Earthen Grave - Earthen Grave

I’ll be the first to tell you that I have no idea who the band Trouble is. I’ve seen their name and logo floating around in conversation and press for something like twenty years, but for some reason, I never followed up to find out anything on these guys. And, as of this writing, I still haven’t. I have other things to follow up on at the moment, and one of those things is a new band called Earthen Grave, which was founded by ex-Trouble bassist, Ron Holzner. Ta-da! See what I did there? Tried to link to the past with the present.

Earthen Grave just released their first full length, self-titled album, and folks . . . this is some heavy stuff. Perhaps, not the heaviest music I’ve ever heard, but it’s done with a unique flair that I appreciate wholeheartedly. Doom, as a genre, can be boring and derivative, at least to me . . . and if you know me, you know I like my music to push boundaries, get experimental, and explore new ideas to further expand said genre. Earthen Grave do just that. They work in textural passages, classical instruments, quieter instruments, and additional voices to create a style of Doom that constantly perks the ears towards the new nuances.

Case in point, check out the second track on the album called “Life Carries On”. The songs crushes with a great guitar riff, first in the left speaker, then picked up in the right, then back to the left . . . heavy, right? Then, barely fifteen seconds in, the ears are treated to the piercing wail of a violin. Not something obnoxious, but keyed in with the other instruments and complimenting their sounds. This pleasant little surprise is provided by the virtuosic talents of Rachel Barton Pine. Perfect notes played at the perfect times, adding textures where needed, and providing mesmerizing solos that steal the spotlight. I love the way the violins mesh so well with the ever powerful guitar work of Jason Muxlow and Tony Spillman, almost as if they’re holding their own private conversation within the master work, but never completely overshadowing the song. Of special note, check out the violin/guitar/guitar solo(s) around the 3:45 mark . . . the brilliance in the rhythm section holding down that Middle Eastern tinged groove and then having the soloists coming in to add the layers of sexy spice and sultry flavor, all flying around the senses in chaotic fashion, but never out of control.

Then there’s “Dismal Times”. Doom-y and dirge-y, with its slow and somber opening passage, then building to a guitar fueled riff in classic palm muted fury . . . this song is a horned fist thrown in the air and an homage to all that is classic heavy metal. Again, the violins add great textures and a fresh voice to the menacing and oppressing musical tones. The solo that Barton Pine lays down midway through the song is chilling and morose, caked in a veil of cobwebs from a haunted castle passageway. Then, the eruption of the band coming back in and the upbeat, mosh inducing riffology! Killer stuff! Serve me music with dynamics like this all day, all night . . . I’ll eat it up!

“Beneath A Shovel Load” is another classic metal ditty that opens with soaring and diving guitar antics, a devastating droning rhythm, and some well timed distorted guitar chugs. String bending and mind altering, Earthen Grave deliver a scorcher of muscle flexing metal. This one is a full on headbanging groover that makes me want to dust of the old leather jacket or denim vest and sequester myself in a steaming room of like minded music freaks. I’m digging the guitars on this track, especially when one of the guitarists decides to sustain the notes while the other continues the multi-noted rhythmic groove. Subtle, but effective. Bitchin’ guitar solo on this track, as well. The violin solo towards the end of the tune is outstanding . . . full of energy, anger, excitement!

This album took some time to grow on me, but I’m finding myself going back to it more and more as time goes on. If Earthen Grave is the future of Doom, then the genre is in good hands. As I mentioned, I’m not the biggest of Doom fans, but when it’s performed and executed like this self-titled album, I could very easily be on the road to embracing the genre with greater tolerance. Every song has something fresh and unique thrown into the mix, whether it’s a female vocal harmony or a violin or an acoustic guitar,Earthen Grave are seemingly working towards separating their music from that of the masses. Heavy, yet with flashes of elegance. Menacing, but with touches of beauty. Yeah . . . I’m sold. Earthen Grave is a kick ass record!

Pope

http://www.earthengrave.com

Voodoo Johnson - Black Powder Mother Loader

Not really sure why this EP didn’t hit our radar a little sooner, but nonetheless . . . better late than never.

So, here’s the background that I know on this outfit calling themselves Voodoo Johnson. They’re a five piece hailing from Birmingham (England, that is) and they seem to be getting quite a bit of publicity in their homeland. Now, to the meat. These guys flat out rock!

Incorporating elements of the early 90’s Seattle movement with a healthy dose of modern rock, placed in the midst of a heaping mound of classic 70’s-era rock, Black Powder Mother Loader is a relatively short burst of outstanding hard rock! Being that this record is a mere EP, I find myself listening over and over again . . . call it the track listing and arrangement, combined with the fact that the music is so damn good . . . once the record ends, I want to immediately listen to it all over again.

“Black Skies Mist” actually comes bursting out of the speakers with a dramatic heavy metal-esque riff, completely transcending any boundaries that I had preconceived. Throughout this five minute mini-epic, Voodoo Johnson expertly change tempos and tones, creating moments of air in the midst of some pretty heavy rockin’ passages. The melodies are infectious enough to have you humming along and the nuances are memorable affairs. And the guitar solo . . . damn! Full of class, Gilmour-esque sustained notes that drip with emotion. The song has great elements of modern rock sounds with just enough flavor from past generations to catch the ear, making me think that I’ve heard this somewhere before, or asking myself, ‘who the hell does this remind me of?’ There’s a little Candlebox in there, maybe a little Mother Tongue . . . whoever I’m hearing as an influence, it works.

On “The Garden”, the band makes a pretty dramatic stylistic shift compared to the first two songs on the EP. This song is a more stripped down, mellowed out tune with a big nod in the direction of Led Zeppelin and their classic “Going To California”. I love the way this song breaks up the hard rockin’ tone of the EP . . . the placement is perfect, giving the listener a brief respite from the more bludgeoning rockers. The singers voice has a compelling aspect to it . . . just enough sensitivity and vulnerability to get nostalgic and maybe feel a more somber emotion, yet masculine enough to make feel  cool while we think about our weaknesses.

Coming out of the low key tones of “The Garden”, Voodoo Johnson drop an Alice In Chains-flavored rocker as if sung by Three Doors Down. Great riff, heavy and menacing . . . and coupled with this singers voice, it just has a gritty vibe that makes me want to constantly turn up the volume, to blast out the neighbors, irritate the landlord, and cause general havoc throughout the neighborhood. The song also features some cool dynamic shifts with a nice breakdown in the middle, a striking melody at the chorus, and more of the aforementioned emotional guitar work.

Wrap this little gem up with “United Divided”, arguably my favorite track from the disc, and you have a good twenty minutes of steady hard rock with just enough variance to keep things interesting. Word has it that there are a couple full-length albums fluttering around out there from these guys, and let me tell you . . . I’ll be hunting those down. Black Powder Mother Loader is the kind of disc that I can have playing to fit a number of different moments throughout the day. The music is never so abrasive to offend, yet it’s never too mellow as to vanish from the greater consciousness. One could draw a modern day comparison with the Mighty Zeppelin, the masters of balancing dark and light, hard and soft. I’m sold . . . now gimme more!

Pope

http://www.voodoojohnson.tv/

Big Truck Keeps on Rollin'! Ripple Music is Proud to Announce the Signing and Debut Album from Ireland's Trucker Diablo

The folks at the 2011 Download Festival felt it.  Fans who saw them opening for Black Stone Cherry felt it.  The lucky masses who'll be at Hammerfest 2012 are about to feel it.  Soon everyone will know the band that Def Leppard's Joe Elliot has called "absolutely awesome stuff!"

