Rock and Reggae Oriented Tracks

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)

I don't know...is “Manic Lucidity” even possible?!
Well, what with all of the chaos in various forms encircling the Globe, it seems like it's about time we had some; so I manned the Studio “battle stations” and got 'er done (at least as far as on the sonic side of things)!!
The general inspiration for this tune came from a major hit the band “Queensryche” had in the early '90s, the music for which guitarist Chris DeGarmo was responsible; as well as the instrumental guitar approach used by Joe Satriani (among others...maybe even a little “Electric Neil Young” thrown in there for counterpoint)...and, of course, the conceptual insanity displayed by none other than (the late) Frank Zappa!
So, if it sounds a little “ragged around the edges and foaming at the mouth”, that's only because I was semi-consciously aiming for it! 
- Thrust

Manic Lucidity - MMountain Offensive - Rock Instrumental inspired by Queensryche / Satriani / Zappa

Back in the mid-'80s, I remember a mainstream Pop/Rock Music trend involving a resurgence of “social consciousness”. It may have had something to do with talk of an end to the “Cold War” between West and East that had been going on for decades up to that point.
Many artists offered up contributions—if not actually defining their careers by the sheer volume of their offerings to this cause.
One contribution by a (slightly) past mainstream artist, Steve Miller—who was famous for previous efforts in the “socially conscious” realm—is the subject of my work posted here. While this tune didn't seem to garner the kind of attention lavished on his earlier work, it sure got mine; and is the inspiration for this instrumental foray.
Of course, as the World situation has played out, it looks that even though the previous animosity between West and East seemed to have some kind of a “cooling period” with the official disbanding of the Soviet Union, the Principals of that State are organizing some kind of a comeback in the “here and now”.
So again, we have to be exposed to yet another period of armed conflict between these same Powers.
And again, the reason for “socially conscious” artistic statement is with us now, too.
As usual, I am responsible for all duties involved in the arrangement, performance and production of this work. - Thrust

Blue Planet / Gonna See The World Turn Around - Instrumental by MMountain Offensive (Miller / Vai)

While I'm not a dyed-in-wool, raging “Experimental Music” fan, I do nevertheless dig it; and occasionally produce work in this genre.
This one came out of some interesting experience while tinkering with the YouTube Video Player. (You can check out my YouTube Vids here:  https://www.youtube.com/channel/UCpAfG_aFKB0dDyp5mNl35sQ/videos) As I continued to progress with this tinkering, it became more focused...and finally yielded a rather “thematic” complete work!
The defining moment came during this process, when I realized that I'd heard something like this in a real-life experience...on many occasions, no less. It was, in fact, the audio and visual bombast that would hit me when I entered the Main Auditorium at the NAMM show in “full swing”! (We're talking the old-school, pre-Covid, pre-recession, PRE-PUBLIC(!) NAMM Show)
It bordered on “randomly chaotic”, while still having some kind of a “fractal root” involving a massive semi-orchestrated collective human musical endeavor! Not as well-defined as, say, John Coltrane's “Ascension”, but not wholly unrelated, either. Trippy!
So, here it is! 
While EIGHT MINUTES of this might seem rather lengthy to some, the reality is that this “sensory onslaught” would continue in some kind of a “rolling boil” for about the whole duration of the operating hours each day! We're talking like EIGHT HOURS of it!! Talk about fatiguing! 
Still, I've never experienced anything quite like it! – Thrust

EverythingAll@Once (Sonic Tribute To NAMM Show) - Experimental Music/ Noise by Egregious Phil's Bin

Every now and then, I'll run across a tune that, for a variety of reasons, is absolutely amazing—usually an early work...and then...I don't hear much from that artist or band again. 
Such a song inspired me to do this particular piece.
Many have heard of the band “Iron Maiden”; and may also be familiar with the frontman that played a large role in the band's climb to “superstardom”: Bruce Dickinson...often referred to as “The Bruce”. Truly a “larger than life” figure!
Well, he has a cousin (Rob) who also is a musician; and he had a band back in the '90s called “Catherine Wheel” (There's an interesting connection between the names for their respective bands.)
The song in question “Black Metallic”—from their first album “Ferment”-- was all about use of sonic “imagery” and “atmospherics”. This kind of music came to be known as “shoegaze”, since band members often were looking down at the stage to trigger and control a variety of “effects” used to get their sound.
This musical genre has since been widened through use of prefix “mashups” to help further define the type of “shoegaze” being performed.
Getting around to the song I'm posting here—inspired by this unforgettable original work—there now is one of those mashups that applies: “Darkgaze”...and it really DOES seem to be appropriate. See if you agree...

...and what about Rob Dickinson? He still is involved with music, but is receiving recognition for the pursuit of another passion: Building re-imagined Porsche 911s. And the name of his Company? “Singer Vehicle Design”! Makes sense - Thrust

Dark Metallic (HodadWarrior Version) - Darkgaze Instrumental by MMountain Offensive(Catherine Wheel)

Originally, the music for this work was the first half of a composition I played and recorded a while back, called "3rd Stone: Demolition and Reconstruction". It worked out well as the background music for a reading of Apocalypse (Revelation) chapter Sixteen. I thought that an "otherworldly" sound of the voice for the reading would fit the context appropriately.
It took a little more production-type work to get the mix I wanted, but--as with the Bukowski piece--the process seemed artistic enough, and was well worth the effort. I hope you agree.

