Steel  D O G  Cafe

Progressive Rock

what I,ve brought together for 20 & chillaxing

all play

Available now to download on iTunes here: http://po.st/BDmtfiTunes    

Ready your speakers...http://po.st/BrodyDalleSignUp // Brodydalle.com http://po.st/BrodyDalleWeb

The first track off the forthcoming solo album from Brody Dalle, frontwoman of The Distillers and Spinnerette, out now.
Song also features Shirley Manson (Garbage) and Emily Kokal (Warpaint)

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Live Dates: http://po.st/BrodyLive


Diploid Love

Meet The Foetus / Oh The Joy

Download on iTunes

Eminem drug ballad

Written by Randy Preston, Kevin Grossman
Recorded at Stone Barn Studios and The Hangar
Engineered by Greg Frangipane, Kevin Grossman, James McCaffrey
Produced by Karmic Juggernaut, Ron Frangipane, Greg Frangipane
Mixed by Karmic Juggernaut at the Hangar
Mastered by Tom Ruff at Asbury Media
Lyrics:
Ancient, ancestral finds
Just three rubs and release the spirit divine
Shape-shifting aquamarine
A hazy fog ignites the scene -- yeah
Eternal fortunes behold
Immortality, riches unfold
Infinite wisdom obtained
A life of luxury hath been gained
You see your future it is changing
Everything is rearranging
Nothing is what it seems
You've lived your life all slow and steady
Careful now I hope you're ready


Guacamole Genie

"Blame The Foothill Tribe" is the 2nd song on our STONE FLY Album release. The track is a good introduction to the overall eclectic and experimental nature and sound of band (with a lot of stylistic colors and musical instrumentation hidden deeper in the mix - in fact, some of the instrumental voicings are buried in the mix on purpose so the listener may hear something new with each listen). Juxtaposed to BLAME THE FOOTHILL TRIBE is "WORLD UPSIDE DOWN" (also on the "Stone Fly" album). World showcases more of a lyrical journey and is witness to some of the classical blues-based rock influences on the band. For anyone interested in the album cover art or why the name "steel dog cafe" appears, The Foothill Tribe was f/k/a "Steel Dog Cafe" or "Steel Dog" on the HDIMYF EP.

Blame The Foothill Tribe

Fly Again is the B-Side for our "Hippie Girl" single. The song is an acoustic-electric blend and shows our exploration of various styles and directions at the same time. Fly Again sort of ventures into more of a Rusted Root style of hippie music (leaning heavily on percussion and bongos for the rhythm section). The song has a nice chilled out intro and then slowly builds until a full blown percussion driven ending. As a tie-in: this song style of starting sparse and then continuing to build to a crescendo (without any let up in the slow build) comes back around in later songs like "Rubicon" on the Stone Fly Album. The song (and Hippie Girl single) was recorded and mixed on a Yamaha MTX-8  Eight Track machine.      

Fly Again

This is probably our most polished minimalist pop-song. This track was also released on the Crossroads '98 Compilation Disc. We played Beale Street in Memphis as part of the 7th Annual Cross-Cultural Music Expedition that same year. We also made a pilgrimage and got the tour of Sun Studios / Sun Records while we were there! Pretty cool stuff.     

Fly With Me

This is a deep album cut from our Stone Fly record. At 6:12, the length and arrangement of the song offers room for a variety of mini-movements. The track is a mid-tempo pseudo-psychedelic alternative rock journey with "answer and call" verses (Clay / Lead Vocal & Rob / Backing Vocal). A wah' infused funk breakdown in the middle-section brings in the guitar solo before breaking down again to a "vocal only" chorus section, before building again to the ending outro which features additional percussion (bongos) with a delay on them that creates an interesting effect and sound. Sonya Gilmore sings harmony on the song.   
 
Thank  you for listening and sharing our songs. We welcome your comments and truly hope you enjoy the music.

Feelin' Like I'm Over You

A quirky alternative rock/pop song. This recording of My Friend is an unfinished version, but it is an honest showing. Perhaps the minimalist and demo nature of the production captures the emotion of the song and hopefully that honesty will come through. 