Ripple Music, the home of authentic, retro rock and metal, is proud to announce the signing of Northern Ireland’s most explosive rock n’ roll import, Trucker Diablo!   After blowing away the crowds from the stages of 2011’s Download Festival, this Irish four-piece grabbed the attention of the U.S. rock label Ripple Music and immediately began working on plans to get the music heard around the world. The Devil Rhythm is a 40-plus minute thrill ride of rock n’ roll album that will have every head banging to the heavy groove and rocking to its muscular riffs and adrenaline.

Having formed in 2008, Trucker Diablo quickly garnered the adoration of some of rock n' roll's biggest names, including Joe Elliott (Def Leppard), Cormac Neeson (The Answer), Dee Snider (Twisted Sister), and Ricky Warwick (Thin Lizzy, The Almighty), who also makes a guest appearance on the Trucker track “Juggernaut”.

And now Ripple Music will be bringing the Big Truck right to your door!  The Devil Rhythm will be released in the U.S. on January 3rd, and in the UK and Europe on February 6th. Available in all fine record stores, eBay, Amazon, CD Baby and at the Ripple Music home.  Check out the debut video "Drink Beer, Destroy" and catch the early buzz of a band sure to have people talking in 2012.

Lock up your daughters and hide your wives, cause when the big Truck rolls into town, high -octane rock mayhem will be sure to follow!

www.ripple-music.com

The press raves:

"The Devil Rhythm is an exceptional effort!.  This album will undoubtedly satisfy both new-generation hard-rock fans and old-school rockers alike.  Joe Elliot of Def Leppard described Trucker Diablo as "Absolutely Awesome Stuff" and I couldn't agree more." -- Road Rage Metal Mag

"The Devil Rhythm is a fantastic first album from Trucker Diablo. Ten furious paced, no messing rock ‘n’ roll tracks that sound more like an established artists greatest hits and not a new bands debut album. Opening songs "Drink Beer Destroy", "Juggernaught" and "Big Truck" crash on your ear drums and continuously beat you into submission; overpowering you with every riff and selling themselves as the saviors of hard rock in Ireland. But it doesn’t end there!  It’s time for the public to stand up and take notice of what could potentially be one of the most successful rock bands to emerge from the North since Therapy." -- Goldenplec

"In 25 words or less: “This band needs to be heard, so listen, share, talk, tell everyone about Trucker Diablo…” -- May the Rock Be with You

The Devil Rhythm is now available at the Ripple Music Store and world-wide through Clearspot International in Europe and Code 7 Distribution in the UK on February 6th, 2012. 


 

The Live Ones - Yer Quite Welcome

I unearthed my battered copy of Tapping The Source by the Lazy Cowgirls recently and then the very next day this new LP by Brooklyn’s Live Ones shows up. Before even hearing a note of the Live Ones, I knew the similarities were pretty obvious. Both albums have black and white no frills covers and contain high energy punk influenced rock & roll. Yer Quite Welcome’s album cover is an action shot of the band playing at NYC’s notorious dirtbag rock bar the Ding Dong Lounge. I can tell because the Ding Dong has an awesome Motorhead poster for a show they played at the Calderone Theater on Long Island in 1983. The Rods and Virgin Steele opened (legend has it V.Steele got booed off the stage). The poster’s covered up by their logo but is there for you to drool over on the back cover.

Yer Quite Welcome really reminds me of my old favorite Cowgirls album but also of Australian maniacs like Cosmic Psychos or even the Hard-Ons. Album opener “Disowned” gives you everything you need to know about this band - fast, pissed off punk (but not hardcore) played by 3 gruel dudes old enough to know better but too tired to care. Other side one highlights includes “Lifeline,” which starts off with an almost Blackfoot feel before veering into Rolling Stones territory and the Johnny Thunders “So Alone” influenced song “Haunted.” They even have a song called “We’ll Take You Higher” that sounds like something the Brought Low would write but, unfortunately, there’s no mention of weeed in the lyrics.

Side 2 has a great song called “Writing’s On The Wall” that is vintage 1974 Kiss. “We’re The Ones” jumps ahead a few years to 1977 and brings to mind the Dead Boys classic “Caught With The Meat In Your Mouth.” “Get Up & Move” is a nice autobiographical number that mentions that they got their start at the Charleston, one of Brooklyn’s dumpiest bars to play in, as well as getting shut down by the cops in Greenpoint. These are all topics near and dear to my heart.

You can’t go wrong with this one. It’s brought to you by Drug Front Records, a new label run New York’s #1 Joe Lynn Turner fan Dean Rispler. But don’t hold that against him. Dean’s worked with some fine bands like the Candy Snatchers and Bad Wizard and is foolish enough with his money to release this on LP and CD. If you like it raw, loud and snotty check out the Live Ones.


--Woody



Listen and Buy here: The Live Ones





Drug Front Records

UFO - The Visitor

Anyone who has ever loved the sound of a crushing electric riff, a perfect melody, a rousing chorus, rough-hewn, soulful vocals, or a guitar solo so freaking fast and dynamic that it makes your eyeballs water, needs no introduction to UFO. After 40 years in the business, these crazy brits have earned their place in the honored halls of rock and roll, both for their music and their mad antics. So let's cut to the chase shall we.

The Visitor is, without a doubt, the best UFO album since the band reformed with Vinnie Moore for You Are Here, which was the best UFO album since the short-lived Schenker reunion Walk On Water, which in turn was the best UFO album since the vastly under-rated Paul "Tonka" Chapman days. You want it shorter than that? The Visitor is one great rock and roll record, and it deserves to climb right up there near the top of UFO's vast cannon of great albums. No matter how you cut it, this is the comeback, classic rock album of year.

Yep, that's saying something.

I've read in a few sites about the staggering return of "Black Sabbath," with the new Heaven and Hell album, sounding old and tired, berefit of ideas or enough muscle to power the chops they did muster. There's none of that here. Reinvigorated since the joining of Moore, UFO sound positively re-energized here, like they've somehow unlocked the code and opened the fricking rock-and-roll fountain of youth. Bustling with energy, punch, and verve. Ready to rock the shit outta you or kick your face in. You choose which.

The jump in adrenaline is evident from the very first track. "Saving Me," kicks off with some beautifully played, loose-strung swampy blues acoustic guitar, mining the same bluesy rock vibe that UFO have explored so successfully in the past on songs like "Train Train," or more recently on both of the Mogg/Way albums. Think of this song following in the same vein, and from there I promise you, I will make no more references to UFO songs of the past. It's the easiest thing to do, refer back to some song on Lights Out or Obsession for reference, but the truth is, this album is so strong it should be the point of reference for future albums. Mogg's voice layers on top of the guitar at around the 30 second mark, sounding more textured, more soulful, more plaintive than in recent memory, and when the band kicks in about one minute in. . . there's hell to pay. This is full-on charging UFO, crushing riffs held together tightly by an instantly catchy melody, all leading up to that chorus that will just lift you right outta your chair and in this case, thank God for salvation.

