Show Preview: 'Motor Primitives' Crystal Corner Bar (3/15/8)
The Isthmus
March 14, 2008, Vol 33, No. 11

After a lineup change, a renewed Motor Primitives work up a heavier backing for smoky-voiced singer/guitarist Pam Barrett's passionate take on Stiff Records-era rocking. Goat Radio and Sigourney Weavers open.

Show Preview: 'The Motor Primitives + Goat Radio' Crystal Corner Bar (3/25/8)
The Onion
March 13, 2008, Vol 44, Issue 11

There's a part of local band Goat Radio that jooyfully avoids being taken seriously - presumably the same part that titled its new album Portrait of the Band As A Young Goat. Then again, the album's comfy roots-rock swagger justifies following a song as silly as "Hell On Wheels" with the gloomy yet spirited laments "Gary, Indiana" and "Ain't That Sweet." For Madison group The Motor Primitives, putting a simple finish on straight-ahead rock proves liberating: Singer-songwriter Pam Barrett and band never get too wrapped up in one sound or mood, making for a style that's expansive as it is stark.

Interview: 'The Motor Primitives'
by Gert Driver
March 2 - April 5, 2007, Vol XII, Issue 11, No. 133, Maximum Ink

With a blend of Midwestern musicality and punk rock ethos, The Motor Primitives have built a dedicated following over the last three years. They routinely fill clubs in the Madison area with smiling – and often dancing – fans. The group’s two CDs on Boat Records have done well, and despite recent changes, the band is looking forward to making more music and winning more fans. Maximum Ink recently spoke to singer/guitarist Pam Barrett about her group.

Max Ink: Last month, The Motor Primitives performed their last show with the original lineup. Who is leaving the group and what brought the change about?

Pam: It’s the typical Madison band experience where there’s high turnover because people finish school and move on. Our lead guitarist, Kat Spring, just got her Ph.D. And she’s off to a teaching position out of state. At the same time, our bassist, Matt Sanborn, decided to move his focus to recording in his new studio rather than doing live gigs. We’ll miss them, but life goes on!

Max Ink: The last show was at the Harmony Bar, a great venue. How did it go?

Pam: Just fantastic. It was very nearly sold out. The energy was really flowing between the band and the audience. I think we were all savoring the moment.

Max Ink: There have been reports that this is the end of the band. Is that the case?

Pam: There’s no way in hell The Motor Primitives are done. Robin [Davies, drummer] and I have new songs, we’re playing with new people, and there’s lots of fresh energy.

Max Ink: What exactly is the current status of the band?

Pam: We are working with new musicians, experimenting, getting comfortable with different individual styles, and hoping to start gigging again in May. I can announce that Ed Feeney [of Reptile Palace Orchestra and The Appliances SBF fame] is our new bassist, and we’re very happy to have him on board.

Max Ink: Despite the lineup changes, you’ve just released a new album…

Pam: Well, sort of. Our 5-song EP sold out its first printing and we had 4 new songs in the can, so we thought we’d add them to the next batch of CDs and make it a full length album. It’s called Be The Engine – Long Play.

Max Ink: So far, the band has stayed close to its Madison roots, rarely playing outside of the city. Any thoughts on expanding your following?

Pam: Yes, and the new lineup will be influenced partially by that goal. We want to pursue regional markets like Milwaukee, the Fox Valley, Minneapolis, and Chicago. I think The Motor Primitives are ready for those places and those places are ready for us.

Max Ink: How do you envision the future of the group?

Pam: I’m very excited about the future and the possibilities. Keep expanding and keep gigging. We’ve got good new songs and people that have had a chance to hear them are really liking them. Robin, Ed and I are encouraged and energized.

Max Ink: Any final comments on The Motor Primitives, rock‘n’roll, or the world?

Pam: Madison is a great rock‘n’roll town because you can do what you want; there’s creative freedom here, and we appreciate it. Hey, the only thing better than playing in a rock‘n’roll band is sex!

Be The Engine – Long Play is available in Madison at B-Side Records, Madison City Music, Sugar Shack Records, and nationally at CDBaby.com.

