive leanings."
Speaking of the 1960s and 1970s, MOONBASE would have set the world on fire back in those days, so it's no surprise they're well on their way to doing it now. Their debut album, Creation Myths, pays tribute to the early days of instro rock, then ups the ante by challenging the boundaries of our musical universe and our imaginations. Creation Myths delves into the realm of space. I'm talking deep space. Interstellar, intergalactic, cosmical, mind-blowing space. The kind that warps the space-time continuum of general relativity. Talk about myths of creation! This fearsome foursome are fundamentally fierce instrumentalists. Hey, maybe they're not myths of creation after all ... rather, MASTERS of creation. They're creating a unique and, at the same time, uniquely satisfying merging of sounds.
I love music that tweaks my imagination and gives birth to fantasies. I crave tunes that use my brain like it's a billiard ball, kicking it into the side pocket after two or three banks off the cushion. Creation Myths not only tweaked my imagination, the eleven instro tracks blew it in and out of the side pocket, off the table and launched it skyward.
You might be wondering if MOONBASE's latest offering had a pronounced impact on my psyche? Well, as a matter of fact, after listening to Creation Myths, my new goal in life is to travel to Charon, Styx, Nix, Kerberos, and Hydra. I can't think of more suitable locations to view the cosmos than Pluto's five moons. From there I will contemplate the mysteries of life and the myths and masters of creation.
As those commercials are prone to say, "Ah, but wait, there's more!" Twists, turns, stellar musicianship and interstellar tunes highlight Creation Myths. If you listen carefully enough, you'll hear an unusual sound. That sound will be the expansion of your mind.
Creation Myths features eleven tracks of instro excellence. I've picked a few tracks on which to elaborate. These tracks were scientifically chosen ... I rolled the dice. As is our custom, we don't review albums with B-Side type tracks. Every cut on Creation Myths is top quality, as in numero uno!
Segue - Tremolo aficionados are going to go nuts over Segue. Beautiful, ethereal and teeming with tremulous ecstasy, Segue is absolutely otherworldly. Imagine Segue's
tremolo emanating from a loudspeaker on Pluto's surface, pulsating like
smoke rings from the luscious lips of a lady smoker. Think of the
wonders that would await us if we could hop aboard those rings and ride
them all of the way to the sun. On average, Pluto is approximately 3.67
billion miles from the sun, so that would give us plenty of time and
space to meet Buck Rogers, Flash Gordon and Marvin the Martian. What an
incredible journey that would be! I'm sure Buck, Flash and Marvin would
want to join us on our journey if we cranked up Segue. Who can resist that tremolo?
Above Us Only Sky - I love these guys. Once again they treat us to some tremulous ecstasy. They know what the tremolo knob is and they know how to use it. Add a touch of distortion here and a dab of double picking there and you have one helluva terrific tune. Unique and refreshing, Above Us Only Sky is an expression of existence - you and me, our planet, the cosmos, what we know and all that we have to learn. Look, up in the sky .... it's surf ... it's space ... it's MOONBASE creating music from beyond the great void. Universe Music. Their own unique genre. I really want to say the following because they deserve the accolade: George, Eric, Sonny and Chad aren't cut from a mold. They think outside of the box. Kudos, guys!
(Walking) - MOONBASE may have encased this song title in parentheses, but (Walking) freed me from the surly, earthbound shackles that encased my mind and imagination. (Walking) enchants and beckons in a way that makes me wish I could survive the icy depths of space without a spacesuit or any other means of life support. I want to step through the cosmos and marvel at the vastness, aloneness and loneliness of infinity. Intergalactic imaginings abound as countless solar conflagrations remind me that man, woman, birth, death and infinity are the true constants of the universe.
Above Us Only Sky - I love these guys. Once again they treat us to some tremulous ecstasy. They know what the tremolo knob is and they know how to use it. Add a touch of distortion here and a dab of double picking there and you have one helluva terrific tune. Unique and refreshing, Above Us Only Sky is an expression of existence - you and me, our planet, the cosmos, what we know and all that we have to learn. Look, up in the sky .... it's surf ... it's space ... it's MOONBASE creating music from beyond the great void. Universe Music. Their own unique genre. I really want to say the following because they deserve the accolade: George, Eric, Sonny and Chad aren't cut from a mold. They think outside of the box. Kudos, guys!