Moore's guitar work is dead on, instantly making you forget old "what's-his-name" who used to supply the guitar chops. Moore is a shredder in the best sense of the word, and most importantly, fully adept at melody. When he wants to bust out, he can wail into a jaw dropping solo, notes flying faster than spit flying from an auction barker's mouth. Then he can drop into a perfect acoustic passage, shoot off some harmonics or crush your cerebellum with the strength of his riffs. Moore's tone isn't so much reminiscent of Schenker as it is more indicative of the classic UFO sound, and yes, the band has been around long enough to declare that they have a sound all their own. God bless em.

UFO without Schenker was always a dicey affair (except for the previously mentioned Chapman years) because Mogg needs that guitar energy to set his songs ablaze. At the same time, Schenker showed us with his solo career that he needed Mogg's sense of craft and melody to create a memorable tune. It was that combative chemistry that always fueled the band's best work, and with Moore in place, Mogg seems once and for all to have found that perfect foil. Power and melody. Sizzling chops and structure. Perfect. Absolutely fucking perfect.

"On the Waterfront," cruises out with a mid-tempo modified blues riff with a mid-section and chorus of shear perfection. Easily on par with the best of their melodic material. Then, lest you think the boys are getting soft in their later years, "Hell Driver," tears out as fierce and mean as they've been in years. Play this one live and it woulda fit comfortably on their classic Strangers in the Night. Mogg sounds great, reminding us once and for all that he's always been one of rock's most unheralded vocalists. Moore's tone is dead-on, and I'll tell you, the return of "no neck" Andy Parker on the drums seems to be the final ingredient necessary to drive these chaps over the top. The only ingredient missing was the presence of legendary bass player, Pete Way, who had to miss the recording as he's battling liver disease. Pete, our prayers are with you, brother!

"Stop Breaking Down," follows next, absolutely classic UFO. Big chords start it off amongst the pounding of Parker's drums, slight technical flourishes embellishing the end, then the whole thing explodes into a melodic guitar solo intro that could make a grown man cry. Paul Raymond's work, always the glue that held the band together, fills in here, leading the track into perfect hard rock territory. Melodic rock for the ages, by one of the bands to first create the genre. Power and beauty all wrapped up into one track. A future classic UFO song, one that our children will one day ask us if we remember it when it first came out. "Rock Ready," jumps right back into the Mississippi swamp, while "Living Proof," nails a down-and-dirty mutated, menacing blues number. Another standout track, Mogg sounds positively charged here.

And the album continues from there all the way to "Stranger in Town," a terrorizer of a closer, sounding mean and pissed and ready to knock your teeth in. Moore comes up with a closed-fist attack of a riff, the band is tight as the glue holding Donald Trumps toupee in place, and Mogg proves once and for all that he's lost none of his fight or passion. Another brand new, fresh burst of classic UFO. Building upon their past, not revisiting it.

For all those naysayers out there who claim that UFO haven't unleashed a great album since Walk On Water, open your ears. There's some serious rock and roll happening on the UFO mothership, and fortunately for us, the boys are bringing it right on down to this planet.

Misty green and blue forever.

--Racer

Buy here: The Visitor


More good new. UFO are going to tour supporting the new album, and I'll be there. Just check out the dates below. If you want to find me, I'll be the one pressed up against the stage at the Independent in San Francisco, begging for a chance to go back and interview the band for a Ripple feature. If you are a fan of the classic UFO, or just a fan of dynamite hard rock, you won't want to miss this one either. I'll see you there.

UFO Tour Dates:

10/02/2009 Jaxx - Springfield, VA
10/03/2009 Tangiers - Akron, OH
10/07/2009 The Rex - Pittsburgh, PA
10/08/2009 The Chance - Poughkeepsie, NY
10/09/2009 Starland Ballroom - Sayreville, NJ
10/10/2009 BB Kings - New York, NY
10/15/2009 Ameristar Casino - St. Charles, MO
10/16/2009 House Of Blues - Chicago, IL
10/17/2009 Medina Ballroom - Hamel, MN
10/21/2009 The Catalyst - Santa Cruz, CA
10/22/2009 The Brixton - Redondo Beach, CA
10/23/2009 The Coach House - San Juan Capistrano, CA
10/24/2009 Boulder Station Casino - Las Vegas, NV

10/25/2009 Majestic Ventura Theater - Ventura, CA
10/27/2009 Key Club - West Hollywood, CA
10/28/2009 The Fat Cat - Modesto, CA
10/29/2009 Aladdin Theatre - Portland, OR
10/30/2009 Neumos - Seattle, WA

11/01/2009 The Independent - San Francisco, CA

Ted Nugent – s/t 1975

1975 was a weird year for rock. There were new releases from behemoths like Led Zeppelin and Pink Floyd but overall things were getting a little soft. People were mellowing out and wearing a lot of brown corduroy. But not Ted Nugent. In 1975 he decided to put The Amboy Dukes to rest, pull up a loincloth and unleashed his self titled debut album, which stands tall as his best studio album.

Side one begins with the guitargasmic classic “Stranglehold.” This song has the power to cause Elvis Costello fans to whimper in fear as soon as the needle hits the monster groove of the opening riff. “Stranglehold” is Black Sabbath heavy mixed with pure Detroit R&B and delivers the knock out punch that the MC5 were unable to fully unleash on society. An 8 minute orgy of glorious Gibson Byrdland guitar tone, Electro Harmonix bass balls, backwards cymbals and revenge lyrics, “Stranglehold” contains everything you need when you absolutely, positively need to destroy every little thing in your room. And if there’s anything left to break when it’s over, the next song “Stormtroopin’” will guarantee that you finish the job in style. Containing another killer riff (partially lifted from Wilson Pickett’s “In The Midnight Hour” and later used by Judas Priest in “Hell Bent For Leather”), “Stormtroopin’” contains some of Ted’s best playing. The break in the middle when Ted blazes over Cliff Davies very in-the-pocket drumming is pure rock & roll guitar playing at its very best.

After the onslaught of those 2 songs, the pace relaxes a little bit with “Hey Baby,” a loose boogie with powerful vocals from Derek St.Holmes. I guess a song like this was necessary so the chicks wouldn’t get too scared when you blast it in the car on the way to a keg party in the woods. But then it’s followed up with the fiendishly intense “Just What The Doctor Ordered.” There’s not much to say about this one other than it KICKS ASS!! This has always been one of my favorite songs to play when I take command of the stereo at some lame party. The opening guitar licks are a call to arms that it’s time to start rocking hard and I’m going to play the stereo louder than hell and I don’t care who doesn’t like it. “I found a cure for my body and soul, I got me an overdose of ROCK N ROLL!” Hell yeah I do!!

Side two is also great, but no real match for the perfection of side one. “Snakeskin Cowboys,” “Where Have You Been All My Life” and “Queen of the Forest” all rock pretty hard and the ballad “You Make Me Feel Right At Home” is decent. But the jewel of the side is without a doubt “Motor City Madhouse.” Derek does most of the singing on this album, but Ted’s the only one who could deliver the lyrics on this one. Yet another classic riff and steamhammer groove reminiscent of the MC5’s almighty “Skunk,” this a brain damage inducing noggin rocker. Somehow it sounds incomplete without the sound of breaking glass and M-80’s but not everything in life can be perfect. The 1999 CD remaster contains BLISTERING live versions of "Stormtroopin,'" "Just What the Doctor Ordered" and "Motor City Madhouse" from a show in London and a really lame studio song called “Magic Party” that should have remained unreleased.

