Michael Yonkers, whose garage-rock beginnings are documented on
Michael and the Mumbles (De Stijl, 2009), recorded in 1966,
formed his own Michael Yonkers Band in Minneapolis in 1967,
at about the same time that Hendrix was forming his Experience.
The album recorded in 1968, Microminiature Love
(1969 - Destijl, 2002 - Subpop, 2003), his artistic peak, ran the gamut of the era's styles, from
Jefferson Airplane-ish acid-rock (Jasontown)
to voodoo-blues (Boy In The Sandbox, Smile Awhile).
Free Flight (Get Hip, 1997) collects unreleased recordings from 1964 to 1969.
Yonkers recorded a few solo records and collaborations before he broke his back
in 1971. All those albums were released years after they had been recorded:
the acoustic, folkish Grimwood (1974 - De Stijl, 2007), recorded in 1969,
Michael Lee Yonkers (1974), recorded in 1972,
Goodby Sunball (1974), recorded in 1973,
Borders of my Mind (1974),
Thy Will Be Done (1976).
They contain cute ideas, but also a lot of filler, and nothing truly
Lovely Gold (Drag City, 2010) documents a private home recording of 1977.
Despite the rough production, these songs display a dramatic musical jump.
After a quarter of a century, Michael Yonkers returned with
It's Only Yonkers (Galactic Zoo Disk, 2004).
Carbohydrates Hydrocarbons (Go Johnny Go, 2007),
Cold Town (Learning Curve Records, 2010) and
Period (S-S, 2012) paired him with
the Blind Shake for sessions of distorted garage-rock, possibly his best
(notably Carbohydrate Hydrocarbons).
No Kidding (Ruby Red Editora, 2008) was a solo guitar show that leaned
The mostly instrumental Bleed Out (Spiral Staircase, 2009)
documented a 2004 collaboration with Plastic Crimewave Sound.
The High Speed Recording Complex (Burka For Everybody, 2010) was a
collaboration with fellow
electric guitarist Gregory Raimo of the Gunslingers, almost a continuation of
Raimo's solo album GR & Full-Blown Expansion.
(Translation by/ Tradotto da xxx) |
Se sei interessato a tradurre questo testo, contattami