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Keith Gibbs: Vocals & Guitar
Rick Ferrante: Drums
Clayton Charles: Bass

Recorded by John "Ninja Dog" Debaun @ Mad Dog Studios - Burbank, Ca.

Ending GuitarSolos on "Cracks in the Pavement" Performed by James Burkard.

Produced by Sasquatch

Mastered by Chris Gooseman @ Solid Sound - Ann Arbor, MI

Artwork by Keith Scharwath

Reviews for Sasquatch...


Sasquatch are a trio from Los Angeles consisting of Keith Gibbs on guitar & vocals, Clayton Charles on bass and Rick Ferrante on drums. They've been around a few years and this is their first album, with another on the way during 2005. Sasquatch play a take no prisoners brand of ultra heavy rock that draws on fuzzed out stoner and 70's heavy rock influences. Throughout the album you can expect to be steamrolled with a great stoned rocking vibe that rumbles in your chest and throbs in your brain. Among the highlight tracks is "Roller", which features a crushing stoner metal assault and killer freaked out screaming fuzzed wah guitar licks. "Believe It", "Cyrus" and "Yeti" are more bone crushing rockers with cool psych guitar that I really liked. Most of the tracks are in the 3-4 minute range, but Sasquatch excel at cranking out concise and to the point ass kicking rockers that don't need a whole lot of time to level city blocks. But there are a couple that stretch out a bit more. "Knuckle Down" takes off into a killer psychedelic stoner space jam that makes it one of my favorites of the set. And "Money Man" is just pure crushing, head throbbing, jamming stoner rock. I'm definitely looking forward to hearing these guys next CD this year.

Scott Heller
AI #30 (February 2005)


3.0 EYES

This may be one of the more appropriately named bands IĂve ever known of. If the big hairy creature of myth were to start a rock band (hey, IĂm sure forest life can get boring), this is exactly what I imagine it would sound like. ˘Chemical Lady÷ and ˘Roller÷ start this debut off with a heavy groove that sounds like a thunderstorm moving in on the horizon, ready to thrash landscapes. It is that same groove that really makes Sasquatch stand out from most of their stoner-rock contemporaries. Another thing that struck me was the fact that the songs are well written, as opposed to ˘just play as loud as we can÷ approach that seems to be popular lately. But hereĂs the thing ű they ARE loud as hell (they use Mojave ampsÓĂnuff said). My personal favorites here are toward the end of the album, ˘Boss Hog÷ and ˘Yetti÷. Bottom line: If you like it heavy, you need to pick this one up..

Jay Hathaway
November, 2004


Low slung like a badass six shooter, Sasquatch's guitars chug ahead like making fuck to Black Sabbath in the back seat of a Dodge Charger. Throaty melodic vocals surface from the thick swampy but groove driven instrumentals. Bottom heavy and beautiful in true rock and roll rebel fashion, like a Bigfoot running, perhaps, Sasquatch charges headfirst at the listener with its awesome bass-heavy guitar work, fuzzy old school guitar solos and good old puttin' ya in your place lyrics.

Kristopher Upjohn
November, 2004


Beware, dear reader, if you have new stereo equipment you need to keep the volume settings on below 1 until you find your speaker's tolerances for this sludge. Sasquatch, like their namesake, are big, lumbering, and probably very hairy. This is up-tempo doom, with lots of feedback and a fuzzed out sound. Think of Sabbath at their doomiest, up the tempo a bit, and then play it through a blown marshall amp.

Brad Mitchell
November, 2004


Having seen these boys play at SHoD, Arizona 2002, I had already had a taste of what these guys could do, live and on a promo disc they were handing out. The one thing I will start saying right off the bat is, these guys were a real treat live, and now, holy fuck! can I get a hell yeah for serious heavy riffage and fuzz so thick it's like beef jerky? These boys rock!! hell yeah!!! Thanks to Small Stone for picking these guys up, they most certainly deserve it.

These three guys from LA bust it up like it was the end of the world so you had better be ready to go down partying first class. Massive guitars and a full on assault of pure rock and roll. Think Nebula, Fu Manchu, and even COC (early COC) and you pretty much have Sasquatch. Some of these songs were on the promo disc and they have matured to become heavy pounding alcohol fuelled heavy rock! Love the groove these guys have and I love the energy they emit. You don't need to drink that Red Bull stuff. You need a hit of pure adrenaline? Toss on Sasquatch and be prepared to take on the aftermath of what awaits. Sounds so cliche but who cares - the vocals drive me nuts! Sexy, sexy vocals!! Keith Gibbs can sing to me anytime he wants. Damn, good stuff. The guitar is absolutely killer, with the space sounds and heavy groove laid down, you'd think you were flying high or something. The drums are pounding and wicked and provide the tightness that is the Sasquatch sound. I love the songs, which are seriously kick ass rock and roll. Not for wimps, Sasquatch tears it up, and throws it down, leaving the listener with a dropped jaw, a sore neck from head banging, and a need to bust loose. This is a killer groove laden heavy rock album. These guys are certainly bound to get your ass moving. If you haven't checked them out yet, do so. This is some ass kicking music people.

