Ripple Library - Glenn Hughes - The Autobiography

Glenn Hughes HATES cocaine, but he LOOOOOVES the smell of it. Poor guy is playing bass and singing his ass off in a band called Trapeze during the early 1970's when he gets recruited to join Deep fuckin Purple in 1973 and help revitalize the band with vocalist David Coverdale. They create a monster album called Burn and go on to have major success space truckin around the globe. They play an insane show at the California Jam festival that literally set the stage on fire. But behind the scenes, young Glenn develops a taste for the high life. Mainly A LOT of coke. LOTS and LOTS of coke. How he's still alive to tell his story in this new autobiography is completely amazing, let alone be able to function as a human being and go to the toilet all by himself.

You don't have to be a fan of Deep Purple or any of Glenn's music to enjoy this book. If you want to know what it was really like back in heavy rock's golden age you need to read it pronto. There are so many sleazy, sordid tales that your mind will reel. Canoodling with Bowie, out-snorting Ron Wood, and being accused of loving chocolate bars more than his bass by Gary Moore is just the start. There are coked out trysts with Angie Bowie, Cherie Currie and maybe even Sharon Arden (later Ozzy's old lady). Then there's the usual 70's girlfriend swapping and switcheroo. His story telling isn't pornographic but gives you enough innuendo to get the drift. Later on when the drug use gets really out of control he has no problem admitting to soiling his kimono and puking up a hot dog into his hands on a commercial flight. Pretty glamorous, eh? Read Cheetah Chrome's autobiography if you want to hear how gross it is to be a low budget drug addict. At least Glenn had some big money a few times in his life.

There's music, too. After all, the Mk.III and IV line ups of Deep Purple were pretty incredible. You get the inside stories behind how a lot of the songs were written and recorded. For an out of control coke fiend Glenn has kept himself pretty busy over the years playing with everyone from Tony Iommi to the KLF. Personally, I would have loved a bit more technical data. What the hell were those ungodly large speaker cabinets he used to use to deafen people with back then? How massive was the PA system they would rattle stadiums with? How the hell did they move it from one place to another? What's he playing through these days? Maybe that will be revealed in his next book. The other thing he doesn't really mention is having the same name as the leather dude in the Village People.

Glenn's been clean for awhile now and his career is on a definite upswing. His new band with guitarist Joe Bonamossa is a success and he's playing and singing great. He's skinny as a rail but very healthy looking and determined to kick ass for a long time. As the Cove would say "God bless yer!"

--Woody

Doom on! - Featuring Leather Nun (America), and Orchid

Raining.  Wind whipping the scattered leaves into a violent frenzy of attacking dead foliage.  Lightning cracks the sky.

Time to get some doom on.

Leather Nun (America) - All Your Kin

Of all the doom bands that have plodded into the Ripple office over the last four years, Leather Nun (America) have always been one of my favorites.   Plowing the requisite post-Sabbath highway of death, destruction, and hating of the world, Leather Nun just seem to do what they do with an unbridled love and demented passion.  Their riffs are as heavy as a wrecking ball descending upon my cranium, the songwriting is generally as tight as a virgin's chastity belt, and the mood is as dark as the space inside Charles Manson's soul.  In other words, everything you need for a solid doom record.

I'd reviewed their last psycheDoomelic release a year or so ago, but thanks to John Sarnie, All Your Kin, the band's 2007 release found it's way to corrupt our mail carriers hands.  And from the very first explosive seconds of "Overdope" I knew I was in good hands.

Not to be confused with the legendary cult Swedish garage, goth and industrial group, this Leather Nun hails from California, and now uses the America tag in their name; Leather Nun America.  However, All Your Kin was released before they added that tag, so it's attributed to Leather Nun.  Just to clear up any confusion.

One of the main things that makes Leather Nun stand out for me is the intent they put into their music.  Often times Doom becomes a battle to see who can play it the heaviest and slowest, but this trio knows how to flex their muscles and add some stoner groove and some plain ol' rock to the assault.  The result is a doom record in every sense of the word, but with riffs that charge and a backbeat that drives, and a groove that could almost get my ass up to do the doom boogie. You'll hear some Pentagram here, some Saint Vitus, The Obsessed, even some Deliverance-era COC. Wino is worshiped along side Ozzy.

And there is nothing wrong with that, All Your Kin is potent as a Doom-laden nitro stick, and the whole album chugs and stomps and builds and terrorizes like a mastodon set loose in a china shop.  This is doom done right, or a least right in my darkened book.  Having heard two of this trio's albums so far I can say with confidence that Leather Nun is way too good to not be mentioned in the same breath as the "big" boys mentioned above.  Wake up world, it's not too late to get raped by the nun.

