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New Dr. Dog Related Release: Sloppy Joe and the Cruise - Keep on Crusin'

Hey, DrDog!

I was clued into a release yesterday that involves some people surrounding Dr. Dog. The album, titled 'Keep on Crusin', while not written by any of the band members directly, has a very interesting backstory that explains it's history and significance to the band. I've included that down below, and highly recommend giving it a read.
I gave it a listen this morning, and it's a really fun, easy-going tropical rock album. It has the same spirit and vibe as a lot of Dr. Dog's early work. It's like a mini beach getaway in music form, which is great given our current realities. It's really worth your time, check out this long lost classic!

Here are a few places you can give it a listen:
Spotify | Apple Music | Google Play | YouTube | BandCamp
(Promotional tracks are 'What It's Like To Be Me', and 'What Was In That Drink?', if you want to get a feel for the overall sound!)

TLDR version of the story behind the album:

After a show in Key West, FL in 2005, Dr. Dog guitarist Doug O'Donnell wandered into a run-down dive bar called Chart Room and ordered a drink. There were only a handful of regulars in the bar, but one of them came over and sat down next to Doug after hearing that he was a touring musician. For the next two hours, this scraggly, bearded man unrolled his own incredible history while Doug unrolled the $5 bills of his touring per diem to keep them both in rum and cokes.
The man was “Sloppy” Joe Flappens. In the early to mid-70's, as he told it, Sloppy Joe was one of the kings of the southern Florida beach bar scene. His band, “The Cruise," would pack houses all over the area, years before Jimmy Buffet's “Margaritaville” took the tropical soft rock sound to the top of the charts. Buffett and Flappens worked the same circuit, and, while not exactly friends (there was, according to Joe, “a woman to blame” for this), they occasionally performed together.
Sloppy Joe and the Cruise recorded one legendary album in 1975 before disbanding. A tragic accident left Joe unable to play guitar and the completed album was shelved - literally (above Joe's couch, next to his record collection). He spent the ensuing years as a fishing guide, maintaining a laid back lifestyle in obscurity until his death in 2018. At that point Doug (who had become Joe's biggest fan and occasional penpal) received the master tapes in the mail (per Joe's will) and began trying to expose the world to this lost classic.

Full story from Doug O'Donnell himself:

