Stone Axe, Grifter, and Iron Claw Ready for the Official North American Release of New Albums in the Wake of their Triumphant Appearances at Desertfest

By all accounts, the crowds were blown away.  Rocking the Midlands hailed Stone Axe's recent route through the U.K., as "the best kept secret in rock!"  The Obelisk called Grifter's Desertfest show "no bullshit rock n roll" and "the destination I'd been running to all day."  And famed rock critic, Mark Taylor, from Touchline Live Music andMetaltalk.net, claimed that finally seeing Iron Claw live as they took the Desertfest stage was a "skullcrushing joy."

So, after planting the flag of hard-driving retro rock firmly in the heart of the U.K., what do the trifecta of Ripple bands do for an encore?  They ready themselves for the official North American release of their latest albums!  Officially released on April 10, Ripple Music is proud to unleash Stone Axe II Deluxe Edition 2 CD set, Stone Axe Captured Live at Roadburn, Grifter's self-titled debut and Iron Claw A Different Game. 

With the blazing resurgence of true retro-rock taking hold all over the world, these four releases will be at the top of every heavy music lover's lists.  Fans are ready to bask in the guitar heroics of Tony Reed, the gritty biker rock of Grifter and the true retro-resurrection of legendary U.K. doom-sayers, Iron Claw.

Released through Nail Distribution across the U.S. and Canada, with world-wide digital distribution through the Allegro Media Group, you can expect to find these releases at a record store near you, and as always through the Ripple Music Store.  Add to this onslaught the critically-hailed Trucker Diablo album The Devil Rhythm and Mos Generator's 10th Anniversary Deluxe reissue LP, and it's clear that the time has finally come for real rock and roll to reclaim it's rightful place upon the throne.


Here’s what the press is saying:

"This one helluva album, and with all the revived interest in 60's - 80's rock and metal going on at the moment this set will help mark out Stone Axe as one of the very best in their field. and long may they continue. Hell if you have already got this album its worth getting again for the bonus disc alone. 5/5" -- The BCFM Sunday Rock Show

"Grifter is the best classic rock band around" - Captain Zen Beyond

"Scotland's Proto-Metal pioneers, Iron Claw, return with a long-awaited album of gritty, blues-based melodic heavy rock that is already garnering album-of-the-year accolades." - Puregrainaudio

 

A Sunday Conversatin with Green Monkey Records

Don't get me wrong.  It's not that I'm jaded, but having been doing this Ripple thing for the better part of three years, I've heard a lot of music come through the Ripple doors.  And while a good chunk of that music's been pretty good, not much of it has been surprising. Most of it just fits nicely into the preconceived notions of genre and category.  That was until the Green Monkey Anthology came through my door.  To put it bluntly, I expected one thing and got another thing entirely.


And what I got was good.  Very good.  Garage, psych, powerpop.  Keen original post punk pop the likes of which went right to my happy zone.


With that, it was only a matter of time before we had to get Tom Dyer, the main monkey, to stop by the Ripple office, plop on down on the red leather couch and spill the beans on all things green and monkey.

You detail the entire history of Green Monkey Records in the insert of your excellent CD anthology, but for our readers, let's refresh.  How did you get started running an independent record label?

Well, traditionally there are two main ways people start labels. Either as business to make some dough off artists or as artists to get their skwak out. Occasionally there is something in between. For me it was definitely case #2. I was a late bloomer. Though always a music lover and a singer of sorts, I didn’t start playing guitar until I was 25. Had an art/punk band in Seattle around 1980 that was pretty cool in a tortured sort of way that really didn’t get too far – couple demos –but enough to convince me I needed recording gear. Did a bunch of one-man-band (me) recording and started recording my friends’ bands. By ’83 I had enough stuff of my own and other peoples’ that wasn’t getting put out anywhere I decided to start putting it out. Green Monkey was born and the next level of personal entertainment was up and running.


What motivated you? Did you tap into a particular local scene or were you aiming to capture a sound?

We were mostly limited to the sound we could get by the kind of gear that we used and the dinky studio space I had. That said, there was and is now an esthetic to my work. I have always had a greater leaning toward dissonance than your average American. When we were kids my brother bough Beatles and I bought Stones. When I was 17-18 it was all about Trout Mask Replica (drove my mom nuts). Later I was more interested in Ornette and Coltrane than Miles (Miles is great!), way more interested in Harry Partch and Stockhausen than Beethoven (z-z-z-z) and at one point I definitely wanted John Lee Hooker to be my personal savior. He was a guitar genius and had an even cooler voice than Johnny Cash.