Orchid - Capricorn

I know nothing about this album other than it's on The Church Within Records and came to me courtesy of Doom-dealer.de.  That was enough to get me interest.  Church Within Records?  Hadn't heard of them, but damn if that isn't a cool name for a doom label.  Doom-dealer.de I know.  I trust.  I'm interested.

Disc enters player and damn if the most solid Sabbath doom I'd heard in ages comes terrorizing out of the speakers.  Let's set the table right away.  This isn't Sabbath-inspired doom, this IS Sabbath doom.  From the Iommi flourishes at the end of the riffs, to the Butler-flying bass, the Ward-all-over-the-set drumming, and most importantly, the very-Ozzy vocals.  The arrangements are Sabbath.  The guitar tone is Sabbath.  Everything.  There may be another influence somewhere, but  I can't hear it.   In the hands of a lesser band, this would be tossed aside as a Sabbath cover act, but damn if Orchid don't do it well.  And do it without the slightest hint of an apology.

San Franisco's Orchid love Sabbath and they want to play Sabbath, and the results are killer.  Does it matter that this album sounds it could've been snuck somewhere admidst the Sabbath catalog of the first 6 albums?   Nope, not one bit.  That's it's strength.  This isn't building upon Sabbath, it's a reinterpretation of Sabbath, staying dedicated to the original template and having a ball with it.

Songs like the manly strut of the opener "Eyes Behind the Wall" and the drill-into-your-brain earworm title-cut  simply rock.  When they get slower and moodier, they're no less Sabbath, as on the plodding "Black Funeral" with all of it's Iommi-isms.   But none of that matters.  What matters is that from start to finish, Orchid do it right.  Yes, it's Sabbath, but it's fun and the dedication is infectious.  Dig it.

--Racer

Mos Generator - Deluxe 10th Anniversary S/T Reissue

It was a dark and stormy night.  Inside an ominous castle situated atop the highest suitable perch in the Black Mountains of California a mad scientist was hard at work.  Frantic hammering along with high speed saws could be plainly heard above the angry growls of thunder.  Occasionally blinding light would burst forth from every window of the castle.  A careful observer would have been able to listen in to snippets of the scientist’s crazy ramblings.

“…take away my diplomas and honors, eh?  I’ll show them!”
“…call me crazy.  Me!?!?  After all that I’ve done…”
“…finish building this, my masterwork.  They’ll all have to believe…”
“…going to revolutionize everyone’s thoughts on the subject…”
“Mwahaha!”

Fast forward three months.  Fall was in full effect.  The 2011 California World Fair was scheduled to begin that very night with an elaborate ceremony that would be televised all over the world.  What no one knew was that the mad scientist Penfold planned to hijack the proceedings with the help of a select few hired hands.  After the sun had gone down and a capacity crowd had gathered in the Fair’s primary outdoor plaza the plan was set in motion.  When the Governor of California paused to take a breath following the first sentence of his welcoming speech, pyrotechnics exploded and the enormous black curtain concealing a large stage at the end of the plaza fell to the ground.  Standing in the center of said stage was a man wearing a startlingly white lab coat.  He raised both his arms, his palms pointed skyward, and began speaking into the microphone in front of him.

“Ladies and gentlemen!  Boys and girls!  Thank you for coming to my grand unveiling!  My name is Penfold.  I apologize if I startled any of you with those loud blasts.  I’m a showman at heart I’m afraid.”

“Now wait just a minute,” screamed the Governor from across the plaza.  “I don’t know who you are or what you think you’re doing here, but you have no idea what kind of trouble you’re…”  The Governor’s voice abruptly ceased after Penfold made a quick ‘cut his mike’ gesture to one of his team members.

“Thank you Governor, but your teleprompter reading services are no longer necessary.  Folks, I don’t wish to waste your time so allow me to cut to the chase.   I’m here today to show you my latest invention.”  He held up a small black box and proceeded to press the circular white button in its middle, raising a small podium beside him on stage to the level of his waist.  On top of the podium was an object covered by an opaque sheet.  “People, I ask you.  What is the number one concern of humanity going forward?  I’ll tell you.  It’s energy!  Clean, sustainable energy!  No one has been able to solve this perplexing riddle…until now.  With my new invention, I can harness the power of rock and roll to generate immense amounts of electricity.   Citizens of California, and everyone watching this around the world, I give you…the Mos Generator!”

Penfold quickly withdrew the sheet covering the object on the podium unveiling what appeared to be an old Victor Victrola machine.  The only noticeable difference was a thick cord running out of its back that disappeared through the floor of the stage.

