MOTHER’S GREEN interview with March Giaccari

Every now and then the rock gods breathe a pleased sigh of satisfaction and bestow an absolute sonic gem on our collective earholes.  The latest musical manna from the heavens is the second installment from Canada’s own heavy fuzzed out desert stoner sons MOTHER’S GREEN called “Swimming in the Sun”.  So where do I start?  A trademark way cool angle?  Another riveting make believe story?  A meaningful, symbolic anecdote or some witty repartee perhaps?

I got nothing.

After spinning this album multiple times, I’m like a riffstruck kid in a sonic candy store.  So why dick around?  I’m just going to come out and say it.  This is easily the SINGLE BEST album I’ve heard in the last several months.  Maybe even beyond.  And I spin a lot of ‘em on a weekly basis top to bottom.  “Un-fuckin’-real” might be an adequate descriptor.  Let me put it this way.  The comparisons stick.  If you dig the brazen balls out bombasity of early Soundgarden and the heavy rip snortin’ sly groove of Fu Manchu coupled with the experimental desertness that is Baroness and the trippy funky ass vibes of Earthless then you’re in the right sonic wheelhouse.  ”Swimming in the Sun” is chock full of lush, gorgeous, stunning soundscapes, epic crescendos and crushing, punishing riffs masterfully delivered with air tight kickassedness.  Drummer Dean Glover is the new Sheriff in town and takes no quarter behind the kit.  And Mike Simpson’s menacing low end thunder satisfies the most rabid of THC fueled appetites.  Creative fountain March Giaccari’s songwriting, vocals and guitar work are otherworldly.  Just a stellar, stellar album throughout.  Smokin’ wall-to-wall killer rock’n’roll. 
I sat down with creator, song writer, guitarist and singer March Giaccari to discuss the newest addition to the band’s repertoire and his insatiable love for music.

TEEDER: When and how did you first encounter your love for music?

MARCH: Um, my whole life.  I don’t know just music in general.  When I listen to it, it’s just like it’s a good feeling, ya know?  And there’s nothin’ really new, no doubt about that.  I remember my family you know they got records and stuff and you go through certain records and just be like… I can’t explain it.  It’s a love that I have man.

TEEDER: When did you first pick up the guitar?

MARCH: The first time I picked it up I was 11 years old.  That’s when I got my first guitar.  I got it for Christmas and um… yah, I’ve been addicted to it ever since!

TEEDER: What were your influences growing up?

MARCH: Influences?  We’re gonna be here all day.  Everything from Sabbath to Zeppelin to Santana to Gypsy Kings to say Michael Jackson.  I mean everything man… everything.  Like I’m just tippin’ off you know what I mean… Pantera.  Lots of stuff man.  From one side to the other.  There’s no boundaries.  Black Sabbath, Led Zeppelin, Santana, Gypsy Kings, Pantera, Pink Floyd, Johnny Cash, Michael Jackson, Queen, Corrosion of Conformity, ZZ Top, Aerosmith, Monster Magnet, Phil Collins, Kyuss, Jimi Hendrix, Jaco Pastorius, Fleetwood Mac, Primus, Alice Cooper, Alicia Keys, Bob Marley, Type O Negative, Fu Manchu, Lynyrd Skynyrd, Deep Purple, Motorhead, Guns’n’Roses, Luciano  Pavarotti, Steppenwolf, Van Halen, KISS, Motley Crue, Rush, Creedance Clearwater Revival, Cream and on and on….

TEEDER: So what led your tastes into the stoner realm?

MARCH: I don’t know, it feels good man.  It’s not that I would categorize a song, it’s just it’s a good feeling.  It’s music with feeling and… it’s organic you know ?  Lots of guitars, drums, bass, percussion.  Just add like natural instruments.  And that’s awesome.

TEEDER: Let’s talk about the new album.  The first album had a more laid back, tripped out vibe to it.  Where did the more aggressive, heavier feel come from on “Swimming in the Sun”?

MARCH:  It’s just excitement.  I wouldn’t like look at it as aggressive.  I would just look at it as excitement.  Like, for instance ya know when you’re around good people and you’re havin’ a good time?  It’s just energetic.  You feel like moving.  So there’s no aggression whatsoever on the record.  If you listen to the lyrics there’s no negativity whatsoever.  I just wanted to make a record that feels good cause that’s how I was feeling.  You know when you feel good you feel like you could run for miles?  That feeling. 

TEEDER: I noticed there’s a theme in a lot of the music and lyrics about capturing what each day has to offer and not squandering it.  Carpe Diem.  Seize the moment.  Living life to its fullest.  Is that a central theme to how you live?

MARCH: Oh, yah!  For sure.  It’s like you gotta enjoy it cause like… life is short.  So just enjoy it and then appreciate everything that’s around you.

TEEDER: What’s the new album concept about?... musically and artistically including the splendiferous jacket art done by Alex Baker and so on.  It’s a beautiful gatefold.

MARCH: It’s just about being in a good place, ya know?  Everybody’s got stresses and stuff like that and this record’s just like an escape.  You listen to it and you go somewhere that’s um, ya know fun to be at you know what I mean?  It’s got some mellow moments as well.  But ya know, that’s the excitement about it.   It’s an escape record.

TEEDER: Let’s talk about the song writing process.  What was your approach?

MARCH: Actually this record came out a little bit faster than the first one.  I booked to go into BWC Studios months in advance but I didn’t actually finish writing the words and the music ‘til pretty much close to a month before going in.  It was like the last month before the deadline and the songs just started to come in.  It was a humbling experience because they just came one after the other – bang, bang, bang! 

TEEDER: That’s a transcendental moment, isn’t it?  I hear that time and time again from different songwriters in different genres.  Where do the songs come from?  Good question.
Tell me about the recording process on this new album.  What worked, what didn’t work.  Any interesting technical or creative developments or discoveries along the way?

MARCH: Oh, it was great cause I got to work with Producer Greg Dawson and ah, yah I learned a lot from that guy.  He’s a good Producer and um… the good thing about Greg is he gets an idea of the direction that you wanna go in and he makes sure it happens.  The guy’s like an encyclopedia for music you know so… It was great working with him and Dean and Mike.  And uh yah, I’ll remember that for a long time.  Probably the rest of my life!

TEEDER: Let’s move to the songs on the album.  First up, the title track “Swimming in the Sun”.  It fades in on an extended drone and builds to an explosive percussive moment that goes off like a fragmentation grenade.  The song has all the intensity of Soundgarden’s “Jesus Christ Pose” and never relents.  It never lets go.  Your vocals smack of a Chris Cornell like texture and yet there’s something more.  The delivery is tight like your first high school girlfriend.  You scored (so to speak) a reprieve that hangs back in the middle and again builds to one of the most EPIC moments I’ve heard in ALL OF ROCKDOM that bursts through the containment barrier at the 3:24 minute mark.  Absolute sheer sonic brilliance quickly pursued by a dazzling, stratospheric solo smothered in delectable tone.  Then out of nowhere you hit the brakes and deliver a punishing bridge and riff loop.  The latino congas are simply icing on the cake.  What’s the theme behind this song?  Where did it come from?

MARCH: The theme of that is like I was on vacation.  I was back home, I was back in Italy to see some old family out there and um… yah, it was just being like somewhere different outside of your surroundings.  You see mountains, you see oceans and stuff.  It’s just a beautiful feeling.  You enjoy everything.  And that’s what that song’s about.  It’s like going somewhere totally new not knowing what to expect and everything’s a beautiful thing.  Good vibes.

TEEDER: So inspired by geography and culture – music, cuisine, people.  What about the first single “Observation for the Day”?  This is a different beast of a song.  We get whacked in the face with a fuzzed out menacing drop tuned distorto hEAVy riff right from the get go!  Like the height of the London Blitz in WWII.  It’s a KILLER riff (see video below and CRANK that fucker!).  This one’s a TOTAL headbanger.  Once again, you channel Mr. Cornell underscored by some meaty guitar tones and a sweetly executed ethereal, reverbed out solo that settles into a laid back bad ass heavy groove.  Thematically you follow a thought provoking, confrontational lyrical stream.

MARCH: The theme for that song is basically like if you go and take the time to look at your surroundings and what’s around you, you know?  Life is a beautiful thing but there’s also limitations that make it not so good.  That song’s just about waking up and seeing what’s not so good and fair and how you can’t do anything about it.

TEEDER: How about “Catching Existence”?  It’s reminiscent of the chilled, trippy feel and vibe from the first album.  You feel like you’re floating down a lazy river in a psychedelic canyon nudged along by some bright, echoed guitar licks.  Vocally it’s much more relaxed, comfortable, intimate and warm.  The song is uplifting and lyrically captures the essence of Alex Baker’s awesome abstract album cover artwork.

