Jazz-Surf Rock Instrumental Review: The M-Squad Crime Jazz Quintet - TO KILL A DEADMAN!

 

Release Date:  July 11, 2025

Label: Steel Derrick Music

Website

The M-Squad Crime Jazz Quintet has come up with an incredibly imaginative and eclectic recording titled TO KILL A DEADMAN!

 

They manage to create their own instrumental soundtrack, blending cool jazz and surfy rock lines from the guitars. In addition, the vibes and piano play a crucial role in making these soundscapes of intrigue and mystery.

 

If you’re a jazz fan, you will love this. If you appreciate experimental surf, you will also love it. If you are looking to hear a surf instro album, this will not be your cup of tea.

 

I enjoyed this recording, and it lives up to the hype sticker that says It’s A Crime Wave of Daddy-o! – 14 Bongo Blasting Mid-Century Suspense Themes-Dig!

 

Ok, I will go with that!

 

“Danger” is the atmospheric opener (a word I want emphasis with this music). The guitar intro is very smooth as the piano is added, which is quite jazzy. In fact, it is mainly through this entire album. There is a switch in tempo as it increases, then back to slower, then another change. You hear percussion done lightly to follow the volume and pace. This is very transitional music, and that is what makes it interesting and keeps it that way.

 

“Our Man Flint” features the drum taking the lead, with the bass following. The organ and guitar give it a bit of a surf/spy vibe. Then the transition is to more volume and an increased tempo brings it to a close.

 

“Walkin’ Bass,” indeed; that is precisely what it does, as a flute is introduced. A piano comes in as the percussion is minimal, letting the other instruments maintain command of the atmosphere of intrigue and mystery. The vibes add their essence as well. Now more of the jazz elements come into focus here, and as we advance.

 

“Richard Diamond” begins with a drum intro, guitar, and piano come into play with a real jazz feel. Drums and cymbals add another element as the piano does a solo for some more jazz layers. The guitar is very tasteful and pronounced here.

 

“A Marked Man” features Spanish-inflected acoustic and electric guitars, with the steady and ready bass providing a solid foundation. The brushes on the drums are a soft touch, making the track mellow and sweet, even though the track title would indicate something entirely different. Considering the tone and atmosphere, it could be regarded as ironic, and that could be the idea here.

 

“Elegy For A Loser” starts with the sound of traffic and more jazz guitar lines. Under a minute, this is a quicky, then on to the next track.

 

“Dark Eye” features their jazz strengths with guitar and vibes. The guitar breaks out this time on a run into some stinging leads (which are uncharacteristic for the most part on this album). Drums, percussion (bongos), and bass are superb, and then the piano gets a turn.

 

“From Russia With Love” brings on the twangy surf again (I know you were waiting for that!) set to that mysterious spy tone. The piano and vibes stay in the jazz lane. The piano gets down and dirty with some fine runs. Cymbals are effective and in rhythm, so to finish it with a dramatic ending only seemed appropriate. This is a good example of how jazz intersects with surf.

 

“Dope Street” has a bass line to kick things off, and it does its walk as the flute plays its mesmerizing notes. The percussion adds to the sound of intrigue waiting just around the corner. Picture an old black-and-white film with a gumshoe standing under a dimly lit streetlight. Strange sound effects are added, giving an added spacey, weird feel.

 

“Beat Girl” is a total switch to surf instro! The Hammond organ adds its classic retro sound: another quick jaunt, but exciting and energizing.

 

“Love & Murder,” we go back to the jazz/surf/spy sounds. Vibes are present as the jazz unfolds, with the guitar settling somewhere in the middle. The piano is a bonus.

 

“Kind Of Green” is their fun and different track with a voice talking all about green and everything in between, that’s green. Some cool jazz guitar lends a hand to set down the atmosphere for the voice, as the flute adds its eloquence in an otherwise spoof track.

 

 “Blue Interlude” has traffic sounds in the beginning and the jazz guitar with the organ gradually added, stopping, and coming back for effect—another quicky then on to the closer.

 

“Beat” begins with a drum solo, then the bass and percussion join in, followed by the guitar and flute, which merge to create a very cool jazz sound. Percussion gives it the air of mystery that they do so well project in their music. The piano tinkles and reverberates as the bass leads the way for a while. The traffic sounds come back to close the curtain.

 

If you are interested in exploring a mixture of sounds done instrumentally, with jazz leading the way and elements of surf rock woven in, TO KILL A DEADMAN! will be a lot of fun for you to listen to. It’s a soundtrack to a movie of crime and suspense as advertised!

