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The Appetizer Radio Show

Serving up your connection to new and emerging artists along with established legends each week.

Connect with us using these platforms to discover fresh flavors of music from the known as well as the unknown.

Hear the show online by clicking on the Listen-Now link on the Play Button.

Montoneros Makes You Dance with “If You Think You’re In The Wrong Place, You’re Probably Here”

Spanish melody, indie rock sensibilities, a fluid and extremely interesting instrumentation, and a compelling live performance. These are things that Montoneros have going for them very well, and these are the things that complete them as a band making music live.

I first saw Montoneros when I was traveling earlier this March with a band called Revivalist. I was conversing with Ian of the excellent powerviolence band Bone Rot. We were discussing music and what he enjoyed hearing before going on stage to get him in the mood for his band’s chaotic set when Montoneros came on. We both stood in a sort of quiet as we listened to this band melodically tear through song after song of winding, extremely pleasurable melodic rock music, with Ian commenting that this was great, especially as a build up to the hardcore later in the show. What made it even better was that the band gave out free CDs of their record “If You Think You’re in the Wrong Place, You’re Probably Here” to anyone who wanted one, letting everybody have a piece of the band’s music for free.

I took home one of their discs and popped it in to listen. The powerful melodies that are so evident on stage translate well into the recording, making the listening experience very pleasurable. The build of the songs is great, with the drums, two guitars, and bass working off of each other while at the same time constructing great riffage and musical syntax independently. Every track displays this, but really the examples of this are “Big Wet Garden, “Zapata,” and “U-571.” If You Think You're In The Wrong Place, You're Probably Here cover art

Lyrically the album makes for very interesting listening, especially where the differences in dialect are concerned. Like their name, a reference to a left-wing anti-fascist guerrilla group from Argentina, the band has many Spanish influences, with the actual usage of Espanol in their music an obvious indication as to where they pull from in terms of culture and musicality. “Como Yo” is almost entirely sung in Spanish, with the instrumentation being arranged in such a way as to allow the vocals to be illuminated in kind. This makes for an artistic depth not typically seen when it comes to punk/indie rock bands of today, indicating a very serious level of work and style evident in Montoneros’ repertoire.

These songs have a particular style of spunk and affluence in their sentiment, and the way in which they communicate their pleasure and meaning help to illuminate the musicality they represent (ex: “Jade”). Montoneros have really hit it outta the park here with “If You Think…”, making an album filled so much with interesting instrumentation and skill for songwriting that immediate enjoyment and excitement for this band’s progress are nearly guaranteed upon a single listen. In fact, I enjoyed the entire album too much to give a “Top Tracks” section, so I ask that you visit Montoneros’ Bandcamp and support this group.

Definitely purchase this record.

Get their jams on iTunes or Bandcamp.

Unconventional Meal Pt 6 Playlist


bob_dylan Our Unconventional Meal series reaches its conclusion. But it’s been one excellent trip, as indicated by the vast amount of response from listeners throughout the country. This week, we’ll close the series with some unconventional classics from songwriting legends like Fleetwood Mac, Simon & Garfunkel, John Denver, Ray Charles and more. Lots of requests to get to as well.

Hour 1 Playlist

The Continuing Story Of Bungalow Bill 3:06 The Beatles The Beatles (White Album) [Disc 1] EMI Records 1968
Everybody’s Got Something To Hide Except Me And My Monkey 2:25 The Beatles The Beatles (White Album) [Disc 2] EMI Records 1968

Chimes Of Freedom 7:13 Bob Dylan Chimes Of Freedom: The Songs Of Bob Dylan Honoring 50 Years Of Amnesty International Amnesty Records 1964
I Forgot More Than You’ll Ever Know 2:24 Bob Dylan Self Portrait Columbia Records 1970
I’ve Got News for You 4:32 Ray Charles Genius + Soul = Jazz Atlantic Recordings 1960

Glory Road 3:23 Neil Diamond Sweet Caroline UMG Recordings 1969
Crucify Your Mind 2:32 Rodriguez Searching For Sugar Man Hey Day Entertainment 1970
Inner City Blues 3:28 Rodriguez Searching For Sugar Man Hey Day Entertainment 1970

There’s A Mother Always Waiting 3:00 Johnny Cash Bootleg, Volume 2: From Memphis To Hollywood [Disc 2] Sony Music 1961

Thirsty Boots 4:37 John Denver I Want To Live Sony BMG 1977
Pinocchio’s Furniture 2:05 Frank Zappa Shut Up ‘N Play Yer Guitar [Disc 3] Zappa Family Trust 1979

