Carl Elizondo:13 Albums That Changed My Life- by Andrew Daly
In the 1980s, the Sunset Strip was a hotbed. Amidst the chaos and debauchery, there was a deep-seated layer of superb musicianship brimming to the top and overflowing with grandeur, and within that scene was drummer Carl Elizondo.
Elizondo came to prominence as a member of The Greg Leon Invasion, SIN, and Jag Wire, not only as a drummer but also as a key piece of an ’80s hair metal bubble that was about to burst. Still, despite their talent, all three of these groups were misses, and Elizondo, while a monster skin-thrasher in his own right, missed out on his share of the limelight.
Still, Elizondo’s journey wasn’t done yet—he was offered a spot in Black Lawless’s W.A.S.P and scored a notable audition with Ozzy Osbourne. Elizondo passed on W.A.S.P. and ultimately missed out on the Ozzy gig, but regardless, his hard-hitting ways left an impression on those he touched along the way.
These days, Elizondo is still at it and makes music with Carl Elizondo & The Royal Union of Architects. During a break, he made time to beam in with ClassicRockHistory.com to recount the thirteen albums that changed his life, saying, “Growing up in the San Gabriel Valley, a suburb of Los Angeles in the ’60s, I was fortunate enough to have a cousin named Ron Mendoza. He was a gifted guitar player from the San Gabriel Valley, adept at sourcing some of the most non-commercial rock music out there.”
He continues, “It was almost like he had his finger on the pulse of what musicians liked to listen to or turned to for inspiration. I would spend many weekends with him as he rifled through his LP collection saying, ‘Oh, you should hear this guy,’ or ‘Listen to this riff.'”
He concludes, “Being young and impressionable, I would take his suggestions as gospel. And around then, I wanted to learn to play guitar, just as he did. But after months of lessons and realizing that I only played by ear and the music notes just looked like a bunch of dots with lines, I decided that drums would be my instrument of choice, a decision that has lasted 50 years. I haven’t looked back.”
With that said, in no particular order, some of the first albums Elizondo’s cousin Ron turned him onto were:
Live Album by Grand Funk Railroad (1970)
Hymn of the Seventh Galaxy by Return to Forever (1973)
Live Album by Grand Funk Railroad (1970)
After years of watching the Monkees on TV, this live album was as close to what I could find that fit the bill. From the first tune, “Are You Ready,” to the end of this double album, it’s a blistering hard rock, in-your-face blast of 1969. I used to practice drums in my garage with headphones on, playing along to the syncopation between drummer Don Brewer and bassist Mel Schacher. It was heaven.
This album was my introduction to a heavy three-piece band that was so full, loud, and perfect for teaching myself the drum patterns I carry today. Mark Farner’s heavy fuzz guitar and Mel’s overdriven bass are the perfect combination. This album is a fantastic peek into the changing times from the late ’60s to the ’70s. Key song: “Are You Ready.”
Band of Gypsys by Jimi Hendrix (1970)
Band of Gypsys by Jimi Hendrix (1970)
Hymn of the Seventh Galaxy by Return to Forever (1973)
Live Album by Grand Funk Railroad (1970)
Another three-piece band at the start of the ’70s was Jimi Hendrix’s Band of Gypsys, which included Billy Cox on bass and Buddy Miles on drums. The perfect rhythm section to let Jimi swim all over, and that he did! With this three-piece band, they could fill all sonic holes that may be present. Billy and Buddy lock in together so tightly that there is no room for air or space, only grooves, and rhythms that Jimi shreds all over, and at this point, he is in fine form. Jimi was playing clean and clear but blistering at the same time. This album is a lead guitarist’s dream to listen to. Jimi’s playing was highlighted throughout the album as it should be, but it seemed more so on this album. The Gypsys had an incredible repertoire of songs and it’s a shame this version of Jimi’s band didn’t last long. Key Song: “Power of Love.”.
Hymn of the Seventh Galaxy by Return to Forever (1973)
Hymn of the Seventh Galaxy by Return to Forever (1973)
Talk about having my young mind completely blown to pieces. This album was the most sophisticated-sounding record ever, touting the cream of the crop players in music to this day. Led by keyboardist extraordinaire Chick Corea, bassist Stanley Clarke and Lenny White on drums with Bill Connors on guitars. The syncopation this group can weave is undoubtedly some of the most complicated jazz fusion ever recorded. Being a young drummer, I wanted to learn everything that Lenny White played; as difficult as it was, I made my best attempt. This album taught me that there is much more than a 4/4 beat, and a new world of music opened to me. You could listen to each instrument individually, and you would have an entirely different album, put it all together, and have this cacophony of sounds dancing around each other, rarely touching but intertwined. This was also where I set out on my own to discover new music or music that was new to me! Key Song: “Hymn of The Seventh Galaxy.”
