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#san francisco sound
undergroundrockpress · 4 months
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Janis Joplin and Big Brother and the Holding Company, San Francisco, 1968.⁣
Photo : Jim Marshall.
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florencelawrence · 10 months
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San Francisco Sound show poster, art by Donna Wallace (1967 or 1968)
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56 YEARS AGO TODAY, ALSO ON A WEDNESDAY -- THE SECOND SET WAS DEDICATED TO NEAL CASSADY.
PIC INFO: Resolution at 2236x2237 -- Spotlight on a "Be Mine" GRATEFUL DEAD & COUNTRY JOE & THE FISH concert poster, performing live at the Carousel Ballroom, San Francisco, CA, on St. Valentine's Day, February 14, 1968. Artwork by Stanley Mouse.
POSTER OVERVIEW: "A very interesting square-shaped poster for the Dead's Valentine's Day 1968 concert, with support from COUNTRY JOE AND THE FISH. Artist Stanley Mouse designed this as a vintage Valentine Card, complete with a goofy-looking cupid and a vintage photo of an earnest young man. Note the "Lights by LSD" and "Stick to weed it's safe" notations.
In memoriam: Neal Cassady, Ron "Pigpen" McKernan, & Jerry Garcia -- more legends lost.
Source: Heritage Auctions (Entertainment & Multimedia).
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visceral--feeling · 8 months
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Summer - Frederick Carl Frieseke // San Francisco - 5 Seconds of Summer
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xwanheda · 9 months
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@00blackbird ♥ «Birds of a feather flock together.»
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doomedandstoned · 1 month
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DISASTROID Reveal Striking 4th Full-Length, ‘Garden Creatures’
~Doomed & Stoned Debuts~
By Billy Goate
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Get ready for full-on galactic riffing, energetic rhythms, with moments of interstellar insanity. This is DISASTROID and their latest record, 'Garden Creatures' (2024) -- a swirling blend of colors drawn from a dynamic palette of psychedelic, grunge, desert, noise, and math rock influences.
This fourth full-length outing from the SFO band begins with the title track and is presented with rumbling force and jagged rhythms juxtaposed with clean, earnest singing and smooth melodic lines from frontman/guitarist Enver Koneya. At times the vocals soar like the pleas of some jerky cosmonaut thrust into the unknown vastness of outer space. Braden McGraw's drums thunder and churn like the roaring ocean. Travis Williams' bass is warm and pulsating.
Enver's guitar and Travis' bass trade barbs on "Stucco Nowhere," an ode to being stuck in a life of sameness and misery ("burning out within your head"). The singing builds to a crescendo, perhaps summoning sheer force of will to shake off the spell of mediocrity. There are some dreamy vocal harmonies that haunt overslept dreams, and finally a cry of frustration and despair to be set free from the shackles of it all.
"Mama says I need some help," laments Enver in "Figurative Object." The guitars chug with rocketing force, but often enter the realm of disorienting dissonance. This tendency towards the strange and uncanny continues in "Backwards Sleeping" and feels like a night of tossing and turning ("losing sleep for all that we have done"), complete with trippy guitar effects, rhythmic jolts, and ghostly droning.
"24" is fuzzy as all get-out, with screeching guitar hooks, unconventional rhythmic structure, and a misty hue of sadness in the vocals. Then "Hold Me Wrong" is like a fever dream, with a persistent bass groove, strumming and picking on the guitar, and exhausted pleas to "hold me tight, hold me right."
The penultimate song, "Light 'Em Up" is like a hallucination straight out of Blade Runner, with sounds and samples flying about us like fugitive visions. This is another where the bass is so integral to giving us a feeling of movement and cohesiveness in this shapeshifting world. The drumming here, as throughout the record, is stalwart and determined, whilst the riffmaking ranges from raucous to delirious. The record ends on a short banger, a riotous number "Jack Londonin'" with punk, noise, and math overtones.
Disastroid's Garden Creatures was recorded and produced by Billy Anderson and is releasing on Heavy Psych Sounds this weekend, February 23rd, on a spectacular variety of vinyl variants (get it here). Stick it on a playlist with The Melvins, Red Fang, Fatso Jetson, Kook, and Soundgarden.
Give ear...
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SOME BUZZ
San Francisco veterans Disastroid have been serving up sludgy, grunge-infused stoner rock for the better part of a decade now, refining a sound that weaves heavy riffs together with angular guitar lines, odd time signatures, and hazy walls of fuzz. As influenced by 90's noise rock as they are by modern psych, doom, and post-metal, Disastroid delivers thick, satisfying stoner rock stomp while also embracing layers of noise, tripped-out feedback, and unpredictable song structures.
The current lineup of singer/guitarist Enver Koneya, bassist Travis Williams, and drummer Braden McGraw coalesced in 2011. They’re united by a desire to make heavy music that's loose instead of mechanical, a motivation to explore methods that make them sound bigger and more varied than a traditional rock trio, and a shared affection for the Amphetamine Reptile back-catalog. Thematically, their songs steer clear of genre cliches, touching instead on scattered aspects of modern life: technology fatigue, immigration, nuclear deterrence, the monotony of work, the existential dread of aging. Despite the subject matter, Disastroid never take themselves too seriously, injecting their live shows with an infectious sense of humor and their songwriting with math-rock quirks.