(Walking) - MOONBASE may have encased this song title in parentheses, but (Walking) freed me from the surly, earthbound shackles that encased my mind and imagination. (Walking) enchants and beckons in a way that makes me wish I could survive the icy depths of space without a spacesuit or any other means of life support. I want to step through the cosmos and marvel at the vastness, aloneness and loneliness of infinity. Intergalactic imaginings abound as countless solar conflagrations remind me that man, woman, birth, death and infinity are the true constants of the universe.
What a treat this was! 43 minutes of mind-altering escapism. I'm a staunch subscriber to the belief that music should be experienced. And, brother, this is one heck of an experience! Creation Myths tweaked my mind and launched me into the cosmos."
"Creation Myths" review by Noel at Surf Guitar 101
Thanks to my good friend Noel over at Surf Guitar 101 for the wonderful in depth review.
"As I started listening to the first track on “Creation Myths”, the debut CD by MOONBASE, I immediately reached out to Chad Shivers with some questions about what I was hearing. I’d previously heard MOONBASE play live at the 2014 Instro Summit in Durham, NC, in May of 2014, where they stunned the audience with their tight, driven performance of this extraordinary music. The conversation is included after the review.
What follows are my own thoughts, impressions and reactions to the songs on the album.
Creation Myths:
Well, I have a degree in Anthropology, so creation stories from around the world are a fondly remembered part of my literary and academic past. A culture’s creation stories reveal much about what is valued and feared by a people. They are a like a window into a different culture. The theme of creation myths, and my appreciation of them, informs my interpretation of this music. And because of that, I bring memories of many culture’s creation stories to my listening experience. So I was immediately drawn to the concept for this album, the same as I was drawn to The Madeira’s transcendent and mysterious “Tribal Fires”. Though these two albums sound and feel quite different, they share something else I’ll discuss later.
Smoke
Smoke is one of the results of fire, which is usually considered a destructive force. But fire is also part of the process of creation. Smoke conceals what is inside and behind it, but smoke also announces the fire that creates it. Belief in the mystical and even spiritual properties of smoke are as old as humanity, and smoke is even today used in many spiritual rituals the world over. Creativity is a fire than burns within the artist, never quenched while the artist lives within the person. Fitting, then, that “Smoke” is the first song.
From the first, “Smoke” signals something extraordinary is happening. The song smokes, and so does the album it announces. “Smoke” reveals an album full of creative, thoughtful and emotion-provoking music.
Segue
A segue is a transition from one thing to another, from origin in fire to the creation that results. Almost a lullaby, “Segue” is the most romantic song on the album. The vocal “Oo-oo” is well sung by Chad Shivers. The mood is completely different from “Smoke”, and is sentimental and peaceful, though there’s tension present hinting at something unknown that will come. “Segue” is also the most traditionally impressionist. Cleverly arranged, unless looking at the track indicator, it’s nearly impossible to detect the beginning of the next song, the segue is so subtle. Nicely done!
Cherry Blossom
… begins where “Segue” leaves off. Ultimately it’s not a tranquil song, in spite of sharing its’ name with those lovely and delicate blooms. The song begins where “Segue” leaves off, calm and serene, but like a harbinger of something… else… to come. I listen and see a lovely spring day, warm – not hot, a clear sky, a gentle breeze rustling the trees. You know the kind of day, but also that something is in the air. Then the breeze stops and dark clouds appear in the sky. A storm is coming, and it does, as soon as “Cherry Blossom” ends.
Stormfield
This song blows the blossoms off the cherry trees. The storm comes up suddenly, and builds in intensity. Hard wind-driven rain blows through the music. There is thunder and lightning, but no shelter, not that you want any. The scene is too spectacular. So you stand in the storm, leaning in, facing the brunt of it. It builds and builds, drenching the listener with its intensity. Then, suddenly, it passes and there is the very familiar calm, quiet after-storm serenity. “Stormfield” drifts off with a lovely piece of music that in sound and feel recalls “Segue”. So you know change is coming, again. This is a wonderful song!
