Argyle Goolsby is an American singer and songwriter. He is best known for being the lead vocalist, bassist and co-founder of horror punk/melodic punk band Blitzkid. Although Blitzkid was disbanded in 2012, Goolsby pursues a career as a solo artist as Argyle Goolsby, he performs with both his live electric band, The Roving Midnight as well as his acoustic band, The Hollow Bodies. In 1997, Argyle Goolsby and lead guitarist and vocalist T. B. Monstrosity started. Drawing their inspiration from B-movies and horror movie classics, the band was soon considered to belong to the subgenre of horror punk, which emerged in the wake of the Misfits. In the 2000s, Blizkid developed an underground following in the U. S. and in Europe. Most of the band's albums were released through German horror punk group The Other's label, FiendForce Records. Between 1997 and 2012, Goolsby recorded seven studio albums with several split EPs. Many of the group's songs were featured on horror punk compilations in the 2000's such as Mullets & Alcoholics, Flesheaters!, Gothic Compilation Part XLII, Get acquainted Vol. 1 or The Sound Of Horror Vol. 1.
With Blitzkid, Goolsby has toured in twenty-nine countries, played over seven hundred shows and performed with several other bands and artists like Nim Vind, Stellar Corpses, The Cryptkeeper Five, The Damned, Leftöver Crack, The Crimson Ghosts, Strung Out and Face to Face. Biltzkid was part of many festivals and music events such as the Summer Breeze Open Air, the M'era Luna Festival or the Amphi Festival. On November 10, 2012, during their final "Return To The Living Tour", Blitkid's members played their last concert in Dusseldorf; when questioned about the band's retirement, Goolsby stated: It is not that we don't believe in what we are doing anymore. It's not. I have still plenty of music that I have written and that I am writing. Our music is not an extinguished flame. Retirement is more of a practical decision for right now. In November 2016, Jeff Frumess filmed a documentary entitled Blitzkid: Return to the Living which includes a part on the history of the band and two others that are dedicated to the group's experience on the road and some live performances.
The documentary was co-written and produced by Argyle Goolsby. While remaining in Blitzkid, Goolsby collaborated on several occasions with former members of the Misfits. In 2002, Goolsby played bass as a tour member for The Undead, a horror punk band led by Bobby Steele; the following year, he recorded three bass tracks on Diagnosis for Death, an album released by Dr. Chud with his new band named Dr. Chud's X-Ward. Goolsby was a tour member for Chud's bandIn 2004, Goolsby collaborated with Mister Monster, performing back vocal duties and playing bass on the Deep Dark EP. Following the departure of Wednesday 13's bassist Kid Kid in 2006, Goolsby was hired as a replacing bassist to fill in for three shows. In 2007, ex-Misfits lead guitarist Doyle Wolfgang von Frankenstein was looking for a vocalist for his solo band project, Gorgeous Frankenstein and recruited Landon Blood for the recording of an eponymous album. Blood left the band shortly after and was replaced by Argyle Goolsby who played bass and performed vocal duties for Gorgeous Frankenstein first tour, opening for Danzig.
Dr. Chud and Stephanie Bellars were part of this line up. In 2009, Goolsby took part of what is sometimes referred as the Misfits "Near-Reunion" in New Jersey. Performing as an opening act for Danzig, this lineup included Doyle Wolfgang von Frankenstein, Dr. Chud, Michale Graves and Argyle Goolsby. Goolsby had written many songs that he intended to work on with Gorgeous Frankenstein, but since the band project was abandoned, most of this material became part of Blitkid's last album, Apparitional. From the ashes of Gorgeous Frankenstein, Doyle Wolfgang von Frankenstein founded a new horror metal band eponymously named Doyle with vocalist Alex Story in 2012. Following Blitkid's disestablishment in 2012, Goolsby started a solo career with a new band project named Argyle Goolsby and The Roving Midnight, he has been releasing EPs and singles since 2012. In 2015, a compilation album, Saturnalia of the Accursed which collects two EPs and a few other songs was released as well as a cover of "Save Me Tonight" by White Sister featured on the soundtrack of Fright Night."In 2016, Goolsby started a series of concert with a acoustic band, The Hollow Bodies, playing both his own material and some Blitzkid songs.
