Ripple Music and NAIL Distribution have signed a deal that, as of January 2012, will make NAIL Distribution the exclusive distributor of Ripple Music CDs and vinyl records throughout the entire North American Continent!
"This is a very big deal for Ripple Music as NAIL Distribution is an independent distributor with a proven track record of working with heavy music like Ripple, handles a tremendous catalog of artists, and operates with a ton of integrity." explains Todd Severin and John Rancik, co-owners of Ripple Music. "Plus, as a division of Allegro Media Group, this agreement opens up new and exciting opportunities for digital distribution of Ripple Music bands. We’re extremely proud to be working with the whole NAIL team and thrilled to get Ripple Music permeated through the ears of the North America,"
California-based Ripple Music burst onto the scene, making huge waves upon its launch in 2010 with a mission to release quality “authentic rock” for the hard-rocking world. Releasing vinyl, CD’s and Digital, Ripple Music quickly gained the approval of music lovers as they began working with some of the most respected artists in the heavy rock/heavy psych genres like Stone Axe, Mos Generator, Poobah, Fen, and JPT Scare Band. Since then, the Ripple family has continued to grow with critically-hailed releases by UK’s heavy rockers Grifter, Iron Claw, and Trucker Diablo.
"NAIL's excellent reputation among their client labels and retailers, their recent track record of labor-intensive growth, and the great people there in every department were all essential factors in giving us the confidence that we needed to make this move," notes the Ripple team. "Plus their absolute love for hard rock and what we're doing at Ripple. We’re very excited about our new relationship with NAIL."
NAIL has been one of the premier North American distributors of independent music for over 15 years, NAIL distributes music of all stripes, handling nearly 200 exclusive labels. NAIL delivers the best in independent rock, folk, Americana, punk, avant jazz, electronic, experimental, hip-hop, metal, and soon, Ripple Music.
Due to massive demand from the clamoring horde of heavy-psyche rock, proto-metal, and Poobah fans world-wide, Poobah’s Let Me In vinyl edition has seen a second pressing and is now back in stock at Ripple Music and the labels dedicated group of distributors. Earlier this year, the award-winning multi-colored vinyl edition of Let Me In sold out, yet the calls and orders continued to come in. Second and all subsequent pressings are on classic sleek and sexy black wax, and like the first pressing of the double LP, include a download code that allows access to two additional tracks that can otherwise only be found on the CD edition.
Not to rest on the laurels of past successes, Jim Gustafson is currently leading Poobah into the future with a fresh new album aimed for a late 2011 release. But for more current Poobah revelry, catch the band as they assail the senses throughout Ohio this summer!
Times and locations are subject to change – for up to the minute details, visit: www.poobahband.com
July 16th: Mud Mayhem Festival – Logan, OH 7:00pm July 22nd: Lemon Grove – Youngstown, OH 9:00pm July 23rd: Iron Saddle Rock Club – Akron, OH 9:00pm July 30th: Charlyfest 3 – Toledo, OH 6:00pm Aug. 6th: Fishbone Grill (Alzheimers Benefit) – Vienna, WV 4:00pm Aug. 13th: Birdies Rec – Sebring, OH 8:00pm Aug. 19th: YRRH Rockfest (Jam night) – Youngstown, OH 5:00pm Aug. 20th: YRRH Rockfest – Youngstown, OH 10:00pm
After exploding onto the scene June of last year, Ripple Music continues its path as one of the fastest growing Independent Record Labels in America!
Now, as Ripple Music moves into its second year, founders John Rancik and Todd Severin want to celebrate the enthusiasm of their music lovers (known as waveriders) with some Anniversary Specials. As a thank you to their fans and supporters who’ve allowed Ripple to strike out and bring independent music to the world, Ripple is releasing it's first ever free digital compilation album. Free Compilation
Featuring every band that has made the first year of Ripple Music such a success, Ripple's Anniversary album kicks off with Stone Axe, before heading down the Ripple highway of Poobah, JPT, Fen, and more. And as a special bonus, The Anniversary Album features the world's first sneak peeks at two new Ripple releases; Grifter's self-titled debut album, and the eagerly anticipated A Different Game, from underground legends, Scotland's Iron Claw. But the free compilation album may be available for only a limited time, so get over there quickly to get yours!
But wait, there's more. Over at the Ripple Store, everything is still 15% off until July 4th, and every waverider who places an order will get their name placed into a drawing for a very special, last-one-of-its-kind surprise Test Pressing.
It’s all just Ripple’s way of saying thank you for allowing them to keep doing what they love, bringing the best music your way and putting the guts back into rock and roll!
After exploding onto the scene June of last year, Ripple Music continues its path as one of the fastest growing Independent Record Labels in America!
Following a year that saw the signing and releasing of new and vintage material from Stone Axe, Poobah, JPT Scare Band, Fen, Modern Day Moonshine, Mighty High, Grand Atlantic, Sky Parade, and Kevin Beadles, Ripple Music followed up by adding such bands as Mos Generator, Iron Claw, Grifter, and Tripdavon to their roster, and inked several major international distribution deals. And there's much more to come!
Now, as Ripple Music moves into its second year, founders John Rancik and Todd Severin want to celebrate the enthusiasm of their music lovers (known as waveriders) with some Anniversary Specials. As a thank you to their fans and supporters who’ve allowed Ripple to strike out and bring independent music to the world, Ripple will be applying special 15% discounts on everything ordered from the Ripple Store from anniversary day, June 22nd through Independence day July 4th.
And when Ripple Music says “discount on everything” they mean everything, including special collectors packages of Stone Axe I deluxe CD/DVD, vinyl and 7” single, the new Heavy Ripples double 7” package, and the best-selling Poobah “Let Me In” double 12” LP. In the store, you can also find classic non-Ripple albums from Ripple artists Stone Axe, Mos Generator, and JPT Scare Band. All of which will get the additional anniversary discount.
But wait, there's more. Every waverider who places an order during the anniversary special will get their name placed into a drawing for a very special, last-one-of-its-kind surprise Test Pressing. Yes, John and Todd are going to go back into the vault and pull out the last test pressing available and give it away as a special surprise to one lucky fan.
It’s all just Ripple’s way of saying thank you for allowing them to keep doing what they love, bringing the best music your way and putting the guts back into rock and roll!
