Ted Horowitz (born March 31, 1960, The Bronx, New York City, United States), who plays under the stage name of Popa Chubby (a play on the slang idiom “pop a chubby”, meaning to get an erection), is an American electric blues singer, songwriter, and guitarist.
Born the son of a candy store owner, at age thirteen Horowitz began playing drums; shortly thereafter, he began listening to the music of the Rolling Stones and started playing guitar. Although he grew up in the 1970s, Horowitz was influenced by artists of the 1960s, including Jimi Hendrix and Cream, among others.
In his early twenties, although he mainly played blues music, he also worked as backing for punk rock poet Richard Hell. Horowitz first came to public attention after winning a national blues talent search sponsored by KLON, a public radio station in Long Beach, California. He won the New Artist of the Year award and as a result was chosen as the opening act at the Long Beach Blues Festival in 1992.
Horowitz played more than 200 club dates a year through the 1990s. His Sony/Okeh debut, Booty and the Beast, was produced by Atlantic Records engineer/producer Tom Dowd, who worked on recordings for artists such as Aretha Franklin, Ray Charles, and Wilson Pickett.
In 1994, Horowitz released several albums on his own Laughing Bear label, including It’s Chubby Time and Gas Money, before he obtained a recording contract with Sony Music/Okeh Records for Booty and the Beast, his first major-label album, which was released in 1995. In 1996, was released a live recording of Horowitz’s, Hit the High Hard One. Two years later, One Million Broken Guitars was released on Lightyear Records; Brooklyn Basement Blues followed in 1999.
In 2000, Horowitz signed with the Blind Pig label and released How’d a White Boy Get the Blues? in 2001. The disc turned out to be a slight departure from Horowitz’s usual musical direction, incorporating elements of contemporary pop and hip-hop. The Good, the Bad and the Chubby, released in 2002, was an example of the development of Horowitz’s songwriting skills and included the 9/11 commentary “Somebody Let the Devil Out.” Blind Pig released a collection of early Horowitz recordings, The Hungry Years, in 2003. A year later, Horowitz released Peace, Love and Respect.
Two albums previously available only in France — Live at FIP and Wild — were compiled by the Blind Pig label and released as Big Man, Big Guitar in 2005, followed by Stealing the Devil’s Guitar a year later. The Fight Is On, was Horowitz’s first studio album after a two-year hiatus. It was released in February 2010 on the Provogue label in Europe, and Blind Pig in North America. A world tour followed.
In 2008, Horowitz and his life partner Galea, recorded Vicious Country, which was released on the Dixiefrog label. Vicious Country was chosen as ‘Record of the Week’ by the French Canal+ television station in March 2009.
Current line up: AJ Pappas on bass and Sim Cain on drums.
The Hungry Years (a collection of early material)
Gas Money (1994)
Booty and the Beast (1995)
Hit the High Hard One (Live) (1995)
The First Cuts (1996)
One Million Broken Guitars (1997)
Brooklyn Basement Blues (1999)
One Night Live In New York City (Live) (2000)
How’d a White Boy Get the Blues? (2000)
Flashed Back (feat. Galea) (2001)
The Good, the Bad and the Chubby (2002)
Live at FIP (2003)
Popa Chubby and Friends Play Muddy, Willie and More (2003)
Peace, Love and Respect (2004)
Wild Live (2005)
Big Man, Big Guitar – Popa Chubby Live (2005)
Stealing the Devil’s Guitar (2006)
Electric Chubbyland (2006, 3CD box set)
Deliveries After Dark (2007)
Vicious Country (2008)
The Fight Is on (2010)
Back to New York City (2011)
Back to New York City
01 Popa Chubby – Back to New York City [4:38]
02 Popa Chubby – She Loves Everybody But Me [4:26]
03 Popa Chubby – Pond of Flesh [6:27]
04 Popa Chubby – Warrior God [5:09]
05 Popa Chubby – The Future (Leonard Cohen) [7:28]
06 Popa Chubby – It’s About You [4:48]
07 Popa Chubby – A Love that Will Not Die [4:30]
08 Popa Chubby – Keep Your Woodpile Dry [4:46]
09 Popa Chubby – Stand Before the Sun [6:02]
10 Popa Chubby – She Made Me Beg for it [5:43]
11 Popa Chubby – Jesus Joy of Man’s Desire (J.S. Bach) [3:40]
Popa Chubby – Back to New York city
Popa Chubby – She loves everybody but me
In 1987 Joe Satriani became an endorser of Ibanez guitars. 10 years later, in 1998 Ibanez released the JS10th (aka Chrome Boy/Chromeboy) to celebrate a decade long partnership with Joe. These guitars are now the most sought after guitars made by Ibanez.
