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 appears--@ least for the time being--that we gigging musicians are back to live performance once again! Woo-Flippin'-Hoo!! 
Of course, there's the inevitable Covid-based caveat in effect here:  public (especially indoor) activities will proceed down the “Return to Normalcy” path, providing new outbreaks don't rear their ugly head.
With that in mind, I've released this version of a hallmark tune popularized by none other than rock guitar legend Jeff Beck, from the “Wired” album which debuted in the mid-'70s.
Beck has been an influence on my guitar direction since his days doing straight-up rock and roll with Rod Stewart and the later Beck, Bogert and Appice project. 
Nothing quite prepared my for his foray into the Rock/Jazz/Funk Fusion thing he got into just after the B,B & A work, though; “Wired” being the follow-up to the ground-breaking “Blow by Blow” album.
This is one of my favorite tracks from the “Wired” album; and one that is a natural fit for my live loop based improvisation performances.
I placed special emphasis on the drum track—especially since drummer Narada Michael Walden is credited with writing the tune. With the recent addition of an excellent electronic drum kit to the Mountain Offensive recording studio, getting the sound I wanted was finally possible! 
As virtually always, I'm responsible for all the sounds you're hearing (including the arrangement and instrumentation); as well as all of the studio production required to get it from the studio to your ears, here on my soundcloud page.

Come Dancing (FlashingAmberSignal Version) - Groove Crater Method (Jeff Beck tribute)

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

As with my interpretation of some other iconic "standards" I have posted here, it took a great deal of time with the original (in this case, from the Brubeck Quartet) tune bouncing around my conscious and subconscious before a fresh take could reveal itself.  
While not wanting to "modernize" the feel of the original, I wondered if it could actually sound like a proper "guitar" piece, and beyond that, one that would accept some very "modern" tones and effects that might convey a legit message that would have worked as well back then as right now.
On top of that, I felt that there might be more to say thematically, as well.
So, what I wound up doing was "taking five"--that is, taking a (more or less) five-minute break through a variety of soloing approaches, including playing major scale lines over the minor chord progression.
To enhance the weirdness of it all, I felt it only proper to use a sufficiently weird axe (my Danelectro Hodad), and played in a style not so popular in 1959, but soon to explode on the music scene thereafter.

Take Five (Hodad Funk)- Dave Brubeck Modern Instrumental Guitar Cover - a.b. dicchus

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

Considering the amount of time this tune has been in the Public Consciousness, I was (and am) a bit surprised that there have been only a handful of renditions at large that really seem to hit the mark, in my opinion...and NO instrumentals in that group. Hmmmm...
Hopefully, this version gets people thinking about it in new and exciting ways. 
My approach is fairly tongue-in-cheek--as I just can't come around to the idea of taking myself seriously enough to do it any other way. Consequently, you'll hear a definite "Sid and The Pistols" dynamic here. That plays into the fact that, while I'm soloing like--as Captain Beefheart recommended--a drowning man (i.e. fairly out of my mind) you'll hear influences ranging from Andy Scott (The Sweet), Jimmy Page, Gary Moore, Eddie Van Halen, and yes, even the illustrious Steve Jones. 
As for my arrangement, I found that since the traditional versions seemed to get a bit labored about two-thirds of the way through, I would use the "bridge" verse solely as a "one-timer" prologue (and a perfectly ponderous one at that!).
Hopefully, all of this adds up to "Close Enough for Rock and Roll"...

My Way - Guitar Tribute (Page / Scott / Moore / Van Halen + more!) Instrumental by a.b. dicchus

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

Speaking of the '70s, another of the many artists which got my attention during that period was Harry Nilsson. He had a lot more to do with Pop/Rock music during that period than many are aware of. 
The track featured here is one of my takes on a cut from his hit album "Nilsson Schmilsson", which was also released as a single.  Since I'm really interested in performing music featuring "loops", any good tune that can be easily adapted to this approach is right in my wheelhouse. Herbie Flowers' mother-of-all-basslines is the unshakable (and irreplaceable) foundation for this song. All of the sounds you hear I performed, along with all production tasks. This is another track where I've performed lead work along with the rhythm loop in a straight-through, "live" fashion. There are no overdubs, and editing only to get it to proper "single" length (under five minutes).
There's a useful message here too:  When attempting a move to improve a given situation, one should be careful that said move doesn't take them out of the "frying pan" and "into the fire"...