MARCH: Catching Existence is just about hangin’ out and you’re partying and you’re with people you know, people you like hanging out with and um, and you just stop and look and you’re just like “this is awesome!”.  You’re just catching the moment.  Enjoying the moment and loving your surroundings.  That’s what that song’s about and it’s a beautiful thing.

TEEDER: Next up is “A Night in Complete Awe”.  It’s more up tempo with a minacious opening driven by a heavy gargantuan drawn out riff, snarling Cornellesque vox, smokin’ guitar tones and unexpected congas delivering a funky groove.  Three quarters of the way through you execute a tempo change with a more forceful attack decorated by another fully reverbed stratospheric solo stretching to the cosmos.  What was your thinking behind this one?

MARCH: The theme behind that one is just like um, ya know, goin’ out to a club or a lounge or anything and just like after… when you get like a good buzz going and all of a sudden you’re just, you’re in complete awe.  You’re like “this is awesome!”.  Something totally unexpected happens, something totally positive and you’re just like, “Yah!”.  You know what I mean?  And the next day you look back at it and you’re like, “yah, that was a good night”.  Having a good time and enjoying the moment.  Looking at how beautiful things can turn out unexpectedly.

TEEDER: Sometimes a confluence of different things centered around music.
What about “Conscious of the Free”?  You created a very laid back vibe on this track with more unaffected guitar tones and warm intimate vocals at the outset.  It crunches down as you up the fuzzosity and takes on a sense of urgency vocally about halfway through.

MARCH: That’s about just being in a good state of mind and just being free.  You’re being humble and knowing who you are.  Just enjoying it.

TEEDER: Flipping over to the B-side, you once again kick it into high gear with a faced paced rocker called “Just Another” that boasts delicious, twangy distant guitar, a deeply satisfying harmonic bridge and a fist pumping chorus that ends in a full gallop.  What’s the theme behind this song?

MARCH: I wrote it in a perspective towards myself but anybody can relate to this song.  Everybody goes through break ups and uh, this song just puts the positive in it.  You know what I mean?  Just enjoy you know.  Somethin’ better’s gonna come along.

TEEDER: “The Antidote”.  Another upbeat rocker with a charging attack showcasing a more fluted tubular guitar sound and monster bass tone.  You slay a resplendent noodlehead solo part way in that goes off like an errant firework shooting sparks out it’s ass and then immediately tred into darker territory without losing pace.  The ending destroyed what was left of my brain with a magnificently executed deconstruction powered by more lavish, fuzzed out tones.  A devastating plodding bottom end finally overwhelms the piece like Gigantor stomping out entire city blocks wearing mammoth concrete pads.  What’s the movement or theme on this one?

MARCH: Antidote is like um, you know when you’re feeling down?  The antidote.  It’s symbolic.  It’s not really like an antidote that you take.  It’s just symbolic meaning like it’s uplifting.  Like getting your spirits up and enjoying everything!  It’s about staying positive and not being afraid.  That’s the whole theme man.  A lot of the songs are like that and this is just one to up it up, you know what I mean?  Not being afraid.  And just enjoying stuff.

TEEDER: Next is “A Close Encounter”.  A very touching, reflective song with a whole other trippy laid back spaced out cosmic vibe interspersed by unaffected vocals and guitar, a searing upfront solo and some ravishing Hammond B3 keys from beyond that would put a smile on Jon Lord’s face.  Where were you coming from with this song?

MARCH: That song’s just about like um, I’d say you know when you’re in a relationship and you know you’re havin’ fun and that.  This is reflecting.  Looking back on stuff.  You know, not being so bitter.  Just enjoying stuff and uh, it’s a relationship song you know?  That’s all I can say.  It’s like it’s… I could talk all day about feelings and stuff like that but if you listen to the song it’s got the feeling and you know what?... everybody feels that feeling once in a while.  You think back about the partner you had.

TEEDER: The song captures that feeling you describe even before you get into the lyrics.
We continue on to “Checking Point” and throw some more gas on the embers.  Palletable excitement starts to ride.  It leaps out of the trenches with compunction and leans into a powerful bridge.  The addition of tambourine and congas again unexpectedly defies the norm, but it works!  Then three quarters of the way through you guys freakin’ throw yourselves off Victoria Falls ass over tea kettle with some seriously heavy pounding riffs!

MARCH: That’s basically about like the way life is a game of chess and how we’re all pieces on that board stuck in the system and you just gotta stay positive and whatever.  Obstacles get in your way, you gotta figure out what moves to make and how to get around it.

TEEDER: You revisit a song from the first album called “Tattoos Leave Scars” which is a great song.  It has a hauntingly sad acoustic quality to it highlighted by your rich trademark soaring vocals overtop.   A favourite of mine.  What’s the message behind it?  And how come you brought it back on the second record?

MARCH: That’s a good question.  I want to clear this up.  The reason why I brought that song on the second album… originally the second album was supposed to be nine songs and um, ya know I had that song left over from the last record.  So I was thinking ya know just add congas and bass to it and just release it as a bonus track.  And that’s why it’s on the second record as well.  It’s another break up song about a relationship gone sour.

TEEDER: So was it just a matter of adding a few instrumental tracks or was it a complete remix?

MARCH: No, it was the exact same song remixed with congas and bass.  Just added it as a bonus cause I wanted to add something extra

TEEDER: What’s the song about?

MARCH: Yah, once again here we go!  I dunno.  The song’s about a breakup and uh, you know sometimes you feel down so you write yourself a song and get over it.

TEEDER: So it’s a healing mechanism in a way.
Tell me about the musicians you surround yourself with.  Thoughts and feelings on Dean Glover, Nick Tipe, Mike Simpson and some of the guys who worked with you on the new album – keyboards, congas, etc. and their contribution.

MARCH: I’ve just been priviledged ya know, to jam with great musicians.  The line up’s constantly changing but I appreciate everybody I’ve worked with.  It’s great you know what I mean?  They’re all great musicians and I love them all man.  I love music so much it hurts.

~Teeder


BAND WEBSITE: http://www.mothersgreen.com/

Chuck Prophet – The Hurting Business

 

Even back then, I could tell.

There may not be many people around who remember Peter Accident and the Duck Revolution, but I do.  Most importantly, I remember the spiky-haired, freakazoid guitarist, sliding across the stage on his knees at the High School Talent Show, shredding away on his Telecaster to some homemade punk song far in excess of the limited talents of the band around him. 

That was Chuck Prophet.  And even then, I could tell.

Walking through the halls of high school, it was apparent that Chuck wouldn’t be long for our small town.  I don’t know if it was the Los Angeles vibe of his birthplace that just didn’t fit in with the small, semi-rural town in Northern California, or if it was something else.  Some unexplained longing that seemed to permeate through his skin.  His way of walking one step to the side of everybody else.

I wouldn’t say that Chuck and I hung in High School, but we were always right with each other.  We shared that common acknowledgement of being outsiders in a place that didn’t really like outsiders.  And we were-- two misfit, semi-loners who found their refuge, their escape. . . nay . . .their reason for existence, in music.  For Chuck it was the burgeoning punk scenes of LA and San Francisco that fueled his passion.  For me, it was the NWOBHM.  But the specifics of the music didn’t matter.  Punk or metal. When we passed each other in the hallways, we gave that knowing nod of outsider acknowledgment.  We were always right with each other.

Peter Accident and Duck Revolution wasn’t destined to be long for this world, but it was just the first stop on Chuck’s lifelong musical journey.  In 1982, I went to see REM at the Keystone in Berkeley on the Murmur tour, and there was my old classmate, Chuck, opening the show.  Don’t remember what he played, or even if he was any good, I was just psyched to see my friend on stage, still tearing it up with the knee-sliding abandon as he did with the Ducks.  Chuck saw me and invited me backstage where we hung and talked and I had the opportunity to be completely ignored by Michael Stipe (not in an offensive kind a way.  He was in his hide-behind-my-long-bangs shy days). 

And even then, I could tell.

Living in Los Angeles after High School, I gained some miniscule measure of notoriety as a DJ at the local punk station KSPC FM, where Chuck and I crossed paths again.  Not in person, but in the grooves of the records I was spinning. Chuck had taken up residence with the rootsy/Paisley Underground heroes, Green On Red, just in time for their classic, Gas Food Lodging, lending them that killer guitar work that brought the band world-wide acclaim.  I was a big Green on Red fan even before Chuck joined, spinning them weekly on my radio show.  Green on Red made it big in Europe, even as the band wilted down, ending up simply as a duo with Chuck and founder Dan Stuart.  (If you’ve missed any of the Green on Red albums --even the first one before Chuck joined-- go check em.  Great stuff.)

And even then, I could tell.  More waited ahead.