506 JS10th’s were produced in total and there are a handful of Chromeboys that were refinished by Ibanez and recorded as 507(N), there are at least 4 of these with 507b being registered right here and one documented as being unstamped. The original numbers of these Chrome boys are unknown.
Joe Satriani Signature Guitars
Maestro Joe Satriani’s jaw-dropping skill on the guitar is matched only by the sheer beauty and artistry of his Signature instruments. Created in collaboration with Satch himself, these models are indeed an extension of his playing: finely nuanced yet capable of staggering heights of musicality.
Joe Satriani Series Basics
•JSBDG, JS20TH, JS2400, JS1200 and JS1000 are precision-made in Japan
•Select JS models feature high-pass filter on volume pot for maintaining highs at low volumes
•All models feature coil tapping on both neck and bridge pickups
•JS2400 is first 24-fret model
•JSBDG “Black Dog” The rumors were true – after years of calls from the legions of Satriani faithful, Ibanez was going to offer a collector’s edition of Joe’s storied “Black Dog” electric guitar
•JS20TH & JS20S 20th Anniversary Models – 20 Years of Surfing with Satch – Ibanez is proud to feature the Joe Satriani 20th Anniversary signature models, dressed to kill with a special 3D inlay of the Silver Surfer (JS20TH) on the guitar’s body
Joe, can you tell us what you’ve been up to lately?
Well, right now, we are finishing up a live DVD in surround sound that should be released probably right in the beginning of June. It’s a full concert that was performed on December 29th in San Francisco at the Fillmore. We mixed it in 5.1 surround sound to accompany the footage for DVD. The surround sound really gives you a lot of cool options to sonically bring people right back to the moment of the concert. It’s just amazing. It makes you feel like you’re right there.
We are also going to be releasing a companion CD for those people who just want to listen to it. I think Sony is going to release an audio only surround sound DVD as well. I’m also doing some work with the Playstation 2 people, which has been a lot of fun. I’ve been writing and performing a bunch of music for different Playstation 2 games but it’s too early to tell which games the music will wind up in. I’m also gearing up for the next rock n roll Joe Satriani record which we’ll probably begin recording in October.
Your last three albums were very diverse musically. Where do you think your next album is going to take you musically?
Well, it’s always hard to tell prior to going into the studio because so much of an album seems to get conjured up on the spot. I’ll be playing through my Marshall with a rock band, but we’ll probably add some elements of modern production as well.
It seems from your description that its going to be more of a band oriented recording rather than a studio project which Engines of Creation seemed to be?
Yeah. From the very beginning, Engines Of Creation was conceived as some kind of a techno record and therefore, we set very rigid parameters. We didn’t want to go into a studio, use any microphones, or any outboard processing gear for that matter. We purposely did that so that we could occupy a particular space each day that we worked on it. But I think that I can go back and look at my records and see that my records were very well-defined from each other. So, this time around, I don’ t want to turn my back on any of the things that I’ve done. I’m looking for some combination of elements that worked on previous records and want to try and come up with something entirely different.
About a year ago, I watched an old video from when you were playing with Mick Jagger. Do you think that sometime in the future, you’ll be doing other projects where you’d accompany another artist or maybe do a band project?
I would like too. I’ve always found those projects that I picked to be really thrilling. When playing with people like Mick Jagger, Deep Purple and even Greg Kihn, there were elements of it that were very exciting for me artistically because I was standing behind a vocalist, being directed by the band or the band leader. It’s very interesting because you don’t know what’s coming next. When I’m doing a Joe Satriani live performance; I’m that guy and we’ve got an enormous amount of detail to attend to for each song.
When I was playing with Jagger, it wasn’t about me. Mick Jagger was leading the whole thing. The thing with Mick Jagger was that I had 25 years of lead guitar playing to try and emulate. I had to play stuff originally done by Brian Jones, Keith Richards, Jeff Beck, Ronnie Wood and Mick Taylor. I think there was even a tune we did that Jimmy Page had played solo on. It was really interesting for me to just jump into each guy’s skin a little bit and to feel the music the way they felt it. Of course, you can never play exactly like somebody else. I think it can be a really rewarding experience if the music is great and in the case of the guys I’ve mentioned, their set lists are obviously amazing.
Do you have any other goals left as a musician at this point?
