The band included: Montana, drums/vocals Richard Banke (aka Skid Roper), mandolin/washboard/vocals Robin Jackson, guitar/vocals Paul Kamanski, guitar/vocals Joey Harris, guitar/vocals and Nino Del Pesco, bass/vocals. Prior to co-founding the Beat Farmers, Montana put together a band called Country Dick & the Snuggle Bunnies, which included an array of San Diego talent, most of whom would play major roles in the Beat Farmers legacy. During this time, he was also in the short-lived trio the Pleasure Barons with Mojo Nixon and Dave Alvin, The Incredible Hayseeds, Country Dick's Petting Zoo, and Country Dick's Garage. Montana was also famous for his onstage antics, frequently related to drinking. Demento Radio Show and featured in several feature films. The song "Happy Boy" was popular on The Dr. Montana also performed lead vocals on at least one song on every Beat Farmers album, singing humorous songs frequently related to drinking.
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He drummed for both punk rock pioneers The Penetrators and roots rock band The Crawdaddys.įrom 1983 to 1995, Montana played drums, percussion, guitar and accordion for The Beat Farmers with founding member Buddy Blue Siegal. In the 1970s, he owned a record store called Monty Rockers and was a member of two seminal San Diego bands. In 1995, It was reported that Montana suffered a heart attack and died while playing "The Girl I Almost Married" during a Beat Farmers show at the Longhorn Saloon in Whistler, British Columbia, Canada.The cause of death has been otherwise reported by the San Diego Reader (a publication local to the home of the Beat Farmers) as having been ruled as an aneurysm. You can also expect to be surprised and delighted by glorious selections that capture the Mummers' unique spirit and deeper essence.Daniel Monte McLain (– November 8, 1995), known by the stage name Country Dick Montana, was a musician best known as a member of The Beat Farmers. You can expect the signature anthems with that one-of-a-kind sound of banjos, glockenspiels, mandolins, drums, and saxophones. When it comes to inspiration, the Mummers and their film documentarians leave no American musical source unturned. Now, the soundtrack to the award winning documentary film about this phenomenon, STRUT!, can be heard whenever you feel like STRUTTIN'. The instrument of that change is the centuries-old Mummers Parade, a daylong procession of men in extravagant costumes marching and dancing up Broad Street, Philadelphia's main drag, to the music of banjos, clockenspiels, mandolins, drums, and bass saxophones.
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Each New Year's Day the City of Brotherly Love becomes the Surrealist capital of the universe. It's a parade, but you've never seen or heard a parade like this.
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Shotgun Inc songs THE SOUNDTRACK TO THE PHILADELPHIA MUMMERS DOCUMENTARY FILM STRUT!Ī street spectacle like none other marks New Year's Day in Philadelphia. Armed with eleven new songs that redefine the term "radio-friendly," Peal is ready to take that musical torch and run with it as they set to tour the Midwest and beyond. The staying power of straight-ahead pop/rock that is driven by melody is evident with the likes of Bruce Springsteen, Tom Petty and Paul Westerberg. Fate brought the two bands together one night when they were both performing at separate events on the Ball State University campus (ironically a touring gig for both bands), and the idea to create some new music together was a rejuvenation for all four members that resulted in the formation of Peal. Wilsbach was fronting pop/rock outfit Paging Raymond, while Libey along with bassist Andy Wincek were in a band called X-Ray Roger Jimmy. Peal was formed in 2003 when two bands that were touring the Midwest were in the process of splitting up. The sonic textures and songwriting flavors that brought the band together are all evident in Peal's debut album, Beautiful Baby Elephant, which was produced by Ed Toth (Vertical Horizon) and is due for release in the fall of 2005. "Ultimately I just want to connect with people, and I think that happens."
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"I do concentrate a lot on lyrics and try to convey real emotion," says Wilsbach. The depth of their songwriting is evident as a marriage between Wilsbach's lyrical prowess, which can be likened to Jeff Tweedy (Wilco) or Adam Duritz (Counting Crows), and guitarist Jeff Libey's influences, which are inspired by the blues but take their cue from players like Ryan Newell (Sister Hazel) and Michael Gurley (Dada) Simply put, this is a thinking person's pop music that doesn't break any new ground, but is so infectious that it doesn't need to.Īs a unit, Peal cites U2 and Toad the Wet Sprocket as a short list of influences.