1. -(16)- – Thiothixene (Re-recorded Version) (4:07) 2. Poobah – Rock n’ Roll (3:48) 3. Mighty High – Don’t Panic, It’s Organic (3:41) 4. Grifter – Small Man Syndrome (2:32) 5. Sun Gods In Exile – Over My Broken Bones (4:46) 6. Stone Axe – Nightwolf (4:32) 7. Khann – The Gate (4:23) 8. The Engineer – Starving Artist (4:15) 9. Birch Hill Dam – Colossus (5:16) 10. U.S. Christmas – The Scalphunters (5:42) 11. Alunah – Living Fast in an Ancient Land (6:43) 12. Frost Hammer – Master of Weapon (4:27) 13. Tricorn – Give Me Some More (4:11) 14. Black Rainbows – Babylon (4:27) 15. Zeke – Chinatown (1:37) 16. Otis Reaper – Optimator (3:29) 17. Fister – Santabbath (5:41) 18. Vulture – Prick of Misery (6:09) 19. EyeHateGod – Dixie Whiskey (2:55) 20. Cherubs – Baby Huey (3:36) 21. The Lemmings – Blue Mountain (4:04) 22. Danko Jones – When Will I See You (3:27) 23. Kingsnake – Dying Working Man (3:25) 24. BOSS 302 – No Overdose (5:18) 25. Struck By Lightning – False Hope (3:30) 26. Obiat – Angry Water (4:10) 27. Capricorn – Hello Strawberry Skies (2:54) 28. Avernal – Green Machine (3:49) 29. Blind Dog – Keep Up The Gloss (3:46) 30. Dala Sun – I Have a Better Way (3:54) 31. Black Sabbath – Supernaut (4:41) 32. Tona – Red Cylinder (3:20) 33. Deathbeds – No Funeral (3:03) 34. Electric Magma – Tokener (2:01) 35. Apehanger – Put The Skin On It (4:54) 36. Lento – Hadrons (5:14) 37. Corrosion Of Conformity – Stone Breaker (5:16) 38. Solace – The Disillusioned Prophet (6:59)
Heavy Ripples, the double 7" gatefold release with Stone Axe, Sun Gods in Exile, Grifter, and Mighty High is out and getting killer reviews. We're in the planning stages for Heavy Ripples vol. 2, so you may expect Mos Generator and Gideon Smith and the Dixie Damned, and a couple more to be named. Any suggestions?
The new Iron Claw album, first major release by the 70's underground doom/raw blues legends, is in the final mixing/mastering stages by none other than Tony Reed, as is the brand spanking new Grifter full-length. Expect both those out this summer!
Mighty High is rounding up their stuff also for a summer release of frenzied stoner punk.
Songs are coming in for Stone Axe III and we're planning a Deluxe Collectors Edition of Stone Axe II just like we did with Stone Axe I, which (hopefully) will feature an entire live disc recorded on their most recent tour. That Stone Axe I reissue is buzzing out the doors, so if you're interested, you may want to stop by Ripple and pick one up.
10 year anniversary issue of the first Mos Generator coming out on vinyl soon and hopefully some new stuff to follow.
And we got a total redesign, remaster, with new songs of the latest Poobah album, Peace Farmers in the works. Our vinyl/CD reissue of Poobah's second album, US Rock is slated for 2012, which will be another 2xLP freakout of Poobah rock. First pressing of Poobah'sLet Me In already sold out so we've gone back to press to keep up with the demand.
Finally, for prog fans, Fen is opening up for Blackfield at the end of this month, and we're planning on following that up with a vinyl edition of their critically acclaimed, "rails out of Gloom.
Working overtime here at Ripple Central to bring you guys some killer music. And folks, we really appreciate all your support.
After exploding onto the scene June of last year, Ripple Music continues its path as one of the fastest growing Independent Record Labels in America.
Following a year that saw the signing and releasing of new and vintage material from Stone Axe, Poobah, JPT Scare Band, Fen, Modern Day Moonshine, Mighty High, Grand Atlantic, Sky Parade, and Kevin Beadles, Ripple Music followed up by adding such bands as Mos Generator, Iron Claw, Grifter, and Tripdavon to their roster, and joining with Small Stone Records to release new material from Sun Gods in Exile. And special projects are in the works for more Poobah, Stone Axe, JPT Scare Band, and special releases from this year's Fuzzapalooza.
Now, Ripple Music will celebrate Records Store Day with their own Ripple Store Day. As a thank you to their fans and supporters who’ve allowed Ripple to unleash all this musical mayhem onto the world, Ripple will be applying special 15% discounts on everything ordered from the Ripple Store from April 15 to April 17th.
And when Ripple Music says “discount on everything” they mean everthing, including special collectors packages of Stone Axe I deluxe CD/DVD, vinyl and 7” single, the new Heavy Ripples double 7” package, and the best-selling Poobah “Let Me In” double 12” LP. In the store, you can also find classic non-Ripple albums from Ripple artists Stone Axe, Mos Generator, and JPT Scare Band. All of which will get the additional RSD discount.
It’s all just Ripple’s way of saying thank you for allowing them to keep doing what they love, bringing the best music your way and putting the guts back into rock and roll!
"Ripple Music - a rising underground rock label." -- Sleazegrinder
From our good friends at Cosmic Lava, a kick-ass interview with Tony Reed and all things heavy rock!!
Now, the wait is over: STONE AXE will finally be on tour in Europe for the first time in April 2011. Reason enough for me to do another interview with guitarist Tony Reed. Strictly speaking, this is our third virtual conversation, which clearly implicated that I have a strong preference for this U.S. band. This is partly the result of the fact that STONE AXE are masters of their disciplines, which is the blues-based heavy rock of the 1970's. In doing so, they target the legendary British bands from this period and prioritize tradition over innovation, which in this case is not at all a derogatory term. They master their craft to such an degree that makes innovation dispensable. It is obvious that their music comes from the heart and that it's not an idea born from the wish to be rich and famous. Although actually STONE AXE really deserve to earn some more bucks, but that's a different topic. Now it was more important to answer my questionnaire on other subjects. These include, of course, topics such as the upcoming tour, the re-release of the first album via Ripple Music as well as the latest news about Blood From The Sun and Tony's other band, Mos Generator. And anyone who knows him will know he's a huge fan of obscure heavy rock bands from the 70's. Needless to say that it was inevitable, therefore, to lose a couple of words for this purpose.
Next month, STONE AXE will be on tour in Europe for the first time. It's a premiere for the band but not for you, because you've been already here with Mos Generator in 2008. Are you excited about the upcoming tour and about the fact that you have the possibility to return to Europe with your "new" band? It's always exciting to get out on the road. We've been doing some good roadwork for almost 2 years and I feel like we are ready to take the live show to the UK and Europe. The roots of our music are primarily based on late 60s early 70s British rock bands so it will be great for us just to be here and play music regardless of the attendance of the shows.