CD Review: 'Be The Engine' (Boat Records)
by Rick Tvedt
Rick's Cafe, March, 2006

Last summer's debut CD by the Motor Primitives was one of the year's highlights; singer Pam Barrett crooned and snarled her way through twelve tightly constructed rock tunes.   Be The Engine is a five-song EP cut over a single weekend at Coney Island Studios just before Christmas.   Be the Engine follows somewhat closely on the heels of the debut album which received glowing reviews.   These could be songs left over from the first disc or brand-new ones but either way it's another fine collection of confident performances and the growth in the band is measurable, even if the blue-print is similar.

The move to Coney was a good one; the guitars shimmer and the rhythm section packs much more punch. The first release was also a bit over-compressed and Be the Engine sounds freer and more open. Given the limited time to record, the EP doesn't have much in the way of vocal harmonies; Barrett's singular voice plays through much of the material. "Sundown" is another story, however, a gorgeous piece of minimalist Americana. Barrett's vibrato fits the pulse of the song and there is a very cool backing vocal track. The guitar tones are sweet and the melody infectious - a great piece of music.

Guitarist Kat Spring gets a bit more daring on these songs as well, turning in a gutsy solo at the end of the opening track. She comes up with several nice parts to augment Barrett's rhythm guitar, especially on "Canopy," another strong song.

The title track is "Be the Engine, Part 1," a cool acoustic guitar statement that is driven home by relentless rhythm and a thick bottom end. "Part 1" begs the question of whether there is a "part 2" in the making and either a full-length that may include some of these songs, or a continuation of the band's evolution in the form of all-new material. My bet is on the latter as this band is far too confident about what they have to offer to look back.

CD Review: 'Be The Engine' (Boat Records)
by Tom Laskin
The Isthmus Weekly, February 16, 2006

The Motor Primitives' crisp pop-rock seems to spring from another era. Singer-guitarist Pam Barrett's lulling, melancholy vocals sometimes recall Chrissie Hynde, but the band's songwriting and arrangements owe more to classic '60s scribes like Del Shannon and Roy Orbison. Barrett's vibrato delivery on the album's moody closer, "Sundown," brings chills; so does Matthew Sanborn's lowdown, cowboy-music-inspired bass part on the artfully roped-in folk-rocker "Canopy."

With a running time of under 20 minutes, Be the Engine is quite short. In fact, it feels more like an EP. On the upside, the Motor Primitives are a very economical band, and hardly a note is wasted.

Interview: 'A little bit primitive, a little bit mature'
by Beth Lucht
November 24, 2005, V2, Issue 14, Coreweekly

The Motor Primitives rock, but they aren't really very rock 'n' roll. This is a good thing. Kicking back on drummer Robin Davies' Rutledge Street front porch after practice one recent evening, the members seem level-headed, unpretentious and focused, and unlikely to bust out a rock-star move like driving a car into a swimming pool or overdosing on some illegal substance. Davies struggles to come up with a word to describe the band and then arrives at mature. Ranging in age from late 20s to early 40s, the band members have houses and responsibilities and regular day jobs. They aren't looking to make it big - they just want to have fun.

That said, bass player Matthew Sanborn adds, "We take our fun pretty seriously. We want to do music that has integrity. It's not just a blow off steam kind of band, but we're not the kind of group that wants to be famous with record deals."

Assembled about two years ago by lead singer and guitarist Pam Barrett, the current members of the Motor Primitives were supposed to be temporary fill-ins for her regular bandmates, who were unable to make it the night of a benefit they were asked to play. They enjoyed themselves so much that they decided to stay together permanently.

Barrett has so far handled all the songwriting duties, bringing in what she describes as "some lyrics and basic melodic bare bones." She credits her fellow band members with having "a good ear for developing the intricacies of the song to make it more interesting."

The Motor Primitives' sound is difficult to define. There's a somewhat retro feel; Barrett cites Nick Lowe and Ray Davies are[sic] songwriting inspirations, and guitarist Kat Spring's leads have a certain understated but classic quality. The group is regularly compared to the Pretenders, partially because it's clear that Barrett has an affinity for Chrissie Hynde's songwriting and vocal styles, but perhaps also because they're both bands led by woman. No matter the reason, Barrett says she consideres it a compliment.

The band's self-titled CD was released in June of this year and has enjoyed strong local reviews. The group chose to release it on Boat Records, a local cooperative label run by Mad City Music Exchange owner Dave Benton. The label has a notable past - started in the late '70s, it released albums by well-known local bands such as the Rousers, Firetown and Ivory Library before taking a hiatus for a number of years. "I was thrilled to be part of it," says Davies, who appreciates the cooperative nature of the label. "I like the idea of artists working together to share their work with people in other places."