Zapata
The only cover on this record, the original is by The John Barry Seven and written by the famous Vic Flick. MOONBASE have completely reimagined the song and made it a sweeping saga. Mr. Flick gave them a terrific canvas to start with, and the song is now far grander than the original. It feels operatic, at times Middle-Eastern, at times South-Western, and at other times classic American blues-rock. This Zapata is far from the legendary Mexican revolutionary. “Zapata” is a feast for the ears. Lean back, close your eyes, and go with it.
Above Us Only Sky
… is a musical mystical journey through place, time and space. Makes me think of planet surfing, riding waves of gravity instead of water. Imagine a fast one-person space craft able to ride the gravitational waves of the solar system between planets in the time it takes to play the song. Leave Earth as the song begins and swoop by the moon for a push toward the inner planets and the Sun, which will give your board all the energy it needs to reach Mars and the outer planets. Catch the second biggest wave in the whole ride and surf Jupiter as long as you can until it pushes you on to Saturn where you dip you hand in its rings. What a rush!
The Serpent
Snakes are entirely absent from few places on earth, but everywhere else serpents play an important role in the origin or other spiritual stories of most cultures. Serpents most often represent evil or death, or bring them, or temp people to commit them. And in those cultures, priests often prove their power over life and death by demonstrating their mastery over serpents. This serpent is a killer of a song.
New Wounds
Better run. Something is chasing, coming fast from behind and hiding may not be an option. The pursuit is relentless, the pursuer tireless. And it’s getting closer. Can’t see it. Can only hear and feel it. Gotta keep going, gotta stay ahead, can’t stop, can’t rest. It isn’t stopping. It isn’t resting. It just keeps coming. Don’t turn around to look; might trip on something and then it’ll catch you. Too late. This is fun!
Bluejay
Restful compared to most of the previous songs, “Bluejay” nonetheless isn’t really slow or boring. It is every bit as musically complex and evocative as anything on the album. “Bluejay” is in many ways a tone-poem, and within are pauses of deeper tranquility, as if something very active is taking a siesta.
(Walking)
Brief, like “Segue” “(Walking)” also implies something is about to change. Starting slowly, it builds tension just before fading out, as if the sojourner suddenly looks up to discover a destination of unknown nature has been reached that maybe had been best avoided. The destination?
Caves of Steel
… are enclosed metal boxes, or cages. Or spaceships, or artificial worlds. But the implication is they are without sunlight, not being open to a sunlit sky. Worlds without sunlight would have to be desperate inescapable places, unless it was all that was ever known, or because something better was promised. In my imaginary journey, I see a spaceship traveling to a new world full of life and promise, to come out of the darkness into the light of day. That’s how I see the ending of the song. Coming out of the darkness of the steel cage into the light of a new day on a new world. It’s my imagination, after all.
Summary:
I’ve long loved romantic and impressionist symphonic music, music written to create emotional impressions, spontaneous responses which lead the listener to experiences, imagery and thoughts unconstrained by words and visual cues, guided only by a few titles and each listener’s own life. Close your eyes and let your imagination lead you wherever the music may. Imagine then Coleridge’s “The Rime of the Ancient Mariner” as a work of music instead of a poem. No words to tell the allegory, only music to invoke, or provoke, the imagination of the reader to see and feel the tale. “Creation Myths” has this ability to let each listener create an imaginary story for each song, based only on the sound and feel of the music, guided only by the title, full of whatever thoughts and imagery the music creates. “Creation Myths” is a contemporary classical work of impressionist art in the form of instrumental rock music.
I’ve wondered if anyone would approach surf music the way George Gershwin approached jazz. Gershwin believed he could write a jazz symphony based on his experiences in Paris, and so he wrote “An American in Paris” which debuted in New York City’s Carnegie Hall in 1928. Very romantic, I immediately thought “Tribal Fires” by The Madeira would make a great ballet score along the lines of Stravinsky’s “Firebird”, and I have the same feeling about “Creation Myths” and for the same reasons. The music stands on its’ own as brilliant, thoughtful and provocative, and the individual songs convey impressions that beg be choreographed.