Goolsby has always been fascinated by cryptozoological monsters, Horror movies and horror fiction, which are the core inspiration for his songwriting as well as folklore and ghost stories. His work is inspired by the aesthetics of the Gilded Age, German Expressionist films and the era of silent cinema in general, his lyrics deal with real-world subjects projected through horror-themed metaphors, a writing style he acknowledges being influence by the Misfits. For Goolsby, horror is not only an inspiration, but it is a lifestyle, an aesthetic approach that focuses on "a conjured presence". In this respect, during his live performances, he is disguised as a monster, personifying a vampire or a zombie. If shocking can be considered as a major aspect of
New York hardcore
New York hardcore is hardcore punk music created in New York City, the subculture and lifestyle associated with that music. New York hardcore grew out of the hardcore scene established in Washington, D. C. by bands such as Bad Brains and Minor Threat. A local phenomenon of the 1980s and 1990s, New York Hardcore grew to establish an international reputation with little to moderate mainstream popularity, but with a dedicated and enthusiastic underground following in the US and Europe. With a history spanning over more than 3 decades, many of the early NYHC bands are still in activity to this day. Around the mid to late 1970s New York City was arguably the birthplace of punk rock with the Ramones and the scene at CBGB. While the next generation of punks emerged in places like Washington, D. C. and California in the early 1980s, NYC was quiet. A few bands like The Mad and The Stimulators hinted at a new direction; the Stimulators featured Harley Flanagan on drums, attracted some of what would become the NYHC scene to their shows.
The Stimulators and the Mad made friends with Bad Brains, gave the latter places to stay in town. In late 1980, Vinnie Stigma formed Agnostic Front, a long-running group who became known as the godfathers of New York Hardcore and arguably its most crucial band. Around the same time the term "hardcore" started being used instead of "punk rock" and bands like Cro-Mags, Murphy's Law and Warzone emerged, further cementing the blueprint for the characteristic NYHC sound. Roger Miret of Agnostic Front asserts that "We started using the term'hardcore' because we wanted to separate ourselves from the punk scene, happening in New York at the time... We were rougher kids living in the streets, it had a rougher edge". The early scene was documented on the 1982 New York Thrash compilation. Rock clubs like L'Amour's, A7, Max's, the established CBGB's became crucial spots for this newly formed scene. New York City would come to play a central role in the development of hardcore. In 1981 the Bad Brains moved from DC to New York and an important scene emerged, this is regarded a key point in NYHC as they had an enormous impact on local bands at the time.
Besides the main influences of Bad Brains, Minor Threat and the LA punk scene. Early NYHC skinhead bands like Cause For Alarm and Agnostic Front were heavily influenced by Oi! Music as well as English punk bands like The Clash. Other early groups like Cro-Mags, Sheer Terror and Leeway started adding strong metal influences, with Victor Vortexx who would take control after each event, contributing to the crossover subgenre. Around the late 80's, NYHC became heavier and harder in sound as the metal influences grew stronger some NYHC bands who were skinheads started growing their hair and adopting metal looks. Early 90's bands like Merauder, Darkside NYC and Confusion incorporated strong thrash and death metal leanings, pioneering an early metalcore sound; the beatdown hardcore subgenre emerged amidst the NYHC scene, this was a slower and heavier form of hardcore developed in the early to mid 90's by bands like Bulldoze and Neglect. Sam McPheeters argues that What early New York Hardcore bands lacked in distinctive output, they more than compensated for in sheer menace.
As the scene coalesced in Reagan's first term, the New York Hardcore scene—known in the shorthand of graffiti and knuckle tattoos as NYHC—injected class into the subculture in a way that no other city could. It was a world marinating in violence. Since its early stages, New York hardcore has been associated with hardcore skinhead culture, gang ideology and tattoo culture as well as squatting. In the mid to late 1980s, Youth Crew ideology and graffiti culture started to make an impact on the scene and had a long-lasting influence on the genre. Critics and observers have noted an inspiration and influence from gritty, urban and/or dystopian films such as Death Wish, Taxi Driver, The Warriors, Escape From New York. Political stances in New York Hardcore have been varied and sometimes controversial; some of the mid-1980s NYHC groups were aligned with right-wing ideology and had strong stances on immigration and patriotism, all the while condemning racism and nazism. There were leftist groups associated with the scene such as Born Against and Nausea.
