Radio Moscow have been receiving a wealth of accolades from a number of regional weeklies, online A&E magazines and music blogs. Here are but a few of the praises….
GOOD TIMES (Santa Cruz, CA weekly)
Radio Moscow cranks up the fuzz, channels old garage tunes
The Lone Wolf
Wednesday, 05 October 2011 10:28 Nick Veronin
At times it is difficult to follow what Parker Griggs is saying—and not only because of the patchy cell phone reception he gets at his remote Northern California hideout.
It is entirely possible that Griggs, front man and lead songwriter for garage-psych revivalists Radio Moscow, is extremely baked as he mumbles on, sometimes inaudibly, about The Great Escape of Leslie Magnafuzz—a piping hot batch of overdriven, wah-wah-, and THC-soaked jams that his trio will kick out at the Blue Lagoon on Oct. 14.
The new record, Magnafuzz, which drops Oct. 11 on Alive Naturalsound Records, is Griggs’ third such homage to the heavier sounds of the Age of Aquarius.
His father introduced him to early garage music while in middle school, playing old vinyl, like Peter Green-era Fleetwood Mac records. He says he’s been hooked on bands like Blue Cheer, Free, and Black Sabbath ever since.
“It speaks to me more than most [other genres],” Griggs explains in a laconic drawl, noting that he especially enjoys the mixture of bluesy guitars and cranked tube amps. “I just kind of got used to the way that the old bands play.”
With his long, straight hair, Griggs resembles a dirty blonde Ozzy Osbourne circa Paranoid. It is fitting, seeing how the fuzzy riffs and Hendrix-ian pentatonic solos he conjures on Magnafuzz wouldn’t seem out of place on an early Sabbath album.
Radio Moscow’s music is a bottom-heavy blues-bomb, with grooves that recall MC 5 and the contemporary Black Mountain, and shredding like a more structurally minded Jack White, with each note bleeding into the next under a sea of overdrive, yet not entirely off the wall as the “Icky Thump” solo.
Griggs would also fit right in at the studios where most of his favorite acts recorded their best music. With the exception of a few ProTools shortcuts, which Griggs admits taking with a hint of resignation in his voice, Magnafuzz was recorded on tape and using analog equipment.
“It ended up taking a lot more time and probably money,” Griggs says of the record, “but I think what we ended up with was a lot more fitting for the sound we’re doing.”
That sound got an early push from Black Keys guitarist, front man and songwriter Dan Auerbach, who was slipped one of Griggs’ early CD-R demos after a show the band played in Denver. The disc appealed to Auerbach, who hails from Akron, Ohio, a town located about 700 miles east of Griggs’ native Story City, Iowa.
But more likely, it was Griggs’ early work that Auerbach was interested in. In 2006, when Griggs passed his demo to Auerbach, the Keys weren’t the hit they are today, and with the exception of the White Stripes, there were no blues punk bands on mainstream radio.
Whatever the reason, Auerbach called the phone number scrawled on Griggs’ demo, signed the band to his Alive imprint, and produced the first self-titled Radio Moscow LP.
Griggs picked up a few tricks from Auerbach on the first record, but true to his lone wolf nature, the Radio Moscow leader has produced their two follow-up albums himself. It makes sense, considering his affinity for guitar heroics. It’s hard to imagine that any hit-driven producer would allow all of the minutes-long squealing and squirming, fuzzed-out guitar solos on Magnafuzz.
But, Griggs wouldn’t stand for that. He acknowledges, for the most part, that his guitar style is “different than people do nowadays,” but he is all right with that.
The concise songwriting and absence of solos that are so ubiquitous in pop songwriting today seem to indicate that the zeitgeist has little tolerance for flashy demonstrations of musical prowess. For Griggs, on the other hand, that whole scene “never seemed to grow old.”
Radio Moscow plays at 8 p.m. Friday, Oct. 14, at The Blue Lagoon, 923 Pacific Ave., Santa Cruz. Tickets are $5. 423-7117.