Oh yeah, plenty. I’ve lost 11 times in a row at the Grammy Awards, so I’m thinking one of these times, I’d like to get one of those. But I’d loved to write for films. Not just incidental music but including main themes. There are certainly some things that I would love to do that I’ve always wanted to do. I know Steve Vai and myself would eventually love to figure out a way to do a record together. I’m sure that will take another 10 years! But like most other artists, I’d like to find the time to collaborate with other artists more.
Is there any thought of doing another G 3 tour?
No. I really would like to do another one of those however. I think, we’re hoping for a little bit of magic like the kind we had the first time we decided to put together G 3. It took about a year and a half but outside forces just sort of aligned and allowed Steve, Eric Johnson and myself available at the same time. It would be great if I could somehow get Jeff Beck, Tom Morello, Steve Vai and Brian May together. As we proved from the ticket and record sales last time, there is an audience that is dying to see and hear that type of thing.
Now, lets talk about gear a little bit. Which Ibanez guitars are you utilizing at the moment?
Aside from Chrome Boy? I’m looking at my guitar stand right now and I’ve got a new white JS1000 guitar on it, which sometimes I gravitate towards because of the colour. When I really get tired of the stuff I’ve been playing, I go to a white guitar and I feel like I’m starting on a clean slate. I also dug up my old JS6 mahogany to use for slide guitar and the JS700 with the soap bar pickups, which I also use for slide guitar. I’m determined to push my slide playing into the next level, which means I really have to practice quite a bit. I’ve also been working with a Universe 7-string quite a bit. I’m determined to unlock the secret of setting it up so it responds a little more like the JS guitars. I plan to use it on it on some Playstation 2 tracks.
Well, maybe we need to build you a JS 7-string?
That’s a good idea. That would help me out a lot.
What records have you been listening to lately?
The last couple of days, I’ve been listening to a record that my sister sent me. It’s called Stone Rock Blues. It’s a record that has all the old songs from which some of the most popular heavy rock songs were stolen or based off of. I’ve also been listening to Downward Spiral by Nine-Inch Nails. Hurt is an amazing song on a lot of levels. It has a really creepy set of lyrics and then the recording, of course, sounds entirely new. It’s what you’d call ground breaking. It’s a document of very creative people making decisions that nobody else has made, using the same tools that everybody has.
Joe Satriani – Light Years Away from the album Black Swans & Wormhole Wizards
Joe Satriani – Wormhole Wizards from the album Black Swans & Wormhole Wizards
Experience Hendrix LLC and Legacy Recordings, a division of Sony Music Entertainment, proudly announce the release of People, Hell & Angels, an essential new album premiering twelve previously unreleased studio recordings completed by guitarist Jimi Hendrix.
People, Hell & Angels, showcases the legendary guitarist working outside of the original Jimi Hendrix Experience trio. Beginning in 1968, Jimi Hendrix grew restless, eager to develop new material with old friends and new ensembles. Outside the view of a massive audience that had established the Experience as rock’s largest grossing concert act and simultaneously placed two of his albums in the US Top 10 sales chart, Jimi was busy working behind the scenes to craft his next musical statement.
These twelve recordings encompass a variety of unique sounds and styles incorporating many of the elements—horns, keyboards, percussion and second guitar—Jimi wanted to incorporate within his new music. People, Hell & Angels, presents some of the finest Jimi Hendrix guitar work ever issued and provides a compelling window into his growth as a songwriter, musician and producer.
People, Hell & Angels, will be available Tuesday, March 5, 2013.
With an album title coined by Jimi Hendrix, People, Hell & Angels, reveals some of Hendrix’s post-Experience ambitions and directions as he worked with new musicians–including the Buffalo Springfield’s Stephen Stills, drummer Buddy Miles, Billy Cox (with whom Hendrix had served in the 101st US Army Airborne and later played on the famed R & B ‘chitlin circuit’ together) and others–creating fresh and exciting sounds for the next chapter in his extraordinary career.
Jimi Hendrix’s ‘new’ album People, Hell & Angels coming March 5, 2013
People, Hell & Angels, is co-produced by Janie Hendrix, Eddie Kramer and John McDermott. Kramer first met Hendrix at Olympic Studios in London in January 1967. Hendrix, who would have turned 70 on November 27 this year, developed a unique rapport with Kramer.
As a result, Kramer engineered every album issued by the guitarist in his lifetime and recorded such famous Hendrix concerts as the Woodstock festival in August 1969. Since 1997, Kramer has teamed with Janie Hendrix and John McDermott to oversee the release of each Jimi Hendrix album issued by Experience Hendrix.