The end of Green on Red, didn’t spell the end of Chuck’s music.  From his solo debut, Brother Aldo in 1990 through to his current release, the San Francisco-themed album, Temple Beautiful, Chuck has crafted a solo career that has made him a hugely respected purveyor of fine Americana. Blending his off-country roots with some raw, distorto-blues, and a Tom Petty-ish talk/speak/singing voice, overseas Chuck is seen as an American treasure.  A roots icon on the order of John Hiatt, Ry Cooder, Tom Waits, or Ryan Adams.  I’ve always thought it was strange that Europeans appreciate Americana roots music more than Americans do, but there it is.  In Europe, Chuck is definitely appreciated.

Now, so far, this hasn’t been much of a record review, and in truth, at this point I could plug in any one of the titles of Chuck’s 12 albums.  They’re all consistently good, and pretty much universally praised.  But for now, The Hurting Business, released in 2000 is the one moving my mojo.  Perhaps it’s the blending of dirty, raunchy blues, like the gritty “Shore Patrol,” that doesn’t shy away from a little turntable scratching, or the downtempo, near-trip hop beats-under-the-roots-vibe of the ironically melancholic “I Couldn’t Be Happier.” “Rise,” is a masterpiece of bluesy mood, distant menacing western atmosphere, with some effect-laden guitar.  The combination of the downtrodden, but steady beat, and Chuck’s near-whispered vocal is so sultry it’s like sex captured on vinyl.  Title track, “The Hurting Business,” crashes into the garage with a swirling farfisa organ and some crunchy guitar chords, as the whole things swings and sways with a mutated-blues-drawn surf-vibe. 

“Apology” is a straight up roots ballad that speaks to the universal truth-- that of being wronged and wronging others.  Consider this Chuck’s “Everybody Hurts,” that blends right into the turntablistic-punky blues of “Diamond Jim,” complete with Tom Waits-esque coffee can percussion.  And don’t forget “It Won’t be Long,” a tenderly-aching ballad of the highest Tom Petty order.

And in the end, that’s the key.  Chuck has such a deep wealth of songwriting talent that he can dig down and twist his soul to bring out whatever moves him. With The Hurting Business, it’s Chuck’s willingness to experiment with the form of the roots, bringing in that eccentric blend of hip hop/trip hop beats, blues, and grind that makes the album work.  It’s never boring, always unpredictable, and a listen that never fails to satisfy.

Having collaborated with Warren Zevon, Lucinda Williams, Soloman Burke, Cake, The Silos, Alejandro Escovedo, Jackpot, and having had his songs covered by the likes of Boz Scaggs, Gordon Lightfoot and Kelly Willis amongst others, the world is starting to see that which those of us who'd witnessed the chaos of Peter Accident and the Duck Revolution always knew.  And Europe touts.

Chuck Prophet is an American Treasure.

And there’s more to come.

I can tell.

--Racer

Ripple Theater - Barry Richards TV Collection Vol.1 featuring Tommy Bolin, Alice Cooper, Humble Pie, Bob Seger

In the 3 years I've been scribbling for Ripple I've received some very cool stuff - lots of great music, some cool feedback on my reviews (Captain Sensible commented on my review of Grand Funk's Live Album!) and the chance to bond with my fellow rock freaks out there. But this DVD/CD that I was just got in the mail might be one of the best perks I've ever received. If you're into kick ass classic rock don't even bother reading this review. Just go to the bottom of the page and click the link to order a copy. Trust me, you're gonna want this as soon as possible.

Back in the early 1970's Barry Richards presented a low-budget TV show that featured rock bands playing live. Shit, just having good quality footage of Alice Cooper doing "Eighteen" and "Black Juju" from 1971 is worth whatever they're charging for this. And then there's the smokin' version of "Rollin' Stone" by Humble Pie back when Frampton was still in the band. So good! There's Zephyr featuring a very young Tommy Bolin (Racer, have you ordered your copy yet?) playing a gorgeous Les Paul. This is also back when Bob Seger used to rock hard so you get 3 killer jams including a burning "Ramblin' Gamblin' Man." Bob's really going for it rocking a red, white & blue Gibson Firebird (paint job probably inspired by Wayne Kramer's American flag Strat he played with the MC5) and a drummer with an insane drum kit. There's also some very cool footage of the Byrds backing up Fats Domino and an interview with Little Richard. But the best part for me is excellent performance from Muddy Waters.

The audio CD is also very cool. There are 2 interviews Barry did with the Beatles in 1964 that collectors will love to have. Dr. John also gets interviewed and turns in a great 10 minute version of "Gris Gris." Alice Cooper freaks like me will love the radio concert ad Barry did in 73 as well as the 16 minute interview with Alice and Flo & Eddie.

This review is kinda short because after the first viewing I was pretty dumbfounded. I could write some more but I'd rather go watch this thing again. The booklet has lots of cool photos and interesting liner notes from DC area native Joe Hasselvander of Pentagram and Raven. That guy certainly knows his rock n roll. This is mandatory viewing, don't snooze on it. The cover says it's Volume 1, hopefully there's a lot more of this coming out soon.


--Woody

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Corrosion of Conformity

Man, I am stoked that this new Corrosion of Conformity album is so good! They were one of the first hardcore punk bands that I discovered on my own, thanks to the recommendation of Bob Muldowney in the pages of his Kick Ass fanzine in 1984. When Animosity came out a year later it was blasting on my stereo pretty much non-stop and I even interviewed drummer Reed Mullin for my high school newspaper. It was also one of the first "hardcore" tapes my friends who were into Ozzy/Dio/Priest/Scorps could tolerate. Well, at least most of it. Side two was a bit much for them but I loved it. So when it was announced that C.O.C.'s ever changing line up was reverting back to the Animosity trio of bassist/vocalist Mike Dean, guitarist Woody Weatherman and Mullin I was very excited. I missed their NY show on the first go round but heard they were great. When it was announced that they were going to do a new record I really didn't know what to expect. I think the last C.O.C. album I heard all the way through was Blind and that was about 20 years ago.

Album opener "Psychic Vampire" starts off with a heavy groove before switching up with a fast punk part before returning to the groove. A very nice Bad Brains via Mahvishnu Orchestra way to begin. "River Of Stone" and the instrumental "El Lamento de las Cabras" are slower and moodier and make a fast thrasher like "Leeches" sound even faster and heavier. "Leeches" (sung by Reed) is really the only song similar to their vintage thrash era. Unsurprisingly, "The Doom" is slow and heavy but has some fast parts, too. C.O.C. was heavily into the first 2 Trouble albums when they came out when at a time when most metal fans were not into them. I always thought it was funny how a hardcore band got a lot of metallers into bands like Trouble and Saint Vitus because they'd wear their t-shirts.

The rest of the album is just kick ass heavy rock. Not fully metal, not punk, not classic rock. These guys always liked to play in the "beyond category" vein and that's what I really like about this album. The production is great, too. Woody's guitar tone is hard n heavy and blends well with Mike's booming bass. Reed's drumming is top notch. He throws in a lot of cool Clive Burr drum fills mixed in with some Earl from Bad Brains high hat work. There's even some "Pay To Cum" style cowbell!

I hope this album finds an audience. I know a lot of their fans are skeptical because Pepper Keenan isn't in the band right now and they probably never liked early C.O.C. They lost many their original hardcore fans after the Technocracy EP and this album might not win them back if all they like is punk rock. Their loss is my gain, I guess. I got my ticket for the NYC show on March 1 and I can't wait to see these guys rage the stage again.

--Woody

Billy Joel - Piano Man (2 CD Legacy Edition)

 

There's no doubt about it.  Billy Joel deserves his place in the Rock N Roll Hall of Fame.  Just the work over his pivotal 3 albums, The Stranger, 52nd Street, and Glass Houses cements this.  But prior to those albums,in late 1973, Columbia Records released Billy Joel's first major album, Piano Man. The album went on to sell more than 4-times RIAA platinum to date, and is one of the corner-stones of Billy Joel's Columbia catalog of nearly 20 studio and live albums.

Still, back in the day, I could never get into Piano Man.  Yes, I loved the title track (more on that later) but the rest of album left me flat.  It is a strange album after all, not utilizing the Billy Joel band, but a bunch of California studio musicians.  Plus, there's this inexplicable country-western vibe to the album, so different from the NY street level storytelling of The Stranger.  Perhaps it was this bluegrass feel that turned me off. Or the muddied production.  Or the lack of a "Just the Way You Are."  Whatever, I couldn't get into it like the following three.

Almost four decades later, Piano Man (Legacy Edition) brings the 10-song album back in the spotlight.  Completely re-mastered, the album finally clicks for me.  Finally, the sound is where it's supposed to be, vibrant and clear and full of punch.  The bluegrass vibe of "Travelin' Prayer," works this time, sounding rousing and hopeful, as does the rest of the album.  Still, not as developed as Joel's later work, and not as important as the following three albums, Piano Man finally sounds like a fitting introduction to a man who had a major impact on American music.