Beginning with Cro-Mags and inspired by the spirituality of the Bad Brains, some groups followed the International Society for Krishna Consciousness. By the mid-90's, NYHC became an international phenomenon with prominent bands all over the globe being influenced by the genre, such as Strife from Los Angeles, Hatebreed from Connecticut, Cold As Life from Detroit, Kickback from France, Ryker's from Germany, Arkangel from Belgium and Backfire from Netherlands, amongst many others; this is a non-exhaustive list of the most influential and crucial bands from the scene The Stimulators Heart Attack (formed
New York Thrash
New York Thrash is a hardcore punk compilation album released by ROIR in 1982. Considered a definitive document of the early New York hardcore and late 1970s punk scene, New York Thrash features rare and otherwise unreleased recordings, including the first recorded material by the Beastie Boys as well as material by Bad Brains; the album was released in cassette format with liner notes by Tim Sommer, but was reissued on CD with two bonus tracks in 1998. "I Hate Music" – The Mad "Getaway" – Kraut "Shotgun" – Heart Attack "Social Reason" – The Undead "New Year's Eve" – Adrenalin O. D. "Illusion Won Again – Even Worse "Cry Now" – Fiends "Here and Now" – Nihilistics "Nightmare – The Undead "Taxidermist" – False Prophets "Regulator" – Bad Brains "Riot Fight" – Beastie Boys "Love and Kisses" – Nihilistics "Asian White" – Fiends "Last Chance" – Kraut "Emptying the Madhouse" – Even Worse "Paul's Not Home" – Adrenalin O. D. "Scorched Earth" – False Prophets "God Is Dead" – Heart Attack "The Hell" – The Mad "Big Take Over" – Bad Brains "Beastie" – Beastie Boys "M.
A. C. H. I. N. E." – The Stimulators * "Loud Fast Rules!" – The Stimulators ** – bonus tracks included on 1998 CD reissue List of punk compilation albums New York Thrash page on ROIR
East Village, Manhattan
The East Village is a neighborhood in the New York City borough of Manhattan. It is defined as the neighborhood east of the Bowery and Third Avenue, between 14th Street on the north and Houston Street on the south; the area was once considered to be part of the Lower East Side, with a large Russian and Jewish population, but changed and by the late 1960s, many artists, musicians and hippies began to move into the area, attracted by cheap rents and the base of Beatniks who had lived there since the 1950s. The neighborhood became a center of the counterculture in New York, is known as the birthplace and historical home of many artistic movements, including punk rock and the Nuyorican literary movement, it has been the site of protests and riots. Since at least the 2000s, some have argued that gentrification has changed the character of the neighborhood. East Village is part of Manhattan Community District 3 and its primary ZIP Codes are 10003 and 10009, it is patrolled by the 9th Precinct of the New York City Police Department.
The area, today known as the East Village was a farm owned by Dutch Governor-General Wouter van Twiller. Peter Stuyvesant received the deed to this farm in 1651, his family held on to the land for over seven generations, until a descendant began selling off parcels of the property in the early 19th century. Wealthy townhouses dotted the dirt roads for a few decades until the great Irish and German immigration of the 1840s and 1850s. Speculative land owners began building multi-unit dwellings on lots meant for single family homes, began renting out rooms and apartments to the growing working class, including many immigrants from Germany. From the 1850s to first decade of the 20th century, the neighborhood has the third largest urban population of Germans outside of Vienna and Berlin, known as Klein Deutschland, it was America's first foreign language neighborhood. However, the vitality of the community was sapped by the General Slocum disaster on June 15, 1904, in which over a thousand German-Americans died.
Waves of immigration brought many Poles and Ukrainians to the area, creating a Ukrainian enclave in the city. Since the 1890s there has been a large concentration from 10th Street to 5th Street, between 3rd Avenue and Avenue A; the post-World War II diaspora, consisting of Western Ukrainian intelligentsia settled down in the area. Several churches, including St. George's Catholic Church; the area ended at the East River, to the east of where Avenue D was located, until landfill – including World War II debris and rubble shipped from London – was used to extend the shoreline to provide foundation for the Franklin D. Roosevelt Drive; until the mid-1960s, the area was the northern part of the Lower East Side, with a similar culture of immigrant, working class life. In the 1950s, the migration of Beatniks into the neighborhood attracted hippies and artists well into the 1960s; the area was dubbed the "East Village", to dissociate it from the image of slums evoked by the Lower East Side. According to The New York Times, a 1964 guide called Earl Wilson's New York wrote that "artists and promoters of coffeehouses from Greenwich Village are trying to remelt the neighborhood under the high-sounding name of'East Village.'"Newcomers and real estate brokers popularized the new name, the term was adopted by the popular media by the mid-1960s.