NOTE: The production quality for many of the songs on our Conspiracy No. 9 release was more "demo" in nature than the previous Stone Fly album. This is because when we were writing Conspiracy we had a lot of record label and industry people interested in Fly With Me and the Stone Fly record and we were being asked to record more and more songs. 




Thus, we would put the songs down on tape, get a decent demo mix, and send the demo tracks to various producers, labels, and other people. 

Interesting Side Note: Well known rock producer John Kurzweg got a copy of Stone Fly and became a huge fan of the Stone Fly album and the band's eclectic sound and the overall style, nature, and writing of the band. We became good friends with John and he re-edited a couple of the more alternative-rock type songs off Conspiracy No. 9  ("Sun on My Thumb" and "Crash"), tweaked the knobs a little in his studio, and circulated the stuff to the label guys. We will be uploading those songs and John’s edits/mixes to our cloud in the future. 

LYRICS: 

Do you want to be my friend...

Times are hard, like bricks are heavy
And things are pretty heavy now
I need to know, Are you ready
Are you ready right now

I want you to be my friend
Do you want to be my friend ....

You like Ford, I like Chevy
Is that too heavy to ignore
If you know which way to turn now
You better learn now, Which way to go

I want you to be my friend..
Do you want to be my friend..


My Friend

One of the more eclectic psychedelic groove tracks from our "Stone Fly" album, “Questions” is similar in feel to "Feeling Like I'm Over You."  The lyrics were mainly written by Clay, the guitarist, at a time when he was studying history and simultaneously inundating himself with current events on CNN.  The troubling crimes against humanity, both past and present, and the bleak outlook for the future of mankind weighed heavily on his mind while writing this song.  Referencing the lyrics “think I’m gonna cry,” the guitar solo section was actually supposed to be symbolic of the songwriter’s tears dripping down.  This track also marks the beginning of Clay's experimentation with the organic wave-like phasing effect for the rhythm guitars.  It was first tried on the synthesizers for "Blame the Foothill Tribe" and on "Questions" it makes the song breathe like a living organism.  This effect was used a few more times for some of the rhythm guitar on "Conspiracy No. 9" and the "Scatterbrain" EP.   We hope you like the song.

Questions

One of the more psychedelic songs from our Stone Fly album, Rubicon features a variety of  directions. The initial bongo rhythm section (a prominent feature in this track) starts the song  underneath earthy clean guitar chords and surrealistic lyrics. The earthy vibe builds to a drums-only breakdown as prelude to the slow-motion distortion riffs and guitar solo. The full band finishes the track with a uptempo jam section.

This is the last song on Stone Fly that was built from informal jam sessions. The guitar solos at the end of the song are a marriage of the groove-laden vibes of Hendrix with the more lively bombastic flavor of Eddie Van Halen.  
   
The surrealism in the lyric and the bongo flavored rhythm section definitely combine to make the song one of our most psychedelic numbers. 

We hope you everyone enjoys the song.  
     

Rubicon

As the lead track on our “Conspiracy No. 9” album, “Sun On My Thumb” basically describes an elaborate LSD or Peyote trip and immediately picks up where the trippy organic direction of “Stone Fly” leaves off, particularly with the swelling, breathing effect of the rhythm guitars. The main guitar riff under the verse is a sister riff to the heavy spaghetti western section of “These Are The Days.” 

The song’s feel and arrangement is “heavy alternative” with a late 1990’s feel and groove. We gotta give credit and huge thanks to our good friend and multi-platinum rock producer John Kurzweg (Godsmack, Puddle of Mudd, Creed, Jewel, and others …) for his arrangement and post production work on the song. We never could have afforded John, but luckily for us he had become a huge fan of the band from our “Stone Fly” album (he often commented how much he loved and how often he played the Stone Fly record in his car and at home). Needless to say we were shocked and honored. I think our material was consistently different to his ears. So luckily for us, as we finished tracking the record, we would send the mixes to John for his ears, thoughts, and feedback. John really liked the psychedelic “Somewhere On The Hill” and  "Yesterday," but due to the time constraints and because he was looking for the two most alt-rock radio friendly songs, he chose Sun On My Thumb and Crash to work on. John dropped the mix into his studio and changed the arrangement up some (example: the transition section coming out of the second chorus/ resolve). He also made some post-production moves on the track. All of which we remain extremely grateful for! We have the original mix/edit somewhere and we will probably upload the original one day just to compare the two edits. Our hats are off to John for his talents, efforts, and for working on our material.  