 Then of course, there's the title track, "Piano Man," still one of my favorite songs of Joel's ever.  The Lonliness and despair he brings forth in his observations about the regulars at the bar in LA where he had a piano-bar residency for 6 months are spot on.  The emptiness is clear.  The longing is palpable.  When he sings in the voice of the bartender, "Bill, I believe this is killing me, as the smile ran away from his face." it's one of those transcendent moments in music for me (like Harry Chapin's "Cat's in the Cradle") where I actually feel moved to the brink of tears. He evokes that kind of emotion.  Amazing stuff.

But don't buy Piano Man for the remastered version of the album (even though it sounds better than ever before.)  If you're a Billy Joel fan, buy the Legacy Edition for the second CD, an entire previously unreleased 1972 live radio concert (predating Joel's Columbia signing by a year).

This concert is legendary in Joel's fans hearts, and launched his career.  Early support for Joel came from Philadelphia, specifically the top-rated FM station WMMR, which programmed a live concert series taped in the intimate Sigma Sound Studios. Billy recorded a concert for the series on April 15, 1972. Three of the 12 songs that he performed were destined for inclusion on his next album (more than a year and a half away) Piano Man: "Travelin Prayer," the Aaron Copland-esque "The Ballad Of Billy The Kid," and the notorious "Captain Jack." Tapes of the 'MMR concert made the rounds, with "Captain Jack" turning into an "underground" FM favorite. Some of those listeners happened to work for Columbia Records, and soon the groundwork was being laid for Billy Joel to come to New York and audition for the label. The rest is history.

But what fascinates me most about this show are how fully developed a talent Joel was at that early point in his career and how positively awkward he was as a performer.

Musically, his songs shine bright.  His playing was impeccable, his voice superb.  And his early rendition of "She's Got a Way," is breathtaking -- still one of his best melodies ever.  Yet, as a performer, this awkward kid from New York was a hilarious mess.  His between song banter is reduced to horribly, ill-fated jokes, stutters, awkwardness, and loud slurps from his mug of beer.  And I mean loud slurps.  May even be a burp or two in there.  Truthfully, his banter was so bad, it would be painful to listen to if I didn't know how it was going to all turn out for him years later.  Still, as a snapshot of a young artist, it's priceless.

Piano Man, will never be The Stranger to me, but in this version it's an album worthy of the space it takes up on my Billy Joel shelf. 

--Racer

Stormzone – Zero To Rage

Man, I love power metal.  It’s a sub-genre that really doesn’t seem to go over too well here in America, and I don’t know why.  I’ve heard people say its cheesy, but really, like we don’t have any other cheesy things here?  Or sometimes I’ll hear that it’s too “over the top”, but have you ever watched WWE or any of that shit?  Power metal seems like it would be made for Americans, but most American metal fans just don’t seem to get it.  Europeans, though, absolutely lose their minds over this stuff.

Which brings us to the subject at hand, the latest release from a band called Stormzone. Zero To Rage is the album and it is very well done.  All the necessary components are there.  Big anthemic songs, check.  Singer with a range that makes you say, “How does he do that?”, check.  Songs about heroes, fighting, monsters, check, check and check.  And songs about jesters.  How come only European bands write songs about jesters? 

Opening song “Where We Belong” sets the tone for the entire album, so if you hear that song and you can’t get into it you might as well just not put any more time in.  But if you stick with it you will be rewarded with some very good stuff.  One of the things I really dig about power metal is that there is always good, melodic music going on, and always good musicianship as well.  It is probably the only form of metal that really focuses on melody and there is nothing wrong with that.  There are technical forms of metal that have musicianship to spare, but often the music sounds soulless.  Power metal will never be accused of that.

The standout tracks for me on this album are “Jester’s Laughter”, “Last Man Fighting”, “Voice Inside My Head”, and “Hail The Brave”.  There are all fine examples of really good power metal, although the entire album is full of good tunes.  The lyrics all tell a story, and because of the clean vocals you can actually hear the story and understand it.  I like the production of the album as well, all of the various instruments are well placed in the mix and you can easily hear what each one is doing.  Sometimes this kind of thing gets taken for granted, but with more and more music being shabbily recorded and dumped into the market place, the good stuff stands out more easily.

I really only have one quibble with this album.  It has 12 tracks and clocks in over 72 minutes.  That’s an average of 6 minutes a track and it does make for a very long listen.  I once heard it said that just because you can fit 80 minutes onto a CD it doesn’t mean you should, and there can be too much sometimes.  As much as I love this genre this album is almost at the point of being too much, but barely saves itself.  So check it out if you like power metal, this release is worth spending some time with.

-- ODIN

Deftones - Around The Fur

 

Well folks it's been a while since I last had a chance to do any sort of write ups for The Ripple. While I have been listening to countless amounts of music I have had little time to do a proper write up. This past holiday season has been a handful.

Recently, we at The Ripple Effect were asked to write up about the first album we bought with our own money. I remember it like it was only yesterday. I was flipping through a music magazine, probably Circus or some shit and came across an advertisement for Music Choice. Music Choice was a cd by mail service offered in the 90's. You get 12 cds for a penny...a fucking penny!!! While I don't remember what 12 cds i got for my rusty old penny, I do remember one of them being Deftones - Around The Fur. An absolutely amazing album that would go on to shape my musical tastes for years to come.

This album gave me my first taste of of the vocal styling of one Chino Moreno. Who I would go on to idolize later in life...minus the whole drug abuse situation. My favorite song on that album and still one of my favorite Deftones songs was "Be Quite And Drive (Far Away). This song had it all: amazing lyrics, music and Chino's half crooning half screamed vocals and just plain amazing music.

"This town don't feel mine
I'm fast to get away - FAR
I dressed you in her clothes
Now drive me far - away, away, away
FAR - away
I don't care
FAR - away
And I don't care where just FAR - away, away, away"

Other amazing tracks on this album were "Headup" which featured Max Cavelera of Sepultura and Soulfly fame. As well as the title track "Around The Fur" and "MX". In honesty, who am I kidding? This album is great from beginning to end. If you have never heard the album, pick it up.

-Cicatriz

Deftones goes good with: The Smiths, Depeche Mode, Soulfly, Sepultura, Norma Jean, Crosses, Team Sleep, The Chariot, Pulse Ultra, System Of A Down

My First Album - Blink 182 - Enema of the State

I remember my first time like it was yesterday. It was the summer of 1999 when it all went down. South Park: Bigger, Longer & Uncut had just been released and I already celebrated my birthday a few weeks prior. This was about the same time I moved into a new city and started getting an allowance. After saving up three weeks allowance at $5 a week I had enough money to buy my very first CD, Enema of the State by Blink 182.

I was definitely the last of all my friends to buy the album, but I appreciated the album just as much. The infamous cover with the attractive blonde nurse pulling down her blue glove was an image every teenage male knew in 1999. Almost every guy I knew, including yours truly, had a crush on the model known simply as Janine. Years later I would learn her real name was Janine Marie Lindemulder,  an ex-wife of Jesse James and an adult film actress, but I digress.

It was a warm, sunny June day when I walked to Target. Yes, I actually walked like a normal kid unlike some spoiled children today. The Target by my best friend’s house was known to have a relaxed purchase policy for CDs that contained a Parental Advisory sticker. Our walk took my friend Danny and I about 30 minutes.

Once we arrived I immediately went for the entertainment section and found the CD. It was $13.99 and I couldn’t have been happier. That day I learned a very important lesson, it’s all about confidence. As I brought my CD up to the twentysomething cashier in the garden section, she looked at me and said, “Late night, come home.” It took me a second before I replied, “Work sucks, I know” and she gave me a big smile. What were the chances the cashier would also be a Blink 182 fan and that she would quote “All the Small Things” to me?

Needless to say both Danny and I enjoyed rocking out to Blink 182 that afternoon. Green Day may have been the first band I fell in love with, but Enema of the State was the first album I personally bought with my own money. I managed to smuggle the album back home and played it several times before I lost it. Years later, I found my copy, now extremely scratched up, but I still cherished it just as much when I first bought the album. Enema of the State will always bring me great memories. When Blink 182 released their eponymous album in 2003, my interest in the band had passed long before their hiatus in 2005. However, at the time I always regretted not being able to see them live.

During my senior year of high school I was listening to a rock radio station when the DJ said, “Here’s an oldie, but a goodie…Blink 182’s ‘All The Small Things.’” I couldn’t believe it. Did a modern day rock DJ really say that about a song that’s only eight years old? Still, I sang along for 2:48 minutes and couldn’t have been happier. My joy for Blink 182 resurfaced and I became an even bigger fan in college thanks to my friend Billy, who is arguably the biggest Blink 182 fan I know (Sorry, Malcolm).

