Composed, Arranged & Produced by Andrew Rosenthal & Michael Sherwood
Recording / Tracking at: Martini Ranch (est.1982) in Santa Monica,Ca.
Engineered & Mixed* by Andy & Mike. Recorded with Logic Pro and Gibson Guitars.
All electronic devices maintained by Marty Frasu
Mixed and Mastered by Hein Hoven at the Fort in Venice,Ca.
Cover Art Design & Art Direction by Stephen Rowan aka Luke Georgeous
Management: Roy Trakin / Information on licensing Swifty's Bazaar for all media please contact: firstname.lastname@example.org 818-506-8800
Fren Askin : Website Maven
Please visit : swiftysbazaar.com
Everything You Hear Is For Sale
Swifty’s Bazaar is: Andrew Rosenthal & Michael Sherwood
MS - Keyboards, Synthisizers, Drum Programming, SFX, Vocals
AR - Guitars, Synthisizers, Bass, Drum Programming, SFX, Vocals
John Classick - Bass Ace
Bobby Sherwood - Ghost Horns and Arrangments
Phyllis Sherwood - Good Vibraphones
The Horn Doggs - Brass
O’Beau Kelly - Wind Instruments
Don Markese - Sax Section (Snoopy Sails Intro)
Chris Rhyne - Additional Drum programming (Epilogue)
Topher Allis - Dream Drums
Gale Sherwood - Piano (Maple Leaf Rag)
Bob Sherwood Sr. - Lead Vocals
Circe Link - Lead Vocals & Backing Vocals (Suite Dreams)
Kathy Talbot - Backing Vocals
Hillel Tigay - Backing Vocals
Laura Drew - Backing Vocals
Anne Stallone - Voice
Marty Frasu - Voice
Ken Lesco - Voice
Brant Biles - Voice
Jane Velez Mitchell - Voice
Roy Trakin - Voice
J. Schmidt - Voice
Minky - All Meows
Scoshy Silverstein - Weasel Voice
Drobo, Mary & Tosh - Voice
Suzanne Gilbert Darin Albertson Rosenthal Klatzkin Breyer - Voice
Bob & Gale Sherwood with the Hutchinson Family- Barbershop Vocals
Ice Berg - Himself
Chinese Chicken Salad Kit created and served by Jane Sherwood
Special thanks to Stephen Rowan, Kevin Pass, Eric Johnson, Joey Plewa, David Katz and Eli Rosenberg
Extra special thanks to Jane Velez Mitchell, Carl Weathers, Tina & Allyson and the Sherwood / Rosenthal Families (past and present)
This album is dedicated to Suzanne Gilbert, Ivan Behal & FZ _______________________________________________________________________________________________________________________________
IMPORTANT : This music was composed to be listened to in one continuous flow. Set your (playback preferences) to: ( None) - No Gap Between Songs
Andrew Rosenthal & Michael Sherwood’s Art Rock, Orchestral, Pop, Jazz musical excursion. An exploration in genre blending . The melodies are fresh and the rhythms new and alive.
Their debut album, Everything You Hear Is For Sale” is replete with style. A complex and funny sonic adventure in “III Movements”.
An amalgamation of influences ranging from, but not limited to.... Steely Dan, to Frank Zappa. From Imogen Heap to Harry Nilsson. From Weather Report to Firesign Theater. From Charles Mingus to Charles Ives. From Charlie Brown to Conlan Nancarrow. From Stravinsky to Carl Stalling From Return To Forever to Now. It’s everything all at once.
A MOVIE FOR YOUR EARS
Flavored with extensive phone messages and studio generated character driven sound colleges that are eclectic and experimental. Swifty’s Bazaar combines live instruments with electronic sounds. Compositions are satirical, imaginary and humorous. They are examinations of various topics. From chicken salad kits to personal telephone messages revolving around the miasma and Robots of the Music Industry.
“Buy this and tell a friend”
by Scoshy Silverstein
Swifty’s Bazaar, Everything You Hear Is for Sale: Once every decade, Andrew Rosenthal comes up with a watershed pop breakthrough. In the ’80s, he formed Martini Ranch with actor Bill Paxton, an L.A. version of British new wave synth-electronica, yielding the KROQ perennial, “How Can the Laboring Man Find Time for Self-Culture?” which was produced and engineered by DEVO’s Bob Casale, featuring cameos from the band’s Mark Mothersbaugh and drummer Alan Myers. The video for the song, directed by Rosenthal and Paxton with Rocky Schenk, offered a dystopian vision right out of Fritz Lang’s Metropolis, including cameos by Paxton cohorts Anthony Michael Hall, Michael Biehn and Oscar-winning director Kathryn Bigelow. A clip for a second track from that Holy Cow album (on Sire/WB), “Reach,” was directed by James Cameron and boasted appearances from Terminator collaborators Lance Henrikson and Paul Reiser as well as Judge Reinhold, Adrian Pasdar and Bud Cort. In the ’90s, Rosenthal discovered his Jewish heritage and morphed into hebe rapper Ice Berg and, along with his cohort Hillel Tigay aka Dr. Dreidel, formed the groundbreaking, before-their-time hamishe hip-hop group M.O.T., acronym for Members of the Tribe, whose 19.99, also on Sire (thank you, Seymour Stein) through Bob Merlis’ WB comedy imprint, doubled as the year of release and bargain-basement price, sporting such never-to-be classics as “Town Car,” “Viva Oy Vegas” and “Oh, God Get a Job.” (Editorial disclaimer: I served as the band’s beleaguered, much-aggrieved manager Meshugge Knight.) For the 21st century, Andy has reinvented himself once again. Peering through Lew Wasserman’s oversized glasses—given to him by the mogul’s late wife Edie—he is now Swifty’s Bazaar, and his magnum opus (with longtime cohort in sonic crime Michael Sherwood) is prog-rock for people who can’t stand prog-rock, a brilliant, concept album set over a three-day weekend whose libretto narrative combines a satire of the clash between art and consumer culture with twisted stoner humor, recalling the intricate musical excursions of Frank Zappa and Steely Dan. It is a mind-bending head trip, Dark Side of the Moon for the post-techno generation, touching on such disparate sources as Charles Ives, Vince Guaraldi, Return to Forever and Firesign Theater and practically begging for an accompanying laser light show, or at the very least random-generated computer graphics. It’s a work that has to be absorbed in a single sitting—preferably after a half-dozen or so bong hits—and sounds like nothing else out there. In a world of a la carte iTunes appetizers, Swifty’s Bazaar offers a full meal, from soup to absolutely nuts—and, for all you film, TV and commercial music supervisor types out there—Everything You Hear Is for Sale.
by Roy Trakin / Hits Magazine
aka Meshuggah Knight