The song title and lyric “check out the sun on my thumb” references the lyricist marveling at the forced perspective of viewing his held out thumb at arms length just underneath the setting sun while under the influence of the mind altering drug. The lyric questions the often bleak outlook on the world (especially the news broadcasts), all the while the natural state of things offers a much different possibility (and often brighter contrast) if one takes the time to notice what mother earth is providing to help with our spiritual support. The imaginary southwestern town of Wao (“Way Oh”) was inspired by The Simpsons episode “El Viaje Misterioso de Nuestro Jomer (The Mysterious Voyage of Homer).”  Wao is a hallucination brought on by the drugs and serves as the setting for the mind expanding vision quest. Surrounded by endless deserts, Wao is filled with colossal monuments, pyramids, castles and the disembodied voice of Johnny Cash who guides the angel headed hipster on his journey to peace and enlightenment. 
 
The end of the song virtually falls apart, symbolizing the drugs wearing off and the lyricist coming down. When he comes to his senses he realizes that the deserts were just golf course sand traps, the monuments were only miniature props, and the disembodied voice was just his subconscious. It would have been seriously cool to actually have Johnny Cash do a spoken word piece under an extended middle section (a la U2’s Zooropa track “The Wanderer”), but alas Mr. Cash was slightly out of our price range.  

In the end…we just hope people enjoy the song!   


Sun On My Thumb

Earth Buddy

“Always There” is one of the final uploads from our “Conspiracy No. 9” album (“CNN”). The song was recorded during the beginning of the making of CNN, and for the band it ended up being one of the jewels of the album. The song definitely leans toward our more psychedelic side, but the song also involves a swimming (but hopefully solid) slow-burn style funky groove, some interesting musical and vocal tendencies, and the ending section hints of jam sessions past and future. For me personally, the end section leaves me yearning to climb behind my drums right now as I write this. It also leaves me yearning for those moments (like the ending section of this track, or entire sections of intensity in our "Rough Lightning" jam) where we just let go and lose ourselves in the groove and music channeling through us in that moment - that's where the magic lives. 

Although we don’t recall exactly how the song came into existence, Clay had the chords for a long time before we started jamming with the ideas in rehearsal and tossing things around until we had the outline of the song, and ultimately the completed song. I remember working on the lyrics with Clay and we spent a lot of time focusing on and developing the phrasing of the lyrics in the verse. If you listen you will hear a sort of “rhythmic pulse” type of phrasing to the lyrics during the verses, and there's a subtle different in the chorus sections. It's a pretty cool thing in my humble opinion and it was great fun to sing.   

The song style and the production quality of the recording make the song sound like it could easily have been on our "Stone Fly" album. An interesting note is the last section of the song was never completely developed or finished.  During the last section of the song from around 3:15 onward (beginning immediately after the last chorus section) you will hear the band go into a stepped-up grooving sort of jam feel that is just laying the floor for more. Clay commented that he wanted to leave the last section of the song undeveloped (or to be developed later). The idea was to leave the end of the song open for an outside producer to have input on and to work with us to see where we could take the ending jam (recall during this time we were talking with different producers about possibly working with the band). As a personal note, I really enjoy Clay’s swimming guitars and his wah pedal work on the song (check out Clay's understated solo wah parts starting at 3:15 or thereabouts). The bass guitar lines and drums during the ending section combine into a pretty cool interplay and groove (one of my favorite interludes in the track is the short breakdown around 4:10 where everything drops out except drums and bass). The bass playing is some of the most interesting on CNN  in my opinion. On drums, I was doing a lot of rolling type of snare accents and the bass drum might be a bit too busy in places, but I feel like it still works for the jam-groove section because we were digressing naturally from song-mode to jam-groove-mode. For a totally unimportant note - a few times during the song you will hear me using my kit's 8" bell. This is one of few instances my kit's bell can be heard on any of our studio recordings (that I can think of at least). That 8" bell has a distinctly warmer tone than my ride cymbal (which itself is a 22" Sabian Heavy Ride - its a monster thick ride cymbal capable of cutting through the heaviest wall of guitars when struck with conviction). I know, I know, enough drum talk already.   