While playing in Key West, FL on tour with Dr. Dog in 2005, I wandered into a bar called “The Chart Room” after the show. I'd been told that patrons had included everybody from Jim Croce to Shel Silverstein to Bob Marley to Ernest Hemingway (impossible - he was dead by the time the bar was built). I noticed some holes and corks in the bar-top and asked the bartender what they were. “Some of our regulars want their ashes sealed into the bar after they die,” he said. As we talked, I mentioned that I was a touring musician and one of those regulars (still alive... but maybe just barely) walked down from the other end of the bar and introduced himself as “Sloppy" Joe Flappens. Joe was one of the most animated characters I had ever met. As long as I kept buying us both rum and cokes, he kept pouring out the story of his life. He might as well have been a character in a movie - Captain Ron meets Woody from Cheers. You could never quite tell what was real and what was “imaginatively embellished” with him (except by watching the bartender's eyes roll into the back of his head at some of the choicer bits), but it really didn't matter. The stories were fun and interesting, filtered through his hazy memories.
Joe had been a contemporary of Jimmy Buffett years before Buffett hit the big time with “Margaritaville," and they had occasionally played together at bars around Miami and Key West in the early to mid-'70s, but sonically Joe's music owed as much to Bob Weir and Brian Wilson as it did the Carribean / soft rock influences he shared with Jimmy. They had been friends early on, but professional rivalry and what Joe calls “a misunderstanding about a woman” put them on the outs. Despite this, his profile continued to rise in southern Florida, and he spent 1973-1974 playing every bar that would have him and building a good following. There were some bumps in the road for Joe - the occasional missed gig due to drunkenness, an arrest at a hotel for possession (he claims the powder belonged to Hunter S. Thompson, who slipped out the bathroom window as the cops kicked in the door) and a business manager who embezzled close to $10,000 (that's 1974 dollars!) from Joe's club payments over the course of a year and a half. Despite all this, in 1975, Sloppy Joe and his band, collectively known as “Sloppy Joe and the Cruise,” went into the studio and recorded a full-length album, Keep On Cruisin'. Joe was shopping it around to record labels when he lost three fingers in a boating accident - a rigging line snapped and whipped the net he was pulling 50 feet in the air, taking his fingers with it. After the accident, Joe could no longer play guitar and the band fell apart. He continued to do odd jobs around the island, take tourists out on fishing excursions, and spend a lot of time at Chart Room. Through it all, he never lost his sense of humor, and you could see an unmistakeable glimmer in his eye when he talked about “those days."
I've run into a lot of these characters over the years, as I'm sure you have - sad sacks who never got over their glory days. Sloppy Joe was something different. Much like the tunes on Keep on Cruisin', he was intelligent, self-aware, funny, and self-deprecatingly charming. He had told these stories before, but you could tell that the camaraderie of a touring musician got him riled up. He loved talking about the recording session, the players, the studio (Sand Dune Sounds in nearby Sugarloaf Key, FL - it's long gone, I checked).
As the night went on, Joe asked “You wanna hear the album? I only live about ten minutes from here." Usually I'd have said “Thanks, but I've got to be at the van in a couple minutes ... let's keep in touch ... maybe next time we're in town?” But I did want to hear this recording. He had talked it up so much, and at that point I only half-believed it even existed at all, so of course I wanted to hear it.
We stumbled to Joe's house, a small flat in a 1950's-era apartment building on Southard Street, and he poured us a couple more drinks. The place was small, but he kept it clean and the décor was incredible. Kitsch exotica, black velvet art paintings, bizarre taxidermy, Jim Beam porcelain whiskey decanters of various characters, cities, animals, golf tournaments, etc. His apartment was a wonderland of quirky visual overload.
Joe walked over to his record shelf and pulled out a dusty old 1/4” reel and threaded it onto his Teac tape machine. From the first few notes of piano/guitar interplay, segueing into a synthesizer swell (and what I quickly realized was Joe's “signature” lap steel lick), I was in love. There was something so innocent and fun about his music. It gave me a glimpse into who this man had been in his younger days and made me like him even more. While we listened to the album, Joe gave me the backstory of every tune. I was enthused, but Joe was even more excited than I was. For him, it seemed like meeting his child again for the first time in 30 years, rediscovering the version of himself that, while not forgotten, was certainly foregone. When I asked if I could get a copy, he got a twinkle in his eye and said “I can make you a tape, but we gotta listen to the whole thing again!”
By the time the tape was done, the sun had already come up, and I had to go meet up with the band to get on the road to Jacksonville. I gave Joe a hug, we exchanged phone numbers and addresses, and I walked down Southard street with the tape in my hand and a smile on my face.
That tape was a pretty low-quality dub over a Dan Fogelberg cassette, but it was a perennial staple in the Dr. Dog tour van for years. I would occasionally get a postcard from Joe, and would always respond. We kept in touch for almost a decade. Somewhere along the way I lost track of the tape and repeatedly asked Joe to send me another, but he never did. Eventually we lost touch. I sent him a letter, but never heard back.
Then in August of 2018, I got a phone call from Key West. One of the bartenders at the Chart Room called to let me know that Joe had passed away. They had just had the “interment ceremony," forever corking Joe's ashes into the bartop, right in front of his customary stool. The final part of this ceremony was reading of Joe's Last Will and Testament, handwritten several years earlier on receipt tape and left on file at the bar. Joe had asked that I be given the dusty old reel to reel tape that contained the last evidence of his proudest moments. When I received the tape in the mail, there was a personal note to me and photo of Joe at a party around the time the album was recorded. He told me how much our chance meeting and subsequent communications had meant to him. He said that he wanted me to remember him for his music and the way he was in the photo he included. He also asked me to try to get his music out to anyone who might want to hear it.
So I took it to Nathan Sabatino at Hi-Dez Recording Studio in Joshua Tree, CA, who baked the tape (to prevent shedding), digitized it, and worked some audio miracles cleaning up and mastering this abused 40-year-old reel. I was convinced this incredible album, with its never-was underdog back story, would be fertile ground for a reissue/discovery label like Light in the Attic, Numero Group, or Paradise of Bachelors, but wasn't really sure how to get their attention. I approached my friend Mike Dixon, of PIAPTK Recordings, who had worked with various members of Dr. Dog over the years, about releasing it in a promotional version to help get the word out. We made 250 copies, with an 8x10, Joe's backstory, and a copy of his letter to me. We are sending out 100 copies to record labels, influencers, and radio stations, and selling the other 150 copies to the public to help offset the cost of the promos. If you bought one, and you are reading this, please help us get it into the hands of anyone who might be able to bring attention to Sloppy Joe's swan song. He deserves it - and so does the world.
submitted by Man_Of_Oil to DrDog