LOS GRILLOS (online music blog)
Radio Moscow ‘The Great Escape of Leslie Magnafuzz’
Radio Moscow’s The Great Escape of Leslie Magnafuzz is a solid collection of bluesmetalpsychboogie for your buck. Not much for pondering their navels or gazing at their shoelaces, Parker Griggs and company pound out rock and roll with chops, foot firmly on the fuzz/wah pedal and stop on a dime dynamics. Initially introduced to Alive Naturalsound Records through the Black Keys’ Dan Auerbach, who produced the band’s first release, singer/multi-instrumentalist Griggs has taken over the helm of the band’s sound for this latest creation, unleashing his inner Hendrix, keeping studio theatrics to a minimum, and letting the music and vibe dominate.
I was recently lamenting the soullessness of many home studio recordings with a fellow musician. Though the price of entry for quality studio sound is within reach of the masses nowadays, the tools are often abused by micromanaging sound clips or ostentatiously dense multi-tracking, resulting in flat and ultimately souless production. Radio Moscow made their latest batch of recordings at Prairie Sun Studios in Northern California on vintage gear to tape. I think the emphasis shifts away from studio gimmickry to musicianship and spontaneity in this kind of scenario, and the results are gratifying.
The full album becomes available on October 11 on Alive Records, and they follow it up with a West Coast tour.
10/14 Blue Lagoon, Santa Cruz, CA
10/15 One Eyed Gypsy, Los Angeles, CA
10/16 Shakedown, San Diego, CA
10/20 Sol, Sante Fe, NM
10/21 3 Kings Tavern, Denver, CO
10/22 Urban Lounge, Salt Lake City, UT
10/24 Comet Tavern, Seattle, WA
10/25 East End, Portland, OR
(more dates to be announced)
SANTA FE REPORTER (Santa Fe, NM weekly alt)
by Alex De Vore
8pm, Oct 20, 2011 | $7
Sol Santa Fe Stage & Grill
Northern California garage/psych act Radio Moscow can boast one of the coolest discovery stories in the music biz. Here’s frontman Parker Griggs: “I went to a Black Keys show and handed the demo to their T-shirt guy…thank God he gave it to Dan [Auerbach] because he really has made everything happen quite fast.” Inspired by the Nuggets series of psychedelic rock compilations, Griggs self-recorded Radio Moscow’s entire debut album (sans bass), and has continued his foray into intricate and fuzzy guitar riffage for two subsequent albums and several US tours. The band has a style and rhythm reminiscent of Blue Cheer and MC5, but with—believe it or not—more impressive guitar work. For those desiring music with layers, Radio Moscow is every bit as bluesy as it is early garage, and Griggs cites Fleetwood Mac founder Peter Green as a massive influence. “He was the guitarist that got me interested in musical styles beyond my high-school punk bands,” Griggs says. Radio Moscow comes to Santa Fe alongside Maryland psych trio The Flying Eyes and beloved local prog/metal band As In We.
Where: Sol Santa Fe Stage & Grill
Address: 27 Fire Place
THE HIGHLANDER (Riverside, CA college paper)
Radio Moscow , “The Great Escape of Leslie Magnafuzz” Album Review
By Chad Bertrand, Contributing Writer
Iowa rock trio Radio Moscow released their third studio album, “The Great Escape of Leslie Magnafuzz” on Oct. 11, 2011. Radio Moscow has experienced enormous success from their 2007 debut album, produced by guitarist Dan Auerbach of The Black Keys, and appearances of their music in mainstream television and cinema. Their new album encloses music of unabashed retro-rock that evokes the late ‘60s era of Jimmy Hendrix and psychedelic blues-rock.
The band’s use of gritty and shredded guitar riffs create a high-energy tempo that enlivens the rhythm of the album. The band strongly channels their musical creativity through fuzz guitar effects and roars of drums and bass, which add a garage rock element to the sound of Radio Moscow. The implemented qualities of sludge blues and harmonica tunes with songs such as “Creepin” and “Deep Down Below” provide impressions of southern-swamp rock that is rarely seen in music.
Radio Moscow’s new album provides a musical renaissance in today’s rock music dominated by indie and alternative bands. Their powerful vocals on the album summon the era when rock and roll music was a symbol of loudness and rebellion. However, Radio Moscow is able to incorporate their contemporary uniqueness onto retro rock in creating an album that can be appreciated by modern day listeners.
Overall, the album is very musically unique with the collaboration of diverse genres and sounds of music into one album. Radio Moscow’s creation of textual assortment and vibrant guitar solos give the album a natural flow in the progression of each track. The general vibe and aura of the album will make listeners feel as though they traveled in time to the summer of 1969 in Woodstock. I highly recommend this album to blues enthusiasts and fans of Jimi Hendrix, Cream, The Black Keys or The White Stripes. The album is a rocker’s fantasy as several styles of rock and roll music unite together to form “The Great Escape of Leslie Magnafuzz.”