I was a little bit surprised at how short the tour is. What is the reason for this? Jobs and/or family?
You hit it exactly Klaus. We'll make the best of the time we do have.
You will also play at the Roadburn Festival. How did that come about? Our first single and album were released in Europe on Roadburn and we couldn't do the festival last but Walter was kind enough to have us this year. We are very honored to have been asked.
As far as I remember, it was planned first to come over to Europe in 2010. Why did that not happen, or am I wrong? We were working on a tour with DEXTER JONES' CIRCUS ORCHESTRA but the booking wasn't getting done quick enough and we backed out. Good thing we did because it never happen. I would still like to do some touring with Dexter Jones.
Do you rehearse more frequently before going on tour? We have a lot of gigs before we leave so we use the gigs as a chance to brush up on the songs we don't play often. We are also adding some songs we have never played.
That's pretty cool. What can people expect from a STONE AXE live show? We like to move very quickly in the set and we don't use setlists. I just call out the songs I feel will make the set flow good and that I think the crowd might like. You never know what they are going to be like until you get in front of them. We keep it high energy & fun. Always gotta be having a good time.
A few days ago I received the deluxe edition of STONE AXE's first album from Ripple Music. To make it short: It's a superb package and the bonus tracks as well as the DVD are more than just a great bonus. When was the idea born of re-releasing that first album and what was the reason behind your decision? I wonder because the original album has been released only two years ago. I can't remember if it was our label's (Ripple Music) or our idea but it sounded cool to both of us and because 'Stone Axe I' wasn't released in the States. This was a good chance to do so. Ripple also reissued 'Stone Axe I' on LP.
There's one chapter on the DVD titled 'Beat Club' Sessions. As the title suggests the footage looks as if it has been filmed in 1971 at the legendary German Beat Club. Who came up with the idea for that? There is a theater in our town that our friend owns and I knew it would be the perfect place to do something like this. So we brought in the gear and some recording equipment and did the setup, recording and tear down in about 3 hours. I think it turned out great and the performances were good. They were supposed to be in color but the cameras had different settings and in editing we couldn't get the colors to look right between cameras. I wanted it to look like the inside cover of the first URIAH HEEP album. Black & white is great as well.
As much as I dig your studio recordings - the bonus live tracks on the CD clearly show that STONE AXE is born for the stage. Of course, the same applies to the 74-minutes DVD. What's your view on this and what do you prefer, live or studio? I think I enjoy the studio better. You have so much more control over things in the studio, but, there's nothing like a smokin' live set when it really feels good and everybody is jiving.
It's not the first time that you've worked together with Todd and John of Ripple Music. You were also involved in the official re-release of Poobah's 'Let Me In' album. Due to your interest and love for 1970's heavy rock I wasn't surprised to see your name in the booklet. Please, tell us more about the whole thing and how you get in contact with Poobah and Ripple Music. Todd Severin from Ripple Effect had been reviewing Mos Generator records over the years and been a loyal supporter of the rock cause. When I had talked to Woody from MIGHTY HIGH about doing a split 7", he contact Todd who was just starting the label Ripple Music. Todd and John Rancik decided that we would take a chance on us and that 7" became the first Ripple Music vinyl release. I have since became part of the Ripple 'family'. I do the restoration and most of the mastering for Ripple releases. My first job was restoration and mastering for the Poobah album. That was a lot of fun for me because I got to get my hand (and ears) on these 30+ year old recordings and clean them up. It was good fun for me. Right now I am getting ready to mix the new IRON CLAW album and master the new GRIFTER album.
Excellent news! Speaking of less-known heavy bands from the 1970's, you have a good relationship to some of the ex-members of Necromandus. Last year, I read somewhere that you were working on lost studio recordings and previously unreleased live recordings of Necromandus. What is the actual situation? Are there any plans for a release? I've been on a scavenger hunt for lost Necromandus material. With the help of Buzz Elliot in the UK I have managed to get my hands on some unreleased studio tracks and 4 complete live shows from 1972 with unreleased original songs. I've spent many hours restoring these recordings and the good news is Buzz has found some first generation cassettes of a few of these shows. I would like highlights of these recordings to be released and if everything comes together and sounds good, they will be. To me, Necromandus was the most promising hard rock of the early 1970s. 'Orexis of Death' is a masterpiece and these live recordings show the power of the band live.
You're right, Tony. But back to your band. Why is it that STONE AXE change record labels so often? Is it a special kind of band philosophy? When we write new material I just offer it to record labels and who ever wants it gets it. I'm pretty set with Ripple Music now but we are given the blessing to lend out songs for singles and compilations and we always have extra songs for things like that.
What is STONE AXE's future? What are your plans when you return from the European tour? After we get back we are playing Doom In June in Las Vegas and a motorcycle rally in Fort Worth, TX. Then we'll slow down live and I'll start writing for the third STONE AXE album and continue my work on the next MOS GENERATOR, BLOOD OF THE SUN and a country rock album.
It's good that you mention Blood Of The Sun. I was pleased to hear that you are also involved in the upcoming fourth album of Blood Of The Sun. What exactly are you doing? Tell us more about your input. I went down to Texas to set up a studio and record the next album and ended up playing all of the guitars on it. It's coming together to sound like the kind of BOTS album I always wanted to hear. It will have Derek St. Holmes on vocals again.
Finally, I would like to refer very briefly about Mos Generator. Are you planning to record a new album and what are you up to? This year Ripple is re-issueing the long out of print 1st Mos Generator album with bonus stuff on CD and LP and right now we are woring on a new album with no scheduled end date. We are just working on it until we feel it's done. No live shows in the works, just working on songs and recording.
That's all! Thanks for your answers. It always a pleasure to do an interview with you. Hope to see you and STONE AXE next month. www.stoneaxeband.com
As 2010 came roaring to an end, Poobah’s Let Me In, released on Oct. 12th found itself at the top of many Year End Lists, being hailed as a Re-Issue of the Year by David Fricke, senior writer for Rolling Stone Magazine, Pat Prince of Goldmine Magazine, Ray Van Horn, Jr. of The Metal Minute/Retaliate Magazine, and even going as far as being called “album of the decade” by Ray Dorsey of Ray’s Realm!