We really hope people find the song interesting and unique to the ear. Thank you for listening and for your feedback.  Sincerely, Rob@TheTribe. 


Always There

One of the heaviest track on the album 'Element Of The Grid' by Logic Mess. William and his twin brother Jonathan are divided by love and lust...

Logic Mess - The Guards Of Integration

"Room To Breathe" is the second of three songs on our final E.P. and swan song "Scatterbrain."  It's a mellow, melancholy track which chronicles the passing of childhood to adulthood and how the time wasting pleasures of youth transform, from the perspective of the adult, into a relentless enemy to be abandoned and avoided.  In this case, the pressure was on to abandon the pursuit of music in favor of accepting my place in society as simply another cog in the wheel.  At the time I tried to hold on to some of that youth by living vicariously through my niece, who was old enough to watch Star Wars and Pixar movies and such.  So it was my way of being able to be a kid again for a little bit longer.

We had to move out of our studio, so I had to set up the console and effects rack in my bedroom to finish.  Rob laid down the drum tracks in the studio before the move and I think it's one of the best sounding drum recordings I've ever heard.  The ambiance of the kit is extraordinary and Rob's playing is loaded with so much nuance and character.  You just don't hear that kind of drumming in rock music anymore, which is why I couldn't imagine playing with anyone else. I finished the guitars, bass and vocals in my room, then we mixed it.  in fact, the entire E.P was done in this manner.

Also of note, my cat Raz (a.k.a. Sweet Pea, a.k.a Pretty Girl, a.k.a. Little Shit) would hop up on the console and sprawl out over the knobs for a nap.  That had to be the most uncomfortable place in the room (in fact, there was a soft, comfy bed just a foot away) but, dammit, that's the place she chose to sleep and by gum she was gonna MAKE it comfortable no matter what.  I swear the psychology of a cat truly baffles me sometimes.

Anyway, I hope you enjoy!

Clay

Room To Breathe

------  BIO -------
The Foothill Tribe (f/k/a Steel Dog Cafe) is a three piece alternative-psychedelic-progressive rock band (and recording artist) from the tiny ocean-side town of Destin, Florida, USA. The Tribe is: Clay Urquhart (Guitars | Vocals); Rob Gilmore (Drums | Vocals); Daniel Bertram (Bass Guitar).  

A Note On The Photos: The picture beside each uploaded song is the Cover Art for the Album, EP, or Single the song is on. We will update our Profile with our discography soon.   

We really enjoy (and continue) trying  to push the creative envelope with our music, whether it be with our songs or instrumentals. We often incorporate different genres, styles, and sounds into our music. Our desire and goal is to create original music that is interesting, different, and uniquely recognizable as The Foothill Tribe's own sound. Thank for listening and we truly hope you enjoy our material.   

As a three piece power trio we have no separate front man. We tried out several "would-be" front men when we were first forming the band, but ultimately we were not satisfied with any of the proposed lead singers because they just did not fit with the band or our vision for the future. Out of necessity we made the decision to handle vocals ourselves in what would become a "twin lead-singer" approach with Clay (guitars) and Rob (drums) both handling lead vocals, and with Dan (bass guitar), Clay, and/or Rob handling back-up vocals depending on who was singing lead. This twin lead-vocal approach has developed over the years and forms a key ingredient (and some have gone as far as calling it a trademark) of the band's sound.   

Over the course of writing and recording our various Albums, EPs, and Single releases the band's sound has developed significantly. There are a handful of songs along our path that show the growth of our sound and are witness to a change in the band's direction creatively. We hope to have a chance to tell some of the stories about these key songs and what was going on at the time. We try to offer a bit of background on each song, and sometimes even the lyrics are posted, in the song description for anyone who might be interested in a bit more info about a song.  
 
Since joining Sound Cloud, we have made some awesome new friends and met some great bands and artists. We really appreciate all who listen to our music and who have elected to follow us. Our sincerest thanks! We look forward to continuing to share our music, to making more new friends, and to continuing to discover new and inspiring music/artists/bands as we all grow together. THANKS TO ALL for  sharing in our story and for allowing us to share in yours!  Thanks again for listening to The Tribe!

Rubicon

foothilltribe