SURROPA (music blog)
5 Bands That Should Be Heard More
The “If You Like The Black Keys” Edition
It’s very difficult for a band with indie roots to achieve wide success (particularly in the American market) while still keeping their integrity intact. This is specially the case in the organic rock n’ roll genre. It’s why whenever I’m looking to get a proper electric fix I seek those great unknowns that make music out of love and not out of contracts. Below are 5 of my go-to’s, and they should be heard more.
Radio Moscow – You know when you discover a band and you kick yourself for going years without knowing them? This is such case. Dan Auberbach (from The Black Keys) actually produced their eponymous debut album back in 2006, and for being incredible they’ve gotten very little recognition. They have the perfect chemistry between percussion, vocals, and guitar…oh the guitar. It just shreds. I don’t even know how to begin to explain. Their fourth album (yes 4th! how did I go this long without knowing them?!) comes out October 11th. Expect a review for The Great Escape of Leslie Magnafuzz from us.
THE STRANGER (Seattle weekly)
Radio Moscow, Hobosexual, the Flying Eyes, Mystery Ship
(Comet) Do you pine for psychedelic blues rock in the vein of the Jimi Hendrix Experience, Blue Cheer, and the MC5? Ames, Iowa’s Radio Moscow possess big, fuzzy riffs, a drummer who makes the full use of his toms, and a vocalist who may or may not have time traveled here from the Summer of Love. This is some sprawling stuff, and while it’s all expertly executed, Radio Moscow’s songwriting could use some editing. Still, this should be a rock blowout. You might as well go for Hobosexual anyway. GRANT BRISSEY
SALT LAKE CITY WEEKLY
Many fans and critics believe a band’s sophomore album is its make-or-break effort—a defining moment. But I think the third album is more telling. With the pressure somewhat subdued, they can fully hone in on their musical sensibility. If true, The Great Escape of Leslie Magnafuzz demonstrates that Iowa-based power trio Radio Moscow is a bona fide blues-meets-psych-rock staple. Eliciting the sounds of early-’70s-era rock—think Blue Cheer and Cream—the album will help shake the first album’s found-by-Dan-Auerbach label and the second album’s 40-years-too-late stigma. Flying Eyes and Max Pain & The Groovies are also on the bill. The Urban Lounge, 241 S. 500 East, 9 p.m., $10
DAGGERZINE (online music magazine)
THE GREAT ESCAPE OF LESLIE MAGNAFUZZ -(ALIVE NATURALSOUNDS)-The term “psychedelic” gets thrown around a fair amount. I’m in agreement with its usage about half the time, if that. This time, the label fits. Radio Moscow is seriously committed to a muscular combination of effects, feedback, and sound-towers that makes for a bracing listen next to Hendrix, Blue Cheer, and Robin Trower. And I agree with those who’ve noted the powerful trio’s liking for trippy effects Whether or not that goes with a herbally-enhanced experience, I’ll leave up to you. We’re anxious to hear your reports… uh, what’s that you say? Can’t hear ya; got my old-school headphones up too loud, playing “Creepin’” for the third time in a row, after which I’m going to throw on some Free, whose “I’ll be Creepin’” would kill, after this. www.radiomoscow.net MARY LEARY
IDAHO STATESMAN (Boise daily)
Four Things You Should Do This Weekend
Submitted by Michael Deeds
4. BE HAIR TODAY, GONE TOMORROW
Bluesy Iowa psychedelic rockers Radio Moscow will perform a free, gut-rattling show Sunday at Tom Grainey’s in Downtown Boise at 6th and Main Streets. These guys are definitely worth checking out if you’re fond of classic grooves from acts like 10 Years After, Cream and the Jimi Hendrix Experience. It’s a 10 p.m. gig with opening act The Flying Eyes.
WHEN YOU MOTOR AWAY (online music blog)
Radio Moscow – The Great Escape of Leslie Magnafuzz
Radio Moscow, for those not already acquainted, is a heavy, heavy psychedelic blues rock band from Iowa (now California) whose first, self-titled album was produced by kindred spirit Dan Auerbach (Black Keys) in 2007. They released a second album, Brain Cycles, in 2009 and they’re back with more – The Great Escape of Leslie Magnafuzz will be out October 11 on Alive Naturalsound Records.