So, congratulations go out to Jim Gustafson for creating a piece of music with the vitality and staying power that Let Me In has, as well as a big round of applause to T. Dallas Reed for his countless hours of blowing off the sonic dust from the original 1972 analog tapes, and graphic designer Vic Jong for laboriously toiling over the details of the packaging reproduction in an effort to retain the visual feel of the original LP!
Here are a few more words to carry us into 2011:
“Between Jim Gustafson’s primal vocals to his gut wrenching licks on his Les Paul . . . they should have been huge, Black Sabbath Huge, because they were on par as far as sound and attack but it was not to be." -- Metal Exiles
"One of the highlights of the year! Let Me In is an album deserving of any status this reissue can give it, be it “classic” or otherwise.” – The Obelisk
“On the basis of Let Me In, Poobah is more than just a shaggy curiosity from the Me Decade – it’s a band worth discovering for fans not satisfied with endless Grand Funk retreads on classic rock radio." -- Sleazegrinder
Catch Poobah on the road throughout the winter of 2011!
In light of the success that we’ve seen here at Ripple Music over the last year, we wanted to look into our crystal balls and take a stab at what we see for the coming year, and then pass these findings on to you . . . the ever vigilant fan of heavy music! 2010 saw the label release seven titles, and 2011 is promising an even greater growth. Since the first release in June, Ripple Music has welcomed two additional acts to the family and has plotted out these follow up releases:
Scheduled for release in early April, we’re looking at a deluxe CD re-issue of the Stone Axe debut album with bonus live material, and a companion DVD featuring promotional videos and tons of live footage highlighting the bands epic performances. This re-issue will be released in conjunction with the bands trek across the Atlantic to tour the UK and parts of Europe that will culminate with their appearance at 2011’s Roadburn Festival in Holland.
While we’re on the topic of Stone Axe, word has come down from Tony Reed that the band is hammering away at material for a new album. No date has been set on the release, though initial discussions have us looking at a late summer street date.
Also featuring Stone Axe, we’ll be releasing the Heavy Ripples compilation double 7”, which will include the return of Brooklyn-based stoner-fied punks Mighty High, the introduction of blues-based retro rockers from the UK, Grifter, and on loan from the incomparable Small Stone Records, Sun Gods In Exile. The 7” will be packaged in a double gatefold jacket featuring the glorious artistic touch of Wayne Braino Bjerke. Expect to see this monstrous beast of sonic debauchery in April.
Speaking of Grifter, the band is partnering up with Ripple Music to release their upcoming album! The band is currently putting the wraps on the recording of new material and both parties are shooting to have the CD (vinyl?) released in May. A UK tour and potential U.S. tour are in the works in support of the as of yet unnamed album, though odds are, it will probably be self-titled.
Being that we talk with Tony Reed on a near daily basis, we have some information pertaining to another Reed project that has us rejoicing in our sleep. We’re looking at re-releasing the first Mos Generator album as a deluxe 10 year anniversary edition. The details are still being worked out in regards to time frame and content, but much like the deluxe Stone Axe CD, expect there to be some great bonus material to be included in this package.
On the doom metal front, is arm locked with Venomin James to re-issue their debut album, Left Hand Man, on vinyl! The album will be specifically mastered for the vinyl format and will include unreleased/live bonus material. Left Hand Man will be available in the first half of the year.
Poobah will be returning in 2011 with a brand new studio album entitled Peace Farmers. Originally self released by Jim Gustafson to a limited run of less than 500 copies, Peace Farmers acts as a great follow up to the re-issue of Let Me In and features a couple of updated renditions of some Poobah classics. Initially, Peace Farmers will be released on CD only, but as the case always seems to be, the door is open to press limited runs of vinyl to accompany the CD edition.
Santa Barbara’s melodic hard rockers Tripdavon are currently working on additional bonus tracks for the deluxe re-release of their latest album Sketches From Silence. As with many of the releases for the year, the time table isn’t set in stone, though we suspect that the album will be ready for mass consumption towards the end of summer.
Finally, Ripple Music will release the latest offering from Scotland’s Iron Claw. The as of yet titled full length album is comprised of all brand new material and includes the vocal talents of new member Gordon Brown. This will initially be a CD only release, but much like the Poobah release, there’s a great chance that it will also see a vinyl edition. Tony Reed is scheduled to master the album once it’s complete and should be available sometime mid-year.
That’s it for all of the major releases for the time being, though as things go around here, that could all change in a moment’s notice and the releases may double in quantity. Also, keep in mind, this doesn’t take into consideration any of the 7” single projects that are in the works, and possibly some big news for Ogre fans . . . so keep an ear out for that news as it becomes available.
One of the first things that attracted me to the Ripple Effect freaks is their deep love and understanding of the ultra obscure heavy bands from the 1970’s that they feature on the “Proto Metal Report.” Anyone who takes time out of their lives to champion Dust, Sir Lord Baltimore, Toad, JPT Scare Band, Jerusalem, etc is someone I want to know. Nobler than just talking about it, they are putting their time and money into bringing some of these lost artifacts back into existence again on their Ripple Music label. They’ve already unleashed a great collection of unreleased JPT Scare Band recordings and now they’ve done us all a huge favor by reissuing Poobah’sLet Me In.
I bought my copy just to support the label but didn’t know what to expect. Turns out this is right up my alley. Vintage Alice Cooper, Black Sabbath, Jimi Hendrix, Johnny Winter, Grand Funk Railroad is some of my favorite rock and Let Me In is a killer mix of all of ‘em. Grand Poobah, guitarist, singer, songwriter, Jim Gustafson is an awesome player and burns up the fretboard like a muther. It reminded me a lot of the first time I heard the Truth & Janey band – kick ass American power trio rock from the Midwest with lots of heart and soul.
Recorded back in the glory days of 1972, the original LP of Let Me In featured 6 killer jams and a great album cover. “Mr. Destroyer” starts off with a very funny spoken intro, somewhere in between Cheech & Chong and the voice on the early Ohio Players song “Funky Worm” before an almost “War Pigs” style riff. Jim peels off some great solos and they rhythm section of bassist Phil Jones and drummer Glenn Wiseman is very tight and grooves hard. Jim’s playing brings to mind both Ron Asheton and Tony Iommi at the same time. “Enjoy What You Have” is a mellower song that should replace Boston’s worn out “More Than A Feeling” on the playlist for all classic rock radio stations. It’s followed up with the killer mid tempo boogie of “Live To Work.” Even though Poobah is from Ohio, this is pure Texas boogie that would make Johnny Winter take notice.