Ted’s big mouth is a turn off for a lot of people, but most die hard rockers agree that his 1970’s output contains some of the most high octane music you will ever hear on this planet. In the mid-90’s I had the great pleasure of being invited to a conference room at Atlantic Records where Ted was going to play some of his new songs for the staff. It was after hours and most people were unenthusiastic so a friend asked me to be there because he knew I would be thrilled to meet him. Ted did not disappoint. He came running into the conference room screaming, waving an acoustic guitar around and called the hip NYC staffers “a bunch of pastrami eating motherfuckers.” In rapid fire succession he claimed to have invented the middle finger and short skirts. I believe him. The proof is right here on this album. PLAY LOUD.

 --Woody

Buy here: Ted Nugent

Zoroaster - Matador

I had a heard a little of Zoroaster in passing and always liked what I heard but was never totally knocked out. Sludgy, heavy, droney. There’s tons of this kinda stuff around these days, but the early reviews of their new one (and 3rd full length) Matador sounded like it was right up my alley. More rock and psych is what I was hoping for and now I got it. Zoroaster are known as Atlanta’s loudest band. Based on the live reports I’ve heard, they’re louder than Mastodon and the Atlanta Rhythm Section combined. Photos of them show walls of amps, flaming drums, smoke and 3 really unpleasant looking rebels wailing away.

Matador features 9 songs in 45 minutes and takes you on a trip through all the elements of the heaviest shit out there. Opening song “D.N.R.” starts off thrashy before morphing into some OM-ish drones. Will Fiore’s guitar is crushingly heavy but with lots of definition (Orange Thunderverb amps are awesome!). Very tall bassist Brent Anderson has a towering tone and drummer Dan Scanlan really pounds those tubs hard. It’s gotta be murder for him to be heard in their practice space with all those amps. Will and Brent share vocal duties.

“Ancient Ones” has a rocking Black Sabbath groove with some hoarse vocals that are almost black metalish in places. There’s even a tambourine in the mix. “Odyssey” is indeed a tripped out journey. Great groove and dynamics. “Trident” has some great guitar solos that remind me of the great Helios Creed. My favorite song is probably “Firewater.” It’s really tripped out. The bass and drums lay down a pretty speedy groove while all sorts of insane guitar noise is detonated on top of it. Longer songs like “Old World” and “Matador” both clock in around 7 minutes and don’t wear out their welcome. “Black Hole” is one of the faster songs and is followed up with the much slower “Odyssey II.”

Matador flows really well as an album. Play it start to finish for a very satisfying listen. The other Zoroaster music I’ve heard has had very murky production and really long songs. I’m glad they cleaned up the sound and cut some of the fat off the songs. Matador reminds me of another favorite album of 2010, Ufomammut’s Eve. Both these bands combine the heaviest of the heavy with acidic Hawkwind and Pink Floyd space jams.

Zoroaster just wrapped up a tour with Black Tusk and Dark Castle but are hitting the road again in Zeptember with Nachtmystium and The Atlas Moth. Everyone says the Zoroaster live experience is an all out assault on the senses with bright lights and a huge sound. --Woody


buy here: Matador

http://www.myspace.com/thezoroaster

A Sunday Conversation with Behind the Sun

Powerful.  Beautiful.  Heavy and evocative.  Those were just some of the adjectives that ran through my mind the first (second, third . . . ) time I played the dynamite new album from Israel's Behind the Sun.  Mixing heavy, post-grunge rock with prog tendencies, some beautiful ambient guitar work and a love of jam bands, Behind the Sun are an intoxicating blend of many styles of rock that all seem to blend effortlessly into one grand vision.

Joining us today, are Aaron (guitar) and Gad (vocals) to enlighten us on all things Behind the Sun.

When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, and Simon and Garfunkel, the first time I ever heard Kiss's "Detroit Rock City," it was a moment of musical epiphany. It was just so vicious, aggressive and mean. It changed the way I listened to music. I've had a few minor epiphany's since then, when you come across a band that just brings something new and revolutionary to your ears.


What have been your musical epiphany moments?
Gad: One epiphany moment would surely be the first time I heard The Beatles - Revolver on the old stereo, on vinyl, with the headphones on my head. And the following shock waves - The Doors, The Who, Zeppelin, Mad Season, Tool, Opeth and Pearl Jam

Aaron: I would have to say the first time I heard Miles Davis' Bitches Brew. I think I was 17. I was like "what the [expletive] is THIS??? What I am hearing here??? Is this even LEGAL??? It was like nothing else I'd ever heard.

Talk to us about the song-writing process for you. What comes first, the idea? A riff? The lyrics? How does it all fall into place?

Aaron: I read an article once about Jimi Hendrix where his producer said when Jimi wrote the music first the songs were awesome and when he wrote the lyrics first it was incredibly hard after that to fit the ideas into a song format. I find that this is a very common problem. The music tends to suggest the lyrics but not the opposite. So I almost always start with a riff or two --- then I look for a clever line to put in the chorus and go from there. We wrote and rewrote the lyrics to our song "The Professionals" from the album 3 or 4 times, keeping only the chorus from draft to draft. As heavy or convoluted as some of the riffs may be, I'm a big believer in a catchy chorus and title.

Where do you look for continuing inspiration? New ideas, new motivation?

Gad:For me, getting to know a new word or a new phrase in English will sometimes spark an idea or better say - will be the missing piece in a puzzle that's been laying in my head.Other than that, when I find myself traveling across the country, mostly to remote and unfamiliar locations, I get inspiration from the sights, the people and the colors.

Aaron: Almost all of my ideas come from current events and relationships with people in my life. Although I am writing a song for the NEXT album about Brian Wilson which I think is going to be pretty crazy.

Your music seems to very deeply reflect the area where you live, can you talk to us about that?

Gad:Naturally, our music will reflect what we experience in this turmoiled region. We find it hard to write without what's weighting on our hearts and minds finding it's way into the music and the lyrics. we try to avoid dealing with the politics, not only because we all have different point of view on how the problems can be solved, but mostly because we're trying to end songs with a more optimistic message...

Aaron: I have to say there's a lot of pessimism and cynicism in the lyrics I wrote but that may be more of personal problem...

Gad: Another way for us to try and deal with the problems of this region, is to go back to the old stories of this great country and draw inspiration and guidance from past victories and failures.

Aaron: I can tell you that Gad's song "15th dawn" is about his reserve duty in the army and "Wishful Thinking" was inspired by the incredibly stupid leadership this country had at the time of the 2nd Lebanon War. After that it gets more abstract but the influence of the middle east is in there.



What is your musical intention? What are you trying to express or get your audience to feel?

Gad:It depends. If it's a personal song, a song that deals with relationships, friends and life in general - It's more of a sharing-the-experince kind of thing - "here's what I feel/think about what's probably going on with your life too".When the song's more about failing rulers or anti-war, we're trying to pass a different message to whomever's listening, whether the listener's from Israel or not from around - let's learn some lessons learned with pain and suffer, let's do this differently.


In songwriting, how do you bring the song together? What do you look for in terms of complexity? Simplicity? Time changes?

Aaron: I usually bring in riffs for a verse and chorus to the band and then we figure out where we want to take it. Sometimes we change the tempo completely and go off in a different direction entirely. I'm a big believer in keeping the big themes simple in terms of music and lyrics because I think it has more of a powerful impact. That said, time changes can bring a bit of spice to the music and grab the listener and demand his or her attention for a particular section or transition. I also like odd time signatures because they can instill a unusual feeling in the audience, like the 5/4 time in the verses of "Still" for example. The beginning and end of "Wishful Thinking" also involve some unusual time signatures, which I think pushes the listener off balance a bit and gives a feeling of being on a lurching cruise ship. At least that's how I was feeling that day.