3rd Stone (from the Sun): Apocalypse 16 - Thrust-O-Logue (Hendrix inspired)

The one advantage of adding words to music is that it can give needed focus and immediacy to a work. That said, in this instance I don't really need to explain much in these introductory comments--save for the fact that I've been in both positions over the years (i.e. the overbearing guitarist AND the underappreciating listener).
I figured: Why not state both positions simultaneously in the same piece? The opportunity to express ironic parody was too good to pass up.
Thanks to the Bowie / Alomar duo for inspiration along musical lines, as well as the obvious honest madness of C. Bukowski for the story! I have to thank (the late) Joe Frank for the inspiration in helping me to conceive this whole thing to begin with. (He's got some classic postings right here on soundcloud!)
This work took some editing chops to pull off, as I was mixing and blending a number of different sections and sounds. It is truly a solo work. - Thrust

Guitars (story by Charles Bukowski; arranged / performed by H. Thrust) - Thrust-O-Logue

This posting exists because I feel very fortunate to still exist too!
January 2023 as it turns out, was an incredibly tough Month to deal with: mainly due to extreme weather and its inherent collateral damage...and some really aggressive viruses floating around.
I too was seriously affected by these bogeys...maybe not as acutely as some others LESS fortunate—who suffered major property damage AND in the worst of cases, loss of life.
At any rate, I'm pretty much fully recovered—with personal health and the MMountain Studio otherwise intact—and ready for more music production. (I WAS able to keep up with production for my radio show “ESCAPE VELOCITY with Howard Thrust” during all of this! You can hear select shows in their entirety on my “howardthrustradio” soundcloud page)
This is my first release since all of that mayhem ensued!

I finally got to start on exploring the possibilities with my vintage ESP “the Mirage Deluxe” (after a fresh pickup upgrade) and my MOOG Subsequent 25 Synthesizer—not to mention my continued progress in recording straight into the Mixer (without using microphones!).
It was really intended just to further flesh-out and make some progress in these areas...but the result sounded good enough IMO to do a little production work and get it out to your ears.
I hope you dig it! – Thrust

ESP Jam In D Mirage (Sub 25 Version) -  Rock Instrumental by Groove Crater Method

Having many great memories of a wide variety of “Musical Experiences” during my “Formative Years”, they often inform (sometimes unwittingly) the “statements” I make with my current work.
Listening to a lot of Pop AM Radio during the '60s, I was impacted (naturally) by the virtual “omnipresence” of the  West Coast (U.S.) collective of studio musicians who became known as “The Wrecking Crew”...as well as what the Beatles were putting out at the time. A couple of (the many) standouts were Sonny and Cher's “The Beat Goes On” AND the Beatles “She's So Heavy” (more of an “album cut”, really; but I had access to LPs toward the end of the '60s!).
As far as our Modern World is concerned, many are having a harder and harder time observing all of the “Compounded Chaos” coming at us from all sides...and still rationally viewing it as “business as usual”.
So “The Beat” DOES go on—but at quite an accellerated and uncertain pace—while appearing to be morphing into some kind of “Dystopian Future”, at best.
I couldn't think of two better themes to incorporate in this piece in order to instrumentally expresss my reaction to the aforementioned Chaos.
It took some months of thought, trial and error before I came up with the work posted here.
Some notable highlights: I transposed both songs into the key of B (one Major and the other Minor—an octave down), and cross-faded the end of the first into the beginning of the second. The “white noise” that overwhelms the second part was recorded with a somewhat unorthodox—but very effective--”live looping method”. (As always, I'm responsible for all aspects of concept, performance and production involving this track!)

In the end...I got the sound I wanted...and was at least a little surprised by the end result! – Thrust

The Beat Goes On...but its gettin HEAVY (ToThe9s Version) - Rock instrumental by MMountain Offensive

This is a work I've been contemplating for a number of years...and finally got it figured out enough for presentation!
I've combined a number of influences in order to get the desired result, here.
It is another "Man Alone" work: i.e. all concept, curation, arrangement, performance, recording and production duties have been tasked by yours truly!
In the true "Artistic Spirit", rather than stating what I think this work should mean, I'd much rather have the listener make that determination.

Thanks for listening! - Thrust

Camb-delasahmb-delahmbra by Egregious Phil's Bin (modern religion / Led Zeppelin inspired)

As with all of the postings on "Howard Thrust Radio" (see the link to these broadcasts in my "Profile" section), this show has previously aired on the radio; but is posted here purely for educational purposes.
I edit, mix and master ALL tracks, for maximum audio impact (some of them REALLY needed help!)
Thanks for listening! - Thrust

ESCAPE VELOCITY with Howard Thrust - EP 58 - THEME: RocKtober Memorials

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

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)

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.
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Thanks for looking and listening!

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

Howard Thrust

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