Side two of the original LP kicks off with probably my favorite song “Bowleen.” It’s got a great tribal drum beat similar to Alice Coooper’s “Black Juju” and Jim adds some spooky organ on top of his creepy guitar riff. “Rock N Roll” is the type of song that my older brothers used to love to torture my mother with back in the 70’s. It’s loud and obnoxious with lyrics about how great rock is and of course getting high! I can practically hear her screaming to “TURN IT DOWN” during the guitar breaks. “Let Me In” is a 6 and a half minute epic that has everything you could possibly want – great riffs, lyrics about brotherhood and a drum solo.
In addition to this great album, there are TWELVE bonus tracks! You get everything from what was probably their intro tape (“Here’s The Band”) to unreleased gems like “Going To Rock City” and “Walk Of The Bug” to live rehearsals and radio edits. No expense has been spared on this package. Audio restoration and mastering was handled by none other than Tony Dallas Reed of STONE AXE. This guy knows a little bit about how classic rock should sound, so you know the fidelity is top notch. The CD is almost 80 minutes and the double LP is a thing of beauty. The colored wax is a tripped out marble and the inside spine awaits your seeds!
In the early 1990’s a small record label broke out of San Antonio, Monster Records, specializing in limited release/collector’s vinyl from underground 1970’s hard rock bands. For several years, Monster churned out an impressive array of steaming protometal, adding such bands as Poobah, JPT Scare Band, Truth and Janey, Hawkwind, and Manilla Road to their roster. But as so often happens in the music business, time passed, tastes changed and Monster Records ceased to exist.
Fast forward 20 years, and the sands of the hourglass churn backwards in time. Suddenly metal legends, Youngstown Ohio’s Poobah, and Kansas City’s JPT Scare Band, find themselves as popular as ever and stunningly, back on the same record label. This time it’s Ripple Music filling the void, providing the world with the tasty underground protometal that they crave.
Within a span of two months, both JPT Scare Band and Poobah released classic works with Ripple Music, JPT Scare Band’sAcid Blues is the White Man’s Burden, and Poobah’s 1972 seminal debut, Let Me In. Both releases hit the world in eye-opening, two-tone double LP packages with gatefold covers as well as CD formats. Both packed with rare pictures, notes, and bonus tracks.
Jim Gustafson, the mastermind behind Poobah, sums it up. “It’s cool that Poobah ended up with JPT again on the same label, only better this time. I saved these tapes for decades, looking for the right time and place to do this, and now it has happened.”
And 40 years after originally forming, both bands find themselves cranking out their music to a legion of fans new and old. WFMU in New York has both bands on frequent rotation, spreading the protometal, acid rock gospel to hungry, waiting ears.
Ripple Music plans to keep bringing on the ballsy retro-metal with future releases by Scottish protometal icons, Iron Claw, as well as modern purveyors following the raw, sonic blueprint, Stone Axe, Mos Generator, Grifter, Mighty High, and Venomin James.
As Ripple founders Todd Severin and John Rancik say, “Ripple Music exists to bring the guts back to rock and roll!”
We're pleased, and quite a bit flattered, to announce that Ripple Music was recognized as the "Label of the Month" across the Next Big Thing Network! Along with front page exposure, a number of the bands on the Ripple roster have been featured in review and on the networks podcasts. Not too shabby for a label with such humble beginnings!
Within a year of creating a solid business foundation and working long days and nights to streamline the production and supply of product, label founders John Rancik and Todd Severin have begun to see the fruits of their labors taking shape. On June 22nd, the label released their first album, JPT Scare Band'sAcid Blues is the White Man's Burden, and were immediately inundated with orders from across the globe. Shortly after, Kevin Beadles (You Can't Argue With Water) and Fen (Trails Out of Gloom) were released, both receiving glowing reviews and critical-acclaim, and essentially completing the "first wave" of Ripple releases.
While the "first wave" was being managed, a project fell into the laps of label in the form of a split single featuring Stone Axe and Mighty High, which created a flurry of press, positive reviews, and internet banter. This project cemented a working relationship with T. Dallas Reed (Stone Axe/Mos Generator) who has now opened his vault of music to the Ripple Music, including the re-release of the first Stone Axe album on vinyl, as well as deluxe CD. Reed also took part in the labels fifth release, the re-issue of Poobah's 1972 debut LP Let Me In, by re-mastering the original six tracks along with twelve additional tracks that never made the original cut.
This initial success has brought on partnerships with a couple of U.S. and European distributors, namely Netherlands-based Clear Spot International, who is working feverishly to support Ripple Music and the great releases on the labels roster. So far, catalog releases have been sent to Germany, Italy, Australia, Japan, Sweden, Austria, and the UK, to name just a few countries.
Now, with Wave 1a nearing completion, Severin and Rancik are concentrating on the second wave of releases, which includes the third full length album from the Americana/Rock trio, Modern Day Moonshine (Refuge), the re-release of Sketches From Silence from the Santa Barbara-based rockers Tripdavon, and the first new release in over forty years from proto-metal overlords, Iron Claw. Tack on other projects such as a new Stone Axe LP, a re-release of the first Mos Generator album with bonus material, a new Poobah album, as well as a number of single and compilation releases, 2011 is going to be a monstrous year for Ripple Music.
Revered by many, but unknown by most, Poobah's Jim Gustafson is a guitar player who's style has morphed over the years. With the re-issue of the classic 1972 Poobah debut, Let Me In, looming in the very near future, we thought it might be nice to sit down with Jim Gustafson, the grand Poobah himself, and pick his brain a little on his approach to tackling the chores of being the band's sole six-string slinger for nearly forty years.
What made you decide to pursue playing guitar?
I saw the Beatles on TV, at a young age, and my sister and her hot friends were going crazy over them. Right then I said to myself, I want to play guitar.
How quickly did you pick up playing the guitar? Did guitar playing come naturally, or was there a struggle involved?
I learned fairly quickly, as I really was drawn to it. I would say I had some natural ability, and was able to learn things at a very quick pace. It also helped, that where I grew up, there were some excellent players I would go see live, often. You can learn so much from watching others. I do not recall any difficulty, as I would gladly grab the guitar and go for it, every day. I still love to play, and grab a guitar most every day. This really helps in the songwriting department, as ideas come when you are just messing around.
What was the first guitar you owned?