When Blink 182 reunited and I saw them on tour for the first time in 2009, I told people it was for pure nostalgia. I lied. By that time I was beyond stoked and my passion for the band had been reignited. I have now seen the band several times and can’t wait to see them again. There are certain bands, no matter how old I get, I will always have a place for them in my life and Blink 182 is one of them. Their music still holds up.

Now every time I listen to Enema of the State, the album still sounds fresh to me. It’s one of those albums that defined my youth and taste in music. Right now the song “What’s My Age Again?” really resonates with me, maybe it’s because I’m 23, but I believe it’s just an awesome song about growing up. Even songs like “Adam’s Song,” “The Party Song,” “Anthem,” and of course, “All The Small Things” all hold up. Sure maybe not all of you are “feeling this” pick, but to me it’s “obvious” and will always be a band that keeps me “up all night.”


--Brownstone

My First Album - Weird Al Yankovic - In 3-D

First record I ever owned, I'm pretty sure; ca. 1984. First concert I ever went to. First piece of media I wore out (can’t do that now. Goddamn digital media.).

Every track is still great; the originals the best: “Midnight Star” (tabloids), “Theme from Rocky XIII” (27 years later, we’re halfway there, Al!), and especially “Nature Trail to Hell.” Dig the first verse:

Coming this Christmas to a theatre near you
The most horrifying film to hit the screen
There’s a homicidal maniac who finds a cub-scout troop
and he hacks up two or three in every scene

That still cracks me up. What’s more: there’s actual Judas Priest/ Slayer/ black metal backwards masking involving Satan on the track! See below....

The Satan angle sorta makes sense: it’s been 30 years since Al’s first album, and he apparently has not aged at all. Or not in any way, shape or form.

Weird Al is Of The Devil. Could he be any cooler? I submit to you that he cannot.

--Horn

Scorpions - Tokyo Tapes

 

Another week, another review of a double live album. I could have sworn I wrote this one up a year or so ago for Ripple but was amazed that I did not. Good thing, too. I've been looking for a cheap copy of the LP to replace the one that went missing over 25 years ago and finally tracked one down last week. 5 bucks for this muther at a used place on Long Island in a bin full of crappy metal like Americade and Kane Roberts. I've had the remastered CD for many years, and it sounds great, but when it comes to double live albums you just gotta have the gatefold sleeve. For fans of 70's heavy rock, Tokyo Tapes is an essential companion piece to Unleashed In The East, Strangers In The Night, Made In Japan and Live & Dangerous. Next time you're having a party put all those albums next to the turntable, rotate playing sides from them and watch the chicks magically disappear. Works every time!

Tokyo Tapes captures the Scorpions at a key point in their career. Guitar wizard Uli Jon Roth had already made up his mind to leave the band (check out his song "I've Got To Be Free" from his last studio album Taken By Force) but honored their touring commitments in Japan. Recorded live in 1978, this captures the end of Uli's Hendrix inspired version of the band before they evolved into a more conventional and commercial hard rock/metal band in the 1980's. Most fans of the popular era are either unaware or flat out don't like this version of the Scorpions. The truth is that most Scorps records until the mid-80's are pretty solid and they remain a kick ass live band to this very day. The Scorpions have announced that they will be retiring so if you've never seen them, you better do so soon. The next best thing would be to check out the great live DVD of their show at the Wacken Festival from 2006 with special guests Uli Roth and Michael Schenker.

Getting back to Tokyo Tapes, opening song "All Night Long" is one of their best. It was never on any of their studio albums and is one of the few (maybe the only one) written by Uli and vocalist Klause Meine. It's everything an opening song should be - fast, loud and with a killer groove. Uli's solos are incredible but so is Rudolf Schenker's kick ass rhythm guitar. Rudy really pushes the band hard and he's a very underrated player. The rhythm section of Francis Buchholz (bass) and Herman Rarebell (drums) are pummeling. "Pictured Life" and "Backstage Queen" get massive reactions from the Japanese crowd and the band delivers tight renditions. As always Uli's lead guitar work blazes.

Uli really lets loose on the slower and more Hendrix influenced songs like "In Trance," "In Search Of The Peace Of Mind," and, especially, "We'll Burn The Sky," co-written by Monika Dannemann, the woman who Hendrix was involved with when he died. The Scorpions met her when they played the Marquee Club in London and she became Uli's companion until her death in 1996. "We'll Burn The Sky" is credited to being written by Rudy Schenker and Monika but Uli owns this song. His guitar playing is out of this world. Next to Robin Trower, Uli is one of the few to have been able to incorporate Hendrix's playing into a unique style. As great as Uli's playing is, sometimes his singing isn't so great. Especially on "Polar Nights." It was actually dropped from the CD version of Tokyo Tapes to keep it a single disc but is a bonus track on the CD of Taken By Force. Still, it contains a great solo and is not worth getting up off your bean bag chair to move the needle when playing the LP. His vocals on "Dark Lady" are much better mainly because he lets Klaus handle the high notes on the chorus.

Another fun aspect of Tokyo Tapes is the between song banter. Klaus addresses the Japanese audience in English with his thick German accent. Who knows if anyone understood each other but one of my all time favorite stage announcements is when he says "I hope we get a good feeling together" and then yells out a few words in Japanese. The crowd really goes wild when they do a version of the Japanese song "Kojo No Tsuki." That must have earned the band a huge amount of respect. Another classic Klaus moment is when he shrieks at the crowd "do you like rock n roll" before they launch into a high energy meddley of "Hound Dog" and "Long Tall Sally." They were probably inspired to dust these off as a reaction to Deep Purple's usual encore of "Lucille."

The front cover is a classic with Rudy bending waaaaay in front of the bass player. Sure it looks a little gay, but can you do that in giant, white platform boots? There are great photos in the inner sleeve and almost everyone in the band has ridiculously big platforms. Probably the main reason why if you see photos of them today they're wearing sensible shoes. Back in the 70's everyone wore those giant shoes, kimonos and had massive fog machines on stage and the world was a better place.

--Woody

Soul Cycle - S/T and Oresund Space Collective - Dead Man in Space

Simply put, I love instrumental music. But I've been asked many times, "How can you listen to that?" There's no lyrics. No voice to tell you the story.  Exactly. The instruments tell the story for me; they guide my journey. Half the time I may be hearing a band's vocalist but I'm not necessarily listening to every word he or she says. For me, it's all about the music.

"Take away all the vocals and it's still music," I tell people whenever I'm questioned about my love for instrumental rock/metal. I understand that everyone has different tastes and a lot of people insist on a vocalist. For those who don't, I have a couple of excellent instrumental bands/albums I've discovered recently and I thought I would share them with you in case you don't know already. I'm just that kinda guy.

The first is the self-titled, melodic metal debut by Soul Cycle, available at Bandcamp. I can't stress enough how much I'm loving this right now and I have to thank fellow music lovers at The Number of the Blog for giving me the hint.

"Melodic metal...with MORE BALLS!" That's how Soul Cycle founders and underground metal producers Chris Catharsis (Sonorant) and Mark Hawkins describe their music. These guys have several more thrash/death metal projects but Soul Cycle is more my style. No Cookie Monster vocals here.

I'm a huge Joe Satriani and Steve Vai fan but I'm going to be honest with you once again. Soul Cycle has made me shelve both of their entire discographies for the time being. The guitars are THAT good and so are the songs. Neither Satriani nor Vai were ever this heavy. Plus, they're getting old like me. Catharsis (composition, rhythm/bass guitars, drum programming, production) and Hawkins (composition, lead guitars) are my new guitar gods.

Influences: Catharsis and Hawkins mention bands like Soilwork, Devin Townsend, In Flames, Sevendust, Sikth, Misha Mansoor, Chimp Spanner, Tool, Meshuggah, Threat Signal, Mnemic, Rage, Misery Inc., One Way Mirror. "And those are just the ones that comprise the majority of our sound!"

Soul Cycle are making their finishing touches on Soul Cycle II right now. They've been posting teasers on their Facebook page recently and it's driving me crazy! I want more! I can't do anything but wait and keep hoping the release date is sometime soon. Until then, I'll keep listening to their debut. You can, too. Just stream the entire album and get your own copy at Bandcamp for whatever you want to pay.

---

I'd like to thank the Prog Sphere music blog for hooking me up with Oresund Space Collective and their "totally improvised space rock".

Wow. I can't say much else but these certainly are the perfect, laid-back and tripped-out, lava lamp jams I can love so much. Turn down all the lights and let the music take you on a journey through the ethereal cosmos - through the final frontier. I'm down with that.