This is a classic heavy rock power trio: Parker Griggs on guitar and vocals, Zach Anderson on bass and Cory Berry on drums… although Griggs plays them on the record, and very well. Griggs apparently plays everything but bass at some point, including the keyboards. I could throw enticing influences (Blue Cheer, Jimi Hendrix Experience, Deep Purple, Black Sabbath) at you all day, and continue to play the Black Keys card, if that would induce you to give a listen.
The record starts out in medias res, truly in mid-jam with the drums pounding and guitars wailing on “Little Eyes” (available for download here). It’s a spectacular 4:46 of brain-melting heavy guitar, drums and bass with strong rock vocals and some tasty keyboard licks thrown in for good measure. Second song, “No Time”, has some classic boogie a la The Allman Brothers with more heavy guitar solos throughout – one thing I like about this band is that while they definitely take advantage of the length of their songs to play plenty of solos, there’s not any noodling. It does not feel like time’s being wasted – they fit a lot of sound in a relatively compact space. Half the songs clock in under 4:00 but are still filled with delicious, heavy and spacy guitar solos. It rocks, hard, but is plenty psychedelic.
These guys are completely and unapologetically committed to a heavy rock sound. If you’re not familiar with their previous records, and you like this sound at all, you are in for a treat.
ACRN (Ohio U’s All Campus Radio Network’s online music blog)
Radio Moscow – The Great Escape of Leslie Magnafuzz
[Alive Records; 2011]
By Ben Haager,
Key Tracks: “Creepin’,” “Densaflorativa,” “Deep Down Below”
With the emergence of The Black Keys as a chart-topping band, blues rock has regained the spotlight. Despite having their 2007 self-titled debut produced by Dan Auerbach (of The Black Keys), and refining their sound with their psychedelic sophomore album Brain Cycles, Radio Moscow still remains relatively unknown.
Their lack of public recognition might be because they sound like the Black Keys on drugs. Distortion, gritty vocals, and tribal beats run rampant on their pivotal third release The Great Escape of Leslie Magnafuzz.
The opening and closing tracks, “Little Eyes” and “Open Your Eyes,” make it clear that Leslie Magnafuzz will not stray from their previous work. The hoarse vocals merely an accent to the rolling bass lines, crashing symbols and layer upon layer of wailing guitars.
In between Parker Griggs (vocals, guitars, drums), Zach Anderson (bass) and Cory Berry (percussion and live drums) lay down tracks blending groovy Chicago-style electric blues with complete psychedelic madness.
“Creepin’” is straight electric blues. Harmonicas, short lyrical phrases centered upon, “You been creepin’ baby / you been creepin’ baby,” and guitar solos featuring long bends and a series of hammer-ons make “Creepin’” an early favorite.
The instrumental “Densaflorativa” is a turning point. It begins with pounding African percussion behind Griggs’ flawless guitar work. The last thirty seconds get weird. Clocks, vocals, and extremely distorted guitars utilize stereo sound to its full capacity, echoing from ear to ear.
“I Don’t Need Nobody” and “Misleading Me” start to show signs that a musical trip is about to begin. Guitar solos fly in and out, bringing the tempo up and down, and dragging the listener into a complete Jimi Hendrix guitargasm.
The psychedelic blues trip is in full effect upon reaching “Summer of 1942.” Somehow, sounds resembling UFOs taking off leak from Griggs’ amps and multi-tracked guitars battle for the limelight as a disjointed drum and bass beat pushes forward.
Following an utterly odd intro, “Deep Down Below” strips away effects pedals, drums and vocal distortion. In their place are a shaker, electric slide guitar and pure blues vocals. Griggs’ vocals emit the most emotion on the album, crackling as he sings, “Baby take me down / Baby take me down / Baby you take me now / Ooooohh deep down below.”
Radio Moscow bleeds Cream and The Jimi Hendrix Experience. They are not a normal blues group. They are not a normal psychedelic stoner-rock group. They are Radio Moscow, and this album cements their sound and place as an eclectic group in today’s music scene. Cream, and Blue Cheer had a baby this would be it.
FABRIKA (online music site)
Radio Moscow – The Great Escape of Leslie Magnafuzz
A brilliant love child.