“Judging by the amused looks on some of your faces, I can see that a demonstration is in order.  I completely concur.”  He reached inside of his lab coat and brought out a vinyl record.  “This is the debut album of the band whose name I borrowed for my invention.”  Penfold pulled the record from the sleeve, placed it on the turntable, and lowered the needle.  The music started.  Moments later countless machines whirred to life behind the stage and a wonderland of lights nearly succeeded in turning the night sky into day.  The crowd collectively gasped and gawked.  The mad scientist smiled so widely it nearly tore his face in half.

“Hahaha!  I guess none of you knew that there was a fully functional amusement park behind this stage.  Take a good look folks.  Everything you see is made possible by my Mos Generator.  I invite you to enjoy yourselves with the amusements on offer.  I assure you, I’ll be available to anyone who has a question for me, scientific or otherwise.”

And with that, Penfold walked confidently off the stage.

Waveriders please excuse me for a moment, because I’m going to break one of my cardinal rules.  If you have read any of my previous reviews you might have noticed that when it comes to language I like to keep my writing G rated.  Well…I’m afraid that I can’t contain myself this time.  Holy ****!  The debut album by Mos Generator is so ******* awesome I can hardly ******* stand it!  This thing is so ******* fantastic, it makes every other hard rock album I’m listening to (and I assure you that includes some very good albums right now) it’s *****!  ***** *****!  ******* ****, why did I not know about this album ten years ago when it first came out?  Palm meet forehead repeatedly.

Right, now that I've purged myself of the need to use coarse language let’s get down to business.  Mos Generator is a power trio out of Port Orchard, Washington.  The three titans of rock who make up the band are Tony Reed on guitar/vocals/keyboards, Shawn Johnson on drums, and Scooter Haslip on bass.  Yes that’s right, I said titans of rock and I meant it.  Mos Generator play rock and roll music.  They play hard rock music, the kind of hard rock that is clearly rooted in the 1970s.  That means their songs are built around tremor inducing guitar riffs coupled with a lock step rhythm section that is both backbone and harmonious support structure.  Yes the obvious go-to reference point is Black Sabbath.  That’s unavoidable but honestly, being a huge Sabbath fan myself, I never find myself listening to Mos Generator thinking boy, that sure sounds like that (fill in the blank) Sabbath song.  On reflection, that is one of the biggest compliments I can give this band.  Despite wearing their influences on their collective sleeve they are clearly their own band sonically.

My first actual exposure to Mos Generator came through a Facebook post made by one of my two bosses, Pope JTE, which allowed me to listen to one song from the debut album.  Waveriders, I played that song at moderate volume and I had to question whether or not I had just lived through an earthquake.  Shortly thereafter I heard the song “Sleeping Your Way To The Middle” and I knew I couldn’t live without a copy of this album any longer.  While I realize that all three band members had been making music with other acts before forming Mos Generator the quality level of this, their first album, is stunning!  Top to bottom it is smack you in the face, forehand and backhand good!  The original album is made up of seven songs that clock in at just over thirty minutes.  I know that may not seem like a lot of time but trust me, you won’t be left wanting.  This album is the very definition of ‘all killer, no filler’.  I guarantee that you’ll be hitting the play button again and again in record time.  Oh, and I suppose I should mention the bonus materials.  Yeah, that’s probably a good idea.

With this deluxe reissue not only do you get the bulletproof original album, you also get about two hours of extra music including unreleased studio demos, a half hour rehearsal jam, and all kinds of live tracks.  And waveriders let me tell you something.  Those live tracks, including one full show that saw limited release under the name Live At The Manette, are awe inspiring.  Yes there is plenty of energy in the studio recorded songs, but live Mos Generator sounds like a runaway train that’s about to derail itself!  I can’t imagine anyone attending one of their shows and remaining seated.  Well…unless they lack a pulse or they happen to be deaf.  Truly, when the band gets going it feels like they are performing a high wire routine with no safety net underneath, and it is intoxicating.  I would happily pay for these ‘bonus tracks’ separately no questions asked.  The amount of musical goodness contained within this reissue is positively absurd!

Let’s put a bow on this shall we?  You may have never heard of Mos Generator, or you may be a fan wanting to complete his or her collection.  The bottom line here is this waveriders.  If you are looking for an ultra-high quality 1970s inspired, ridiculously talented, musically inventive band your search has ended.  You know what, scratch that.  If you call yourself a hard rock fan you absolutely must own this album!  Believe it!

--Penfold

Buy Here- http://ripplemusic.bigcartel.com/product/mos-generator-10th-anniversary-deluxe-edition

Ripple News - GEEZER BUTLER STATEMENT ON RUMORS OF BLACK SABBATH REUNION

In today at the Ripple office, some news for all Sabbath fans.