Compilation

Jump Into The Fire (Single Version) - (Nilsson Cover) - Instrumental by Groove Crater Method

During the '60s and '70s--my musically formative years--the diversity of what was available has proven to be truly unprecedented. Fortunately, living in the SoCal metropolis of Los Angeles (South Bay)at that time, I had access through AM and then FM radio, older friends and peers, and hang-out sessions at local record stores. 
Of course, Jimi Hendrix and Funkadelic came onto my radar in a fairly timely fashion.  It's funny, but only until more recently in life, I've finally felt like I could use my longtime experience with their tunes (as well as those from many other influential artists from that era) as a foundation for some of my personal expression.
Regarding this particular work:  I'm bouncing off of the fairly universal nature of Hendrix's "Third Stone from the Sun" (I can think of a bazillion different ways to "frame" this tune; it's just so, uh, "universal"...), and the deep groove and anti-drug vibe of Funkadelic's "Loose Booty". I feel they go well together.
Rather than tell you what I had exactly in mind as far as how the theme matches the music (or vice versa), I'd much rather have you interpret that. - Thrust

Loose Booty On 3rd Stone (Single Version)- Groove Crater Method (inspired by Funkadelic)

Having been exposed to "The Zep" (and a fan, of course) since practically Day One, at some point I think that their tunes had been so ingrained into my musical being, I just didn't feel the need to play them as "Carbon Covers". 
For instance, I found myself hearing "Achilles' Last Stand" as some sort of a "Jazzer". That eventually worked out into what you're hearing here.
This posting is a streamlined version of an extended "jam" I used as background for a YouTube Video entitled "Achilles' Last Groove - A Gutarist's Memorial":  essentially a slide show of a variety of git players (no longer with us in the flesh) that have been an influence to me.
I'm using two distinct rhythm loops (hence the project name: A/B Normal)that I operate and toggle in a live studio setting (as I have done with many of my works posted here). 

Kind of a nice change of pace, no?

Achilles' Last Groove (Single Version) - Jazz Instrumental - a.b. dicchus (Led Zeppelin inspired)

Where would all of us artist-types be without "The Wizard Of OZ"?!!
There have been so many interpretive artistic expressions based on this work, I'm sure I haven't heard anywhere near the half of them!
Considering the multi-faceted problems facing humanity (many of which the present pandemic situation has only highlighted), I really didn't have any trouble coming up with my dystopian take on all of it, employing inspiration from none other than the aforementioned movie.
One of the main reasons I enjoy expressing myself through instrumental music is that a wide "door" of interpretation is left open for the listener's imagination.  That said, I'll only tell you a few of the basic elements of my work:   I'm playing a riff based on the marching chant of the Winkie Guard over a reversed chord progression for the verse section of "Somewhere Over The Rainbow", with a marching rhythm I coaxed (ok, more like "beat") out of my Danelectro Hodad electric guitar (an "oddball" instrument, which is proving itself quite adept at performing in such roles) by raking a serrated metallic implement across the strings. I'm improvising in real-time over that "loop"--including the crazy special effects heard toward the end of the piece. As always, I'm responsible for all sounds and production tasks. There was very little post-production work involved in getting the sound you're hearing. 

The rest is up to you...

Meanwhile, Under The Rainbow (dystopian theme)- Egregious Phil's Bin (The Wizard of Oz inspired)

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 track is a tribute to Peter Green and Danny Kirwan: famous for their work with Fleetwood Mac in the band's early days. Their lives were alternately and concurrently interesting, inspiring, and tragic. I attempted to capture these qualities in this piece.
As with all of my works on display here, this is completely a solo work. I am responsible for all arrangement, instrumentation, performance and production. I employed loop machines and live playing - as opposed to "tracking" - in the production of this and some of the other works posted here.

Albatross (achieves Escape Velocity) - Peter Green Tribute by a. b. dicchus

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)

The topic of "Monsters" is a wide and varied one, to be sure. From portrayals in literature and cinema, to real-life ferocious animals (including the two-legged variety)on land, sea and air, they attract our attention to some degree or another. 
The "Monster" giving inspiration for this work is from none of these sources, though.
This one has appeared throughout my life only on occasion, and seemingly at random and uncontrollably during sleep time.
It has taken on different forms, although never in Godzilla-like proportions; in other words, never a threat to humanity in general...just me.
It turns out that the trigger for it's visits stemmed from personal relationships that were not going well (or about to not go well); and I eventually used such visits as a wake-up call to address those issues.
The "Monster" actually became an attention-grabbing ally!
I've attempted to capture all those factors in this work, to some degree or another--maybe especially at the end, when part of me doesn't want to see an end to the "visits", as frightening as they were.

With the way things are going these days, I wouldn't be surprised by another visit sometime soon...

Fright Creature - Instrumental by Groove Crater Method (Medeski, Martin & Wood 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)

Considering all of the heavy circumstances laid upon us in the Calendar Year 2020 (which I've used as themes for many of my posted works herein), it somehow seemed refreshing (and downright righteous) that I'd get inspired near the conclusion of the year to do a piece driven by nothing more than a malfunctioning dryer at the local Laundromat!
This tune is the second in the "Ritmo Secadora" (Dryer Rhythm)Series; which I intend to rotate as I create new tunes based on the same rhythm. They will all be titled as "versions" of the "Coincident 25" theme. 
The previous--and first in the series--is entitled "Coincident 25 (NoWaveDesertLandscape Version)". Eventually, it will be readily accessible, along with other tunes previously posted here on soundcloud.

Thanks for listening!

Coincident 25 (FEZ meets F.V.Z. Version 2.0) - Instrumental by Groove Crater Method (Zappa 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.
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!