Partial bio: Øresund Space Collective is a group with members from many different Danish and Swedish bands; these include The Carpet Knights (Malmö), Siena Root (Stockholm), Mantric Muse (CPH), The Univerzals (CPH), Bland Bladen (SE) and many others. The instrumental, psychedelic rock band has a shifting line-up and an extensive catalog; to date, I think they've released about 8 CDs and 3 vinyl records and I'm lucky enough to have a digital copy of their latest, Dead Man in Space (Feb. '11). I'm considering it some of the finest space rock available in this galaxy.

What amazes me so much about this Scandinavian supergroup - aside from the music - is the fact that all their recordings are totally spontaneous. There's no rehearsals. No preconceived notions of a song's structure. Like they say, it's all improvised at that moment in time. They're playing what they feel when they feel it. I sure can feel it too, man.

You can listen to Dead Man In Space and other releases by Oresund Space Collective at Bandcamp. Check them out for sure.

--Heddbuzz


http://soulcyclemetal.bandcamp.com/
http://www.oresundspacecollective.com/
http://oresundspacecollective.bandcamp.com/album/dead-man-in-space

Head Cat - Walk the Walk...Talk the Talk

There are a handful of music icons simply known by one name. Some of these mononymous people include renowned legends Bono, Elvis, Madonna, Prince, Flea, Slash, Ozzy and of course, Lemmy. Every time you utter Lemmy it’s hard not to imagine the legendary badass lead singer and bassist of Motorhead rocking out on stage. His larger than life persona has only been catapulted by Pop Culture like in the movie Airheads with the now famous question “Who would win in a wrestling match: Lemmy or God?”



Despite never changing his act or regiment, Lemmy appears to have never aged a day and can still be found hanging out at The Rainbow Bar and Grill on the Sunset Strip when he isn’t touring with Motorhead. As even the documentary film, Lemmy: 49% Motherf**ker 51% Son of a Bitch, illustrates, Lemmy is just a down-to-earth rockstar who continues to live life the way he wants.

Recently I was turned onto the rockabilly supergroup Head Cat, which consists of Lemmy (Motorhead), Slim Jim Phantom (The Stray Cats) and Danny B. Harvey (Lonesome Spurs, 13 Cats and The Rockats). The name Head Cat comes from the combination of Motorhead, The Stray Cats and 13 Cats. The band formed while recording the Elvis Presley tribute album Swing Cats: A Special Tribute to Elvis. The trio stuck around after the recording session and goofed around by playing classic rock songs they knew. In 2006, Head Cat released their first album Fool's Paradise and their second album, Walk the Walk…Talk the Talk was released earlier this year and contains original Head Cat material.

Lemmy (vocals, guitar, bass, and harmonica), Slim Jim Phantom (drums, percussion and additional vocals), and Danny B. Harvey (double bass, guitar, keyboard) deliver a delicious and delightful album filled primarily with cover tunes along with two new awesome rockabilly songs, “American Beat” and “The Eagle Flies on Friday.”

Head Cat celebrates rock’s roots with new interpretations of classic songs from the 1950s and 1960s. This celebration of songs from yesteryear feels and sounds like a perfect fit for Lemmy as his distinctive voice oozes appreciation for these classics such as Larry Williams’ “Bad Boy”, Chuck Berry’s “Let It Rock” and Eddie Cochran’s “Something Else.”

Walk the Walk…Talk the Talk also includes the delightful “Say Mama,” “I Ain't Never,” “Shakin' All Over,” “Trying To Get To You,” the John Lennon/Paul McCartney “You Can't Do That,” “It'll Be Me,” and “Crossroads.” For half an hour, these 12 songs will entertain you from beginning to end. It’s truly remarkable how well Lemmy’s voice accompanies Head Cat’s sound and is the perfect fit as the lead singer for this rockabilly band.

--Brownstone

Toy Matinee - S/T

I found this GEM (and I do mean GEM!) Back in '91 on cassette. I'm from the Quad Cities of Iowa/Illinois, and was a frequent shopper at Co-op Records. The guys all knew me and knew I KNEW my music. I was looking for something different, something interesting, something not mainstream, that I could sink my teeth into AND be able to call my own (always loved finding great music and then turning others onto it, like a music guru). The Co-op dudes knew I was a Beatles collector and fan as well as a follower of Steely Dan. I had respect for Madonna's pop sensibilities, but much preferred intelligent lyrics and word play within an easily digestible, but intricate movements in a song. They showed me a cassette of Toy Matinee.

Toy Matinee was a short-lived American art-pop band, and also the title of their only album. Their sound was an array of mixed influences, including progressive rock, AOR and pop reminiscent of both the Beatles and the Beach Boys. I was ADDICTED the very first time I heard the very first chords on LAST PLANE OUT - the very first song on the album! I knew, immediately, that this should have been a much bigger record than it had been. Lots of pop hooks that, in no time at all, you'd be singing along with, not to mention bopping your head. This was classy, intelligent power pop from mostly unknown masters! THE BALLAD OF JENNY LEDGE spent a few minutes in rotation on stations in Los Angeles and San Fran, but didn't really make it out of Cali. The radio show MARK & BRIAN were big fans of Toy Matinee and good friends with Kevin Gilbert. They had them on live many times!

My favorite track is the title track, TOY MATINEE. Amazing feel to it! It kind of comes out of nowhere on the album, but fits! If it weren't there, the collection wouldn't feel right. I won't go into each track (although I could!), because I want to tantalize you with just a few teases of this record. I'd like you to experience TOY MATINEE the same way I did. Something fairly old (especially now, released in 1990), but was new to me (and it will be to you!).

Now some facts:
TOY MATINEE was formed by producer/composer/keyboardist Patrick Leonard in collaboration with singer/lyricist Kevin Gilbert. Backed by a group of session musicians (drummer Brian MacLeod, guitarist Tim Pierce, and bassist Guy Pratt), and with guest appearances from several other musicians including Julian Lennon, the duo recorded just one self-titled album which was released on Reprise Records. Pat Leonard was a known producer in the biz, having produced and co-written with Madonna. Kevin Gilberts was also a recent engineer on a Madonna record, which is how Pat and Kevin began their collaboration. They both had plenty of experience in recording studios and in songwriting technique, so the fact that they both started working on a project together, seemed destined. The album was engineered and produced by Bill Botrell. Thematically, it covered a rather broad ground; two tracks were dedicated to Czech poet and political figure Vaclav Havel and painter Salvador Dali, and "Queen of Misery" is about Madonna.

After the release of the album, it didn't take long before Pat lost interest and left Kevin to promote it on his own. Kevin was an accomplished composer, singer and instrumentalist who played keyboards, guitar, bass guitar, cello, and drums. He also spent time producing and engineering for bands including his own in GIRAFFE. Kevin needed a touring band to promote the album, so he brought in his then girlfriend, Sheryl Crow on keyboards, friend and guitarist Mark Bonilla. From there, he promoted the album in many live shows in and around the L.A. area, as well as many live spots on KLOS on Mark & Brian's show.

I remember see this in a Disc Jockey Records, when it was released with the album flat promoting it on cassette and CD. I, of course (like so many young idiots), ignored it, since I hadn't heard anything about them. Soon after, it was gone and forgotten, and found in many discount/cut-out bins.

I am a HUGE fan of listening to things most have never heard, and finding good reason to promote it myself, to anyone who'll listen (right now, that's YOU!). I've worn out SOOO many copies of this on different formats: cassettes (went thru 3 of them), CD (2 of them), and then again in 2001 and 2008 - remastered and offered as two different "special editions" featuring original demos, remixes, etc.

Sadly, after this endeavor failed to take off, and a few great solo Kevin Gilbert releases (that had no promotion and went no where), Kevin dealt with severe depression, and distrust as well as disillusionment with record companies (much like his friend, Julian Lennon), and felt maybe he didn't have what it took to make it. He was asked to join a musician's think-tank/writer's group with friends David Baerwald (of David and David fame), Bill Bottrell, Sheryl Crow, David Ricketts, Brian MacLeod and Dan Schwartz. From these sessions, Sheryl Crow's TUESDAY NIGHT MUSIC CLUB was written and recorded. Kevin co-writing (some say he wrote most of the album), as well as playing keyboards, guitar and drums on RUN BABY RUN, ALL BY MYSELF, and bass on ALL I WANNA DO. LEAVING LAS VEGAS was also reportedly written by enlarge by Kevin, and given to Sheryl after her vocals fit better with the feeling of the song (she was coked up during the session).

In 1994, Pat Leonard collaborated with MR. MISTER front man, Richard Page, and released the album MEANWHILE under the name 3RD MATINEE.