Have you noticed that for the most part it’s usually the sports school teams from middle-of-no-where cities that get ranked #1? Well, when the coolest spot near you is the 24 hour Wal-Mart there ain’t much to do but practice your craft. I supposed that is the case for Story City, Iowa trio Radio Moscow who were spotted as long-haired tripping instrumental golden children by Dan Auberbach of The Black Keys some years ago. (They’re still long-haired tripping instrumental golden children). For a band that’s had over 3 decades worth of sub-genres to get influences from (and lots of drugs too, I’m sure) their sound remains true to their late-60s/mid-70s core, but Radio Moscow is just so damn good that they manage to sound refreshing. The Great Escape of Leslie Magnafuzz is their third studio album and they’ve added a lot more psychedelia and taken out some of the blues. If Hendrix, Cream, and Blue Cheer had a baby this would be it.
3 Songs Worth Listening:
1. “Speed Freak” – Its one of those songs that if I were to see live I’d just be staring with my mouth-open. It’s an instrumentally brilliant song, and the drums are impeccable.
2. “I Don’t Need Nobody” – freaking great soundtrack for a midnight joy-ride.
3. “Creepin” – The chillest song of the album. Gives a nice pause from the rest of the mind-bending songs. Blues-induced harmonica and all.
This Album Makes Me Want To: Air to the throne
THE WASTER (online music site)
“Great Escape of Leslie…”
If you’re into electric riffs that make you want to restring your air guitar, Radio Moscow has got the goods! Their newest album The Great Escape Of Leslie Magnafuzz is an eclectic mix of head-banging hard rock and psychedelic soulful vocals that with will creep through your headphones to your earholes’ delight.
The first song on their album, ‘Little Eyes’, hits you hard as a moshpit punch to the face! You may hear this and think you’ve got these guys figured out – until the track ‘Creepin’ begins. Subtle melodies and the bluesy crooning voice of lead singer/guitarist Parker Griggs slows down the pace of the album, making their sound more reminiscent of The Black Keys on a heavy dose of acid.
Reviving the spirit of reverb pioneers Jimi Hendrix and Cream, The Great Escape… seamlessly interweaves classic rock and blues that experiments with both vocal and sound distortion. Griggs, Zach Anderson (bass), and Cory Berry (drums) carry their predecessors’ torch into 2011 with songs that simultaneously make your heart swoon while melting your face off. Near the end you’ll reach the track ‘Deep Down Below’, which best exhibits the true mojo of this power trio’s music.
With The Great Escape…, Radio Moscow wishes to take you on an ever changing journey that displays the best of a talented young band on the rise.
Words by Brittany Norvell
SSG (Seattle online music blog)
Tonight in Seattle: Miyavi, Radio Moscow, Mariachi El Bronx, and more
Radio Moscow, Hobosexual, The Flying Eyes, Mystery Ship @ The Comet Tavern | 10/24 | Doors 9pm | $8 | 21+
Almost certainly the heaviest show this Monday night is at the Comet. Radio Moscow has released 3 albums blending blues and hard stoner rock on Alive/Natural Sound Records, but in contrast with label-mates The Black Keys and Left Lane Cruiser, they add a potent psychedelic sound to the mix, bringing to mind late 60s/early 70s bands such as Blue Cheer, Hawkwind, Flower Travellin’ Band, and Cream.
MANUAL MAGAZINE (NZ music magazine)
Music Haze: Radio Moscow—The Great Escape of Leslie Magnafuzz
The Great Escape of Leslie Magnafuzz is the third release from Radio Moscow. The band, originally formed in 2003 by multi-instrumentalist and vocalist Parker Griggs, are signed to the well-respected roots rock label Alive Naturalsound Records. Discovered by none other than Black Keys’ frontman Dan Auerbach—a gentleman who steadfastly supports such vintage pursuits—Radio Moscow deliver tripped out, weed-fuelled guitar frenzies that contain a fair degree of Hendrix-worshipping riffs and plenty of steamrolling solos.
In an age where vintage jams are frequently dismissed off-hand as uninspired, or even worse, end up being produced by jaded hipsters, it’s heartening to discover a band that’s unashamedly retrogressive. Radio Moscow are aficionados of the golden age of dusty rock, and clearly proud to admit it. There’s no hint of any of that sad-sack ‘ironic’ nostalgia at work here; this is the real deal, delivered with due reverence and plenty of enthusiasm.