The dozen previously unreleased Jimi Hendrix performances premiering on People, Hell & Angels, include “Earth Blues,” “Somewhere,” “Hear My Train A Comin’,” “Bleeding Heart,” “Baby Let Me Move You,” “Izabella,” “Easy Blues,” “Crash Landing,” “Inside Out,” “Hey Gypsy Boy,” “Mojo Man” and “Villanova Junction Blues.”
A musical companion piece and successor to 2010’s Valleys Of Neptune, the critically acclaimed album showcasing the artist’s final recordings with the original Jimi Hendrix Experience, People, Hell & Angels, offers tantalizing new clues as to the direction Hendrix was considering for First Rays Of The New Rising Sun, his planned double album sequel to 1968’s groundbreaking Electric Ladyland.
Unlike contemporaries such as the Beatles or Bob Dylan, Jimi Hendrix owned his songs and master recordings. He did not have to record his music at recording studios owned and operated by his record company. Hendrix spent countless hours recording his new music at new, independent music studios such as New York’s Record Plant and the Hit Factory.
Hendrix was so focused on recording his music that, concurrent with nearly all of the sessions featured as part of People, Hell & Angels,, he was underwriting the construction of his own recording facility–the state of the art Electric Lady Studios in Greenwich Village.
Janie L. Hendrix, President/CEO of Experience Hendrix LLC, commented, “We’re thrilled to be able to release People, Hell & Angels, during the celebration of the 70th anniversary of my brother’s birth. The brilliance of the album serves to underscore what we’ve known all along: that there has never been and never will be a musical force equal to his and that we cherish and take inspiration of what he left us both now and for many generations to come…simply eternity.”
People, Hell & Angels, provides us with further insight into the genius of Jimi Hendrix,” said Adam Block, President, Legacy Recordings. “Working with new rhythm sections and instrumentation, Jimi Hendrix was opening up the horizons of his music, creating new sounds filled with endless possibilities.”
The Moog Guitar puts revolutionary new technology in the hands of the guitarist. Moog Music is known for building the finest instruments and the Moog Guitar is first and foremost a very fine guitar; designed to be played by the best musicians as their primary axe. Its A-quality maple top, premium swamp ash or mahogany body and ebony finger board bespeak the quality that musicians have come to expect from a Moog instrument.
The addition of Moog Guitar Electronics opens guitarists to a whole new musical vocabulary: Not a guitar synthesizer, not a MIDI guitar or an effects processor; players are intimately connected to The Moog Guitar because it works its magic on the strings themselves.
“One of the most inspiring aspects of producing The Moog Guitar has been hearing from guitarists who have been creatively reinvigorated by it.” said Mike Adams, Moog Music President. “When someone plays it for the first time, you can almost see new musical ideas forming in their head.”
The Model E1 provides an incredibly intimate playing experience that connects musicians directly to the source of the sound; the strings of the guitar. It does this by controlling the way the strings vibrate. In a very coherent way, the Model E1 gives energy to, and takes energy away from the strings. The resulting timbres do not rely on effects or post-processing. They are created directly from the strings.
“To me, touching the strings, being able to directly manipulate the very source of sound is fundamental to the nature of the guitar and to the spirit of playing it.” said Moog Guitar inventor, Paul Vo. “The E1’s controls just set the background mode – the control system characteristics. The strings are always your main user interface. The idea was never to make the guitar sound like anything else – it was to excite the instrument with controlled electronics to bring out hidden aspects of the instrument’s own natural character.”
The electronics of the Moog E1 guitar
What makes this guitar so special?
The Moog Guitar Electronics add an unparalleled range of expression to the Moog Guitar:
FULL SUSTAIN MODE – like no other sustainer; infinite sustain on every string, at every fret position and at any volume. You may have heard sustain before but not with this power (we call it “Vo Power”) and clarity.
CONTROLLED SUSTAIN MODE – allows you to play sustained single or polyphonic lines without muting technique. The Moog Guitar sustains the notes you are playing while actively muting the strings you are not playing.
MUTE MODE – removes energy from the strings, resulting in a variety of staccato articulations. The mute mode has never been heard on any other guitar; the Vo Power stops the strings with the same intensity that it sustains them. You feel the instrument transform in your hands.
HARMONIC BLENDS – use the included foot pedal to shift the positive energy of Vo Power in Sustain mode and the subtractive force of Vo Power in Mute mode between the bridge and neck pick-ups to pull both subtle and dramatic harmonics from the strings.
MOOG FILTER – control the frequency of the built-in, resonant Moog ladder filter using the foot pedal or a CV Input.
Welcome to Ultimate Guitar Rush. We bring you the best guitars, amps, gadgets, videos & photos.