In 1966 a weekly newspaper, The East Village Other and The New York Times declared that the neighborhood "had come to be known" as the East Village in the edition of June 5, 1967. In 1966, Andy Warhol promoted a series of multimedia shows, entitled "The Exploding Plastic Inevitable", featuring the music of the Velvet Underground, in a Polish ballroom on St. Marks Place. On June 27, 1967, the Electric Circus opened in the same space with a benefit for the Children's Recreation Foundation whose chairman was Bobby Kennedy; the Grateful Dead, The Chambers Brothers and the Family Stone, the Allman Brothers Band were among the many rock bands that performed there before it closed in 1971. On March 8, 1968, Bill Graham opened the Fillmore East in what had been a Yiddish Theatre on Second Avenue at East 6th Street in the Yiddish Theater District; the venue became known as "The Church of Rock and Roll", with two-show concerts several nights a week. While booking many of the same bands that had played the Electric Circus, Graham used the venue, as well as its West Coast counterpart, to establish in the US British bands such as The Who, Pink Floyd, The Jimi Hendrix Experience and Led Zeppelin.
The Fillmore East closed in 1971. CBGB, the nightclub considered by some to be the birthplace of punk music, was located in the neighborhood, as was the early punk standby A7. No Wave and New York hardcore emerged in the area's clubs. Among the many important bands and singers who got their start at these clubs and other venues in downtown Manhattan were Patti Smith, Arto Lindsay, the Ramones, Richard Hell and the Voidoids, Talking Heads, the Plasmatics, Glenn Danzig, Sonic Youth, the Beastie Boys and The Strokes. Few icons of the punk scene remain in the neighborhood. Richard Hell lives in the same apartment he has lived in since the 1970s, Handsome Dick Manitoba of The Dictators owns Manitoba's bar on Avenue B. Over the last
Joey Image is an American punk rock drummer. He joined the Misfits in November 1978, he was the drummer for both the Horror Business and Night of the Living Dead sessions of 1979. In December 1979, after the band's aborted tour of England with The Damned, he left the band. After the Misfits, he was the drummer for the Whorelords, his most recent bands were Human Buffet, Psycho Daisies, The Mary Tyler Whores, The Strap-Ons, The Bell Ringers, Evil Doers, The Hooples, Jersey Trash, The Hollywood 77's, between 2000 and 2002 he was the drummer for The Undead. He played for The Misfits in October 26, 2000, at Culture Room, Fort Lauderdale, one day after Dr. Chud had left the band along with Michale Graves; as the band had no drummer and was playing in the same area as Joey, Jerry Only decided to call him to play some songs such as "Horror Business", "We Are 138", "Attitude", "Teenagers From Mars","Hollywood Babylon","London Dungeon" and "Where Eagles Dare". Eric Arce from Murphy's Law played the rest of the setlist songs.
Image spent most of his life in New York City, in Florida. In 2003, he moved to California; as of 2007, he has relocated to South Florida. In 2016 he was diagnosed with liver cancer. Horror Business - EP Night of the Living Dead - single Legacy of Brutality Tracks 9 and 10 Misfits Tracks 4 through 8 Collection II Tracks 6 and 7 Beware Tracks 5 and 6 Misfits Disc 1-Tracks 3,4,5,6,7,16,25 / Disc 2-Tracks 9 and 10 / Disc 3-Tracks 3 through 14
CBGB was a New York City music club opened in 1973 by Hilly Kristal in Manhattan's East Village. The club was a biker bar and before, a dive bar; the letters CBGB were for Country, BlueGrass, Blues, Kristal's original vision, yet CBGB soon became a famed venue of punk rock and new wave bands like the Ramones, Patti Smith Group and Talking Heads. From the early 1980s onward, CBGB was known for hardcore punk. One storefront beside CBGB became the "CBGB Record Canteen", a record shop and café. In the late 1980s, "CBGB Record Canteen" was converted into an art gallery and second performance space, "CB's 313 Gallery". CB's Gallery was played by music artists of milder sounds, such as acoustic rock, jazz, or experimental music, such as Dadadah, Kristeen Young and Toshi Reagon, while CBGB continued to showcase hardcore punk, post punk and alternative rock. 313 Gallery was the host location for Alchemy, a weekly Goth night showcasing goth, dark rock, darkwave bands. On the other side, CBGB was operating a small cafe and bar in the mid-1990s, which served classic New York pizza, among other items.