My first guitar was very hard to play. It was a cheap, unnamed brand of acoustic, with strings set far from the neck, making it hard to play. My grandmother watched me try to play it anyway, and often. After about 4 weeks, she then purchased me a really nice National red electric, and it was a totally easy guitar to play, making my learning move ahead quickly. I started out taking jazz lessons as a sight reader, and then also took a few lessons from a rock guitarist, which really sent me up the path I wanted to be on. I wanted to be able to get up on stage and rock.
What kind of gear do you use? Guitar? Amp? Effects?
I have owned close to 35 guitars, but now I prefer, Carvin, Jackson, Hamer, Peavey electrics, and Martin, and Ovation acoustic guitars. I usually use a Carvin H-2 24 fret guitar live, and in the studio. There are more brands I am interested in, but the ones I am using are good to play live and record with. I own 3 Marshall amps, a Fender, Peavey, and even an Esteban amp. On stage I prefer newer Marshall 4 channel amps, but I also love my 1974 Marshall all tube 50 watt head, and Marshall 4x12 cabinets with Celestion 75 watt speakers. I own lots of effects pedals, and use many of them to achieve some wild sounds. Morley wah pedals and volume pedals are great, and I like Dunlop tremolo, DOD flanger, Line 6 echo with looping, Boss octave divider, Tech 21 compressor/distortion, Zoom multi effects and a few others. I like to play some complicated guitar riffs, and then add some flavor with effects, here and there. My newer Marshall has effects built in, for even more flavors of sound.
Do you play in standard tuning or do you use an alternate tuning? If so, why?
In recent years, I use alternate tuning, to have a bit heavier tone, tuning down a half step. On earlier Poobah albums I was in standard tuning. I like the sound of either, depending on what type of project I will be playing on.
What piece of gear can’t you live without? What’s your “secret” weapon?
My secret weapon is my ears and hands. I feel that I can play most any guitar/amp setup , and get a pretty decent sound, as long as the gear is working properly. In fact, I love to play lots of different guitars/amps, when I can. It always gives me perspective on what someone else thought was a good setup. There is so much to learn, and so little time.
Who are your primary influences? Guitarists, musicians?
For me, the Beatles, Stones, Yardbirds, Jethro Tull, Black Sabbath, Deep Purple, James Gang, King Crimson, were early influences, and then when I discovered many unusual players, meaning far from the style of the radio stars. I was and still am fond of listening to jazz, new age, and lots of technically challenging rock. Some players I like are Michael Hedges, Phil Keaggy, Steve Morse, John McLaughlin, Allan Holdsworth, Steve Vai, Joe Satriani, and many others. So much great music to absorb. Lots of great unknown players I like, too.
When performing solos, are you aware of where you’re going or are playing purely by mood and feel?
After playing for many years, you can almost map out where you are going in your head, and hear the changes that signify a different key, or tone center. I also love to improvise, which changes the music a lot. I try to capture the feel and mood of the recording, and then make it more fun for myself, by improvising many parts on the fly. Some songs call for a close to the recorded part, and if it is a signature section, then you should play it as close to the record as possible, for the audience who wants to hear it that way.
What words of wisdom do you have for young (and old) guitar players who are just getting started?
There are so many tools out there these days for guitarists. You can learn at an incredible rate, if you have the passion. Videos, Youtube, books, all will take you to the next level fairly quickly, if you are willing to put in the practice time. If I could give advice, it would be to try to find your own sound. If you are the best at covering someone else, it may not give you your own voice. There’s no shame in being a cover artist, and probably will get you more work. However, if you want to be remembered for your music, you should try to write good songs, and strive to have your own sound and style.
News that just warms our Ripple hearts. From the Telegraph, the British Newspaper. Vinyl sales continue to rise as music fans appreciate the portability of the download, but love the feel, look, and sound of vinyl.
At the Ripple, we're firmly committed to this point of view. With new double LP, gatefold vinyl releases of JPT Scare Band'sAcid Blues is the White Man's Burden, and the grand re-release of Poobah's classic 1972, protometal masterpiece, Let Me In. Both albums coming this summer, not to mention some nifty split 7" coming from Stone Axe and Mighty High and another from Ripple favorites Grand Atlantic and Sky Parade.
Long live the vinyl resurrection!
From the Telegraph: Sales of old-fashioned albums rose by more than five per cent last year, figures from the Official UK Charts Company showed.
CD sales have fallen by a fifth over the same period, leading to some manufacturers threatening to halt their production.
Despite accounting for less than one per cent of music purchases, American sales of vinyl topped almost three million, an increase of a million records. Music website Amazon.co.uk said it had more than 250,000 vinyl albums in stock to meet the growing demand. Internet search engine Yahoo meanwhile, has reported a 210 per cent increase in searches of the phrase "blank cassette tapes" and a 110 per cent rise in users seeking “music cassette tapes”.
The new trend is believed to have originated from New York teenagers, leading to a boom in record player and turntable sales. Most vinyl records bought over the past 10 years were by DJs and dance music fans, but recently more rock and country music albums have been sold.
Some of the most popular records include music from Florence and the Machine and The Courteeners and re-released Jimi Hendrix and The Red Hot Chili Pepper albums.
Music experts said that vinyl sales figures could be even higher because official British statistics do not include sales from smaller record shops and albums sold at concerts. British sales of seven-inch records peaked in 1979, with 89 million copies sold, but as CDs became more popular they slumped to less than 180,000 in 2001. Last year sales rose to 223,000.
Some vintage blank tapes are reportedly selling for more than £20 on auction websites.
"Downloads are quick and easy but nothing beats the joy of holding a heavy piece of vinyl,” Steve Clancey, a Brixton rare records and vinyl dealer told The Sun. "Vinyl sounds richer and there's something special about the cover art and sleeve notes which you cannot get with digital tunes."
Latest figures show that digital music sales accounted for more than a quarter of the music industry's global income in 2009 for the first time. Almost 30 per cent of global music revenues were generated via digital downloads last year, generating a total of £2.6billion.
Welcome to May and Spring is in full swing, flowers are bloomin' like crazy and the happy little elves at Ripple Music are preparing for a summer full of releases!