Each track lays out the stoner rock vibe, there is no mistaking that vibe - wine, women and song. Each tune speaks of high-octane energy and powerful fuzz. But these guys take that stoner rock vibe and make it their own by adding some heavy bottom end fuzz and groove galore. The production is great, the sounds are very well done, and that alone puts them above a whole lot of bands in the same genre. Whatever you chose to label it - groove, fuzz, stoner... favourite tunes off the album is the heavy doom/fuzz 'Yetti' and the hot rod heavy 'Boss Hog'. If you're into some great fuzzmanship and feel the need to get your groove on, give Sasquatch a try. Wicked album!

Deanna St.Croix
October, 2004


The debut release by this trio boasts a Leonard Nimoy sound clip from the cult sci-fi expose IN SEARCH OF, and from there Sasquatch kicks into high gear. Syrupy sweet ▀ la Kyuss and Nebula and bottom-heavy like Fireball Ministry and Fu Manchu, this 10-track offering is long on heavy rock anthems like "Knuckle Down" and "Dragonfly", whose guitars chug with unabashed fury and whose rhythms are as groovy as a freshly-paved highway. Fighting the good rock 'n' roll fight, Sasquatch's hard-rockin' '70s feel and slight reprise of the psychedelic gel together masterfully, giving your head and heart alike bold thrusts of real rock swagger.

Mike SOS
September, 2004


This f**ing rocks from the first to the last tone... these three guys from MotorCity are what I call a Heavy-Rock band. Plug in, tune down...BLAST. The sound reminds me a bit of the good old Dixie Witch, cause the electro harmonix pedals and wah wah...damn. Also the rhythm section of Sasquatch is what I call a wall...I guarantee you that as soon as you start listening to this CD your feet will begin to shake and your head starts to bang. The last few month I began to get bored by downtuned guitars, cause the most of them sounded the same... not in the case of Sasquatch, cause they sound a Diesel powered chainsaw...really deep and dangerous, but still present and agressive. The vocals of Keith are melodic and give the whole CD that Heavy-Metal touch which makes this long-player even more special. So all you Metal and Heavy-Rock fans out there should check this album out. For fans of Monster Magnet, Dixie Witch etc.

September, 2004


Nine out of ten pundits agree: This is one group that nailed it when it came time to select a band name. Featuring a pair of Detroit ex-pats (drummer Rick Ferrante, bassist Clayton Charles) plus guitarist/vocalist Keith Gibbs, the Los Angeles trio has been doing the stoner rock thang for about three years, finally arriving in the record store bins at the behest of Motor City label Small Stone.

Following a pre-emptive boogie strike ("Chemical Lady") the band plows directly into a slice of low-end, gut-churning heaviosity ("Roller") thatĂd make even a lapsed Soundgarden fan renew his official Grunge Club dues. The band makes a few quick pit stops at the altars of Sabbath (Gibbs has an Ozzy-like timbre to his voice, in fact), Blue Cheer and early Grand Funk but, for the most part, employs a scorched-earth policy, taking no prisoners and leaving no retro-impressions to linger unduly in the brimstone-scented air. By album's end we're at "Yetti," presumably an alternate spelling for the Tibetan snow monster, and therefore a metaphorical foil for the equally monstrous Sasquatch beast, the battle between titans here a bone-crunching, neck-snapping series of fuzzed-out riffs and thuggishly primal drums. Interspersed throughout the album are snippets of recordings of terrified citizens outlining their own close encounters of a forest-dwelling kind. "There's something up there that ain't no bear," shudders one man, "that's big enough to pick up two 300-pound pieces of logs and move 'em without claw marks." The monolithic crush of sound emitted by this trio has approximately the same effect ¨ stand back, get out of the way, it cannot be stopped.

Fred Mills
September, 2004


Once again, Small Stone Records proves a good taste with the debut of SASQUATCH. This muscular ( meant musically) threepiece convinces me with their overwhelming brand of 70's influenced heavy rock with an emphasis on extreme volume. They grap the listener by the throat with the steaming opener "Chemical Lady" and the album continues in this direction; a swamp-rich miasma of mid-tempo paced, bass crunch uber-riffing with dirty vocals and an attitude shot through with southern-drenched bluesiness. The SASQUATCH groove is tight and intense and solid as an 18-wheeler heading for speed. But Keith Gibbs is not only an amazing and passionate vocalist and "bigfoot"-riffmaster. This man stand his ground with his kind of bluesy metallic guitar solos, that are melodic and filled with the additional use of wah-wah, and fuzz pedals. The few samples, which are thrown in are based on the mysterious creature where this group have taken their name from and are giving the album a concepteous feeling. If you're looking for standout tracks I can't give you any advices, because the whole album R-O-C-K-S from the beginning to the end. All in all, the next top-quality release in the Small Stone catalogue!