Endless Summer by The Beach Boys (1974)
Houses of The Holy by Led Zeppelin (1973)
Endless Summer by The Beach Boys (1974)
In the early ’70s, my buddies and I would cut school and drive to the beach in Southern California, mainly Huntington Beach and Bolsa Chica, to surf and hang out with the girls there. My buddy Dave would play this 8-track album in his truck, and it was the perfect accompaniment for these day trips. As a fledgling musician, I was taken aback at how Brian Wilson could construct a melody. Some were so tender and reflective that I wanted to learn them. Although I now know The Wrecking Crew were the musicians behind the perfectly played music I was hearing, I also know it was done at Brian’s introspective direction, making it more appealing. These songs taught me that music shouldn’t always be bashing drums and screaming guitars. I was indeed learning the ways of the world of music. Some of these songs were reminiscent of the doo-wop songs I heard at my aunt Mary’s house growing up, which had a very comfortable place in my heart from the start. Key Song: “Don’t Worry Baby.”
Yessongs by Yes (1973)
Houses of The Holy by Led Zeppelin (1973)
Houses of The Holy by Led Zeppelin (1973)
This double live album can instantly transport me back to my young adulthood from the start; I had been listening to Yes for a couple of years at this point, but to hear this live album and know these musicians aren’t in the studio. Still, playing live in front of thousands and not missing a beat was awe-inspiring. These players were some of the best progressive musicians to ever creep into my little bedroom deep in the San Gabriel Valley. I would spend hours listening to Alan White and Bill Bruford’s drumming, trying to pick any syncopation, fills, and rhythms I could and incorporating them into my playing. The lyrics Jon Anderson wrote particularly captured my now expanding mind and lent a whole new view to lyrics that painted an ethereal feel to music, with Chris Squire and Steve Howe playing, dancing around, and Anderson’s tenor vocals draping over the band, I would get lost in the musical conversation I was listening to, which I am positive others could not hear. To this day, I cannot hear a song as just a song; I only hear instruments calling out and others answering back. Music is my life’s blood, the thing that allows me to get from one day to the next; it is as important as my lungs, heart, ears, or eyes. Key Song: “Starship Trooper.”
Houses of The Holy by Led Zeppelin (1973)
Houses of The Holy by Led Zeppelin (1973)
Houses of The Holy by Led Zeppelin (1973)
There is a common thread in the bands I have listed so far: they all have extraordinary drummers. But at the time, I didn’t realize it; I knew I liked their drumming, and this drummer would be the one I would emulate for the rest of my life. This album sounds like a well-oiled machine, with all the pistons and timing belts working in precise syncopation. Bonzo lays down a beat like a newly paved highway, and the rest of the band plows through at high speed. Recently, I listened to John Paul Jones’ solo work and realized just how important he was to filling up holes created by the woven pattern of Jimmy Page’s guitar work. And Robert Plant? What can be said of this golden god of vocals? He is the best rock vocalist in modern times, meaning the ’70s. This album was a gatefold album, so you could listen to the music, look at the pictures inside, and drift away. I saw Led Zeppelin at the Forum in Los Angeles on the Physical Graffiti tour, and they didn’t disappoint. Led Zeppelin is the definition of hard rock. Key Song: “Houses of The Holy.”
Burn by Deep Purple (1974)
Sabotage by Black Sabbath (1975)
Sabotage by Black Sabbath (1975)
For me, Deep Purple was the energy and the vibe that I wanted my band to sound like; Ian Gillan’s and David Coverdale’s voices were perfect for this rendition of the band. Ian Paice and David Coverdale’s rhythm section was a perfect sketch board for Jon Lord and Ritchie Blackmore to paint the perfect songs. Heavy, loud, fast, and punchy, these songs were crafted for a live environment, and they did just that!
Ritchie Blackmore can let all the other musicians shine on through while he patiently waits for his lead slot, something that a lot of ego-driven guitarists didn’t do back then. The bluesy feel of Ian Gillan’s voice is the perfect fit for these songs, and David Coverdale’s soulful crooning accompanies Gillan’s voice perfectly. Some of these songs rock, some run, and some stroll, but they are all Deep Purple at their best. Key Song: “You Fool No One”
Sabotage by Black Sabbath (1975)
Sabotage by Black Sabbath (1975)
Sabotage by Black Sabbath (1975)
At this time, I was deep into the rock bands that I was playing with. Van Halen and many other noteworthy bands were on the circuit at the time. I wanted to play heavier and harder, and this album helped me. Bill Ward’s playing on this album was what I was looking for: straightforward, heavy playing and simple fills to hold the song together. This was a trying time for the band as they were trying to get out of their horrible record contract. So, Tony Iommi tucked himself into the studio and wrote some of the angriest angst-ridden heavy rock to date. Songs like Symptom of the Universe are riff-laden tunes that hold no punches. It’s loud, driven, and mad as hell, and I love it! This hard and heavy sound stayed with me for the rest of my life. Geezer Butler and Bill Ward can heavily groove a song, and Tony can play the meanest riffs on top with Ozzy Osborne’s vocals, making this album perfect for the time and me! Key Song: “Symptom of the Universe.”