Freebie suggestions? (kinda new-ish)

Hello everyone. I've always interested in music. I'm playing piano for 6 years at intermediate level (completed a few technique books Beyer, Hamon etc.) but I noticed that composing fits me better. I love creating "the music", not re-playing others' pieces.
I downloaded MuseScore and cracked FL Studio (and cracked reFX Nexus) a few years ago. I have basic understanding of DAW, music theory and "combining some instruments/presets into each other beautifully" (not in-depth audio engineering, effects, mixing etc.). I made 20-30 .flp's mostly with Nexus and VSCO Community. Now I try to get rid of piracy and amateurism because I want to share my pieces on SoundClud, YouTube etc.
I want to make: Classical music, epic(game, movie) orchestral, EDM, LO-FI, Vaporwave, Synthwave. So I researched and figured that I need more than just a "soundbank". (Also I thought that Sytrus, Harmor, Sakura etc. are just another soundbank :D)
I researched freebie ones and tried to keep minimum in each category (except instruments): (alternatives = i used them)
OS: Windows 10 x64 DAW: LMMS\ (see below)* Additive Synth: Tunefish4 (alternative to IL Harmor, it is also wavetable) Subtractive Synth: Surge (hybrid wavetable synth), FM Synth: Dexed (alternative to IL Sytrus) Voice(Singing) Synth: Alter Ego Drum Synth: TS-808 Sfz player and rompler: Zampler (alternative to Nexus) Audio Sampler: TX16Wx
I haven't used any effects in my life, just i said: i only "combined the presets". I am open to suggestions (especially all-in-one bundles. Man, there are so many things there...):
Equalization: TDR Nova Compression: TDR Kotelnikov Reeverb: OrilRiver Limiter: TDR No6 Filter: TAL Filter 2 Distortion: Krush Modulation: BlueCat's Chorus, Flanger, Phaser Granulation: Argotlunar Saturation: FerricTDS Stereo Enchancer: Rescue MK2 Transient Shaper: Transient Vocoder: TAL Voco 2
Instrument Samplers/Romplers: Full Orchestra: VSCO 2 Community, All free DSK Plugins, Project SAM The Free Orchestra (free Kontakt), Sonatina, Orchestral Tools (SINE Player), BBC Free Orchestra (Splitfire LABS)
Piano: Keyzone Classic Guitar: AmpleSound Bass, AmpleSound Guitar Strings: Orchestral Strings Choir: NST Choir Drum Sampler: Grooove BPB Edition
Other Instruments/Synths: AmpleSound Cloudrum Clap Machine String Machine
I cannot find alternative to: *LMMS -> My favorite synth Surge dropped VST2 support in version +1.7, I am open to suggestions regarding free DAW which has VST3 support, free to publish license and preferably FL-like workflow. IL Sakura -> ? FLPatcher- > ?
1) Is it necessary to learn all those effects/in-depth synth knowledge to create good music?
2) What are alternatives to Sakura and Patcher? I really like Sakura, especially when it comes to Asian themed pieces.
3) Is it possible to create sound in one synth (Surge) that exactly same as in another synth (Synth1). There so many presets in Synth1 and I want to recreate them in Surge. Therefore I can use less number of synths.
submitted by gorkemq to WeAreTheMusicMakers

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