September, 2004


The first time I listened to this, I was barreling down US1 on a Saturday afternoon. I was in one of those moods, ya know, thinking that maybe I'll just buy a machine gun and show the MAN I really mean business, and I must admit, it was NOT working for me. I mean, here I am, ready to declare war on everybody, and a big stone-y wallop of redneck riff rock is rolling outta the speakers like a hazy teenage drug from 1972. That wouldnĂt do. I needed fuckin' FIRE. So, I donĂt know what I put on, probably Judas Priest, and that didnĂt work either, since I just got a burger and forgot about my half-assed bloody coup. So Sasquatch languished on the backseat for awhile, 'til tonight. Man, I musta been really twisted that day, because as of right now (and what else do we have, really?), this rekkid is just a powerhouse, a sleazy, evil, doped-to-the-tits monsterpiece of two-ton Sabbath riffs and Skynrd howls and these crazy drums that sound like Indian war chiefs hammering their tomahawks right into each other's skulls. This California livinĂ power trio are very close cousins to COC, which is just fine, seein' as it takes Pepper and the boys 7 years to write a record. Sasquatch can do it in a sliver of that time, and I swear to Christ, it's just as good. The best songs are the space-fried "Money Man" and the motordoom sleaze of "Roller", but thatĂs not important now. What's important is that you go buy this slavering fuckbeast of an album. And a machine gun. And then go show the MAN you mean business.

August, 2004


Sasquatch is the perfect name for this band as it feels like a "Big Foot" is stomping on your chest. Their bottom heavy sound cranked up sounds like a wall off bass coming to consume everything in site. Vocalist/Guitarist Keith Gibbs guitar tones would make Leslie West proud as they define what a "moutain" would sound like if it could talk. Gibbs voice actually contrasts the music as he's got a clean, but powerful voice. They've stripped down the sound to a powerhouse 3 piece with very little effects and fancy modern production. You simply can't turn this music loud enough, it seems to be very compressed and custom-made for cranking at ridculous volumes. They are another key factor in the return of the 70's rock sound, hopeully they make an impact sooner than later.

July, 2004


Another typical Stoner Rock band? No - Sasquatch are great! Believe me. The basement is heavy and fat Stoner Rock, but the band creates a simple but excellent construction around that basement and yeah - they kick ass! Especially the singer from this 3 piece is outstanding. Sometimes he reminds me on some old Grunge bands. DRAGONFLY is an example for an excellent Rock`n`Roll song. Sasquatch are from Detroit and their sound is a super heavy bone crunching Rock`n`Roll monster. You can hear it in BELIEVE IT - a monster of a Stoner song. It is very hard to put out some single songs. All are on the same high level and beside the great guitar-work the vocals are unique. Hard to describe, but this fits 1000%! Especially they find the right melody-lines on the right time! It is not typical for me to give such high points to a simple Stoner Rock release - so check it! A must have! Yeah - this band is great! One of my favourites in a too big scene!

Genre: Stoner Rock
Sound: 9
Music: 9
Info: 10 songs/39 minutes

August, 2004


If there's a heavy rock band out there with a more appropriate name, I haven't heard it. L.A.'s Sasquatch is a great shaggy beast of a band, brandishing its squalling guitar riffs, burly vocals and stomping boogie rhythms like big tree branches swung by hairy paws. There's not a heck of a lot that's new here & ;this updates the 70s power trio tradition in much the same way as the band's fellow travelers in Dixie Witch. But the sheer force of pavement-crushing tunes like "Money Man," "Chemical Lady" and "Boss Hog" hold up nicely to the band's forebears, and the group's way with melody indicates a creative ambition not often found in 70s grunge revivalists. Long may Sasquatch crunch.

Michael Toland
August 15, 2004


My first experience with the might of Sasquatch dates back almost two years, to SHOD in Arizona. Their drummer at the time gave me a four-song demo which really kicked the proverbial butt, but it was pale indeed compared to their live show. I dug it and hoped for more. Fast forward to summer, 2004, and what should I find in my mailbox by a new album from...yes...Sasquatch. Direct from one of my fave labels, Small Stone, no less, the label that holds the classic music of Detroit Rock City in proper respect.