Around 2000, CBGB entered a protracted dispute over unpaid rent amounts until the landlord, Bowery Residents' Committee, sued in 2005 and lost the case, but a deal to renew CBGB's lease, expiring in 2006, failed. The club closed upon its final concert, played by Patti Smith, on October 15, 2006. CBGB Radio launched on the iheartradio platform in 2010, CBGB music festivals began in 2012. In 2013, CBGB's onetime building, 315 Bowery, was added to the National Register of Historic Places as part of The Bowery Historic District. CBGB was founded on December 10, 1973 on the site of Kristal's earlier bar, Hilly's on the Bowery, that he ran from 1969 to 1972. Kristal focused on his more profitable East Village nightspot, Hilly's, which Kristal closed amid complaints from the bar's neighbors. After Hilly's closure, Kristal focused on the Bowery club, its full name of CBGB & OMFUG stands for "Country, Bluegrass and Other Music for Uplifting Gormandizers". Although a gormandizer is a ravenous eater of food, what Kristal meant was "a voracious eater of... music".
Kristal's intended theme of country and blues music along with poetry readings yielded to the American movement in punk rock. A pioneer in the genre, the Ramones played their first shows at CBGB. In 1973, while the future CBGB was still Hilly's, two locals—Bill Page and Rusty McKenna—convinced Kristal to let them book concerts. In February 1974, Hilly booked local band Squeeze to a residency, playing Tuesdays and Wednesdays, the club's change from country and bluegrass to original rock bands. Squeeze was led by guitarist Mark Suall with CBGB's quasi house band the Revelons, which included Fred Smith of Television and JD Daugherty of the Patti Smith Group. Although these bands did not play punk rock, they helped lay its foundation; the August 1973 collapse of the Mercer Arts Center left unsigned bands little option in New York City to play original music. Mercer refugees—including Suicide, The Fast, Wayne County, the Magic Tramps—soon played at CBGB. In 1974, on April 14, in the audience of Television's third gig were Patti Smith and Lenny Kaye, whose Patti Smith Group debuted at CBGB on February 14, 1975.
Other early performers included the Dina Regine Band. Dennis Lepri was lead guitarist as well as the Stillettoes; the newly formed band Angel and the Snake renamed Blondie, as well as the Ramones arrived in August 1974. Mink DeVille, Talking Heads, the Shirts, the Heartbreakers, the Fleshtones and other bands soon followed. In April 1977, The Damned played the club, marking the first time a British punk band had played in America. During 1975 and 1976, Metropolis Video recorded. Starting in 1977, Metropolis Video filmmaker Pat Ivers and partner Emily Armstrong continued to record shows in a project called Advanced TV renamed GoNightclubbing. Ivers' and Armstrong's films are available at the New York University Fales Library. CBGB's two rules were that a band must move its own equipment and play original songs—that is, no cover bands—although regular bands played one or two covers in set. CBGB's growing reputation drew more acts from outside New York City. In 1978, new wave songwriter Elvis Costello would open shows for The Voidoids, while The Police played at CBGB for their first American gigs.
Meanwhile, CBGB became famed for the Misfits, Patti Smith Group, Mink DeVille, the Dead Boys, the Dictators, the Fleshtones, the Voidoids, the Cramps, the B-52's, Joan Jett & the Blackhearts, the Shirts, Talking Heads. Yet in the 1980s, hardcore punk's New York underground was CBGB's mainstay. Named "thrash day" in a documentary on hardcore, Sunday at CBGB was matinée day, which became an institution, played from afternoon until evening by hardcore bands. In 1990, violence inside and outside of the venue prompted Kristal to suspend hardcore bookings, yet CBGB brought hardcore back at times. CBGB's last several years had no formal bans by genre. In 2005, atop its paid monthly rent of $19,000, CBGB was sued for some $90,000 in rent owed to its landlord, Bowery Residents' Committee. Refusing to pay until a judge ruled the debt legitimate, Kristal claimed that he had never been notified of scaled rent increases, accruing over a number of years, asserted by BRC's executive director Muzzy Rosenblatt.