How's the Israeli music scene?

Gad:First of all, it's important to say we do have a very vibrant and various music scene here. Besides the local oriental Mediterranean music and pop music, there are 2 major scenes in the Israeli rock - metal and indie.

The Israeli metal scene is full of good bands, some are around for quite a while now (Salem, Orphaned Land and Almana Sh'chora/"Black Widow") and some are not active for that long but are doing quite well such as The Fading that won the 2009 Waken Festival battle of the bands and Betzefer (signed with Roadrunner records). Without a doubt, the biggest, most successful representative from this scene would be Orphaned Land. They are signed up with Century Media and they're playing the biggest metal festivals all over he world.

Israeli indie rock has it's fair share of successful bands/artists but it's a more .... indie success. Names such as Asaf Avidan & the Mojos, Rockfour, Eatliz and Izabo have all enjoyed some success in and outside of Israel.

As a result, we have 2 kind of festivals, metal or indie, all year around.

Aaron:  I love Israeli music (Infectzia, Barry Saharov, Arik Einstein, Shalom Hanoch, Amir Benayoun) but sadly I don't think it has any influence at all on what I'm writing. I didn't grow up on Israeli rock like the rest of the band. My mother was listening to the most commercial and banal Israeli pop when I was a child and I preferred Iron Maiden and Metallica.

Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?

Aaron: We had a bass player who was in another band at the same time and we both booked shows on the same day. He was supposed to play with his other band hours before our show but of course there was a delay and he only made it to the end of our set. But the show must go on so we borrowed a bass from the opening band and passed it around each song between myself and the other lead guitarist each song trading off who was playing the bass. It required some setlist and mental gymnastics. By some chance, we spotted our ex-bass player in the audience also and we also brought him on stage to play a song with us.
   There's that and also a near riot we played to at a poorly organized "co-existence" festival in Lod. The show was put on in a vacant lot in a run-down area of the city not far from the most notorious open air drug markets in the country. Some kids in the audience of thousands of impatient locals tried to rush the stage causing problems for the acts playing. Some other friendly people in the crowd lit dumpsters on fire to show their appreciation. The band before us had some not so wonderful things to say about the police and the country in general. So by the time it got around to our slot the police decided to shut down the show and disperse the crowd. Not sure we would've survived that one anyway so maybe its for the best. Needless to say we haven't been invited back to Lod.

What makes a great song?

Gad:A well balanced mixture of sweeping energetic music, a chorus filled with hooks and mind grabbing lyrics

Aaron:You should feel like you are somewhere else... someone else. you are telling a story (or reporting a story maybe). Even if its an instrumental. Stravinsky was telling a story too without words. (OK he had ballet dancers. We don't have that kind of a budget here.)

Tell us about the first song you ever wrote?

Aaron:The first song I ever wrote that got played by a band I was in was called 1984. I think I had just read the novel in class in 7th grade. Maybe it wasn't the most original song (or title, or concept) but it was very encouraging to play a song you wrote in front of an audience. Even if they had no idea what the hell the singer was singing.

Gad:So far I can only speak lyrics wise. The first song I wrote for the band (and made it in) was a song called "Sunflower". The song sort of portrayed my desire or my efforts to get the best out of close people when you know they have a lot more to offer, a much bigger potential. I was so proud when it got Aaron's care musically.

We played Sunflower live for a while but looking back at it, the song wasn't *that* good....I guess it was more of a stepping stone for us on our way to writing, arranging and executing better songs.

What piece of your music are particularly proud of?

Gad: I can't really put my finger on a specific song (again, I'm only speaking lyrics-wise). I'm proud of any of the songs I wrote that made it in and are still being played by the band, just as I'm proud of any of the songs we play in general, where I feel I contributed a little bit to it's progress with a vocal line or with a little part for an instrument.

One particular example which I still remember with a lot of joy is the time we played "Strong Wind", at the time still a "regular" song, in a rehearsal and I started "stretching" the lines, to ease some of the tension. It almost immediately resulted in the song turning into a jam and made it easier to turn it into a platform in which we could show our love for jam-rock (Dead, Phish, Gov't Mule, Allman Brothers)

Aaron: I'm very proud of my guitar solos in "Still" and "Strong Wind". For years I was the "rhythm guitar" player until my good friend Assaf pushed me in the direction of writing and playing leads. I'm still light years behind Assaf but I like to think I am at least moving in the right direction.

Who today, writes great songs? Why?

Gad: Music-wise, I can think of a few bands/artists that really caught my ear -
Jack White with the Racontures - Jack White, in general, is a very talented musician but his work with the Racontures really stands out in my mind. Though his feet stand firmly in the muddy banks of the delta blues, he somehow found the way to reach all the way to 2000's and with lots of catchy melodies and real passion in his singing and guitar playing - he won me over. The Racontures's 2nd album is really awesome.

Josh Homme - Whether with QOTSA, Kyuss, Desert Sessions or the latest outfit The Crooked Vultures - Homme always finds the twisted, interesting way to introduce you into his vision of how rock music should sound.

Mikael Åkerfeldt/Opeth - with memorizing melodies, vocal harmonies, beloved progressive parts and highly executed music in general were the first to open up a bridge for me to cross into heavy metal, heavier than I ever listened to before.

Lyrics wise I always thought Chris Cornell and Eddie Vedder write beautiful songs. so far, minus Cornell's "Scream" material, they hardly ever failed to deliver the goods.

Aaron: Most of the music I listen to is from about 1950 (dawn of cool jazz and bebop) - 1980 (the end of the road for most progressive rock and 60s bands) but of the "new" music I'd agree with Gad about Opeth. I also like Hiromi (Japanese piano phenom). She just made an album with Stanley Clarke who I loved in Return to Forever. Strangely the "new" music I listen to is usually metal so I'd say Tool, Mastodon, Opeth ...


Vinyl, CD, or digital? What's your format of choice?

Gad: Spin the black circle! :-)

Aaron: I understand the vinyl concept as a purer analog wave. On the other hand, why buy a vinyl record of an album which was recorded using ProTools and take it home and play it on your dinky record player which your Grandma threw out in 1965? I suspect that there's a huge nostalgia factor or a hipness factor there. On the other hand there is an advantage to playing the cd and not mp3 which is I tend to think the CD format encourages you to listen to the entire album in order as the artist intended. Nobody really uses the random function on a single cd player, do they?

We, at the Ripple Effect, are constantly looking for new music. When we come to your town, what's the best record store to lose ourselves in?

Gad:Where I live (Rehovot, about 20 km south of Tel Aviv) there aren't many record stores and only one store ("Panica") you can maybe lose youself in if you're into vinyls like me but in Tel Aviv you can for sure lose youself looking for goodies in the 3rd Ear store ("Ha'ozen Hashlishit").

Aaron: I'm very impressed by Ktzat Acheret ("a little different") in Tel Aviv on Frishman St and also the Metal Shop on the same street a few doors down. 3rd Ear is great too.

Any final comments or thoughts you'd like to share with our readers, the waveriders?

Gad:Don't ever put aside your instrument/iPod/mp3 player/cd player/record player. Let music blow your mind and take you places. Always look for the next band/artist that will excite you and support them.

Aaron: Don't be afraid to edit and revise your music, lyrics, and yourself.