The music on “Creation Myths” sounds like an amalgam of many musical influences. I hear elements of surf, classic rock, southern rock, prog rock, metal, blues, world music and jazz. These are complex songs that transcend those genres by incorporating elements of all of them. And the result is definitely greater than the sum of the parts.
MOONBASE have found space in the surf music lexicon to create something unique. That is worthy of notice, and so is the music. Creation Myths” by MOONBASE is a musical journey through time and ideas that will be stimulating emotions, images and thoughts in listeners for a long time. Who knows what that will create?
One last comment. These are my impressions, my visions if you will, created by my imagination stimulated by the music on this album. May you listen with an open mind and let this amazing music create your own stories.
MOONBASE are George Asimakos – Guitar, Eric Balint – Bass, Sonny Hardng – Drums, and Chad Shivers – Guitar.
Engineered and mixed by Jesse Wallace, Jr.
Mastered by Jerod McBrayer at McBrayer Mastering
Art by Rich M. Stevens
Layout by Jamie Galatas
Creation Myths is available from Bandcamp at http://moonbasemusic.bandcamp.com/album/creation-myths
and from ReverbNation at http://www.reverbnation.com/moonbase
MOONBASE are on Facebook at https://www.facebook.com/moonbasemusic
Chad Shivers is also on Surf Guitar 101 as ChadShivers http://surfguitar101.com/profile/view/ChadShivers/
A Brief Conversation with Chad Shivers about “Creation Myths”
Noel:
The album title is "Creation Myths". Is this just a title, does it refer to being Moonbase's first record, or do the song titles reference various creation myths?
Chad:
"Creation Myths" is in fact a partial reference to this being our first record. I also tend to do a lot of research for song/album titles and creation myths were a subject in which I was deeply interested. The only song title which ties in with the name is "The Serpent" which is a reference to Genesis in the Old Testament. Many of the other titles are literary ("Stormfield" comes from Twain, "Caves of Steel" from Asimov), naturalism ("Smoke", "Above Us Only Sky" which is a line from Lennon's "Imagine"), and the two fingerpicking songs were written for my family, "Cherry Blossom" for my wife as her Roller Derby name was Cherry Blox'em and Bluejay for my son J.
Noel:
Any other tidbits to help me write a thorough review, such as gear, recording approach, etc? Stuff like was it tracked or live? Overdubbed, etc.
Chad:
Here's a list of the gear we used:
George Asimakos: 1978 Aria Pro II 335 copy, 1981 Greco Super Real with Gibson t-top and Stephens Design vintage lab II pickups, 1970 Guild archtop, Hohner Marine Band deluxe harp, Stiff Amplification Repeat Offender, Dunlop Aquapuss, 1967 Fender Super Reverb.
Chad Shivers: Squier CV 50's strat, Xotic EP boost, Stiff Amplification Repeat Offender, 1977/78 Deluxe Reverb w/ WGS g12cs speaker, 1976 Princeton Reverb w/ WGS g10cs speaker, Tacoma Chief acoustic.
Eric Balint: Fender Marcus Miller Jazz bass, 1970/71 Fender Bassman, Beaver Bottoms 1966 tone ring cab w/ Jensen Neo 15-150.
Sonny Harding: Pacific drums, Tama snare, cymbals from Paiste, Zildjan, and Sabian.
I generally approach recording projects with a more is more approach with a bunch of extras but for this record my aim was to keep it simple. For drums we used a kick (AKG d112), snare (Sennheiser 421), 1 overhead (AKG 414), and a room mic. Guitars we mainly used the 421 as a close mic plus a room, and bass we used a close mic and direct. We did add a few extra things on the record: I sang on "Segue", played acoustic on "Cherry Blossom" and "Bluejay", and played organ on "Stormfield". George played harmonica and slide guitar on "Above Us Only Sky" and "Caves of Steel". Eric played bells on "Above Us Only Sky" and percussion on "The Serpent".
