Rock and Reggae Oriented Tracks

All Tracks - Aesthetically Oriented

The “Big Man” once said “No Wine Before It's Time”; and I try to stick to that axiom when it comes to my choice of material, and when I record and release it. This one has been “in the cask” for quite some time—but finally it's ready for consumption! 
It's maybe exceptionally timely due to the recent increase in volcanic activity around the Earth. Geologists say it's the beginning of a “Volcanic Winter” (events starting 2022 certainly aren't despelling this conclusion)...maybe that'll slow that “Global Warming” thing down a bit...

Back at the time when Van Halen originally released this tune, I thought I was making pretty good progress on my guitar pursuits. After I heard it, I felt like Khan in that epic “Star Trek” scene where he's about to finally get revenge on Captain Kirk by blowing up his ship and the Enterprise (both crippled, but in close proximity) together...only to see the repaired Enterprise engage “hyperspeed” and disappear from his video screen mere seconds before detonation! 
Fortunately for me, I didn't “blow up”! Instead, I started working on what I thought it would take in order to one day understand how to actually get “THAT SOUND”, and then succeed in getting it out of my guitar. While it DID turn out to be an “expedition” of Everest-like proportions, I eventually got there!
Now, I didn't achieve it by merely attempting to research and acquire all of the gear Eddie used (a relatively tall order for some of those items), gain access to a “Reverb Room” to record in, or pursue finding out exactly what he was doing with his hands.
Instead, I thank my former “Shred Instructor” – one Steve Jurich (8.17.68 – 4.9.18) – for emphasizing the method to break down any given piece, methodically put it together myself...AND inject my own style into it at the same time. (For instance, I don't have a backing band punctuating the opening phrases; I'm not using any custom, antiquated or ridiculously expensive performance or production gear; I'm not—nor was I aiming for—attempting a “carbon copy”, note-for-note performance...starting with the fact that my vintage ESP “The Mirage Deluxe” is in standard tuning, for example.) 
In reality, I feel I solved several problems with the original—especially that last “dive-bombed” note...and NO, I'm not going to tell you the details of what I did to get MY performance to sound the way IT does! I will tell you that the performance for this recording was done “straight through” with a digital stereo recorder capturing the sound in the room. There are no overdubs, or any other post-production “tricks” employed—just some basic light mixing and level adjustment.

I dedicate this posting to Mr. Jurich's memory.  –  Thrust

ERUPTION 2021 - 2022 (SoloGuitar Version)- Van Halen Tribute by H. Thrust

Well, it looks like the “Natural DisasterTrend” continues to play out in new and exciting ways:  the latest being unprecedented flooding in disparate locations around the globe.
I've always liked pretty much everything about the Led Zeppelin rendition of the McCoy/Memphis Minnie tune “When the Levee Breaks” (a tune originally written in response to the then record setting flooding along the Mississippi River c. 1927). 
With the musical situation that I have going on right now, I'm able to get music addressing current topics out in a fairly unobstructed and immediate way...like my take on this particular topic and tune.
A few highlights you may enjoy are my use of a phrase from the Jimmy Driftwood song “Battle of New Orleans” (popularized later by the Johnny Horton version) early in the tune, as well as the use of a Wah Pedal to simulate a “Jaw Harp” in the rhythm loop; not to mention the “audio wonk” I used in the Intro (as opposed to Zeppelin's use of their own brand of “wonk” @ the end of their version).

When The Levee Breaks (LookMaNoSlide Version) - Instrumental by Groove Crater Method  (Led Zeppelin)

One of the advantages of doing interpretive instrumentals, is that it's much less restrictive in terms of choice of material and sonic direction. For instance: I can't imagine ever being able to do justice--in terms of vocal quality--to a Cranberries tune.  Even if I were a proper female mezzo-soprano, it would be hard to lay down something truly worthy, in comparison to what Dolores O'Riordan (R.I.P) did with the band's original recordings, so good they were.
Not so when it comes to using the guitar (my Koa Fender Telecaster, in this case), and some well-positioned electronics as my "voice". 
I did some rearranging of the tune (as I often do with instrumental interpretations) to highlight what especially strikes (and has struck) me about it.
As usual for all of my loop-oriented works (and just about all of the other tracks posted here on the illustrious soundcloud site), I'm responsible for all arrangement, playing/sounds, recording and production work.

Dreams (interpreting) - The Cranberries Tribute - Instrumental by filicityStunt

Another "essential" Iggy Pop track. Many of us might call this one our own personal "theme song". I certainly do.
I tried to go with the whole "post-punk" feel here--warts and all--while working the solo improv thing for all it's worth. 
Managed to get it all said in less time than "The Ig's" original studio version, on top of that!
We'll have to call it "Good".

The Passenger - (Iggy Pop Cover)- Instrumental by Groove Crater Method

Having taken "Album Rock" to an institutionally epic level with the production of "The Dark Side of The Moon", Pink Floyd unquestionably has left a fairly indelible mark on the world of music -- and the collective psyches of music fans around the world. 
After so many decades of "leaving well enough alone" though, I finally developed an interesting take on one of my favorite pieces therein through the use of my looping rig -- honed down through years of experimentation and jamming to what I have posted here.
The reggae arrangement seems to have stood the test of time (no pun intended) along with all of the soloing viewpoints. I figured, as awesome a statement as D. Gilmour's two-chorus solo is, I'd take it "up to 11" with a little  additional insanity. Reversing the loop for the intro and outro gave it the needed thematic direction. 
I was able to record all of the guitar verse and solo leads in one massive straight-through take; and, as usual, I'm responsible for all playing, sounds and production efforts.