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Disastroid’s latest outing, Garden Creatures, is a record about the darkness in the hidden corners of suburban landscapes — sinister overgrown gardens, secret collections kept in basements, the crime just beneath the surface, the pervasive loneliness under a veneer of normalcy. Accordingly, it’s a dark and atmospheric record, trading the stripped-down approach of 2020’s Mortal Fools for a thicker, heavier, and more layered sound. Legendary producer Billy Anderson (Sleep, Melvins, Neurosis) builds mixes that range from dark and dreamy to a thick, sludgy crunch, slowly pulling the listener through a range of sounds and textures, making sure things stay interesting. Singer/guitarist Enver Koneya's vocals are soulful and sometimes haunting, drifting above Disastroid’s characteristically off-kilter, grunge-influenced riffs.
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Joan Baez covering Harry Belafonte’s “Man Smart, Woman Smarter” 1958—How Sweet The Sound, October 13, 2009.
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krispyweiss · 8 months
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Two-part Documentary to Examine San Francisco, Counterculture
- “San Francisco Sounds: A Place in Time” airs Aug. 20 and 27 on MGM+
“In the early ’60s, San Francisco just seemed like a magical place.”
“There was just this nice little nexus of music and strange people.”
So begins the trailer for “San Francisco Sounds: A Place in Time,” a new documentary airing Aug. 20 and 27 on MGM+ and spotlighting the city and the musicians who emerged from it, including Janis Joplin, the Grateful Dead, Creedence Clearwater Revival, Sly & the Family Stone and Jefferson Airplane among others.
“I would like to go (see the Airplane at the Fillmore) if I could,” a young and smiling Bob Dylan says in an archival clip.
The film, based on contemporaneous footage and new interviews, is directed by Alison Ellwood and Anoosh Tertzakian, who previously worked on “Laurel Canyon: A Place in Time.”
Young Jerry Garcia sums up the ethos as the trailer ends.
“What we’re thinking about is a peaceful planet,” he says. “We’re not thinking about any kind of power, or revolution or war.”
8/7/23
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00blackbird · 8 months
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«Vuestras bocas encajaban como dos piezas de un puzle. ¿Podía ser más cruel el destino? Deseabas que besara mal, que te golpeara con los dientes al ser demasiado torpe, o que mordiera cuando no debía. Pero sus labios suaves y esponjosos correspondían a los tuyos y tú te dejaste atrapar por ese rastro de sabor a chocolate que cargaba su aliento. Era dulce, pero notabas el amargor bajándote por la garganta.
Sus dedos se deslizaban por tu cabello suelto y lacio, jugando a peinarlo con esa suavidad que te hizo temblar. Tus manos fueron a imitarle entonces, enterrando los dedos entre ese pelo anaranjado que, junto con el resto de señales de la noche, te dio la respuesta inequívoca. Una descripción era todo lo que necesitabas, no había demasiados pelirrojos que pudieran calzar con ese detalle. Te resultó incómodo encajar estas piezas, preferías mil veces juntar las de vuestros labios.
Sonreíste al escucharle antes de ponerte de pie, pasando la pierna por encima de las suyas. Sentada sobre sus muslos, rodeaste su cuello antes de volver a caer sobre su boca. Pegaste tu pecho contra él, sintiendo la imperiosa necesidad de enterrarlo dentro de ti. Entre lentas caricias de tu lengua, esperaste al momento oportuno. Calculaste cuándo debía quedar más adormilado por ese cosquilleo que os fulminaba a ambos, y cuando adivinaste ese instante la hoja fría del cuchillo se posó sobre su cuello.
No te separaste de él, clavando tu mirada sobre la suya mientras notabas tu pecho acelerado, subiendo y bajando con fuerza. Dejaste escapar un jadeo tras otro, con miedo, con súplica también. La lágrima cayó por el rabillo del ojo, cruzando tu mejilla.
«Podría degollarte ahora mismo. Debería hacerlo», pensaste al presionar un poco más el filo contra su piel. Un hilo de sangre se desprendió, fino pero de un carmesí intenso. Querías fingir que no te temblaba el pulso, que no deseabas eliminar ese rastro con tu lengua como si pudieras revertir el daño.
Que no anhelabas más de sus besos con sabor a chocolate.»
Hazel Vandenberg en @thesoundofsanfranciscorpg.
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hunrising · 1 month
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Oh my god what is the worst setlist scenario you could think of?😅
the one where he doesn’t sing the good songs from hbw but we’ll have to hear fuck ass pallom and black and white for the 500th time 😔 OH and also covers little things as the 1d song
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undergroundrockpress · 3 months
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Grace Slick & Spencer Dryden, Golden Gate Park, San Francisco, 1967.⁣
Photo : Jim Marshall.
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chrisgoesrock · 11 months
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“San Francisco Sound.”
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visceral--feeling · 8 months
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Women from Albano - August Riedel // San Francisco - 5 Seconds of Summer
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simply-sithel · 11 months
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Back in early March the main SF library hosted its "Night of Ideas" event -- 7pm to 1am. Had a joyous time, the music was great and the talks interesting. I stayed till closing because the chance to just sit in the stacks and read past midnight-- while listening to a live band playing was.... 🙏 magical 🙏
Came away from it with sketches, a "bracelet" from a knot demo/talk, a pin!, and the chance to have visited the children's section (normally off limits to a childless Grown Up like me)
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graveyardrabbit · 6 months
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