There’s no mistaking the band’s influences. Blue Cheer, Sir Lord Baltimore, Third Power, Dust, Bang and a whole swag of early ’70s proto-metal, garage-punk, heavy-psych and boogie bands are all represented on the new album. And there’s also a thread of soured hippy idealism as work too. A touch of the same murky spirit that took a hold of American heavy rock in the early ’70s is present, when the peace and love climate turned in on itself, and many a joyful psych band was infused with darker undercurrents.
I have to admit I’d never heard a note from these guys before I pressed play on this album—and that’s a serious deficiency on my part, because I’m a complete freak for proto-metal acts. Still, better late than never because the band tick all the boxes for that authentic old school Sabbath meets Robert Johnson vibe. I’m also curious why they’ve not made a bigger impression in NZ. We lap this stuff up—the Little Bushman have sold plenty of albums off the back of just this sort of psychedelic rock—and the Black Keys have been massively successful down here. The band’s lack of visibility certainly isn’t due to a dearth of muscle because Radio Moscow have authenticity and aptitude by the bucket load.
You only need to listen to the wah-wah and organ frenzy of opener “Little Eyes” to sense the genuine love for stripped down stoner rock. And unlike some other retro-inclined bands they don’t forsake the funkiness or the blues that was at the core of many of the greatest ’70s rock acts. “Speed Freak”, which sounds exactly like its title suggests, reeks of backwoods naughtiness, and “Deep Down Below” has a ragged blues harp that kicks things up to a whole other level. “Turtle Back Rider” has a distorting R&B riff that is funky as all hell, and “Creepin” brings in the soulful and the mournful blues.
Packed with voodoo drum patterns and a swaggering riff, the album’s best track, “Densaflorativa”, oozes the sort of Southern flavour Primal Scream were aiming for (and missing) in their own ’90s cock-rock years. But you could really pluck any song off the album and find the same murky spirit lurking within. Every tune is soaked in whiskey and weed atmospherics.
As great as the tunes are—and they are fantastically potent slices of primitive rock—the album’s most impressive feature is the fact that Parker Griggs was solely responsible for the majority of the instrumentation (along with bass support from Zack Anderson). It’s a pretty cool feat he’s pulled off, because the band has all the attributes of a powerhouse trio. Griggs has also captured the mood of the times superbly with a grubby, fuzzy production that speaks of analogue gear and tube amps—it’s exceptional really, you’d swear it was recorded in 1972.
The album starts off with a hiss and a roar and never really lets up. It reverberates with stacks of thunderous fundamental riffs that have been twisted into some hard-rockin’, good-times, prehistoric metal. Do yourself a big favour and seek this one out immediately. I’m off to invest in their first few albums; you best do the same, brother.
DR. DOOM’S LAIR (online stoner rock blog)
Radio Moscow – The Great Escape of Leslie Magnafuzz(2011)
Radio Moscow are back! The third release, already for this little band from Iowa. Their name seems to be quite a hot topic in the conversations of rock fans lately. This is not without a good reason of course. If you are into blues, classic rock, Led Zeppelin or Jimmi Hendrix then this record is about to send you to heaven. “The Great Escape of Leslie Magnafuzz” is just another gem to the amazing collection of this band.
The first thing you’ll notice in this album is that the production is of lower fidelity (not quality) comparing to their two previous releases. I don’t think this will bother anyone. On the contrary, this achieves a better connection with the past…which is really what the band is after. Indeed, “The Great Escape of Leslie Magnafuzz” is blessed with the most successful emulation of the vintage sound on a Radio Moscow album to date. Since the solos have always been the trademark of this band you’ll be happy to find out that there are more in number and longer in duration. I may add that the jamming feeling is the dominant element of this release. Speeds are generally higher too. This gives the record the extra energy “Brain Circles” (their previous album) lacked.
The album is pushing 50 minutes which qualifies “The Great Escape of Leslie Magnafuzz” as the lengthier album Radio Moscow have done so far. Personally, I am not a huge fan of long albums when it comes vintage-like releases. I prefer them short but this gives me the right to pick favorites here! “Little Eyes” is my personal favorite of this disk…and probably the band’s entire anthology! Really, if I had to choose a single song to describe what Radio Moscow is all about it would be “Little Eyes”. “I Don’t Need Nobody” along with “Speedfreak” and “Misleading Me” are some cases where the band’s talent really shines.