Queen ll by Queen (1974)
Sabotage by Black Sabbath (1975)
Queen ll by Queen (1974)
The band I was in at the time was named RAZU, and we were very popular in the San Gabriel Valley in late 1977. The boys in the band were older than I was and had a more sophisticated taste in music; not to say they weren’t rockers; they just had a broader feel for music. I learned a lot from them. This album was one of those lessons. The musicianship and precise vocals make this album a masterpiece. The writing was innovative, combining fantastic musicianship with an almost theatrical feel.
These weren’t musicians writing music but songsmiths with an acute ability to draw you into each tune’s refrain. This was almost heavy classical rock with an air of nobility. These songs taught me to put as much into the lyrics as the song’s construction. To build a story, a narrative, or something the listener can grasp on to. The song “Ogre Battle” was so mind-blowing that I listened to it for a month, trying to dissect each movement in the song. There is a lot to take in with layers galore, backward masking, and vocals on top of vocals.
Brian May’s guitar work is exceptional and above par as he weaves multi-guitar layers into a blistering wall of sound. For the time, this was innovative. Here, I learned layering and multi-tracking ’til the cows come home, and then some. What I learned from this album was precision playing and knowing your craft well, with nothing to be taken for granted or left to chance. With this album, the players move as a whole unit, so I focused on the individual musicians less. Key Song: “Ogre Battle.”
Force It by UFO (1975)
Magical Mystery Tour by The Beatles (1967)
Queen ll by Queen (1974)
Can it get any better than this album? Maybe. But this was very freeing for me as I felt a new form of heavy rock. Leaning more towards the side of the metal, with Michael Schenker’s searing guitar work and Andy Parker laying down what I consider the perfect feel to all the songs on this album. It’s a musician’s album, not something you would hear on commercial radio.
This album has the perfect combination of heavy riffs, solid drumming, and Pete Ways bass lines, all presented for Phil Mogg’s vocals to sing over. This was perfect heavy rock and exquisite musicianship. This album had me focus on my pocket timing and playing. Many bands I was in then, like Wizard and Tyrant Star, were playing UFO cover songs at our gigs. They were the perfect songs to hone all our skills and then some. Key Song: “Mother Mary.”
Hemispheres by Rush (1978)
Magical Mystery Tour by The Beatles (1967)
Magical Mystery Tour by The Beatles (1967)
About this time, I was becoming the drummer I always hoped to be, but with this album, I found something new to strive for. This album was the perfect combination of rock and progressive, almost jazz or something like that, as the band could make left turns with their music on a dime. Neil Peart’s drumming took control of me, and for a while, I was like a plasterer, filling every hole I could find. Now if you are in a rock band and not a progressive rock band, that can be a detriment, and as Greg Leon later told me, “Less Is more.” So, I learned to use these new rudiments only occasionally and when needed. The time signatures on this album are fantastic, and the band’s tightness is seldom found in a three-piece. I have always been in awe of the songwriting and the different moods each song could have within it, ever-changing, twisting, and molding, as each song on this four-tune offering gives the listener. Also within each song is a story that can only be penned by Neil Peart’s imagination and particular penchant for songwriting. Key Song: “The Trees.”
Magical Mystery Tour by The Beatles (1967)
Magical Mystery Tour by The Beatles (1967)
Magical Mystery Tour by The Beatles (1967)
Wow, why so far down on the list? Because before now, I didn’t care for The Beatles; blasphemous as that may sound, yes, I wasn’t a fan. Only until my guitarist Rick Anthony from Heroes in Love told me, “Sit down and really listen to them and the song compositions.” Only then did I realize the genius of each album, and I also noticed how all the previous artists I listed borrowed from The Beatles.
At this time, The Beatles were at the pinnacle of their inner mind psychedelia. These songs have so many studio tricks, exquisite songwriting, and fantastic lyrics that I can see the kids in Piccadilly Square shopping and mulling about when I listen to this album. This was a time for discovery and excitement, and this album conveys that. Paul McCartney and John Lennon are in lockstep with each other as George Harrison and Ringo Starr keep a steady rhythm section for the boys to sing and play over.
And as Paul is more of a lead bass player than a bass player, George’s rhythms and occasional leads are just where they should be. I love the experimentation that [producer] George Martin allowed them to explore using phasing, slowing down the tracking, and even some reversed elements of the instruments. I use this on my Carl Elizondo & The Royal Union of Architects albums to this day. The Beatles are the cornerstone of my songwriting efforts today. Key Song: “Strawberry Fields Forever.”