Back in the 80’s when I had a little 8-track studio, I mostly got my clients word-of-mouth. Some of them like The Hitmen or the Fallouts became GMR artists for a while. Some folks I sought out like the Green Pajamas (after I bought their cassette) or The Life (got told about ‘em). Some would send me stuff like Glass Penguins that I liked and we would try to get something done on the cheap. I think the music we put out at that point was fairly inconsistent stylistically. It was just whatever was around that I liked.

I will say that over time there is a certain sound to my work that moves beyond the gear. It has something to do with intent and will.

Which was your first release?

GM001 Local Product (various artists) and GM002 Tom Dyer – Truth or Consequences were released simultaneously in ‘83, in a no doubt calculated manner to seem more important than we actually were. Both were totally recorded on Tascam 2340 4 track reel to reel with a little 6 channel Tapco board, a spring reverb, an analog delay and crappy mikes. We were totally living. We could overdub for crissakes! Kids in the Garage Band world have no way to understand how totally fucking cool that was to be able to do at that point.  Put ‘em out on cassette – 150 copies each – off to the big time.



Who's been your biggest selling artist to date?

The Green Pajamas by a mile. Book of Hours by the PJs is the top seller at around 5 thousand copies worldwide. It was released in the US, Germany, Greece and Australia – each version with different tracks. I just reissued it on CD after 24 years with all the tracks from every version, plus an unreleased track. Made me very happy. Still work with Jeff Kelly (PJ #1). I think he is doing brilliant stuff at the present.



There's so much to learn about running a label, share with us some of the lessons you've learned along the way.

Well, lesson one is it was always hard to get paid and still is. I became pretty conscious of cash flow back when as it really became difficult to keep funding the next project. I think it is a lot easier to get your music out to an audience in the internet age, but don’t kid yourself – it’s still work. As Andy Warhol said, it’s all about work. I like to work. I like to do things that I think have artistic merit. I think the trick is to know what you want to do and not get too sidetracked by all the silly extra stuff that will suck up all your time.



What's been your label's high point? Low point?

Two high points, one low point. First hight point, 1987 when we did the Green Pajamas - Book of Hours and The Life - Alone. It felt like we were in the verge of something in regards to commercial success. Wasn’t able to get it to go to the next step, which led to the low point, ’91 or so. It had become a chore. At that point I had put so much time and energy into it with diminishing returns, I was a dad, needed to back off, make a living and take care of life. Had to let it go.

Second highlight is now. I am at a place in my life I can do this at a level that I find satisfying. I am putting out my music and other peoples’ music I like. I don’t really care if somebody thinks it is crap or not, it is just what I am doing and I will let it get to whatever level it can get to.

What's inspired you to jump back into the ring and relaunch the label?

In the period after the initial output, I went back to school, got my bachelors, masters and doctorate while working full-time and raising kids. I never stopped recording (thus Songs From Academia, Vols. 1 & 2), but it was a lot smaller part of my life. Have my doctorate, have a job, kids are out of the house. Time to rock. Beside my gig as president of a small college, this is mostly what I do with my time nowadays.


The music industry has changed significantly since the pre-grunge days?  What changes have you seen and how are you approaching dealing with this changes?

Obviously the biggest change is the internet. It used to be that record companies were the filter to decide what was “good music” – people that were too crummy couldn’t make records. That started changing with the whole DIY thing in the 80’s – then the internet blew it up. Record labels don’t matter anymore. Anybody can get their music in front of the world. The filters used to be at the front – can you get stuff released – now they are at the end – how do you differentiate yourself from the 2 million crummy bands on MySpace. It is about reviews, PR, social networking and as always playing live, which by the way, I rarely do.

 

What changes do you see ahead for the music industry?

Well, the death of plastic seems pretty inevitable. There is still a shrinking market for CDs and vinyl, but your average person is pretty happy with their iPod and that seems irreversible.

On a more musical note, I see no more significant changes in popular music. Ever.

In the 20th century music changed as the technology to make it changed. First, there was the ability to record music. Changed everything, Then the ability to overdub made it possible to record music you could not perform live. Then the electric guitar changed everything again, making sounds that were previously impossible to make. Analog synthesis created the last batch of new timbres that popular music would require. Digital sampling was the final piece, as the hip hop guys brought John Cage’s notion that all sounds have musical validity to the mainstream.

In the past technological change in making sounds drove new music. I do not think there are any significant departures left on the kind of sounds that can be made. We can make them all.