Time (reversing)- Pink Floyd Cover / Tribute - Guitar Solo Instrumental by Groove Crater Method

Insanity--in all it's varied forms--has interested me for as far back as I can remember. A psychologist friend of mine says "we're ALL crazy", so maybe that's why there is such an appeal. The trouble is, even though it's a somewhat unseemly trait all of humanity shares, crossing all boundaries circumstantial and otherwise, it seems to be rarely tapped as a reason for connection or bonding. 
That's what makes this song special to me. 
Even (or maybe especially) as an instrumental, empathy, sympathy, and camaraderie (besides, among other things, the insanity itself) is communicated in spades. Note (during the solo section) the expressions our protagonist makes of the pitiful state she is in, culminating in an all-consuming "cry for help".

Lilybelle (just can't find the words) - Geraldine Fibbers / Carla Bozulich Tribute by filicityStunt

With all of the interest in Outer Space, fueled by the 2020 appearance of the Comet NEOWISE, I figured I'd get to editing a previously posted track for re-release. This track took inspiration from the Syd Barrett-era Pink Floyd tune "Interstellar Overdrive" and the mid-'80s Husker Du track "Reocurring [sic] Dreams". It was originally about twelve minutes in length, and seemed to be well-paced and interesting throughout; but I wanted to see what it would sound like all streamlined and concise. I like the result.
Sometimes a track comes out in the recording session with pretty much everything in order:  tones, energy, statement, timing, mix, etc. That made the original take easier to work with on the whole--although it was sometimes difficult to know what to cut. It was a good experience though; and now we'll let this edit run for a while.  
As just about always, I am responsible for all sounds and studio tasks involved here, using triggered live loops for a complete sound.

Interstellar Dreams (Edit 2) - a.b. dicchus (Pink Floyd and Husker Du inspired)

This work hits especially close to my--and many West Coast residents--home. The Creek Fire--to date, the largest single-ignition-point fire in California history--had us in the E. Sierra choking on smoke for most of September/ October 2020, with AQI's exceeding 2000 (not a typo) on numerous  occasions! We were very close to being evacuated, but a number of factors converged to save us from that eventuality.  In many other locales, however, residents were not spared from suffering the worst, including a late November blaze that severely impacted the town of Walker, CA (just to the North of us, on U.S. 395).  
The scale and frequency of these blazes (search "CA Dixie Fire" 2021", for instance) raises doubts as to whether "The Golden State", as well as the rest of the States West of The Rockies, will be able to return to the natural equilibrium we've enjoyed up until recently

Welcome To The Charcoal (formerly Golden) State - (wildfire soundtrack) - Egregious Phil's Bin

Well, 2020 seemed to continue to deliver in the "natural (and man-made) disaster" department right up to it's end. (It's looking like 2021 is going to continue with that theme...)
This tune seemed pretty relevant when it was released by the Pat Travers Band, way back in 1980. No argument that it's a lot more relevant today!
I've always liked the chord movement (Travers an excellent Hammond / Keyboard player, too), as well as "The Beat Goes On" bass line; but I have felt that there was room for more "crash" and  "burn" in the sonic department. 
I think I've taken care of that in my interpretation.
I'm using the chorus melody as a one-time intro theme: "We can't stop the World from it's..."

Crash And Burn - Instrumental by Groove Crater Method (Pat Travers inspired)

"It's that little souvenir of a terrible year." -- The Sundays

Rather than make any attempt at putting some kind of narrative on this subject--political, or otherwise--in my introductory comments, the real purpose of my arrangement here is merely to inform and hopefully, to generate some objective contemplation on the listener's part.

With thoughts of Peace -- ThrustOut...

Portland 2020:  Did You Feel It All Around? - Egregious Phil's Bin (inspired by portlandia theme)

Howard  is a guitarist, writer, arranger, multi-instrumentalist, live performer, producer, studio engineer and online/onairwaves radio host; emphasizing musical communication through instrumental interpretation in various forms--at times employing spoken word, storytelling, reading or other audio sources in complement or contrast. 
His solo live performances feature real-time multi-instrumentalism employing live recording and synching of loops and subsequent improvising over them.

Check out "Howard Thrust - SIDE 2"  https://soundcloud.com/howard-thrust-2/tracks for recent and future postings here on soundcloud.
Check out "Howard Thrust - Musical Monologues"  https://soundcloud.com/howard-thrust-monologues/tracks for "story" with Music here on soundcloud.
Check out "Howard Thrust Radio"  https://soundcloud.com/howard-thrust-radio for complete Music shows, also here on soundcloud!
Check out "Escape Velocity with Howard Thrust" on KRHV every other Monday from 9P - 10P @ www.mammothfm.com or @ KRHV 93.3 FM in the Owens Valley, CA.
Check out "Howard Thrust" on YouTube https://www.youtube.com/channel/UCpAfG_aFKB0dDyp5mNl35sQ/videos !

AND NOW (massive drum-roll, please):  You can visit my WEBSITE by going to  www.hthrust.com

Thanks for looking and listening!