In 1996, Kevin Gilbert was found dead in his apartment, hanging from a belt. Coroner's reports said it was death from "acute autoerotic asphyxiation". Tapes to a newly recorded album were found nearby. Fans, like myself, believe it was the depression of a musical genius that was never realized by the mass public. A live recording of the touring band of TOY MATINEE, recorded at the famed TROUBADOUR club in L.A., were eventually released by Kevin's family. To this day, Sheryl Crow has given very little, if any, credit to her ex-boyfriend, friend, co-writer, Kevin Gilbert.

If you want something refreshing, new AND old, pop but not schlock, intelligent and aurally satisfying, TOY MATINEE is what you've been looking for, for some time now. As you listen, smile and give some much deserved kudos to Kevin in heaven. Then check out Kevin's tribute website, http://www.thedebster.com/gilbert/ , and check out eBay and Amazon to find more from a musical master at his craft.
END.

--Crimson King

Jonny Lives! - Revolution For Free

 

Mimic (disambiguation). It is that effort to imitate something else.  Imitation.  Fake.  Something that is not the real thing but tries to appear to be the real thing.  Yet, bands that mimic successful bands are not necessarily fakes or imitations. There is a whole cottage industry in “cover bands” that faithfully mimic the originals down to the feather boas and black tights.    These are the “fake” bands that mimic the original bands.

There is a completely separate side to successful band mimicry and it depends on what the band mimics.  Many music genres are made up solely of mimicry.  The bands in a genre sound alike because they mimic a style and feel of music.  They take you on a similar journey, with similar tools, but usually with their own twist. 

Jonny Lives!’ new release, Revolution For Free, mimics Green Day on the track “Parking Lot”  and Coldplay on “Still Dreaming.  The mimicry continues with a early Beatles-like effort on the cut “Your Money Or Your Life,”  a flashback attack of the Kinks on “Breaking Down,” and a Kokomo-era Beach Boys on “Vagabond Lovers.”  The band also lets go with punk and pop rock pieces that may remind you of someone else’s music or style - maybe a prescription of Ted Leo and the Pharmacists, a shower of Fountains of Wayne or a kick or two of The Clash.

Jonny Lives! may sound familiar but the band and its music is hardly fake.  Revolution For Free is energetic, well-written, well-produced and well-performed.  The band, anchored by frontman Jonny Dubowsky, puts out a solid and thoroughly enjoyable recording. 

The saying is “imitation is the sincerest form of flattery.”  I picture Hall of Fame rockers listening to Revolution For Free, wry smiles curling their lips as they hear sounds that remind them of their recordings, then raising devil horns - rock on! Jonny Lives! 

- Old School

Bones - S/T

Growing up around metal as a child with my parents listening to Judas Priest, Motorhead, Sepultura and Mötley Crüe, it was a no-brainer that I was going to be into metal and all the forms of it.  As I got older and somewhat wiser, in my opinion, I realized that more bands started to sound the same and nobody was really trademarking anything brand new. Thrash was a huge thing for me in my teens along with punk and the old-school death metal. As years passed I started to lose hope in the genres that I grew up on, drone, doom, sludge, stoner were weighing heavy on my heart so I had to let those genres in and quick. Up until recently, I let go of mostly everything thrash and punk, I wanted nothing to do with it and I was just completely bored with the majority of it. A couple weeks ago, Jon, bassist and vocalist for Bones, contacted me via Facebook and asked if I wanted to review the record they just released. I’ll be honest, I wasn’t sure what I going to hear but I was up for the risk and challenge because I won’t ever turn down a free record.

Before I let this record spin for the first time, I literally shut everything off in my room except my laptop and speakers. I turned the light off and hit play on my winamp player then went lay on my soft, comfortable bed. Next thing I know, my eyes are open as wide as they can go and I’m shoving the blanket off of me in a very hectic state of confusion. I bring up the winamp player and realize that this is really Bones on my laptop. Suddenly an overwhelming rush of excitement filled my heart that I haven’t felt since I was nearly ten years old or so. Was I hearing what I thought? Were Bones really giving me everything I wanted in a death/thrash release? As the light shined down on me from the heavens, I realized that I have found the hope that I needed to love death/thrash again. Thrashing riffs and blistering drums that bulldozed the shit out of my whole body with speeds that I could only find from a jet in the sky. Prayers are answered! Well, mine are at least so don’t hate on me for being liked more than you by some higher power.

“Bones” provides nine tracks of full on battery for a solid thirty-five minutes with no pauses or let up so that you can catch your breath. From the second the first track, “March of the Dead”, begins, you realize that this ride will not be smooth nor clean. This energetic, overbearing grip that seems to choke you with insane structure and pure adrenaline, you would think running into on coming traffic would be similar to this record, right? Funny thing, you are actually a hundred percent correct in every way possible. Why didn’t someone tell me that Motorhead and Sepultura had a mastermind for a child? All the elements add up and they all make sense to me. Death/thrash is alive, breathing and very well in the eyes of this guy.

So, what happens when you lose all hope in a musical genre? A record gets thrown at your feet and you praise all things that are holy for receiving it and being able to blast it at high volumes until your neighbors call the police on you for a noise complaint. Life is great and I can start looking for some amazing death/thrash again. Bones – The one band that revived hope for me when I have nothing left in the tank.

--Nickoli



article originally appeared: http://bloodorlove.domesticgenocide.com/bones-bones/

Clap Your Hands Say Yeah - S/T

What’s in a name? One of my favorite indie bands possesses one of the coolest band names ever, Clap Your Hands Say Yeah. The first time I heard about Clap Your Hands Say Yeah (CYHSY) was back in 2005, when they self-released their eponymous debut album. Clap Your Hands Say Yeah sold an astounding 125,000 records through self-distribution and later signed with Wichita Records to release their second album, Some Loud Thunder. Even then my friend Danny and I couldn’t believe that an “indie band” could do that (I’m still in shock, but the album is that good). Clap Your Hands Say Yeah became the first indie band I followed and the first indie record I bought. They were also the first band I was ever exposed to scalped tickets.

Back in the fall of 2005, Clap Your Hands Say Yeah performed at the famous Troubadour club in Los Angeles. Danny immediately purchased tickets for us a month in advance. Shortly thereafter, the show sold out and over the next couple of weeks the demand was so great, ticket sellers on eBay were demanding 10x the original ticket price. Our less than $20 tickets soon became “worth” $200 and we couldn’t believe it. That was the first, but it wouldn’t be the last time when I bought a highly coveted ticket for an indie artist.

Still, even six years later Clap Your Hands Say Yeah has endured as an extremely popular indie rock band. CYHSY gained further exposure with an appearance in the film The Great Buck Howard starring John Malkovich and Tom Hanks along with their songs appearing on NBC’s  The Office and in films such as The Virginity Hit, Choke and Whip It. Despite their critical acclaim from music blogs, critics and internet publications such as Pitchfork, the average music fan is unaware of this fantastic band. Their third album Hysterical was recently released and I wanted to properly honor the band that turned me on to indie rock music.

Clap Your Hands Say Yeah is composed of Alec Ounsworth (lead singer and guitar), Robbie Guertin  (guitar and keyboard),  Lee Sargent  (guitar and keyboard), Tyler Sargent  (bassist), and Sean Greenhalgh (drums and percussion). Twin brothers Tyler and Lee Sargent and Robbie Guertin also contribute backing vocals. Brooklyn’s Clap Your Hands Say Yeah’s eponymous debut was released in 2005 and still sounds fresh today.

CYHSY sounds similar to bands like Wolf Parade, Sunset Rubdown, Handsome Furs, Architecture in Helsinki, and Tapes N’ Tapes. If you like more mainstream indie rock/alternative bands such as Broken Social Scene, Modest Mouse and Arcade Fire then I’m very confident CYHSY will be a band you’ll enjoy.

CYHSY kicks off with “Clap Your Hands!” a song that feels reminiscent of The Beatles during the Sgt. Peppers/ Yellow Submarine era. The song echoes a Yellow Submarine/ Ringo Starr kind of vibe with Ounsworth’s vocals before being accompanied by his bandmates singing the lyrics “Away we go.” At the 35 second mark, a rush overtakes you and you feel compelled to join in clapping and singing along with the song. In less than two minutes, you’re hooked!

Everything comes together on “Let the Cool Goddess Rust Away.” The song opens with a tambourine before progressing into something grander. Alec Ounsworth’s sweet voice shines and you can easily sense a little David Byrne with his different vocal style. Ounsworth’s remarkable range as a singer reigns supreme and showcases the wonderment that is indie rock. Throughout the song the tambourine is fully utilized and you couldn’t ask for anything more. This is what a good indie rock song should sound like.