Bison B.C. - Dark Ages

No reason to get all fancy about it, Bison B.C. are a killer metal band and Dark Ages is even better than their last one, 2008’s Quiet Earth. These Vancouver bud smokers are loud, hairy and totally insane. I loved Quiet Earth and was really looking forward to this new one. What really sold me is the live set I saw them play opening for High On Fire a few months ago. Bison went on first on a 4 band bill at 7PM and came out totally blazing with intense energy. The crowd was sparse but I think they won over every single person in the room

Dark Ages starts off with some nicely distorted tremolo guitar on the 8 minute saga of “Stressed Elephant.” Slow and plodding like an actual elephant and just as heavy, the song goes through some complex tempo changes and blazing solos. Bison often gets compared to Mastodon and this song bears a strong resemblance, but they still have their own identity. “Fear Cave” is reminiscent of High On Fire, another band Bison gets compared to a lot. That means this song is really heavy. “Melody, This Is For You” is another 8 minute one with lots of Iron Maiden and Thin Lizzy influences. The beginning has some really nice production values. Acoustic guitars that sound like tiny rubber bands, huge booming drums and a totally filthy bass sound before the band comes in with a pummeling riff

“Die Of Devotion” is a doomy one like something off the first Trouble record and is followed up with by the all out thrasher “Take The Next Exit.” “Two Day Booze” is not a good song to listen to with a hangover. Learn from my mistake. The album finishes up with the 7 minute “Wendigo Pt. 3 (Let Him Burn)” that features an acoustic guitar and piano. After about a minute and a half the band crashes in with a giant riff and some nice tripped out wah wah guitar.

Bison are a very tight band. At the live show, young drummer Brad Mackinnon really hammered his drums but maintained a crushing groove with bassist Masa Anzai. Vocal duties are shared by guitarists James Farwell and Dan And (no relation to Johnny Winter And). They scream, grunt and groan a lot but never veer into cookie monster territory. Dark Ages is a great metal album. It’s only fitting that it’s out on Metal Blade Records since there’s a lot of Slayer, Trouble and Voivod in this band. Play loud, bang hard. That is all.


--Woody


Buy here: Dark Ages



http://www.myspace.com/bisoneastvan

 

Sonic Rebellion - Heads We Win . . . Tails You Lose

Hey . . . remember when Guns n’ Roses were like, the most dangerous band in the world? Or maybe The Sex Pistols? Or the Stones? There was something inherently fun about that style of music because it was rebellious. It was the kind of music that made one feel that a laid back night at a bar could very easily turn ugly before that first pint was consumed. Sonic Rebellion has captured that attitude on Heads We Win . . . Tails You Lose. These guys play a dirty, sleazy, gritty, night spent in the gutter kind of rock n’ roll, the kind of music that comes more from the heart and pelvis than from the head. It’s the kind of music that makes one want to love violence and to love violently. Rarely dipping below mid-tempo, the songs that make up this album have that great 70’s rock energy and attitude that has endeared the era’s music within the hearts of music fans of all ages.

“Song About Revenge” is flat out rocker that is packed with all that great attitude. Rebellious and highly energetic, the song opens with a gritty guitar riff that reminds me of the sleaziest and heaviest moments of Aerosmith. The drummer is off the hook, hitting the cymbals for peak emphasis, but dude’s playing has a certain smoothness to it . . . kinda’ like drinking the finest samplings of bourbon and getting fucked up in the process. He hits all of his marks with the rage and aggression one might expect from a drummer, yet he does it with style. The guitar work, aside from that ballsy rhythmic riff, is searing and packed with the emotion. The solo work is all attitude, coming across with the perfect amount of confidence, but not cockiness. However, none of it really matters without the vocal performance. That’s where the true attitude shines in all of its rebellious rage. The quality of the voice works in perfection with the attitude, anything softer would come across too tame, anything harder would come across as trying too hard.

“Mad As Hell” kicks off with some nice slide action on the hugely distorted guitars, reminding me of Dr. Feelgood era Motley Crue. Much like “Song About Revenge,” this songs is steeped in attitude and sleaze. Listening to a song of this quality just makes me feel dirty, like I spent a long night drinking with the boys, puking in the back alley, then fighting with an equally intoxicated group of street thugs until the sun comes up or the bodies fall . . . whichever comes first. Yeah, this baby has that kind of attitude! Again, musicianship is key to the songs strength, keeping a standard rock song interesting. Keep an eager ear open for the bass work on this one. This guy is more front and center than on most tracks, firing off runs up and down the neck of his guitar. I wouldn’t say he stays in the pocket on this one, but he does a remarkable job of keeping the groove while throwing in a ton of flourish.

“Make It To Midnite” brings down the house. Upbeat, up tempo, and full of groove, this song got me air drumming behind my desk, behind the wheel of my car, embarrassingly behind the cute chick at the checkout counter of the super market . . . Yeah, it’s one of those kinds of songs. You won’t be able to help yourself as this sucker kicks through the speakers and courses through your being. If you have any sense of excitement and rock n’ roll moxy, “Make It To Midnite” is the song that will infect you and take control of your motor sensory.

“Think It Through” is another awesome jam. So many sounds come screaming out at me. Big time Aerosmith groove, a little Ted Nugent, some of that Buckcherry attitude, even a little Candlebox thing, all of it working to perfection. Again, musicianship. Fuck. The drumming on this track is fantastic. Listen to the little fills and the strength of the cymbal crashes to tom strikes . . . that, friends, is a thing of beauty. The drummer is playing in the context of the song, never doing more than what the song needs to retain its power. I love how this song just is so rich with flavor, mid tempo groovin’ though the first three quarters, and then kicking up the tempo to close out the tune. Balls.

Heads We Win . . . Tails You Lose, but friends, we’re all winners with this beasty beast spinning on the player. If you like good ole blues-based rock n’ roll with a truckload of attitude, Sonic Rebellion is the band that you’ll want to discover. I can’t say that there’s a band song on this album and it will unleash that bad boy inside. Don’t be surprised if you find yourself staying out later than normal, washing a little less, drinking, cussing, fighting more. The music has balls. Hell, it is balls! This is the kind of 70’s rock that should have been released back in the day, and would have sat comfortably next to the era’s greats . . . on pure attitude alone. Outstanding musicianship makes this album interesting in that it doesn’t sound like your standard retro blues rock, it doesn’t sound dated. It’s an immediate recording with just enough of a modern sound to make it relevant for today. I’m gonna’ stop blathering now . . . but only if you all rush out and buy this one.  -  Pope

www.myspace.com/sonicrebellion

www.sonicrebellionrocks.com

A Sunday Conversation with Ufomammut

Do Italians do it better? When it comes to psychedelic/experimental metal, the answer is a loud “Si!” Ufomammut recently released their 5^th album entitled Eve and it’s a mind bending mix of Pink Floyd at Pompeii trippiness and Black Sabbath heaviosity. Bassist/vocalist Urlo and guitarist Poia were nice enough to answer some questions for us here at the Ripple Effect. Even though their music is deadly serious, these guys have a great sense of humor. Pour yourself a nice glass of grappa and read on. Ciao!

Eve is your fifth album and contains 1 song divided into 5 parts. Talk a little about the songwriting process and how it was different from your previous albums.

Urlo: It's been a different approach to the song structure, working on a single long track has been quite different from what we've done in the past. We started with the idea of realizing an album structured like “Meddle” of Pink Floyd but we did the mistake to start from the long song.