Ruling the debt false—that BRC had never properly billed the rent increases—the judge indicated that CBGB ought to be declared a landmark, but noted that Rosenblatt did not need to renew the lease, soon expiring. Rosenblatt v
Band (rock and pop)
A rock band or pop band is a small musical ensemble which performs rock music, pop music or a related genre. The four-piece band is the most common configuration in pop music. Before the development of the electronic keyboard, the configuration was two guitarists, a bassist, a drummer. Another common formation is a vocalist who does not play an instrument, electric guitarist, bass guitarist, a drummer. Instrumentally, these bands can be considered as trios; the smallest ensemble, used in rock music is the trio format. Two-member rock and pop bands are rare, because of the difficulty in providing all of the musical elements which are part of the rock or pop sound. In a hard rock or blues-rock band, or heavy metal rock group, a "power trio" format is used, which consists of an electric guitar player, an electric bass guitar player and a drummer, one or more of these musicians sing; some well-known power trios with the guitarist on lead vocals are the Jimi Hendrix Experience, Stevie Ray Vaughan and Double Trouble, the Jam, ZZ Top, Green Day, while power trios with the bass guitarist on lead vocals include Cream, The Police and Motörhead.
Two-member rock and pop bands are rare, because of the difficulty in providing all of the musical elements which are part of the rock or pop sound. Two-member rock and pop bands omit one of these musical elements. In many cases, two-member bands will omit a drummer, since guitars, bass guitars, keyboards can all be used to provide a rhythmic pulse. Examples of two-member bands are The White Stripes, Pet Shop Boys, Flight of the Conchords, the Ting Tings, Hall & Oates, Twenty One Pilots and T. Rex; when electronic sequencers became available in the 1980s, this made it easier for two-member bands to add in musical elements that the two band members were not able to perform. Sequencers allowed bands to pre-program some elements of their performance, such as an electronic drum part and a synth bass line. Two-member pop music bands such as Soft Cell and Yazoo used pre-programmed sequencers. Other pop bands from the 1980s which were ostensibly fronted by two performers, such as Wham!, Eurythmics and Tears for Fears, were not two-piece ensembles, because other instrumental musicians were used "behind the scenes" to fill out the sound.
Modern bands that use this format include Ninja Sex Death Grips. Two-piece bands in rock music are quite rare. However, starting in the 2000s, blues-influenced rock bands such as the White Stripes and the Black Keys utilized a guitar-and-drums scheme. Death from Above 1979 featured a bass guitarist. Tenacious D is a two-guitar band. Ratatat are a two-guitar band. W. A. S. P. Guitarist Doug Blair is known for his work in the two-piece progressive rock band signal2noise, where he acts as the lead guitarist and bassist at the same time, thanks to a special custom instrument he invented. Heisenflei of Los Angeles duo the Pity Party plays drums and sings simultaneously. Royal Blood is a two-piece band that drums along with electronic effects; the smallest ensemble, used in rock music is the trio format. In a hard rock or blues-rock band, or heavy metal rock group, a "power trio" format is used, which consists of an electric guitar player, an electric bass guitar player and a drummer, one or more of these musicians sing.
Some well-known power trios with the guitarist on lead vocals are Campsite 85, Stevie Ray Vaughan and Double Trouble and Muse. A handful of others with the bassist on vocals include Thin Lizzy, Rush, Motörhead, the Police and Cream; some power trios feature two lead vocalists. For example, in the band Blink-182 vocals are split between bassist Mark Hoppus and guitarist Matt Skiba, or in the band Dinosaur Jr. guitarist J. Mascis is the primary songwriter and vocalist, but bassist Lou Barlow writes some songs and sings as well. An alternative to the power trio are organ trios formed with an electric guitarist, a drummer and a keyboardist. Although organ trios are most associated with 1950s and 1960s jazz organ trio groups such as those led by organist Jimmy Smith, there are organ trios in rock-oriented styles, such as jazz-rock fusion and Grateful Dead-influenced jam bands, for instance Medeski Martin & Wood. In organ trios, the keyboard player plays a Hammond organ or similar instrument, which permits the keyboard player to perform bass lines and lead lines.
A variant of the organ trio are trios formed with an electric bassist, a drummer and an electronic keyboardist such as the progressive rock band Emerson, Lake & Palmer. A power trio with the guitarist on lead vocals is a popular record company lineup, as the guitarist and singer will be the songwriter. Therefore, the label only has to present one "face" to the public; the backing band may or may not be featured in publici