Thursday, 26 February 2015

The Fulminators' Top 12 instrumentals, starting with an "enhanced" version of the Booker T. and the MGs' classic, "Time is Tight"

And as if that wasn't enough... are eleven more instrumental tracks by The Fulminators, all of which have added lustre to this blog in the past. What you have here, you lucky people, is The Fulminators' Instrumental Top 12. (Let's face it, life doesn't get any better than this.)

First, "Twantastic", a self-penned composition, whose overall sound I was pretty damned satisfied with - I may have to steal my son's amplifier again when he gets back from college:

"Jamabilly" is an early  one, and it's far too quiet - but (and this is immodest of me, I know) - I love the drums on this, which, to my prejudiced ear, sound totally authentic, despite having been created using a software programme and a MIDI keyboard:

There's nothing quiet about another original composition, "Rockabilly Rapscallion" - I'm quite pleased with the attempt to recreate the double bass slapback echo effect, and with the burbling guitar in the background, created using a digital echo setting pioneered by the guitarist Albert Lee (if I remember right, the repeat note is set a beat and a half after the original note):

Covering Duane Eddy's stomper "Ramrod" was a real pleasure, after I'd figured out that I needed two guitar parts to recreate the single guitar part on the original. Timing's a little off in a couple of places, but, as it rocks, I'll forgive myself:

The instrumental version of Mel Tormé's ultra-cool "Comin' Home Baby" goes on a bit, but it works for me - or at least it did once I'd gone back, increased the volume, and stuck a constantly sussurating cymbal in the background to add some atmosphere - mmm, nishe!, especially the organ solo at 2'50": 

More rockabilly with "Teddy Boys' Picnic" - my first uploaded version had a saxophone sound like a tiny, vengeful wasp, but it sounded a lot more convincing on the remake. I'm not sure about using an organ on rockabilly tracks, but it just about works. Love the repeated descending guitar solo right at the end:

I generally loathe guitar versions of vocal records, but, after I'd gone back and increased  the tempo, I became rather fond of this version of Shocking Blue's "Venus", especially the tweedly guitar bits. I should have boosted the volume at the same time, so I recommend you do it manually in case you think you're going deaf:

But I'd turn the volume down for the next one, "Ziggy's Return", or the blaring synthesiser will make your ears bleed. I find this so mindlessly, childishly cheerful, it always makes me smile. It's the oldest track here:

Back to raucous rock 'n' roll now with a fairly faithful cover version of The Scarlets' 1959 hit, "Stampede":

I don't often do mournful, but The Fulminators got pretty close on the original surf composition, "North Coast" (I like the mysterious-sounding organ, and the ending, where the bass switches to 4/4):

I'll end with a tribute to Chuck Berry, "Chuck It!", which is far too quiet, but which I think manages to partly capture his style:


  1. Yo! Scott Cropper! I saw Booker T about a year ago and instead of the great man he had a dude on guitar who soloed endlessly with all sorts of overdrive pedals turned up to 11. They did Time is Tight at about 120 mph. It was a disappointment. So it is good to hear the Fulminators getting back to basics.

  2. Thank you! I can't bear it when revered performers do abysmal speeded-up versions of their old hits live. Do they think they got it wrong in the first place? I know they probably get bored doing them time after time, but audiences don't pay good money to hear their musical heroes selfishly murder much-loved classics. Personally, I blame Chuck Berry and Bob Dylan for starting the trend of artists disrespcting their back catalogues.