In the era of college radio being perceived as somewhat “mainstream,” CYHSY and other indie bands have gained immense exposure for what most individuals believe to be nothing more than low-budget rock. For those who regularly disown and mock the genre, it’s easy to see why you might perceive indie rock that way. I used to be like you. However, think about this: How was metal music originally perceived or better yet rock’n roll when it was first introduced? Nowadays it’s hard to find a new artist who hasn’t been influenced or inspired by an indie rock band. It’s because of songs like “Over and Over Again (Lost and Found)” so many people are attracted to this genre of music, including myself.

“You look like David Bowie/ But you've nothing new to show me/ Start another fire /And watch it slowly die,” are some of the awesome lyrics included on this album. Maybe it’s just me because I have constantly listened to this album, but every time this some plays I’m entirely engulfed by how moving this song still sounds today. A good song, no matter how obscure or popular, will always bring out the best of your emotions and “Over and Over Again” certainly accomplishes that.

The sounds of a xylophone kickstart “Sunshine and Clouds (And Everything Proud)” and is an awesome transition , which leads to one of CYHSY’s best songs, “Details of the War,” included on their debut album. Later on “Details of the War”, there are echoes of Bob Dylan, particularly with the harmonica playing found in the latter part of this song. From track four to track six, it’s flawless transition from one song to next and its track number six that’s particularly the best song found on Clap Your Hands Say Yeah.

The very first time I heard “The Skin of My Yellow Country Teeth” I immediately fell in love with it. There are certain songs out there that the very first time you hear it you immediately connect with it. This connection proves that “love at first sight” does exist, albeit it with sound instead. Once the drum kit starts, you feel inspired and motivated to shake your head and rock out to this amazing song.

“The Skin of My Yellow Country Teeth” is CYHSY’s signature song and easily my favorite “indie song of all time.” Opponents of indie music will criticize Ounsworth’s uncertain and uncharacteristically unique voice as non-sense, but those dissenters aren’t appreciating the soul he has unleashed in this song. Ounsworth’s unique singing style is the epitome of what indie music stands for: standing out and being completely different.

“Is This Love” is another perfect example exemplifying Ounsworth’s brilliant vocals, the tambourine friendly “Heavy Metal” and the transitional, acoustic “Blue Turning Gray” round out the next three tracks. “In This Home On Ice” and “Gimme Some Salt” pick up the pace once again with songs showcasing the simplistic styling of CYHSY’s catchy lyrics and instrumentation. The album closes out with the spectacular “Upon This Tidal Wave of Young Blood” and proves even the last track of an album can be amazing. Two albums later, Clap Your Hands Say Yeah still remains a popular and prominent indie indie rock band that continues to make great music.

--Brownstone

http://clapyourhandssayyeah.com/music

Heartsounds – Drifter

 



Dear Heartsounds,


My name is Bobby but my Ripple Effect readers call me "Cicatriz". I am writing this letter to let you know how super fucking stoked I am on your new album Drifter. It is an amazing sophomore album. Who new that members of my former favorite melodic death-metallers Light This City could pull off pop punk so well. I remember those days of seeing Laura Nihol just straight ripping it up on stage as one of the best female singers in the metal scene. Normally this is where I would express how much I love Laura and would tell her I want to have her babies but I'm not gonna do that....oh wait, fuck I just did. Oh, well....love you Laura, if you ever want nicely tanned children let me know. Haha, I kid I kid...well maybe. Anywho! Light This City was always my favorite bands to see live, I never missed a show. It was always a good time seeing you live and fun hanging out after the shows. Heartsounds is definitely a fun band and I am glad you are playing something you love. I would also like to mention how awesome it is to see the almost seamless transition of Ben Murray, moving from fast as fuck drums in Light This City to being a just as awesome singer/guitar player. Trully Ben, you are probably one of the best punk singers I have heard in a while. Keep it up! I also just want to say "thank you". Thank you for making punk rock fun again. I can't wait to see you live and sing along with all the catchy tunes.


With Love,

Bobby "Cicatriz" Gomez



So Waiveriders, in case you couldn't tell; I fucking adore Heartsounds. When I first heard of the demise of Light This City my heart broke. Not from just the thought of never seeing the extremely beautiful Laura Nichol agian but from never seeing these awesome musicians play again. Hands down Heartsounds are my favorite pop punk band. They remind me of throw back to those great 90's punk bands. Heartsounds is pure gold. Well enough with the Heartsounds worship, let's get down to some of the music.


Drifter begins with the track, "Every Second Counts". Man the lyrics are just straight catchy. Easily this is one of my favorites. It's got an extremely catchy beat and like I said before the lyrics are really catchy and just make you want to sing along. Like all Heartsounds songs both Laura and Ben sing. Their voice work great together.

"Do you know what it's like to die?
Well I know what it's like
To be chewed up and spit out of this
Pathetic cycle of life in tow records' time.
So watch me get back up
And brush off the decay, the dirt and dust
Only to fall back through
Straight to hell I swore I'd never return to."



"I Have Nobody To Betray" is another one of my faves. This song begins with and almost metal like riff that is played throughout the entire song. It really shows off Laura's vocal ability as it is mostly just her singing on the track. As expected, catchy lyrics and a nice upbeat mid tempo breakdown makes this a winner.

"You are dead to me and I don't wanna wait
For your ghost to be resurrected.
I never have and I never will believe.
Faith and miracles became invisible and I'm done waiting."


The last track I want to touch on is, "Elements". This one features mostly just Ben on vocals. If you want to hear what a good pop punk song is, check this one out.

"I'll keep sending messages into the abyss.
Hoping for some kind of response but nothing will come of it.
How does one feel a seam of hope when the storm is yet to come,
Or believe the earth will bring them life when they're always losing someone."


Whether you like pop punk or not, most people are going to find something about Heartsounds that they like. For all you metallers who loved Light This City but think you'll dislke Heartsounds because they are a pop punk band, give them a chance. "Variety is the spice of life.", keep your ears open to new stuff, you never know what you might like. Oh, and if you get a chance to see them live, do it! You will not be disappointed.

Heartsounds goes good with: Light This City, Bad Religion, Alkaline Trio, Bayside, Set Your Goals, A Day To Remember, Chixdiggit, Madcap, MXPX, Weezer, Sparta

Buy this album and all your other Heartsounds merch here: http://www.kingsroadmerch.com/epitaph-records/artist/?id=190

-Cicatriz

The Descendents – Milo Goes To College

I’ve been in quite the musical drought lately.  Everything I’ve listened to recently hasn’t caught my ear quite the way I would want it to.  That isn’t to say none of it is good, I’ve just struggled to find anything Ripple-worthy in a couple months.  This lead to my decision to review one of my favorite punk albums ever, Milo Goes To College by The Descendents.  When making my Top 5 albums, this is one that just missed the cut, and I have been listening to it very frequently as of late, so I figured why not write about it?

The Descendents are a melodic hardcore punk band from California, birthed during the great hardcore period of 1981-1985.  Their debut album, Milo Goes To College, was released in 1982, and is chock full of that classic California punk sound.  There are 15 tracks in a succinct 22 minutes, assaulting you with classic tracks like “Myage”, “I’m Not A Loser”, “Suburban Home”, “Hope”, and pretty much every other track on the album. 

The album launches off with "Myage, a track, like many others on this album, that is a song about Milo liking a girl, but there is no reciprocation.  However, what the Descendents manage to bring to the table besides Milo’s awesome vocals are very humorous lyrics to shout along with.  A perfect example is Milo’s intro to "Suburban Home", where he cheekily and lackadaisically announces, “I want to be stereotyped.  I want to be classified.”  The lyrics for the rest of the track are as follows:

I wanna be stereotyped, I wanna be classified
I wanna be a clone, I want a suburban home
Suburban home
Suburban home
Suburban home
I wanna be masochistic, I wanna be a statistic
I wanna be a clone, I want a suburban home
Suburban home
Suburban home
Suburban home
I don't want no hippie pad, I want a house just like mom and dad
I wanna be stereotyped
I wanna be classified
I wanna be masochistic
I wanna be a statistic
I wanna be a clone
I want a suburban home
Suburban home
Suburban home
Suburban home
Lyrics like this are a constant recurring theme with the Descendents, with the main subjects being girls, rejection, girls, adolescence, girls, parents, and…well, girls.

The other thing that is not to be understated with the Descendents is the original line-ups technical proficiency with their instruments, specifically Tony Lombardo with his bass.  He provides the intro to most of the songs, and all throughout you can hear his riffs shredding up the background of all the tracks on the album.  Also, Milo has one of the most unique voices ever to hit the hardcore punk scene, flowing along perfectly with the instrumentation.

Unfortunately, after this album, Milo did indeed go to college in 1983, thus ending the Descendents reign in California until 1987 when he graduated.  However, things were never the same after he came back, and none of their albums can really come close to what Milo Goes To College achieved.  However, Milo Aukerman went on to get a Ph.D. in biochemistry from UC San Diego, so at least some good came out of his departure.


--Genesis