We'll be seeing our first official release hitting the streets on June 22nd, 2010 in the form of JPT Scare Band's Acid Blues is the White Man's Burden. The heavily fuzzed out blues-based rock outfit has worked hand in hand with Ripple Music in the song selection and the album art to fully encapsulate the bands (in)glorious history as the unsung heroes of proto-metal. Coming on the heals of the widely acclaimed self-released album Rumdum Daddy, Acid Blues will be available in deluxe CD digipak, digital download, and multi-colored double 12" vinyl formats. The vinyl edition will also include two bonus tracks for your listening pleasure! Follow the link to hear more from this painfully obscure classic rock outfit! http://www.reverbnation.com/user/login#/jptscareband
Vancouver's beloved alienists on the path of self discovery, Fen, are preparing for the release of their fourth album, Trails Out of Gloom. The epic album of brooding and hauntingly beautiful songs will hit the streets on July 13th with the band working the road in support of the disc. Initially, Trails will be available in deluxe CD digipak and digital download formats, but plans are underway for a follow up 12" vinyl release. To hear some advanced tracks, please follow this link . . . http://www.reverbnation.com/user/login#/fen
Bay Area singer/songwriter, Kevin Beadles, also has an album available for the masses of happy and hungry music listeners. You Can't Argue With Water will officially hit the streets through Ripple Music on July 13th, 2010, featuring well crafted songs that are highlighted by thought provoking lyrics. The album will be available in CD digipak and digital download formats. For some samples of Kevin's work, follow the link . . .http://www.reverbnation.com/user/login#/kevinbeadles
Ripple Music is also proud to announce the release of the 1972 lost classic, Let Me In, from Poobah. Featuring the guitar wizardry of Jim Gustafson, Poobah has milled about in the same circles as classic rock icons Hawkwind, Blue Cheer, and Iron Butterfly. This deluxe re-issue will be available in jewel case CD, digital download, and multi-colored double 12" vinyl formats . . . and all will include bonus tracks from "lost tapes" of the Let Me In recording sessions. Look for the album this summer, and in the meantime, feel free to listen to some of the music that you have missed over the years . . . http://www.reverbnation.com/user/login#/poobah
Finally, Modern Day Moonshine has submitted the cover art and the album title for their long-awaited follow up to their self-titled EP from last year. Refuge follows the same big sky, open land path that this trio has walked for the past five years . . . but with a fresh burst of energy and a focused approach. Refuge will initially be available in CD digipak and digital download formats, but we're not ruling out a vinyl edition in the near future.
Ripple Music has also come to agreements with the Santa Barbara modern rock outfit, Tripdavon, to re-release their latest album, Sketches From Silence, in a deluxe format filled with unreleased tracks and bonus material. And, as of this writing, the label has also come to a verbal handshake with classic proto-metallers, Iron Claw, from the UK to release their first collection of studio material since their classic self-titled 70's release.
2010 promises to be an exciting year with a ton of great music, so tune in frequently, or simply sign up to our mailing list and get the 411 before anyone else!
That's all for now . . . and remember, if you're not listening to it loud, you're not listening to it right!
David Bowie - Space Oddity (40th Anniversary Special Edition)
David Bowie, of course, needs no introduction, being easily one of the most recognizable and influential rock stars of the past 40 years. But still, it's interesting to see how far the Ziggy-man has traveled on this rocketship blastoff journey of a career. With the re-release of Space Oddity, we get a glimpse, turning the spotlight back onto one of his first major albums. Space Oddity, was an an oddity itself when it first came out in 1969 under it's first release as Man of Words/Man of Music, finding Bowie trying on different musical styles, moving away from the late 1960's folk, searching for his own unique voice that'd become so apparent in 1972's Ziggy Stardust. Many think of Space Oddity as a transitional album, others find it a gem. Either way, it's still a major stepping stone in the musical cannon that'd be Bowie.
With this re-issue we get the entire re-mastered version of the original album with a second bonus disc of demos, unreleased versions, and rare live cuts. Since the original album is already designated as a classic, the real meat of this treasure is the strength of the bonus cuts, which certainly are more than worthy of you plunking down your hard earned cash and snapping up this baby. The bonus disc starts off with a heavenly, previously unreleased, demo version of the album's highlight, "Space Oddity." Now, I'm a sucker for demos anyways. Always loved to see how a song evolved from songwriter's ideas to finished product, and this version pays off in spades. Spartan and airy, it nevertheless captures all the majestic drama that was such an integral part of the hit version. Bowie's voice is in excellent form, and the slowed down, acoustic version stands completely on its own, even without any knowledge of the finished version. "An Occasional Dream," unreleased demo, is also a gem, finding Bowie more in his folky, singer-songwriter mode. Here you can still hear some of swingin' London. Both of these excellent cuts have never before been bootlegged.
Other standouts include the set of "Let Me Sleep Beside You," "Unwashed and Somewhat Slightly Dazed," and "Janine," all performed live on the D.L.T Show, BBC radio. "Let Me Sleep," particularly captivates, with its ragged, early, high-energy, T-Rex glam. "London Bye Ta-Ta," jumps right back into that swingin' London vibe without missing a step, big guitars, big pianos, big voices. Makes one long for mod-skirts and hip hugger pants. This version could only be heard before on the Sound and Vision box set, while later on we get a slightly more subdued, previously unreleased version. Other tracks like the mulit-part "Memory of a Free Festival" find Bowie exploring what would become his trademark sound. But still, one of my favorites of the bonus cuts is "Ragazzo Solo, Ragazza Sola," which translates to "Lonely Boy, Lonely Girl." Some may find it cheesy, but I've always been a sucker for familiar songs sung in different languages, and this is an Italian version of "Space Oddity" released for the European market in 1970. The version found here was never released and it's stunning. In Italian, the pure majesty of the melody is inescapable and Bowie's voice takes to the Italian language like an opera singer, gently wrapping around the lyrics, loving them, holding them. Never sounding forced or coerced. As a sucker for this stuff, I'd buy the album for this track alone, but fortunately, the entire second disc shines. A must for any self-respecting Bowie fan.
Anyone who's read the Ripple for a period of time knows how we feel about the perpetual rocking machine that is Poobah. Jim Gustafson, who is essentially Poobah, is without a doubt, one of the world's most unheralded, underground guitar legends. Just check out his stunning reissue of Steamroller, and you'll see what we're talking about. With fingers that fire at a cheetah's pace and 120 volts of electricity searing through his strings, Jim's guitar work doesn't just slink along, it screams, it wails, it purrs and roars.
Now, Poobah comes sizzling back with his third release since the Ripple's been rolling. And whereas Underground and No Control dazzled with guitar wizardry, nothing can match the ferocity that Poobah brings to Peace Farmers. Wailing on like he's a kid again, Gustafson proves he truly is ageless. Either someone slipped a case of Red Bull into Mr.s Gustafson's water supply or he found the fountain of youth. Sure Underground rocked, but in truth, it did so in more of a mellow, post-psychedelic, bluesy way. Not here, no way! Peace Farmers screams out of the stereo, aggressive and mean, and burning with the fire of a thousand burning guitars. Peace Farmers begs for attention. It refuses to be ignored.