Poia: We focused more on transitions and dynamic between parts: from whisper to scream.

Is Eve a “concept album” (like Tommy or The Wall) or more of a musical suite (like Tales of Topographic Oceans or Love Supreme)?

Urlo: Don't know, it's just what came to our minds.

Poia: I think it's more a very long single song.

Where did you record Eve and how long did it take?

Urlo: We recorded Eve in Roma, at Locomotore studio with our Soundlord Lorenzo Stecconi.

We had it done in 10 days.

For someone who’s never heard Ufomammut before, how would you describe it to them?

Urlo: Well, it's a nice album, just give it a listen.

Poia: It's a mixture of easy listening and complicated listening. So you'll need several listenings for appreciate the listening.

What was the first music that really excited you? And how long after that did you pick up an instrument?

Urlo: Sex Pistols. Then I started in play bass accidentally cause our previous bass player left the band and we had a gig coming in a week. I was only a singer...ahahaah

Poia: It was an Italian musician called Franco Battiato, in 1980. Then, I began with the guitar when I was seventeen, trying to play Led Zeppelin songs...

Who are some of your biggest musical inspirations? Favorite albums?

Urlo: Meddle of Pink Floyd, Malval of Shora, Lysol of Melvins, Lucifer Rising of Bobby Beausoleil and many more.

Poia: Beatles, Pink Floyd, Sabbath, Zep, Purple, King Crimson, Spirit, Captain Beefheart, Creedence, Ten Years After, Area, Sleep, Kyuss of Blues for the Red Sun, The God Machine, 35007, the early Motorpsycho and Monster Magnet, Entombed, Sons of Otis...

What current bands do you find inspiring?

Urlo: Shora, Shining and everything starting with SH.

Poia: Shora for me too, and Circle.

How do you feel about people posting your music for free on blogs?

Urlo: It's good. The more people listening to us the more we'll be happy.

Poia: It's an important thing. This way the music is flowing around the world. Then, if you like it you can always buy the physical object containing the music.

Your records have tons of cool layers. Do you try and recreate the sound of your records when you play live or do you prefer a rawer approach?

Urlo: We try to reproduce the record live the best as possible. Working on Eve has been difficult, there are a lot of layers!

Poia: Anyway live is different thing, and thanks to our live soundmaster Ciccio, we are both layered and totally raw :-)

Ever had any good Spinal Tap moments on stage?

Urlo: Mmmhh... guess not.

Poia: I must confess, never saw the movie. But I'll watch it very soon, and I'll tell you.

Vinyl, CD, or digital? What's your format of choice?

Urlo: I start with the digital and if I like it I buy CD (cause I listen to it easily). I love vinyls.

Poia: I think CD, but I prefer the big size of vinyl, for appreciating artworks too.

What’s the crowd like at your shows?

Urlo: Bearded men screaming. We're searching for girls, possibly not bearded...

Poia: It depends on the country we play.

How’s your hearing these days?

Urlo: You mean my ears? A little deaf, but still good. If you mean what I'm listening to... a lot of different stuff.

Poia. My right ear is frizzling.

Bands like Genesis, Van der Graaf Generator and Gentle Giant found an audience in Italy before the rest of the world. Why do you think Italians love prog rock so much?

Urlo: Because in Italy people is more interested in the good technique first. That's why nobody like Ufomammut here...

Poia: You have said all...

Were hardcore bands like Raw Power and Negazione an inspiration?

Urlo: Not for me. Never listened to them too much.

Poia: I'm sorry, I know them only by name.

Who’s the biggest mammone (mamma’s boy) in the band?

Urlo: Poia? Or me? Or Vita maybe? We're all mammoni!

Poia: Ufomammone.

Is it frustrating to go on tour and have to endure inferior food?

Urlo: Sure. We need spaghetti to survive, like vampires we need to refill our bodies with pasta. And coffee.

Poia: Of course. As Italians we are very proud of our food and wine. We know, we are boring about food, but it's probably the ONLY thing in which “Italians do it better” ;-)

Why do northern Italians look down upon their countrymen below Rome?

Urlo: Because we're idiots.

Poia: Since the fall of the Roman Empire, Italy has always been divided. It is a quite young nation, formed by several regions, each with its own dialect/language, food, wine (again!) and, amongst all, habits.  This is peculiar of Italy, but could be a problem for someone. Even in 5 km things slightly change. For many people difference between us is an excuse for divisions, instead a matter of enrichment. We can apply the same consideration on what it's happening today with the problem of foreign immigration. It's a natural and unstoppable process, the chance of mixing dna and cultures. But it's seen as a real danger, especially from the “most blind” part of our country, including our government.

What’s next Ufomammut?

Urlo: Ufomammut again. And hopefully a little of Farwest Zombee...

Poia: Dont know, we'll see in future.

Preferisci pasta e ceci o pasta e fagioli?

Urlo: Pasta e Ceci forever!!!

Poia: Pasta, aglio,olio e peperoncino.

Grifter - The Simplicity of the Riff is Key EP

More bands should do EP’s. It’s like one side of an album, perfect to get acquainted with a new band. The Simplicity Of The Riff Is Key from the UK’s Grifter is their latest. 4 songs in 16 minutes delivered lean and mean with no filler. And it was recorded live in the studio with no overdubs! Grifter is a standard power trio heavy rock band that describes themselves as “noisy and righteous.” What’s not to love about that?

“The Voices” borrows heavily from Cactus’ 1971 arrangement of the Howlin’ Wolf classic “Evil” but that’s never a bad thing. Cactus rocks! Grifter remind me kind of a cross between Cactus and Humble Pie. Guitarist/vocalist reminds me a bit of Peter Frampton from his Pie days, especially on “Blind Rat Swarm.” If you like Humble Pie’s “Big Black Dog” you’ll dig this song.

“Pendulum” is the longest song on the EP, clocking in at 5 minutes, and is also the heaviest. The guitar riff is indeed simple and gives the rhythm section of Phil (bass) and Foz (drums) plenty of room to shine on this Black Sabbath/Blue Cheer hybrid. EP closer “I Jesus” is by far my favorite song of the 4. ZZ Top’s 1970’s output is some of my favorite music and this is pure Texas boogie.

Grifter just did a UK tour with Ripple favorites Sun Gods In Exile. That must have been a killer double bill for the 40 or 50 people that saw it. Life is too short to waste time on the lightweights. If you’re in a hurry and need to kick a lot of ass in a short period of time, get this and get to it.


--Woody


Buy here: http://grifter.bigcartel.com/

http://www.myspace.com/grifterrock

Lost Classic - Nazareth - Razamanaz

No, I’m not trying to turn the Ripple Effect into my own personal Nazareth tribute page, but my review of their awesome 1973 album Loud N Proud seemed a little lonely. And since Razamanaz, also from 1973, has been my #1 album the past few weeks I figured it would be a good companion piece. What was in the water (or weed) back in 1973? How did Nazareth come up with two killer albums the same year of Raw Power, Houses Of The Holy, Space Ritual, Sabbath Bloody Sabbath, Quadrophonia, Dark Side Of The Moon, Larks' Tongues In Aspic, Tres Hombres, etc?