Davies himself has a notable past, having played bass for local punk rock legends the Tar Babies. He says he doesn't miss the years of touring and playing high profile gigs: "I still go to see punk shows, but I'd much rather play earlier and not have to sleep on scuzzy floors."

Sanborn has also played a lot of music, both in Madison and in Boston. Barrett, on the other hand, says her primary group musical experience prior to the Motor Primitives was playing guitar and mandolin in a Filipino folk band when she was in high school. Spring says she was never in a band before, but when prompted by her fellow band members, admits she once played in an Allman Brothers cover band.

Spring is perhaps the band's biggest surprise. Though quiet and unassuming, she produces some memorable solos and catchy licks. For her part, Barrett appreciates Spring's mild demeanor, "We've got a lead guitarist that is humble," she says, asking, "Where else are you going to find that anywhere?"

The band's plans for the future include more recordings, and possibly some new songwriting configurations as other members of the band start bringing in compositions. Other new ground shouldn't be too hard to find - they've yet to play outside of Madison. Spring jokes that they want their fans to be able to bike to all their shows. Soon the band is bantering back and forth about why they've only played in town, and whether they might be ready to hit the road.

Barrett, as she often seems to, has the last word. "That's something," she says, smiling, "best talked about over beer." Perhaps they are a little rock 'n' roll after all.

In terms of singing style, singer/guitarist Pam Barrett often channels Chrissie Hynde, but she's no imitator. The Motor Primitives' folk-rock emphasizes the folk side of the equation far more than anything the chief Pretender ever penned, and Barrett is more at home on reflective, almost ambient roots material. In fact, as the band jumps from a wistful, bossa nova-inflected track to a quavering country set-piece and then on to peppy pop-rock, what strikes you most is that Barrett doesn't try to dominate the proceedings, even though her throaty instrument is nearly always the music's focal point.

Tunes as different as the cowbell-thumping folk-rocker "Beautiful Mind" and the portentous "Universal Tune[sic]" are all enriched by Barrett's subtle vocal delivery. But in the end, it's the Motor Primitives' simple, interlocking, everything-in-its-place arrangements that differentiate them from acts that work their shiny hooks so hard that you're actually relieved when their efforts have passed out of your gray matter.

The production here isn't always what it could be. At times it's oddly thin. On the other hand, bassist/producer Matthew Sanborn periodically gives Barrett's impressionistic songs the lush studio treatment they deserve, and he gets everything right on the gauzy "say It," a perfectly modulated track that would fit in well with some of Emmylou Harris' more experimental country-rock offerings.

CD Review: 'The Motor Primivites' (Boat Records)
by Rick Tvedt
July 2005, V3, N7, Rick's Cafe

The Motor Primitives is the newest entry in the Boat Records catalog and a logical choice to carry on the label's penchant for melodic, accessible rock music and well-tailored songwriting.   Part pop, part roots rock with occasional jazz, alt-country and samba flourishes, the Motor Primitives are quintessentially Madison' homegrown and crafty without being overly polished.

The focus here is squarely on the lyrics as they sit alone on top of the mix, and there's good reason for that. Pam Barrett, who wrote all of the CD's twelve +1 songs, is an exceptional lyricist and her smooth voice is by turns sultry and sassy. The Pretenders comparisons are undeniable as she coaxes the same hypnotic tremolo from her voice as Chrissie Hynde and at times a similar half-spoken sarcasm. At other points a comparison to Aimee Mann seems more appropriate.   Barrett's softer side comes to the fore in "Say It," with a beautifully melodic chorus augmented with hushed backing vocals. Here the vocal tremolo is used to great effect as well as on the acoustic ballad "Always Been This Way."

In addition to "say It" there are several other tracks that bear mentioning. The band rocks on "Are You Really There?" a well-reasoned stab at the Establishment and "Perfect World," a radio-ready hit that features the album's grittiest guitar tones and a killer lick.   "Universal Man" swings coolly while the chorus is one of the other melodic highlights of the album. Just when you think you've got the MP modus operandi figured out they come along with "Beautiful Mind," a cool-groove roller, and "favorite Dream," A country-leaning rocker with a polka beat.

