Bob Log III to jeden z przedstawicieli tzw. punk bluesa, który utożsamiany jest m.in. z wytwórnią Fat Possum. Zresztą Log związał się z nią zrealizował kilka albumów. O ile jednak Fat Possum trzyma jakieś ramy bluesowe to Bob Log III poza nie wykracza. Jest praktycznie "one man band". Wygląda jak totalny świr - odziany w jakiś kosmiczny kombinezon z motocyklowym kaskiem, do którego przytwierdzony jest jakiś przetwornik dźwięku tzn. głosu. Wygląd jednak potrafi być mylący i pozorny. Kiedyś uległ ponoć wypadkowi, w którym stracił rękę i w zamian przyszyto mu małpią ramię. Kask natomiast jak mówi sam Log nosi po to, ponieważ nie ważne jak ktoś wygląda, najważniejsze, żeby zwracano uwagę na to jak gra. Nikt właściwie nie zna jego prawdziwej tożsamości i nikt go nie widział bez owego hełmu. Ma też chyba jakąś obsesję na punkcie kobiecych piersi, o których śpiewa co chwile nowe piosenki np. "Clap your tits" czy "Boobs scotch". Coby nie mówić jest rewelacyjnym showmanem, a panie na jego koncertach wpadają w ekstazę. Polecam.
Log Bomb
Bob Log III is an American lo-fi punk blues musician, singer and songwriter who surfaced in the 1990s as 1/2 of the duo Doo Rag, but now performs alone. During performances, Log wears a blue full-body suit and a bubble-mask motorcycle helmet wired with a telephone microphone which allows him to devote his hands and feet to guitar and drums. Bob Log's version of quick Delta blues closely resembles the sound that Doo Rag pioneered. The major differences are: greater emphasis on guitar showmanship and lack of a live drummer. Based in Tucson, Arizona, he has made frequent tours of North America, Europe, Japan and Australia.
Bob Log III was born in Phoenix, Arizona. Growing up, Log listened to musical artists such as The Pixies, Gene Loves Jezebel, Bo Diddley, The Cult and AC/DC, later commenting that "That's what rock'n'roll is to me. You take a guitar, turn it up and have a good time…everyone else can go listen to Pearl Jam if they want to.” Bob Log got his first guitar at the age of 11, and by the age of 16 he had become smitten with Delta blues, modeling his slide guitar style on that of Mississippi Fred McDowell. Log began his music career recording with Mondo Guano, a four-piece metal-blues band based in Arizona. Upon leaving Mondo Guano, Log went on to perform as one-half of the Delta blues rock duo, Doo Rag, with bandmate Thermos Malling.
After six years of making music, and weary of touring, Malling abruptly quit the band in the middle of a U.S. tour with Ween, leaving Log without a percussionist. “At the time, my only option was to go home and shut up, or learn a new way of playing guitar,” Log said of Malling’s departure. “I was on my way to Chicago, and I'd just bought a helmet at a thrift store in Lawrence, Kan., and I though, (sic) "I'll put on that helmet and kick my guitar case and see what happens." Donning his newly acquired thrift store helmet, Log decided to continue the tour alone as a one-man band, playing guitar and kicking a guitar case to keep the beat.
Bob Log III was born in Phoenix, Arizona. Growing up, Log listened to musical artists such as The Pixies, Gene Loves Jezebel, Bo Diddley, The Cult and AC/DC, later commenting that "That's what rock'n'roll is to me. You take a guitar, turn it up and have a good time…everyone else can go listen to Pearl Jam if they want to.” Bob Log got his first guitar at the age of 11, and by the age of 16 he had become smitten with Delta blues, modeling his slide guitar style on that of Mississippi Fred McDowell. Log began his music career recording with Mondo Guano, a four-piece metal-blues band based in Arizona. Upon leaving Mondo Guano, Log went on to perform as one-half of the Delta blues rock duo, Doo Rag, with bandmate Thermos Malling.
After six years of making music, and weary of touring, Malling abruptly quit the band in the middle of a U.S. tour with Ween, leaving Log without a percussionist. “At the time, my only option was to go home and shut up, or learn a new way of playing guitar,” Log said of Malling’s departure. “I was on my way to Chicago, and I'd just bought a helmet at a thrift store in Lawrence, Kan., and I though, (sic) "I'll put on that helmet and kick my guitar case and see what happens." Donning his newly acquired thrift store helmet, Log decided to continue the tour alone as a one-man band, playing guitar and kicking a guitar case to keep the beat.
I Want Your Shit On My Leg
Over time, Log acquired a kick-drum and a cymbal which he custom-outfitted with a kick pedal of its own. These instruments, combined with his slide guitar work, distorted telephone microphone vocals, and Latin-styled drum machine accompaniment, form the framework on which Bob Log constructs his songs. Log describes his on-stage setup in the song “One Man Band Boom,” introducing himself to the audience as, "Bob Log the third, one-man band, Tucson, Arizona. Heyeeeh! Lemme introduce the band to ya. On cymbals, left foot. Over here on the bass drum we got right foot. Shut up! This is my left hand that does all the slide work, right hand does the pickin'. My mouth hole does most o' the talkin'. And you're looking at my finger."