The M-Squad are:

MIKE VERNON – guitars / piano on 3, 5, 14 / effects on 9

TED HAMER – piano / organ / lead piano on 14

DOUG SNYDER – double bass

CHRIS ROBERTS – drums

NELSON BRAGG – percussion / cymbal on 1

Keith “MuzikMan” Hannaleck-Surf Music and Art Reviews Founder

September 10, 2025

Tracks:

01. Danger 03:33

02. Our Man Flint 02:36

03. Walkin' Bass 02:34

04. Richard Diamond 03:37

05. A Marked Man 02:34

06. Elegy For A Loser 00:51

07. Dark Eye 03:38

08. From Russia With Love 04:24

09. Dope Street 04:12

10. Beat Girl 01:40

11. Love & Murder 03:27

12. Kind Of Green 03:43

Spaghetti Western Instrumental Review: The Deathly Quiet- It’s Time For Me To Go

Release Date:  August 15, 2025

Label: Independent

Website

Grab some popcorn and enjoy. It’s The Deathly Quiet’s tagline on this artist’s Bandcamp page. This album, a Spaghetti Western masterpiece by Johnny Anguish, takes you on a cinematic journey from start to finish. The cover, a visual representation of the genre, sets the stage for the musical adventure that awaits.

 

“The Swinging Gate” opens the album, instantly transporting you to a cinematic Western scene. The guitar’s resonating twang and the slow-paced drums create an atmosphere of anticipation, like a man walking out to his destiny. The scene is set, and you’re right in the middle of it.

 

“A Discouraging Word” carries with it that foreboding sound of something about to happen. Picture in your mind the cemetery scene in The Good, The Bad, and The Ugly. Or something similar, and you get the idea. The acoustic guitar has that flavor to back the electric guitar as well.

 

“Curly Wolf” starts quite differently. The sound of a mouth harp twanging, and the guitars are pensive, awaiting the next move. Piano is introduced to create its own theater of sound. This music is very purposeful and cinematic. It works well with the blend of instruments being used. Some Spanish-flavored acoustic notes emerge towards the end to add yet another layer to this spicy musical sauce.

 

“Hangman’s Theme” starts again with the mouth harp, some guitar, and the whistling of someone waiting for something to happen any moment. Percussive elements sound like a horse walking, and the sound of spurs on the man’s boots is audible as he approaches the gallows pole. Or, in the case, it could be a tree branch, depending on where the execution is being held. The guitar resonates once again with perfection as the other elements that come into play complete the track.

 

“Boot Hill” begins with a catchy acoustic riff, and that mouth harp makes its distinctive sound. The music is very slow-paced in tempo, and the sounds being added create an atmosphere all their own as the guitar plays on, repeating the same riff. The drums sound like a march to a destination, with the sound of a constant bell effect echoing through the track.

 

“Four Bells” is a quick piece at 1:01, featuring bass, mouth harp, and repetitive guitar notes, and then it's done.

 

“Well’s Run Dry” brings back the atmospheric soundtrack to our spaghetti western in full bloom. The guitar’s presence is what sets up all the other musical elements that come into play to create this thought-provoking soundscape.

 

“What’s the Worth of a Man? (Interlude)” At 1:15, it’s like a quick commercial break before the story continues. Very cinematic.

 

“There! Over Yonder!” cranks things up to another level. The guitar is loud, getting one’s attention, with the bass setting the pace like a clock, ticking away. The well-placed guitar lines are drama coming to life. It sounds like a Cowboy turned in his acoustic guitar for an electric and plugged in, and was discovering all the cool effects.

 

“The Gallows” at 1:28 is another short musical walk and something with reverberating guitar notes and some whistling of a nervous convict.

 

“It’s Time For Me To Go” is a musical narrative, featuring a melody that tells a story. The tambourine sounds like a steady walk away from the character’s troubles, but the story isn’t over yet. The guitar resonates beautifully with the other instruments, creating an atmosphere that keeps you engaged until the very end.

 

“The Long Goodbye” is the logical progression of the last track conceptually. This time, we hear a melodica (which sounds like a harmonica) along with the steady bass and drum like a metronome going off in the middle of a desert. A good rhythm is established, accompanied by a strumming acoustic guitar.

 

“What’s the Worth of a Man?” encapsulates the essence of a Spaghetti Western. The guitar, once again, perfectly captures that Western sound. The tambourine sounds like spurs as the character walks towards the sunset, ending the album with a nostalgic nod to the genre.

 

It’s Time For Me To Go is an excellent soundtrack to any Spaghetti Western that will form in your mind’s eye as you listen. Similarly, if you have watched your share of those types of films, you will quickly realize that this man, Johnny Anguish, has got it down cold.

Keith “MuzikMan” Hannaleck-Surf Music and Art Reviews Founder

September 6, 2025

Tracks:

01. The Swinging Gate 02:04

02. A Discouraging Word 03:34

03. Curly Wolf 03:09

04. Hangman’s Theme 03:36

05. Boot Hill 03:10

06. Four Bells 01:01

07. Well’s Run Dry 02:45

08. What’s the Worth of a Man? (Interlude) 01:15

09. There! Over Yonder! 02:55

10. The Gallows 01:28

11. It’s Time For Me To Go 03:34

12. The Long Goodbye 02:56

13. What’s the Worth of a Man? 03:08

Instrumental Rock Vinyl Review: Los Straitjackets-Somos (Ltd. Edition Yellow Vinyl - 1,000)

Release Date:  September 19, 2025

Label: Yep Rock

Website

After a decade-long break, the iconic Los Straitjackets have made a triumphant return with Somos (Are). The fact that the limited-edition yellow vinyl is nearly sold out as I write this only adds to the excitement. I am lucky to have secured my copy before the official release date.