Road Ode 3:49 Carpenters A Song For You UMG Recordings 1972 9/24/11 1:58 PM
Helpless 3:41 Crosby, Stills, Nash and Young Deja Vu Atlantic Recording 1970

She’s Got Her Ticket 3:57 Tracy Chapman Tracy Chapman Elektra/Asylum Records 1988
The Boxer 5:11 Simon and Garfunkel Greatest Hits Sony Music Entertainment 1972
Believe Me 4:11 Fleetwood Mac Mystery To Me Warner 1973

Bonamassa’s “Different Shades of Blue” is a Rush of Blues

Within “Shades of Blue,” the latest release by stringmaster Joe Bonamassa, there is a wonderfully woven tapestry of sound, correlating succinctly with the overall quality of the music and the history of the artist.

 

As many know, Bonamassa opened for BB King at age 12. He is now 37 and continuing to craft fantastic melodies with his guitar after eleven studio album, all of them released on J&R Records, his own label. “Shades of Blue” clearly displays the work ethic expected from this musician, and it is tempered with the vintage blues sound that comes only from experience.

 

The opening cut is a shot out of the gate, but also a cool drink of water. “Hey Baby (New Rising Sun)” is an excellent introduction to the album, working well as a piece that can stand alone in terms of its musicality but also providing a great segway into the vocals-initiated “Oh Beautiful!.” The way that th

is song comes off is as a meditation on great rock riffage, a place one might go to to become whole for other musical endeavors. The guitar work here sets the precedent for the whole record with an entire minute dedicated to solo work that greases the musical gears for the rest of the tracks.

“Love Ain’t a Love Song” is very much, other than the title track, the radio darling here, with a well-planned chorus springing up from the verse like blues cactus in the desert. However, this also features, as does every cut, some very interesting solo time as well, bringing the possible justification for the track into clearer focus. This song also makes sense when paired next to “So, What Would I Do,” a piano and voice driven piece that makes thoroughly apparent Bonamassa’s claim to songwriting fame as well as renown on the guitar neck, with any riffage an addendum and not a focal point. While this is true, the lyrics are just shy of an entirely powerful track, though this is very much a force to be reckoned with.

 

“Living On The Moon” is the personal favorite. This song makes me want to stomp around about some woman somewhere who left, swinging my arms in the air guitar needed here. This is the apex of power in the album, the place where things culminate in fire, translating into explosion with sounds emanating from Bonamassa’s guitar in a sequence I have never heard before. “Heartache Follows Wherever I Go” slings the album into the low groove of blues-rock and, while not the strongest lyrically, it helps to bring the album together with a pace that references the artist’s experience in music in general.

 

More of a call and response position is taken on “Never Give All Your Heart” when it comes to guitar and vocals relationship, and this is a refreshing take especially as the flow transitions into the solo, which is a powerful build based much more on diversity of notes than it is on the necessary speed.

 

“I Gave Up Everything for You ‘Cept the Blues” is a combination of humor and the most powerful vocal performance on the album, eliciting the type of fight one expects in the black music this album is rooted in. Another personal favorite of this reviewer, it is a track that relies somewhat on the typical musical chord progressions of the blues, but Bonamassa puts a very worthwhile spin on it, especially in the slinky, funky and slappy (that’s the only way I know to describe it) solo at 3:00.

 

“Different Shades of Blue” seems a great deal like a particular Eagles song that will remain obvious yet unstated, but whether or not that is intentional is not relevant. The best lyrical writing is here, and it works interestingly with the radio presence this song is sure to have.

 

“Get Back My Tomorrow” is the third personal favorite here and for a reason: from the lead few seconds this song is different. It speaks much more bite and venom than the rest, and it helps to get back a bit of the voracity lost in “Different Shades of Blue.”

 

“Trouble Town” is a piece of great and interesting creative manifestation where horns, strings, and guitars coalesce, injecting the swing into the blues, making the ending to “Shades of Blue” a fun ride for sure and a great closeout to a very solid album.

 

The only pitfalls to this record are the fairly repetitive song structures that the musician is confined in and the lack of lyrical diversity or experimentation. It’s there for sure in tracks like “Get Back My Tomorrow” and “Living On The Moon,” but you are left wanting much more than the album provides you in that area.
Overall, however, the work here is truly great. It is a masterful piece of guitar work with songwriting to go along solidly with it.

 

Interested? Then check out Bonamassa’s personal site or the album and accompanying songbook on iTunes.

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