The Motor Primitives was recorded at Ultimate Audio with Tom Blain engineering and mastering. The group's bassist and multi-instrumentalist, Matthew Sanborn, is credited as producer and at first blush the recording has an almost reserved vibe to it. But with repeated listening the songs begin to sink in and hook the listener. The pristine quality of the mix, although a tad over-compressed, reveals a surprisingly strong identity for a debut recording. Nary a hint of distortion can be detected on this collection, the guitars are mostly clear and shimmering and instrumentally The Motor Primitives recalls Blind Man's Zoo-era 10,000 Maniacs. Guitarist Kat Spring does a splendid job fleshing out the personality that Barrett brings to the songs, making her an ideal right-hand woman to Barrett's earnestness.   There is little doubt that Sanborn has the producer's gene and where the Motor Primitives go from here will be one of the more interesting and no doubt enjoyable journeys for both the band and its fans.

CD Review: 'The Motor Primivites' (Boat Records)
By Rob Thomas
June 16, 2005, Wisconsin State Journal, Rhythm Section

I had expected something a little brasher and rawer from a band that in a recent press release exhorted local media to (and I'm paraphrasing here) "get your finger out of your nose and come see our live show."

But the debut album from Madison's The Motor Primitives isn't so brash at all. In fact, it's a dynamite collection of superbly-crafted pop-rock songs that carry real weight. Led by singer-songwriter Pam Barrett, who has the kind of dreamy yet direct singing voice that invites Chrissie Hynde comparisons, the MPs play melodic rock with surprisingly sophisticated arrangements. In all the right ways, this sounds like a band's fifth album, not its first.

A sinewy groove slithers through "Universal Man," while "Behind the Clouds" is a sparkling pop song where guitars and vocals pair up to satisfying effect. The jittery "He Said, She Said" and the hypnotic seven-minute-long "Beautiful Mind" show the band can rock the house when they want to. But this is a rock album for grown-ups, one invites the listener inside rather than rushing out to greet them, and certainly one of the finest local debuts of the year.

CD Release Announcement: The Motor Primitives (CD Release Party) w/ Ka-Boom! Box & Sunshine for the Blind: King Club, 9p.m.
by Randy (from GAS)
16-22 June 2005, V41, N24, The Onion, MadCalendar

The Motor Primitives' likeable rock bounds along with a combination of innocence and edginess inspired by The Velevet Underground. (But visualize Moe Tucker at the helm, or possibly The Feelies, rather than Lou Reed.) Spare strumming and melodic leads give singer Pam Barrett a bed for a measured, straightforward style that encourages humming or singing along.

Interview with Pam: Sisterhood of sound: Madison Women in Music
By Tim Thompson
May 2005 V3,N5, Rick's Café

The Motor Primitives have quickly established a reputation for tight songwriting and inspired live performances.   Their collective energy propels their shows forward, keeping feet moving and heads bobbing to the beat.   The raw materials that drive this band, the gritty riffs and poetic lyricism, come from the soul of Pam Barrett.   Though it takes the whole band to hammer out a complete tune, it's Barrett's creativity and social idealism that craft the core of the MPs straight-up rock 'n' roll sound.

Though formal piano and violin lessons never flet quite right to Barrett, when she first picked up a guitar, plucking out "Home on the Range" in seventh grade, she was hooked. It was around this time that a clock radio and a tape recorder introduced her to the rock rhythms and lyricism that still inspire her to this day.

"I'll admit to being a lyrics freak even back then," Barrett explains. "Just hold the tape recorder to the speaker to capture the song and play it over and over again until you can figure out what's being said.   Then apply your own meaning and ta-da! You've created your own fantasy world that has taken you beyond the limits of those four walls.   Travel by the imagination."

Igniting the imagination of her audience is what motivates her today.   The music she writes is direct and poetic, inspired by her passions and politics.   Barrett strives to maintain a sense of continuity between her life and her creativity that is refreshing and, frankly, obvious throughout her work.

"Everything has to mesh together with as few contradictions as possible. Whether it's music, work or relationships, you've got to walk the talk," Barrett advises. "You can't get out there and sing an anti-war song then go hop into your Hummer to cruise to the next show. Though you don't have to be preachy about it, you've got to be as consistent as possible when it comes to living your life. The same thing goes for writing. I've got to write about subjects that matter to me. There's got to be a consistent thread through the song and the song has to travel through time, emotion or meaning."