We did a lot of pre-production for the album. I took live/practice recordings and got an average tempo. From there I created a click track and the strings recorded scratch tracks. Sonny practiced with those for several weeks and then we each tracked our parts separate with drums first as the foundation. Jay Wallace from The Mystery Men? engineered and mixed the record and I wanted it to sound natural and open.
Noel:
Are you lead guitar on all songs?
Chad:
George handled most leads although I did a few. George is left speaker and I am right.
Thanks Noel, let me know if you need any more info.
-Chad
Thank you, Chad Shivers, for sharing the creative process behind MOONBASE’s extraordinary debut album."
"As I started listening to the first track on “Creation Myths”, the debut CD by MOONBASE, I immediately reached out to Chad Shivers with some questions about what I was hearing. I’d previously heard MOONBASE play live at the 2014 Instro Summit in Durham, NC, in May of 2014, where they stunned the audience with their tight, driven performance of this extraordinary music. The conversation is included after the review.
What follows are my own thoughts, impressions and reactions to the songs on the album.
Creation Myths:
Well, I have a degree in Anthropology, so creation stories from around the world are a fondly remembered part of my literary and academic past. A culture’s creation stories reveal much about what is valued and feared by a people. They are a like a window into a different culture. The theme of creation myths, and my appreciation of them, informs my interpretation of this music. And because of that, I bring memories of many culture’s creation stories to my listening experience. So I was immediately drawn to the concept for this album, the same as I was drawn to The Madeira’s transcendent and mysterious “Tribal Fires”. Though these two albums sound and feel quite different, they share something else I’ll discuss later.
Smoke
Smoke is one of the results of fire, which is usually considered a destructive force. But fire is also part of the process of creation. Smoke conceals what is inside and behind it, but smoke also announces the fire that creates it. Belief in the mystical and even spiritual properties of smoke are as old as humanity, and smoke is even today used in many spiritual rituals the world over. Creativity is a fire than burns within the artist, never quenched while the artist lives within the person. Fitting, then, that “Smoke” is the first song.
From the first, “Smoke” signals something extraordinary is happening. The song smokes, and so does the album it announces. “Smoke” reveals an album full of creative, thoughtful and emotion-provoking music.
Segue
A segue is a transition from one thing to another, from origin in fire to the creation that results. Almost a lullaby, “Segue” is the most romantic song on the album. The vocal “Oo-oo” is well sung by Chad Shivers. The mood is completely different from “Smoke”, and is sentimental and peaceful, though there’s tension present hinting at something unknown that will come. “Segue” is also the most traditionally impressionist. Cleverly arranged, unless looking at the track indicator, it’s nearly impossible to detect the beginning of the next song, the segue is so subtle. Nicely done!
Cherry Blossom
… begins where “Segue” leaves off. Ultimately it’s not a tranquil song, in spite of sharing its’ name with those lovely and delicate blooms. The song begins where “Segue” leaves off, calm and serene, but like a harbinger of something… else… to come. I listen and see a lovely spring day, warm – not hot, a clear sky, a gentle breeze rustling the trees. You know the kind of day, but also that something is in the air. Then the breeze stops and dark clouds appear in the sky. A storm is coming, and it does, as soon as “Cherry Blossom” ends.
Stormfield
This song blows the blossoms off the cherry trees. The storm comes up suddenly, and builds in intensity. Hard wind-driven rain blows through the music. There is thunder and lightning, but no shelter, not that you want any. The scene is too spectacular. So you stand in the storm, leaning in, facing the brunt of it. It builds and builds, drenching the listener with its intensity. Then, suddenly, it passes and there is the very familiar calm, quiet after-storm serenity. “Stormfield” drifts off with a lovely piece of music that in sound and feel recalls “Segue”. So you know change is coming, again. This is a wonderful song!
Zapata
The only cover on this record, the original is by The John Barry Seven and written by the famous Vic Flick. MOONBASE have completely reimagined the song and made it a sweeping saga. Mr. Flick gave them a terrific canvas to start with, and the song is now far grander than the original. It feels operatic, at times Middle-Eastern, at times South-Western, and at other times classic American blues-rock. This Zapata is far from the legendary Mexican revolutionary. “Zapata” is a feast for the ears. Lean back, close your eyes, and go with it.