Be Here Now by Oasis (1997)
Be Here Now by Oasis (1997)
Be Here Now by Oasis (1997)
So, what do you get when you combine the heavy bands I have previously listed and The Beatles? Well, that’d be Oasis! This band of the ’90s came from the ruins of Manchester’s working-class children with more time on their hands than sense. But for Noel and Liam Gallagher they made the most of it, churning tunes out about the misery of living in the lower classes and writhing around in your own filth.
These songs are loud, raw, and raunchy, with a ’60s ancestry. The songs are cocaine-ridden, over-modulated tunes that show the angst of the times. I love the anger in most of the songs that Noel has written, and his playing is as if he is deliberately trying to break the strings on his guitar. Liam’s particular vocal style is so Manchurian that you instantly know his feelings and disdain for everyone else… except himself. This great album must only be played very loud to hear the meaning of the songs.
Key song: “My Big Mouth.”
I could go on about albums that touched my life, but my descriptions of other albums would seem redundant. These 13 albums did influence the drumming that I used in The Greg Leon Invasion, Razu, Heroes in Love, Sin, Jag Wire, and these days, with Carl Elizondo & The Royal Union of Architects. You can learn more about Wow, why so far down on the list? Because before now, I didn’t care for The Beatles; blasphemous as that may sound, yes, I wasn’t a fan. Only until my guitarist Rick Anthony from Heroes in Love told me, “Sit down and really listen to them and the song compositions.” Only then did I realize the genius of each album, and I also noticed how all the previous artists I listed borrowed from The Beatles.
At this time, The Beatles were at the pinnacle of their inner mind psychedelia. These songs have so many studio tricks, exquisite songwriting, and fantastic lyrics that I can see the kids in Piccadilly Square shopping and mulling about when I listen to this album. This was a time for discovery and excitement, and this album conveys that. Paul McCartney and John Lennon are in lockstep with each other as George Harrison and Ringo Starr keep a steady rhythm section for the boys to sing and play over.
And as Paul is more of a lead bass player than a bass player, George’s rhythms and occasional leads are just where they should be. I love the experimentation that [producer] George Martin allowed them to explore using phasing, slowing down the tracking, and even some reversed elements of the instruments. I use this on my Carl Elizondo & The Royal Union of Architects albums to this day. The Beatles are the cornerstone of my songwriting efforts today. Key Song: “Strawberry Fields Forever.”
https://www.classicrockhistory.com/carl-elizondo-13-albums-that-changed-my-life/
VW Music Interview
An Interview with Carl Elizondo of SIN & Jag Wire
In the 1980s, the Sunset Strip was a hotbed. Amidst the chaos, and debauchery, there was a deep-seated layer of superb musicianship brimming to the top, and overflowing with grandeur.
Amongst this bustling scene, was throwback drummer Carl Elizondo, who as a member of The Greg Leon Invasion, SIN, and Jag Wire, proved an integral piece to the 80s glam metal bubble, which unfortunately burst before Elizondo and his cohorts could claim their portion of the lion’s share.
In the wake of three near-misses with SIN and Jag Wire, Elizondo would be offered a gig with W.A.S.P. and an audition with Ozzy Osbourne. While he ultimately passed on W.A.S.P. and missed out on Ozzy, one thing was clear, Elizondo’s hard-hitting, yet low-key impact left a permanent impression from, if nothing else, a historical perspective.
From his home in Nevada, Elizondo recently ran through his memories of the 1980s rock scene, as well as his various trials, tribulations, and triumphs.
Andrew:
As a burgeoning musician, take me through some of your early leanings which gravitated you toward music. READ MORE
Press
Reno Gazette Journal - by Michael Sion-12/20/2013
Voted #10 from The Reno Gazette Journal Newspaper- Best of 2013 local music scene
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Music Bank Magazine UK
A Review of the song "Rhythm" from " At Her Majesty's Command We Present:"
By Diva Shane
CarlElizondo & The Royal Union Of Architects- I am getting so many flavors of music in this song it’s outrageous! I’m having a blast just setting here enjoying the patchwork quilt rich sounds. There are moments where this track feels like a 60’s throw back with a dash of Oasis and maybe even a bit of Styx in the beginning. The drum line is a great happy, poppy beat while the guitar has this slightly muted dirty sound. I loved the guitar solo, that riff is so fun to listen to. Vocally I am grooving on his voice. His song style reminds me of Oasis. It’s kinda trippy the way he modulates his voice.
This song is like an acid trip for your brain. I can see it as a soundtrack piece or playing at home while hanging out with friends. I like it well enough I want to hear more from the band and download this to my server. I have some Beatles, Oasis and even some Alice in Chains I was to pair it with and see what happens.-Musicbank.co