Barrett and the Motor Primitives, who formed to play a single benefit show a couple of years ago, are continuing to write and perform their utterly honest brand of rock 'n' roll. They have become so enmeshed in the scene that there is just no escape.

Show Review: SASY Neighborhood Association Fundraiser
By Dan Melton
The Harmony Bar, Madison - April 17, 2005
April 18th, 2005, SASYNA List serve

The Motor Primitives pack raucous Harmony for electrifying set Neighborhood band caps SASYNA fundraiser with set of smart, well-written rock filled with bright, radio-ready pop hooks The Motor Primitives packed a raucous Harmony bar Sunday to cap a Schenk-Atwood-Starkweather-Yahara Neighborhood Association (SASYNA) fundraiser with bright, danceable, hook-laden rock. The SASYNA music showcase and fundraiser began in mid-afternoon with a kick-ass set of boot-stomping, country-flavored rock from SASYNA neighbor Jim James and his band, The Damn Shames, followed by a set of typically sizzling guitar work and P.S. Mueller songs from SASYNA neighbor Andy Ewen. Then The Motor Primitives, fronted by SASYNA neighbor Pam Barrett (guitar, vocals), wowed a packed house with smart, punchy pop hooks that had the crowd buzzing. For the last half-dozen tunes in The Motor Primitives set, even SASYNA chair Dan "Gramps" Melton was spotted up on the dance floor, flailing away.   He hopped down from his stool, threw away his crutches, and yelled "Pam!   I can walk!"   It was the first time in 60 years he'd stood up and danced at a bar.   He said, afterwards, he hasn't heard pop hooks that infectious and well-written from a local band since Spooner.

[ Historical note:   Spooner ruled the Madison music scene with smart, well-written rock, in the late 1970's (before many of you were born). It was fronted by Doug Erikson (guitar, vocals); and his buddy, Butch Vig, on drums.   Those were the days you could say hi to Doug as he came out of the Jenifer Street Market, before Erikson and Vig became half of Garbage, toured packed houses in Europe and played on David Letterman. ]

Thank You to Harmony owner Keith Daniels, Thank You to Pam Barrett, and Thank You to SASYNA members Michael Goodman and Mark Bergum for making the Sunday event happen - and special thanks to Mark Bergum for getting the SASYNA t-shirts made.

Show Review: Are you experienced? The Motor Primitives use maturity to their advantage
The Slipper Club, Madison - April 8, 2005
By Tom Laskin
April 14th, 2005, Isthmus

The Motor Primitives aren't working to become the "it" band of the Madison club scene. They all have full-time jobs, and a few have advanced degrees. In fact, at 28 lead guitarist Kat Spring qualifies as the baby of the group, and any rock 'n' roll fantasies the easygoing Canadian might harbor are balanced out by the rigors of finishing a dissertation in film studies.

Despite the outside commitments, the Motor Primitives (whose name derives from neuroscience, not the grease pit) are definitely a serious band. Frankly, watching them gallop through an hour-long set of melodic, strangely portentous folk-rock at the Slipper Club last week, I was struck by how much focus and drive they display on stage. You won't find any punky flailing in a Motor Primitives set, just a practiced foursome putting over well-turned folk-rock. In front of a modest, friendly crowd, chief songwriter Pam Barrett employed a throaty, quavering vocal style on hooky '60s-flavored originals like "Perfect World" and "Look Away" and communicated an emotional maturity that just isn't apparent in most local singers. The interplay between drummer Robin Davies, bassist Matthew Sandborn and guitarist Spring also added an extra level of complexity to Barrett's songs.

Having studio habitué Sandborn and longtime local musician Davies (Tar Babies, Booty Froot, the Bar Tabbies, etc.) in the band clearly helps ground the Motor Primitives. But having experienced players involved may not be as important as the band's very visible willingness to bring out -- and, when it's appropriate, lean on -- each other's strengths. After just two years of playing local clubs, the members of the Motor Primitives have learned their place in the music and are more than willing to subsume individual ambitions for the sake of a compelling group sound.

During a relaxed, attitude-free interview at the Slipper Club, Barrett even goes out of her way to praise Sandborn for "massaging the arrangements" and turning her strong guitar-based originals into full-blown pop tunes. And the other band members nod in agreement.