An early press release from record label Fat Possum claimed Log had a monkey’s paw grafted on to his wrist after a boating accident as a child. According to Bob Log’s artist page at Fat Possum Records: "When Bob Log III was a child, he lost his left hand in a boating accident. It was soon replaced with a monkey paw, and a new guitar style was born. 'It's my own personal style, see,' Log says, 'the paw moves much quicker than a normal hand, so my real hand has to flop around a lot to compensate.'" When asked to explain Fat Possum’s insistence that his right hand is a monkey’s paw, Log replied to an interviewer that, “My hand is just hairy. Very, very hairy. It is NOT a PAW. Fat Possum was drunk.” Log further clarified the monkey paw myth in an interview with Bizarre Magazine: "I've got all my limbs. It's just that when I'm playing my guitar my hand moves so fast it looks like a monkey paw, a hairy paw. My hand moves really fast. Faster than a normal human hand."
One of Bob Log III's most distinguishing props is the novelty motorcycle helmet he wears on stage. When prompted as to why he wears the helmet, Log contends that, "My face has nothing to do with the music, I'd much rather people pay attention to my guitar playing. When asked if he had ever thrown up inside the helmet, Log said, "Not so that it landed in the helmet. I've got a hole for it to come out of. It doesn't happen that often. It only happens when I get a really fat girl on my knee and I try to play that song twice as fast as I normally do. It's like running with a backpack full of rocks." The helmet has caused him some problems over the years; "I kept the original lining in it, but after awhile it started disintegrating," Log said in an interview with The Kansas City Star. "What happens is, the foam turns into a powder, and when you mix that with three years' worth of sweat - I grew something really funky in there. It dripped in my eye at a show in Sweden, and I got pinkeye. Ever had pinkeye? It's disgusting, Girls stopped talking to me. It was terrible." (wikipedia)
An early press release from record label Fat Possum claimed Log had a monkey’s paw grafted on to his wrist after a boating accident as a child. According to Bob Log’s artist page at Fat Possum Records: "When Bob Log III was a child, he lost his left hand in a boating accident. It was soon replaced with a monkey paw, and a new guitar style was born. 'It's my own personal style, see,' Log says, 'the paw moves much quicker than a normal hand, so my real hand has to flop around a lot to compensate.'" When asked to explain Fat Possum’s insistence that his right hand is a monkey’s paw, Log replied to an interviewer that, “My hand is just hairy. Very, very hairy. It is NOT a PAW. Fat Possum was drunk.” Log further clarified the monkey paw myth in an interview with Bizarre Magazine: "I've got all my limbs. It's just that when I'm playing my guitar my hand moves so fast it looks like a monkey paw, a hairy paw. My hand moves really fast. Faster than a normal human hand."
One of Bob Log III's most distinguishing props is the novelty motorcycle helmet he wears on stage. When prompted as to why he wears the helmet, Log contends that, "My face has nothing to do with the music, I'd much rather people pay attention to my guitar playing. When asked if he had ever thrown up inside the helmet, Log said, "Not so that it landed in the helmet. I've got a hole for it to come out of. It doesn't happen that often. It only happens when I get a really fat girl on my knee and I try to play that song twice as fast as I normally do. It's like running with a backpack full of rocks." The helmet has caused him some problems over the years; "I kept the original lining in it, but after awhile it started disintegrating," Log said in an interview with The Kansas City Star. "What happens is, the foam turns into a powder, and when you mix that with three years' worth of sweat - I grew something really funky in there. It dripped in my eye at a show in Sweden, and I got pinkeye. Ever had pinkeye? It's disgusting, Girls stopped talking to me. It was terrible." (wikipedia)
Daddy Log's Drive-In
It’s hard not to like Bob Log III, a creepy little guy who sings through an amplified motorcycle helmet and growls and grooves to this own blues muse. Especially when he’s singing, in " One Man Boom Band, " about his miserable, benighted life: he lives in a car while perpetually touring the country, drinking to collapse every night, and depending on door takes for his daily bourbon and bread.
I’m sure that’s just slightly glamorized. Log’s solo albums make his earlier work with the scratchy combo Doo Rag seem pristine, and this is his dirtiest outing. Guitar strings buzz like hornets too fat to fly. He sings and slides like Fred McDowell with a mouth full of mush. Tunes like " Wigglin’ Room " and " Drunk Stripper " live on their grooves, the former a tail-shaking shuffle, the latter a sleazy slow-drag. But strip away the sonic signifiers of blown amps and worn-off frets and moonshine-fueled howling and Log’s songs are a little too brain-dead. Hell, the guy turns " Who got their boob in my Scotch " into an entire number, " Boob Scotch, " that like most novelties has a shelf life of about three spins before it starts to smell the unpleasant kind of funky. Think of Log as the decaf - soy - milk - frappachino - with - a - shot - of-indie -rock-smugness of the blues — too safe and light to taste right, but good in small doses. (Ted Drozdowski)
I’m sure that’s just slightly glamorized. Log’s solo albums make his earlier work with the scratchy combo Doo Rag seem pristine, and this is his dirtiest outing. Guitar strings buzz like hornets too fat to fly. He sings and slides like Fred McDowell with a mouth full of mush. Tunes like " Wigglin’ Room " and " Drunk Stripper " live on their grooves, the former a tail-shaking shuffle, the latter a sleazy slow-drag. But strip away the sonic signifiers of blown amps and worn-off frets and moonshine-fueled howling and Log’s songs are a little too brain-dead. Hell, the guy turns " Who got their boob in my Scotch " into an entire number, " Boob Scotch, " that like most novelties has a shelf life of about three spins before it starts to smell the unpleasant kind of funky. Think of Log as the decaf - soy - milk - frappachino - with - a - shot - of-indie -rock-smugness of the blues — too safe and light to taste right, but good in small doses. (Ted Drozdowski)
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