Responding to ongoing rumors surrounding a possible Black Sabbath reunion, Geezer Butler has issued the following statement:

"I would like to make it clear, because of mounting speculation and rumours, that there will be definitely no reunion of all four original members of Black Sabbath, whether to record an album or to tour."

Butler's most recent musical outing was with Heaven & Hell, a four piece featuring Black Sabbath band mate Tony Iommi as well as one time Black Sabbath members Ronnie James Dio and Vinny Appice.  The band released Neon Nights: 30 Years of Heaven & Hell in November of 2010.

www.geezerbutler.com

Quartz - Stand Up and Fight

Back in high school, Brett and I were brothers in arms.  Rock and roll arms that is.  A tad more seasoned than I was, Brett burst my musical cherry by taking me to my first big-time rock concert; AC/DC, Cheap Trick, Ted Nugent, Blue Oyster Cult, and Boston.  Or was it Journey headlining?  Hell, with all the acrid smoke wafting in and around my virginal nostrils that day, I’ll never remember. 

But I do know that Brett also introduced me to the endless hours of joy that became known as the bargain bin dig, and opened up my ears to crazy new sounds in metal, like UFO.  Influential in my life, hell yeah!  It’s safe to say that The Ripple Effect would not exist in many ways, if not for Brett.  A while back I wrote of “big brother” Danny shaping my musical childhood, well Brett was responsible for my much louder heavy metal adolescence.

And with a brother like that in the late seventies to early eighties, you better believe we launched headlong into the NWOBHM and launched hard.   Seemed like we were on a quest to constantly outdo each other, being the first to turn the other guy onto a new band.  For every Tygers of Pan Tang, Girl School, Bitches Sin, Praying Mantis and Witchfynde that Brett found, I pulled out an Iron Maiden, Def Leppard, Saxon, Vardis, and Motorhead.  He popped out an AIIZ and I whipped out an Angelwitch.  Wild Horses, Raven . . it didn’t matter.  We were there.

Then how in the hell did we miss Quartz?

Perhaps it was because Quartz were just a bit ahead of our time, their debut album being recorded in 1976 and 1977.  But that shouldn’t of mattered.  This rambunctious platter I now hold in my hot and steamy hands, Metal Mind's just released reissue of Quartz’s second album, Stand Up and Fight, was originally put out in 1980.  That was our time.  And further, Quartz were originally championed by Tony Iommi and his management group.  He produced their first album and Quartz Geoff Nicholls left the band to join Black Sabbath in 1979.  And we were definitely huge Sabbath fans.  So how this record escaped the attention of two pimply-faced, metal mad teenage boys with a ’66 Mustang remains a mystery never to be solved.

But thank God it’s been rectified, because Stand Up and Fight is one helluva blitzkrieg of riff-mad NWOBHM.  A molten cauldron of screaming guitar licks, trodding bass lines and bone-shattering drums.  An album chock-full of one pounding primal metal fest after another.  An album not to be missed.

Mike Taylor was a singer for the ages, with a voice gruff enough to stand out against all the fey pretty boys of the day, but still sweet enough to scale the heights and bring the passion to the songs.  The closest similarity I can find to his voice is Daryl Braithwaite from the latter Aussie band, The Sherbs; but that reference is probably too obscure, so let’s go with a husky Geddy Lee with a case of laryngitis.  Guitarist Mick Hopkins could shred and rip with the best of them, laying down wailing solos or tearing through grinding gears of riffs.   And the rhythm section of Malcom Cope and Derek Arnold were steadfast in their dedication to rock. 

And boy, could they rock.  Ignoring the sole misstep of “Can’t Say No To You,” a timid American-aimed rocker that sounds suspiciously like Foreigner's “Feels Like the First Time,” the rest of the album and the one extra bonus track “Circles” are the true essence of the NWOBHM. 

I’m not going to go into each track here, because I’m gonna run out of adjectives way to soon.  There’s just no way to sum up the raging riff drag race of “Charlie Snow" and it’s cocaine reference.  It’s impossible to describe the bullish metal assault of “Rock ‘n’ Roll Child,” or the angry power wrapped up in powerchords and wailing solos of “Revenge.”  I don’t have the words to lay down how I feel about the mad rockers, “Wildfire,” “Circles,” or “Stoking Up the Fires of Hell.”  Let’s just simply say that Stand Up and Fight is simply . . . simply fantastic.  Raw and primitive, riff-mad metal.   An album that absolutely shouldn’t be missed.

Brett, brother, have I got one for you!

--Racer

Buy here:  Stand Up & Fight