Above Us Only Sky
… is a musical mystical journey through place, time and space. Makes me think of planet surfing, riding waves of gravity instead of water. Imagine a fast one-person space craft able to ride the gravitational waves of the solar system between planets in the time it takes to play the song. Leave Earth as the song begins and swoop by the moon for a push toward the inner planets and the Sun, which will give your board all the energy it needs to reach Mars and the outer planets. Catch the second biggest wave in the whole ride and surf Jupiter as long as you can until it pushes you on to Saturn where you dip you hand in its rings. What a rush!
The Serpent
Snakes are entirely absent from few places on earth, but everywhere else serpents play an important role in the origin or other spiritual stories of most cultures. Serpents most often represent evil or death, or bring them, or temp people to commit them. And in those cultures, priests often prove their power over life and death by demonstrating their mastery over serpents. This serpent is a killer of a song.
New Wounds
Better run. Something is chasing, coming fast from behind and hiding may not be an option. The pursuit is relentless, the pursuer tireless. And it’s getting closer. Can’t see it. Can only hear and feel it. Gotta keep going, gotta stay ahead, can’t stop, can’t rest. It isn’t stopping. It isn’t resting. It just keeps coming. Don’t turn around to look; might trip on something and then it’ll catch you. Too late. This is fun!
Bluejay
Restful compared to most of the previous songs, “Bluejay” nonetheless isn’t really slow or boring. It is every bit as musically complex and evocative as anything on the album. “Bluejay” is in many ways a tone-poem, and within are pauses of deeper tranquility, as if something very active is taking a siesta.
(Walking)
Brief, like “Segue” “(Walking)” also implies something is about to change. Starting slowly, it builds tension just before fading out, as if the sojourner suddenly looks up to discover a destination of unknown nature has been reached that maybe had been best avoided. The destination?
Caves of Steel
… are enclosed metal boxes, or cages. Or spaceships, or artificial worlds. But the implication is they are without sunlight, not being open to a sunlit sky. Worlds without sunlight would have to be desperate inescapable places, unless it was all that was ever known, or because something better was promised. In my imaginary journey, I see a spaceship traveling to a new world full of life and promise, to come out of the darkness into the light of day. That’s how I see the ending of the song. Coming out of the darkness of the steel cage into the light of a new day on a new world. It’s my imagination, after all.
Summary:
I’ve long loved romantic and impressionist symphonic music, music written to create emotional impressions, spontaneous responses which lead the listener to experiences, imagery and thoughts unconstrained by words and visual cues, guided only by a few titles and each listener’s own life. Close your eyes and let your imagination lead you wherever the music may. Imagine then Coleridge’s “The Rime of the Ancient Mariner” as a work of music instead of a poem. No words to tell the allegory, only music to invoke, or provoke, the imagination of the reader to see and feel the tale. “Creation Myths” has this ability to let each listener create an imaginary story for each song, based only on the sound and feel of the music, guided only by the title, full of whatever thoughts and imagery the music creates. “Creation Myths” is a contemporary classical work of impressionist art in the form of instrumental rock music.
I’ve wondered if anyone would approach surf music the way George Gershwin approached jazz. Gershwin believed he could write a jazz symphony based on his experiences in Paris, and so he wrote “An American in Paris” which debuted in New York City’s Carnegie Hall in 1928. Very romantic, I immediately thought “Tribal Fires” by The Madeira would make a great ballet score along the lines of Stravinsky’s “Firebird”, and I have the same feeling about “Creation Myths” and for the same reasons. The music stands on its’ own as brilliant, thoughtful and provocative, and the individual songs convey impressions that beg be choreographed.
The music on “Creation Myths” sounds like an amalgam of many musical influences. I hear elements of surf, classic rock, southern rock, prog rock, metal, blues, world music and jazz. These are complex songs that transcend those genres by incorporating elements of all of them. And the result is definitely greater than the sum of the parts.
MOONBASE have found space in the surf music lexicon to create something unique. That is worthy of notice, and so is the music. Creation Myths” by MOONBASE is a musical journey through time and ideas that will be stimulating emotions, images and thoughts in listeners for a long time. Who knows what that will create?