Right off the bat, this album comes out swinging hard with the killer title track. “Razamanaz” is pure no bullshit kick ass ROCK - hard and fast with a killer groove and amazing drumming from Darrell Sweet. Singer Dan McCafferty says they were embarrassed to play this song for producer Roger Glover because it borrows so heavily from Deep Purple’s “Speed King.” Nazareth toured a lot with Deep Purple and they saw the effect of that song on the crowd and couldn’t resist. Roger didn’t mind and we’re all better off for it. This is one of the greatest songs of all time to blast in your car. It can turn even the most mundane trip to the grocery store into a boogie van ride to glory. The Meatmen used to do a scorching version of “Razamanaz” to open their live shows. Who says that Tesco Vee isn’t a class act?

The rest of the album is no slouch either. "Alcatraz," written by Leon Russell, is another stomper with a Native American influenced drum beat and killer guitar riffs from Manny Charlton. Blackfoot fans will no doubt love this one. Woody Guthrie’s “Vigilante Man” is given a slow blues treatment with some nice slide work and powerful vocals by Dan. The rhythm section of Sweet and bassist Pete Agnew get to shine on the Bo Diddley influenced “Night Woman.” Tasteful use of flange on all the instruments is a nice 70’s touch.

"Bad Bad Boy" was a hit single for them and was obviously a big influence on Guns N Roses. Dan’s balls out vocals make it easy to believe that he is indeed the bad boy that Axl Rose never was. “Sold My Soul” is a dark, moody song with tortured vocals. Nazareth was always more of a “hard” band then a “heavy” one, but this song is pretty damn heavy. "Too Bad Too Sad" balances it out with another uptempo jam and could have easily been a hit single. "Broken Down Angel" wraps up the album and points the way towards their giant hit of “Love Hurts.” It’s a little too fast to be considered a true ballad but it has a great chorus that is guaranteed to get you singing along every time it comes back around.

This is an album that deserves a home in every real rockers library. Every song is great and the arrangements are tight for maximum impact. The production is also top notch and does not sound 37 years old at all. And if the song “Razamanaz” doesn’t get you moving than that means you don’t deserve to boogie ever again.

--Woody

Buy here:  Razamanaz


http://www.nazarethdirect.co.uk/nazareth/

Solace - A.D.

New Jersey’s Solace are usually categorized as a “stoner” or “doom” band but to my ears they’re a straight up metal band from the school of 1982. Their new one A.D. reeks of classic Judas Priest, Black Sabbath, Iron Maiden and maybe even some vintage Alice Cooper, too. A.D. is their first album in 7 years and fans have been waiting impatiently dubbing it “Jersey Democracy” as the band went through some line up changes and several recording sessions.

In the end, it all seemed to work out alright because A.D. is a kick ass album from start to finish. Produced by Benny Grotto and the band, this thing sounds great. The guitars of Tommy Southard and Justin Daniels sound massive as they kick out catchy riffs, fills and solos. Rob Hultz’s bass thuds along nicely with Kenny Lund’s tasteful drumming. Jason (no last name) sings his ass off and has layered some nice harmonies throughout the entire record. In this style of music, vocals usually take a back seat, but Jason’s are upfront. He sounds pissed off and you can hear every word.

The 9 songs of A.D. comprise almost an hour of music. Most of them are over the 5 minute mark but have plenty of variety to keep your ears from getting bored. Album opener “The Disillusioned Prophet” starts off fast and heavy, slows down and then blasts off into an Iron Maiden gallop. “Six Year Trainwreck” has a great opening riff that combines vintage Deep Purple with Captain Beyond before evolving into a “Children of the Grave” romp. “Down South Dog” is a Quaalude worthy Sabbath boogie with a spaced out guitar solo. “The Skull of The Head of a Man” begins slow and creepy before switching gears into pure old school hardcore punk. In true hardcore spirit, it’s over in about 2 minutes. The album wraps up with the slow burn of the 9 minute epic “From Below.”

Lots of bands operate in this area of metal that includes 70’s hard rock but few can match Solace in terms of creativity and attitude. They’ve been at it for a long time and hopefully we won’t have to wait another 7 years for the next one.

 --Woody

Buy here: a.d.

www.diedrunk.com/

The Godz – Power Rock From USA

The CD is titled Power Rock From USA but should be called Belligerent Biker Metal From Columbus, OH. Combining all of their self titled debut album (produced by Don Brewer of Grand Funk!) and most of the 2nd one, Nothing Is Sacred, this is essential 70’s hard rock, especially if you love Steppenwolf, The Dictators, (early) Kiss and Mahogany Rush.

The Godz should have been huge. Despite being signed to Casablanca Records and touring with Kiss and Cheap Trick on the Love Gun tour, it just didn’t happen the way it should have. Maybe their biker image scared off the Kiss crowd? The label quickly lost interest and the critics HATED them. Rolling Stone described The Godz as a “miserable hard-rock quartet from Columbus, Ohio, epitomizing the most wretched excesses of Seventies rock.” That quote alone should have earned them some gold records. Poppy songs like “Go Away,” “Baby Love U,” and “Gotta Muv” could have roped in radio listeners so The Godz could unleash their harder jams on unsuspecting young girls.

Their greatest song is “Gotta Keep A Runnin” – 7 and a half minutes of cowbell driven arena rock fury. It’s like “Born To Be Wild” and “Highway Star” rolled into one giant middle finger boogie. Like they say before the guitar solo, this is “GODZ ROCK N ROLL.” And they’re only getting warmed up. Bassist/vocalist Eric Moore delivers an incredible monologue in the middle that rivals the best stage raps from Jim Dandy, Ted Nugent or Dee Snider. Here’s a small sample – “Now dig up ya’ll. Now we stoned & boned, hot & sweaty. Look at us: we're everything your parents ever warned you about. They think we're all junkies. Everybody is some kind of junkie. There's money junkies, booze junkies, dope junkies, sex junkies, & there is one thing they don't understand. All of us, you & I are GODZ. And Godz are rock & roll junkies.” The rap goes on and on getting more frantic before exploding in a chorus of “THE GODZ ARE ROCK N ROLL MACHINES!” This is an anthem that should still be reverberating in every arena and stadium around the world.

Another killer jam is “714,” a love song to pharmaceutical Quaalude Lemmon 714. The lyrics are explicitly anti-education and celebrate “getting’ messed up everyday.” Is this an example of the “wretched excesses” mentioned in Rolling Stone? Who wants to share their ludes with a party pooper from a lame ass magazine when there are plenty of chicks in suede vests and wineskins around? Not The Godz! “Candy’s Going Bad” is a cover of a song originally by Golden Earring. Clocking in at 10 minutes, it includes an instrumental freak out similar to “L.A. Blues” by The Stooges or “Dream Lover” by The Plasmatics.

Some of the best lyrics are in the song “Luv Kage.” A stomping beat underlines the plea for freedom from an oppressive relationship. A man and woman agree to live together but “still have fun on the side.” Later the woman tries making the relationship exclusive but the guy is having none of it. What kind of insane woman would try to put one of The Godz in a “Luv Kage?” That will never work!

Eric Moore still leads a version of The Godz to this day and recently played some shows with their old rivals Angel. Based on some recent interviews available on youtube, Eric is still belligerent and unrepentant. Would you want the main man of The Godz any other way? Sadly, Power Rock From USA is out of print in the USA but you can probably find a used copy easily enough if you check ebay. This is perfect quittin’ time music. After yet another crappy day at the job, put this in your car as you burn rubber to the nearest happy hour.


--Woody


Buy here: Power Rock From USA

http://www.thegodz.net/