Which isn't to say that the Motor Primitives are shy, self-effacing and just grateful to have a few gigs. They're currently working on a debut CD, and they admit that keeping up a regular schedule of local live shows is as important as it's ever been to them. They may be mature, but they're not about to settle into a comfortable routine of one-a-month rocking.

Show Review: Digibot, Tangy and the Motor Primitives
By Joe Price
The High Noon Saloon, Madison - Thursday Dec 23, 2004
January 2005 V3, N1, Rick's Café

Even the first truly bitter cold snap of the winter, not to mention the impending holiday, could keep the people away from the High Noon Saloon tonight.   Showcased were three very different takes on the genre of rock-and-roll, all from Madison's own music community.

First up were the Motor Primitives.   The four-piece band, led by singer and rhythm guitarist Pam Barrett, started the evening with a mid-tempo, folksy rock tune that had heads bobbing from the first chorus.   They quickly proved that they knew how to have a great time on stage while spreading the good cheer.   The originals were tasteful and right on; never a note or beat strayed.   They explored a lot of territory from, jazzy ballads to hillbilly stomps with downright rock anthems thrown in the mix.   Squealing old-school solos from lead guitarist Kat Spring and tight, throbbing rhythms from bassist Matthew Sanborn and drummer Robin Davies provided the right foundation for Barrett's always-on vocals.   The set closer, a cover of the Who's "I Can't Explain," captured enough of the original's bouncy energy to win them a hearty cheer from the audience.   The Motor Primitives had the largest crowd, admittedly only about fifty or so (see Jack Frost above), and the best response of the evening.   The dance floor was hopping by 10 PM, not halfway through their set, and was occupied by revelers right to the end.

Tangy took the stage with authority but couldn't keep up the energy level set by the Motor Primitives.   They worked their way through a list of originals that could have come from classic rock radio, complete with intense, if long-winded, solos from lead guitarist Mike Patrick.   Ken LaBarre led the band with the perfect pop-radio voice, singing the ballads with soul and howling the rockers with practiced ease, all the while lending rhythm guitar tones to the mix.   Bassist Ryan Byrne matched drummer Mike Pflieger for intensity and precision, and the potential for full-tilt jamming was evident, if only partially realized.   Tangy has been completely reformed, LaBarre being the sole original member, and this was only their second live performance with the new lineup.   Given the materials already present, the future could hold good things for Tangy.

Lastly and outrageously, Digibot seized the stage with a largely improvisational set and a fully suited and bearded Santa Claus on lead vocals.   Though they weren't quite rock-solid or tight, they were a truly impressive spectacle.   Judging by his lyrics, Santa is totally pissed off by a mixture of the rising commercialization of the holiday season and the antics of George W. Bush.   The band staggered like a drunken mall Santa three hours after cashing his only check of the year.   The performance was largely oratory, consisting of an intensely personal monologue accompanied by the sounds of a dying jalopy.   Though the crowd had dwindled to a focus group, those who remained shouted along with lyrical gems like "buy a lotta shit this Christmas!" and "Santa went in through the back door!" Digibot even managed arousing rendition of John Lennon's "so This Is Christmas."   From the tongue-in-cheek ditty to the punk anthem, they served up heaping spoonfuls of Christmas spirit to the joy of all left standing. Even the guy who kept flipping off Santa seemed pleased.

Show Review: Peace in Your World Madison Hostel Fundraiser
By Rick Tvedt
The King Club, Madison - October 26th, 2004
November 12, 2004, V2, N11, Rick's Cafe

...The Motor Primitives were next and put on a fine performance. Singer/guitarist/songwriter Pam Barrett is a greatly underrated talent. She uses a very slow vibrato in her voice at times and was occasionally reminiscent of Chrissie Hynde. She's very confident onstage, has charisma, and a boatload of catchy songs. Get out to see this band.

Track Review: The Motor Primitives Demo CD
By Dan Sebald
February 3, 2004, Dan's Computer

Only the first song Look Away has made it through the wire so far. Not bad. A bit misclassified though. It's not really ham fisted rock. Actually it falls more under the category of Canadian "prairie rock" also known as "wheatfield soul", the late sixties Winnepeg music with clean, slightly jazzy guitars made famous by the likes of The Guess Who and Buffalo Springfield (although B.S. also had some folk elements).