One last comment. These are my impressions, my visions if you will, created by my imagination stimulated by the music on this album. May you listen with an open mind and let this amazing music create your own stories.
MOONBASE are George Asimakos – Guitar, Eric Balint – Bass, Sonny Hardng – Drums, and Chad Shivers – Guitar.
Engineered and mixed by Jesse Wallace, Jr.
Mastered by Jerod McBrayer at McBrayer Mastering
Art by Rich M. Stevens
Layout by Jamie Galatas
Creation Myths is available from Bandcamp at http://moonbasemusic.bandcamp.com/album/creation-myths
and from ReverbNation at http://www.reverbnation.com/moonbase
MOONBASE are on Facebook at https://www.facebook.com/moonbasemusic
Chad Shivers is also on Surf Guitar 101 as ChadShivers http://surfguitar101.com/profile/view/ChadShivers/
A Brief Conversation with Chad Shivers about “Creation Myths”
Noel:
The album title is "Creation Myths". Is this just a title, does it refer to being Moonbase's first record, or do the song titles reference various creation myths?
Chad:
"Creation Myths" is in fact a partial reference to this being our first record. I also tend to do a lot of research for song/album titles and creation myths were a subject in which I was deeply interested. The only song title which ties in with the name is "The Serpent" which is a reference to Genesis in the Old Testament. Many of the other titles are literary ("Stormfield" comes from Twain, "Caves of Steel" from Asimov), naturalism ("Smoke", "Above Us Only Sky" which is a line from Lennon's "Imagine"), and the two fingerpicking songs were written for my family, "Cherry Blossom" for my wife as her Roller Derby name was Cherry Blox'em and Bluejay for my son J.
Noel:
Any other tidbits to help me write a thorough review, such as gear, recording approach, etc? Stuff like was it tracked or live? Overdubbed, etc.
Chad:
Here's a list of the gear we used:
George Asimakos: 1978 Aria Pro II 335 copy, 1981 Greco Super Real with Gibson t-top and Stephens Design vintage lab II pickups, 1970 Guild archtop, Hohner Marine Band deluxe harp, Stiff Amplification Repeat Offender, Dunlop Aquapuss, 1967 Fender Super Reverb.
Chad Shivers: Squier CV 50's strat, Xotic EP boost, Stiff Amplification Repeat Offender, 1977/78 Deluxe Reverb w/ WGS g12cs speaker, 1976 Princeton Reverb w/ WGS g10cs speaker, Tacoma Chief acoustic.
Eric Balint: Fender Marcus Miller Jazz bass, 1970/71 Fender Bassman, Beaver Bottoms 1966 tone ring cab w/ Jensen Neo 15-150.
Sonny Harding: Pacific drums, Tama snare, cymbals from Paiste, Zildjan, and Sabian.
I generally approach recording projects with a more is more approach with a bunch of extras but for this record my aim was to keep it simple. For drums we used a kick (AKG d112), snare (Sennheiser 421), 1 overhead (AKG 414), and a room mic. Guitars we mainly used the 421 as a close mic plus a room, and bass we used a close mic and direct. We did add a few extra things on the record: I sang on "Segue", played acoustic on "Cherry Blossom" and "Bluejay", and played organ on "Stormfield". George played harmonica and slide guitar on "Above Us Only Sky" and "Caves of Steel". Eric played bells on "Above Us Only Sky" and percussion on "The Serpent".
We did a lot of pre-production for the album. I took live/practice recordings and got an average tempo. From there I created a click track and the strings recorded scratch tracks. Sonny practiced with those for several weeks and then we each tracked our parts separate with drums first as the foundation. Jay Wallace from The Mystery Men? engineered and mixed the record and I wanted it to sound natural and open.
Noel:
Are you lead guitar on all songs?
Chad:
George handled most leads although I did a few. George is left speaker and I am right.
Thanks Noel, let me know if you need any more info.
-Chad
Thank you, Chad Shivers, for sharing the creative process behind MOONBASE’s extraordinary debut album."
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