After the stuttering intro of "Ripped," Poobah explodes in full electric glory! Featuring a mean and nasty, fricking heavy-toned guitar, Gustafson plays his freaking heart out, solo arpeggios, feedback, flurries wailing through the massive riff like screams breaking through a darkened night. Poobah hasn't rocked this hard to my ears since Steamroller. No fan of Poobah can resist being sucked head first into this monstrosity from that very first cut. But it doesn't let up there. "It Out," keeps the level at volcano-explosive intensity, riding an additively heavy riff, loaded with guitar histrionics to make even the most seasoned rocker drool and marvel. When I say his guitar leads sear, I mean it's a damn good thing this didn't come out on vinyl cause it'd be melting under the heat of the needle!
And these first two songs are only indicative of what awaits you on the rest of the album. The next cut, "Mood," keeps the intensity just as fierce, featuring some distinctly trademark Poobah guitar mania, and the album continues on from there. Without a doubt, Poobah has unleashed a classic of guitar madness with Peace Farmers. Rather than getting older and slower, Poobah just keeps getting better. The whole album seems to find Gustafson more focused in his songwriting, tighter and infinitely heavier than his last couple of albums. Not only that, but this is the best I've heard Jim's voice since the re-issue of Steamroller. No matter how you cut it, Poobah is a name that long ago deserved much more acclaim and attention that it has ever received, and here at the Ripple we're going to do everything we can to help Poobah get it's due. Keep tuned here for some big Poobah announcements coming soon!
Talking about timeless performers! It was way back in 1978 that The Records released the timeless powerpop gem, "Starry Eyes," on the world, and in the process earned the nickname, "The British Big Star." in truth, that nickname served the band well, as very few could ever match The Records for the shear beauty of their melodies and huge powerpop hooks. Unfortunately, much like the U.S. Big Star, The Records failed to captivate the world with their shimmering, hooky pop, and after releasing some amazing quality pop from 1978 to 1982, the band never found success and broke up, leaving only a legacy of golden sparkling gems in their wake.
25 years later, after nearly 10 years away from the recording studio, John Wicks jumped back into the fray, releasing this updated, truly remarkable treasurechest of powerpop bounty. From the first track, "Oh Yeah!" it's clear that Wicks had lost none of his command of melody. Soaring, sumptuous harmonies and bubblegum-covered melodies positively drip off this disc. Sparkling, jangly guitars bring us in before the big hooks snag us like a sailfish caught off the coast of Baja. Wick's voice still soars and rings in his perfect tenor. Just like way back in 1978, the result is immediately timeless. "Different Shades of Green," adds a bit more fuzz to the tone, adding a bit more urgency, and the track just bristles with powerpop perfection. "That Girl is Emily," is another instant classic. With it's traces of gentle psychedelia wrapped around it's lush pop, the song is so timeless in execution it could have been recorded in the sixties, seventies, or now. It doesn't matter. Wicks has already proven that time is a relative concept where The Records are concerned.
To make things even better, John Wicks is still at it, now touring acoustically with Paul Collins of the stunning seventies powerpop band, The Beat. Stay tuned as we keep you updated on their tour with, hopefully, a future stop at the Ripple Office where we'll be broadcasting a live acoustic set of the two songwriters right across Ripple Radio. In the meantime, don't forget to pick up Rotate. A true shiny nugget of passionate, meticulous powerpop.
And speaking of Paul Collins . . . it wasn't that long ago that we at the Ripple professed our undying love for the truly lost classic album that is The Beat's debut from 1979. Never before had a band so perfectly captured the tension and urgency of punk married to the sweet-as-sweet-could-be melodies of classic Raspberries and Badfinger. True powerpop may not have been a Beat creation, but damn, if Paul Collins didn't perfect it.
While that debut will forever reign as a pinnacle achievement in powerpop history, it, of course, wasn't enough to get the band the international acclaim they deserved. But Paul Collins kept on, through various Beat line-ups and his own solo albums, and the cat is still going strong today. Pope and I will forever be grateful and entertained by the time Paul Collins called us at Ripple Radio, live from the stage and had the entire audience say "Hello Ripple Effect." Fortunately, we captured that moment of shear rock and roll madness on tape and can spin it endlessly for our own bemusement.
But another thing we're spinning endlessly, is the last album by the Paul Collins Beat, Ribbon of Gold. Recorded in Sweden (a far journey from the Beat's LA beginnings) Paul proves that he's lost none of his edge over the years as he cranks out a worthy follow-up to that classic debut album. Everything that people loved about The Beat is here; from the nervous energy of "I Still Want You," to the glorious melodies of "Ribbon of Gold," to the sumptuous, sugar-filled center of "Big Pop Song," this is The Beat, just as strong and lively as ever!
"Hey DJ," is a retro-blast of fun, an ode to the days when radio really mattered, and we lived and cried by whatever was spinning over the AM dial. "Without You," is a mid-tempo, country-slanted number with big ringing guitars and soaring harmonies. "Falling in Love with Her," chimes and hums along in its own universe of tight powerpop precision, with its infinitely singable chorus and harmonies, while "She Doesn't Want to Hang Around With You," is a direct descendant of such classic Beat cuts as "Rock and Roll Girl," and "I Don't Fit In."
Paul Collins is a legend in powerpop circles and anyone in the know, and he does himself proud with this effort. For all you Beat fans, search this one down. It's worth every precious powerpop moment.
, and you'll see what we're talking about. With fingers that fire at a cheetah's pace and 120 volts of electricity searing through his strings, Jim's guitar work doesn't just slink along, it screams, it wails, it purrs and roars. 
and No Control dazzled with guitar wizardry, nothing can match the ferocity that Poobah brings to Peace Farmers. Wailing on like he's a kid again, Gustafson proves he truly is ageless. Either someone slipped a case of Red Bull into Mr.s Gustafson's water supply or he found the fountain of youth. Sure Underground rocked, but in truth, it did so in more of a mellow, post-psychedelic, bluesy way. Not here, no way! Peace Farmers screams out of the stereo, aggressive and mean, and burning with the fire of a thousand burning guitars. Peace Farmers begs for attention. It refuses to be ignored.
John Wicks and the Records - Rotate 
Paul Collins Beat - Ribbon of Gold