Unlike some of the other groups on the label, Sasquatch's sound dwells in the far desert, where UFO hallucinations always loom on the horizon and mythical beasts hum Kyuss' 'Gardenia' as they tear hapless tourists in Hawaiian shirts limb from limb. The classic rustbelt influence found in so many of their label mates is found more in the backgrounds of these Philadelphia and Detroit transplants, while their music owes its sound to southern California bros like Fireball Ministry, Nebula, Fu, and Smoke. This is pulse-pounding stoner rawk, heavy as hell, made by dudes who walk it like they talk it. You can tell the string benders in this power trio care about the quality of sound as well, 'cause the creamy tube goodness just about flows out of your speakers. The tuneage maintains a high level of quality throughout, though there may be a song or two that doesn't click ('Cyrus' in my case, because of the background vox) or another that stands above the rest ('Yetti' and 'Chemical Lady' - killer riffs!).

Small Stone has ventured far into desert territory, and its paid off bigtime. Sure this music will sound familiar, but as long as the songwriting and musicianship are top caliber - as they are here - you can put bands like this in front of me all day. You won't catch me whining about Kyuss, no sir! So if you dig on the above-referenced bands, and can add other groups like Black Lamb and Dixie Witch to the list without flinching, then its past time to add Sasquatch to your shopping cart. Its the real deal.

Kevin McHugh
August, 2004


As I've said a bunch of times before, if there's one thing I love, it's loud rock, the kind that makes you want to drink too much, holler at the sky, and bust shit up. IĂve got an affinity for all things heavy, but the roads lead back to loud rock. Which makes praising Sasquatch's self titled debut for Small Stone Records (one of the best underground labels out there) all that easier.

Because what Sasquatch bring, after an unnecessary first track of guitar hum and a Leonard Nimoy In Search Of clip, is loud rock. "Roller" is a foot-on-the-gas-pedal type of song, and from there, it doesn't let up. Think of a less rednecky Hognose, a more metal RPG, or Fu Manchu without the haze of pot smoke and Californian sensibilities.

Sasquatch have the classic '70's sound down pat, but on tracks like "Cracks in the Pavement" and "Knuckle Down," thereĂs also a good chunk of classic metal phrasings and tone. Keith Gibb's guitar is thick, Rick Ferrante's drumming and bass playing of Clayton Charles lock together, and Gibb's singing is clear yet gruff, the sound of a man whoĂs spent a good amount of time chain smoking and whiskey drinking.

Like all good loud rock, Sasquatch are more focused on good loud rock than reinventing the wheel ű you might get some deja-vu moments while spinning the disc. But while thereĂs nothing new stylistically, they throw down as good as any. Really, what more could you ask for? Like I said, recommended for fans of loud rock.

John Pegoraro
August, 2004


I usually hate using the term "Power Trio". Standard hack rock reviewer clich? on steroids. Right up there with "twin axe attack". Anyway, "Power Trio" is what immediately comes to mind when listening to this LA-by-way-of-Philly-and-Detroit Rock City's debut.

Sasquatch is golden 70Ăs-based hard rock on overdrive ű I'm thinking vintage Mountain by the sounds of it. Circa Ă74. Everyone in the band should have mustaches and Leslie West haircuts. Probably should avoid his waistline though. How'd I know that this recording would start off with a vintage "In Search OfÓ" quote from Leonard Nimoy? Glad it's only 22 seconds long or it'd make this disc powerfully hard to listen to on repeat listens ű and good damn thing it launches into the testosterone riff-fest of "Chemical Lady", makes me wish I had that 22 seconds back a lot less.

The trio behind the power ű Keith Gibbs on guitar and vocals; Rick Ferrente on drums and Clayton Charles on bass. Keith is the vocalist, the guy that should most think about the 70's mustache-thing. Powerful rock roar, powerful fretboard skills. Take a listen to the stun guitar solo on "Knucle Down" or that overdrive mid-section on "Money Man"Ó.hoohah! Rick and Clayton are the kind of rhythm section that make me think of Cactus and therefore latter-day Vanilla Fudge. You know, that Appice/Bogart heavy rock solid, turn-on-a-dime thing that defies words. Or at least the words IĂm capable of.

All in all, an admirable debut featuring some really powerful production by John Debaun at Mad Dog Studios, some 40 minutes and a couple of freeways from where I currently sit. If you like the vintage style of Mountain, or the rawk of Small Stone label mates and fellow "Power Trio" Dixie Witch, no doubt youĂll dig this as well.

Chris Barnes
July, 2004

Album Tracks

  1. Chemical Lady
  2. Dragonfly
  3. Roller
  4. Believe It
  5. Cracks in the Pavement
  6. Knuckle Down
  7. Money Man
  8. Boss Hog
  9. Cyrus
  10. Yetti

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