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Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance-and Moonblood is surely one of them.Based in LA, Fraction was a ragged collection of working-class musicians-the line-up was ringleader Jim Beach (vocals), Don Swanson (lead guitar), Curt Swanson (drums), Victor Hemme (bass), and Robert Meinel (rhythm guitar). Beach himself describes those early days: \"The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.\" Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: \"The Moonblood recording took place at Whitney's Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours-all of them \"one takes.\" We played, all five of us, simultaneously-there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered 'old school' recording.\"This workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach's vocals-as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach's lyrics (though lines from The Doors' \"L'America\" pop up on the LP) Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach's own.Equally as integral to the Fraction sound is lead guitarist Don Swanson-his blown-out fuzz riffs set a template for what is now commonly known as \"stoner rock\" or \"acid punk,\" and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit. Beach says: \"Don's guitar was always my driving force and he did everything he could to keep it over the top. You'd never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!\" The other members contributions shouldn't be underappreciated though-drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish-comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side one of the LP in particular cuts to the emotional core, with severely charged dark lyrics like \"Extend your thumbs and burn the darkness out of her.\"Which brings us to the Christian aspect-it often can confuse listeners. The Fraction\/Beach world of religion is complex and perhaps a bit pagan\/sinister than most-fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth-or perhaps as Beach himself best put it: \"Speaking for myself, as a believer, it's been a progressive experience since my childhood. I think we're all basically driven to live more than religion.\"The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. 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Time and space have finally allowed him to return to his first musical loves: jazz and playing the trumpet. The song “Traffic Lights,” co-written with Thom Yorke and Josh Johnson, accompanies the album announcement.\u003c\/p\u003e\r\n\u003cp data-start=\"510\" data-end=\"1021\"\u003eFor \u003cem data-start=\"514\" data-end=\"522\"\u003eHonora\u003c\/em\u003e, which takes its name from a beloved family member, Flea composed and arranged the music, and also plays trumpet and bass throughout, joined by an elite crew of modern jazz visionaries: album producer and saxophonist Josh Johnson, guitarist Jeff Parker, bassist Anna Butterss, and drummer Deantoni Parks. The record features vocals from Flea, as well as friends Thom Yorke and Nick Cave. Mauro Refosco (David Byrne, Atoms for Peace) and Nate Walcott (Bright Eyes), among others, also join the band.\u003c\/p\u003e\r\n\u003cp data-start=\"1023\" data-end=\"1242\"\u003eThe album comprises six original songs—including one co-written by Flea, Johnson, and Yorke—as well as interpretations of tunes by George Clinton and Eddie Hazel, Jimmy Webb, Frank Ocean and Shea Taylor, and Ann Ronell.\u003c\/p\u003e\r\n\u003cp data-start=\"1244\" data-end=\"1570\"\u003eThough Flea dreamed of being like his heroes Dizzy Gillespie, Miles Davis, and Clifford Brown, his path went a different direction. His close friend Hillel Slovak asked him to pick up the bass and join his rock band when he was sixteen, leading Flea into a decades-long career with the hugely successful Red Hot Chili Peppers.\u003c\/p\u003e\r\n\u003cp data-start=\"1572\" data-end=\"1945\"\u003eAs Flea neared his sixtieth birthday, he realized that if he did not pick up the trumpet again, he probably never would. 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