For those who come from a Heavy Metal background rather than a Rock ‘n Roll background the disk may sound a bit too light and full of weird solos and improvisations. For me, the I felt something similar to the “flat-tire syndrome” somewhere near the end of the album but I take it on the fact that the album is huge.
“The Great Escape of Leslie Magnafuzz” is a back-to-the-future/evolution-in-reverse album. Sounds as if it’s crafted from the hands of legends of the past, this is JUST a lethal dose of pure rawk.
THE SODA SHOP (online music site)
Review – Radio Moscow – The Great Escape Of Leslie Magnafuzz
To quote Thin Lizzy, “The boys are back in town.” Radio Moscow are back with their 3rd album titled The Great Escape of Leslie Magnafuzz. Like past releases, The Great Escape Of Leslie Magnafuzz features guitar prodigy Parker Griggs playing Hendrix inspired blues rock. This is their best release to date and they’ve had some great material with their last 2 releases.
Once the lead track “Little Eyes” kicks in, you’re in for the long haul. 50 minutes of pure unadulterated blues rock. Some of the more interesting and good tracks are “Densaflorativa,” an instrumental song that has a tribal feeling to it due to the drum beating. “I Don’t Need Nobody” has a distinct mid 70′s sound going for it. Songs like “Speedfreak” and “No Time” have a bit of a psychedelic feel to it. The cell phone ringing will certainly mess with you the first time around. This album is so good, it’s hard to pick a clear cut favorite, they’re all good in their own right.
This may be the best album released this year. Years from now, if the whole playing a complete album on tour is still the “in” thing to do, this is the album I’d want Radio Moscow to play. You can stream the entire album and hear for yourself over at Rdio. The album is out now on Alive Naturalsound Records.
MUSIC THAT ISN’T BAD (online music blog)
Radio Moscow’s “Speedfreak”
FUZZ is probably the best way to describe band Radio Moscow, and fuzz is what you get. Coming from their just released album (amazingly) titled The Great Escape of Leslie Magnafuzz, the song “Speedfreak” is a great example of how far you can go with FUZZ. If you don’t find yourself banging your head at the 2:00 minute mark, I’m fairly certain you’re clinically dead.
With wailing guitars, a funky drum beat, and a singer with a voice that must come with a giant mustache, “Speedfreak” will transport you back to the sounds of Cream and Hendrix. Lucky for us it’s aught-eleven and you can get a taste of fuzz for free:
For more fuzz, check out Radio Moscow on the web. They just started up on tour, so be sure to check if they’re coming your way! –daneGER
MUSIC SAVAGE (online music magazine)
New Music | Radio Moscow – Speedfreak
Check out the second cut from Radio Moscow’s new album, THE GREAT ESCAPE OF LESLIE MAGNAFUZZ. As usual its a psych rock exploration of Parker Griggs’ amazing guitar skills. The fuzzy, screeching, hard rock is so well done, and these guys are really putting out some truly amazing sounds. Its a retro foray into the psychedelic, acid laced guitar based rock that will shake you to your soul.
The Great Escape of Leslie Magnafuzz
released yesterday, and I recommend picking this one up.
HYPERBOLIUM (online music site)
Radio Moscow: The Great Escape of Leslie Magnafuzz
‘70s-styled power-trio monster riffage
Parker Griggs and his band take it to the next level of power-trio psychedelic blues-rock with their third album. Griggs is possessed by the metal, blues-rock, boogie and prog-rock greats of the early ‘70s as he unleashes monster guitar riffage astride the slugfest of his rhythm section. One can only dream that Radio Moscow could be sent back in time to tread the stage of Winterland on a bill with Hendrix, Sabbath, Crimson, Ten Years After or Humble Pie. The album opens in full hypersonic stride, with the bass and drums threatening to run away from the ear-clearing wails of Parker’s fuzzed guitar, and the bombast doesn’t let up until disc’s end. There are a few production touches – stereo pans, phase effects and feedback – but the bulk of the album is straightforward, take-no-prisoners hard rock. Drop the needle on your Thorens turntable, turn up the volume on your Marantz receiver and let your Advent loudspeakers sing. [©2011 hyperbolium dot com]