 

Los Straitjackets have made a captivating return with Somos, offering a rich tapestry of 15 tracks that blend instrumental rock with surf-tinged elements. Throughout the album, you’ll hear echoes of retro sounds and be treated to some exceptional guitar work, showcasing the band’s diverse musical influences.

 

Listening to Somos, you’ll find yourself transported back to the golden era of music, with memories of The Ventures and Shadows (“Genesee River Rock”) flooding your mind. Los Straitjackets’ ability to evoke such nostalgic feelings is a testament to their musical prowess and connection with their audience.

 

“Bumper Car” kicks things off on side A with some melodic twang and a smooth rhythm section. This is a toe-tapper (and there are many of those) with some tasteful leads on the guitar (there are many of those too!).

 

“Polaris” resonates with reverb as the “island vibes” grab you, then the warmth of the sun's rays is imagined hitting your face. There is an acoustic rhythm guitar that is nice and steady, along with the bass and drums. Some shimmering leads from the electric guitar set the tone and atmosphere nicely.

 

“Genesee River Rock” is a throwback to the sound of The Shadows with some swinging leads and good rhythm guitar to accentuate all of that activity. Then the occasional drum rolls add their excitement to this retro classic.

 

“High Wire Act” steps up the pace and tempo significantly. Some rapid picking on the six-string is featured here with some reverb for extra measure. I enjoyed the transitions. Some great bass lines are added. You get the best of both worlds on this, as today and yesterday are combined. 

 

They shout “Numbskull” as the drums fire off, and then some hook-filled riffs, and that legendary “Whip Out” callout is perfected. Some crafty guitar is featured, and the switching up of tempos is good.

 

“Two Steps Ahead” brings on the heavy bass lines as the guitar provides a good riff (which at times recalls “Secret Agent Man”). The drums and cymbals play their part, adding some excitement and emotion.

 

“April Showers” closes out the first side with some catchy riffing, then a melodic lead as the rhythm guitar and bottom end are solid once again. Some tasteful playing and reverberating leads are excellent.

 

Side B opens with “Cry for a Beatle” as the energy level feels good to start. The bass part is fantastic, and the drums are very melodic. Strong leads coming from the lead guitar make it another winner.

 

“Catalina Farewell” slows things down but with a catchy riff on guitar. The tune is mellow and relaxing, sounding dreamy like a lullaby.

 

“Copy Cat” Returns to the more upbeat sounds. The guitars engage in a call-and-answer session, with the back end always providing a foundation. There are some drum rolls briefly and a bass solo.

 

“Sentimental Fool” brings the tasteful guitar leads back in focus. The rhythm section is very measured and timely as the guitar leads perk things up, then revert to the original melody, then back to the energy. The back and forth showcases the bands’ ability to be so diverse within one track.

 

You hear a girl’s voice say “Bad Apple” to start this track. The sound is entirely different than any other track on the album. Almost like something a band would add as a bonus track. The guitar’s bluesy leads are not something you would expect to hear on a recording like this, but the takeaway here is that it’s good. Some heavy bass lines are also featured—another example of their exceptional talent and diversity.

 

“Wicker Park” has some twangy leads and a toe-tapping rhythm—a very catchy track with smooth instrumentation.

 

“Spinout” is their all-out rocker on the album and one of the early tracks released. The drums start the engines, and you hear them holler Spinout! Twang and reverb dominate, and then that crazy “Wipe Out” laugh again. The bottom end is like a locomotive, and the rhythm guitar is exceptional.

 

“Virgon” closes out this return to greatness for Los Straitjackets. It starts slow, then they crank it up and go back again to the solo mellow guitar. The back and forth is great, and a super catchy song.

 

Somos is a satisfying return to form for Los Straitjackets. Lovers of instrumental rock will appreciate this recording. The mixture of rock, surf, and tracks that transition from slower to faster makes this a diverse listen without any filler. It’s solid and consistent from start to finish.

Credits:

Eddie Angel – Guitar (Bass on “Cry for a Beatle”)

Greg Townson – Guitar

Chris Sprague – Drums, Voices (Guitar on “Cry for a Beatle”)

Pete Curry – Bass (Drums on “Cry for a Beatle”)

With:

Simon Heeran – guitar on “April Showers,” “Virgon” and “Catalina Farewell”

Alex Hall – Vibes

Keith “MuzikMan” Hannaleck-Surf Music and Art Reviews Founder

September 5, 2025

Tracks:

Side A:

1. Bumper Car

2. Polaris

3. Genesee River Rock

4. High Wire Act

5. Numbskull

6. Two Steps Ahead

7. April Showers

Side B:

1. Cry for a Beatle

2. Catalina Farewell

3. Copy Cat

4. Sentimental Fool