I think what you have going forward is simply differing combinations of styles – personalization. Jazz is a great example. It runs a progressive course from New Orleans Jazz in the early century and by the end of the 60’s it has hit avant garde squawking and fusion. Sweet to scratchy – all been done. Everybody in jazz now works somewhere within that range. No place new left to go.

By the way, I hope I am completely wrong about this.

What's the biggest challenge facing you today as an independent label?

Just finding time to get things done. I’m pretty much a 1 ½ person operation. If I had greater ambitions there would be larger challenges, but at this point I am pretty happy to put things out at small but consistent level and let thing go where they go.



Are you working now primarily with your old catalog of artists?  Will you be looking for new artists?

My plan is to do a few things.

First, put out my own TD music. I’ve mostly got the old stuff out that I want out, so from here on it will be pretty much new. Second, is to re-release old catalog, just cuz I think it is great stuff that should be heard. Third is to put out new music from some old GMR folks, mostly Jeff Kelly/Green Pajamas, but we’ll see. Fourth is to put out completely new stuff by people that I’ve never done anything with. I’ve got a new band, Sigourney Reverb, that I like and may do some stuff with.

As time goes on I expect I will shift out of old stuff entirely. It will be all done. Probably take a few years though.



Are you a club rat, constantly searching live venues for cool acts?

Nope. Never was, always was a record guy. If I go out and see a band, it is very deliberate; I know about them from hearing something and check it out.



What are you looking for now?

The ecstatic experience. Music that makes me feel. Someone that can replace John Lee Hooker as my personal savior.



What would you like to see happen for the future of the music industry and your label in particular?

Well, I am of course perfectly fine with becoming an international superstar and having Jeff Kelly be bigger than Lady Gaga.

As for the industry, I think the decentralization of popular music that is ongoing is an unstoppable trend. I think digital music is here to stay, but I think due to increase storage crappy MP3s will go away.



Any final words for our waveriders?

Buy all our stuff. It’s better than everybody else’s.

Ripple Music Named Label of the Month by the Next Big Thing Network

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's Acid 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.





Follow all the Ripple Music Fun at www.ripple-music.com
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A Sunday Conversation with Big Neck Records

Continuing on with our journey into the darkened places that are the minds of independent record label chiefs.  Today we voyage into the punk and rocking world of one of our favorite underground labels, Big Neck Records.

How did you get started running an independent record label ?

I used to own a couple nightclubs in Buffalo, NY. Both of my bars had live music, from rock n roll to punk rock to heavy metal and even to hardcore, My club Sanctuary was completely a punk rock, heavy metal bar where a bunch of band members (friends of mine) actually worked for me. I’m a little fuzzy on the details due to the inebriated state I was in, but Aaron Aducci from the Blowtops, Jimmy Hollywood from the Baseball Furies, and Sean Garreau from the Jack Jimmy Hoodlums and I were out hitting bars around Buffalo and they kept starting this conversation that I should help them out by putting out their first records. Aaron kept screaming, “I’ve got the perfect name for the label, Big Neck Records, because of your big freaking neck!”

Next I knew I was out hundreds of dollars but held The Blowtops first single in my hands.



What motivated you? Did you tap into a particular local scene or were you aiming to capture a sound?

It started out as a way to bring recognition to the local music scene and of course to help the bands get to that next level. Punk rock was pretty unheard of in Buffalo at that time. When I was in college it was the Goo Goo Dolls and The Wrench playing everywhere, but the Wrench broke up and the Goo Goo Dolls went to make millions on sweet love songs. Thus, at the time the punk rock scene had taken a nose dive. I was hoping my bars would create a crowd and a scene to go with the bands, but it was a struggle. We got there, but a little national recognition wouldn’t hurt thus, Big Neck was born. The first few records and first couple of years I went with a sound, but then as time went on it just came down to what I wanted to release and what I wanted to listen to.



Which was your first release?

Blowtops – Voodoo Alley 7”





Who's been your biggest selling artist to date?

The Lost Sounds, Jay Reatard is going gangbusters over there at Matador.

There's so much to learn about running a label, share with us some of the lessons you've learned along the way.

Keep it on the cheap, do your taxes, and don’t ever go in debt for the label.



What's been your label's high point? Low point?

The highpoint was probably this Big Neck festival in Buffalo, the Baseball Furies new record, a great lineup, and the Furies came in and did the most amazing punk rock show I have ever seen. I mean at that point I was like, “thank God I know these guys.” Label recognition high point was probably a couple years ago, I had a job that allowed me to put a lot of time into the label, but lately with my new job, not much time for Big Neck. But, I am trying.

The low point was a bit ago, when I decided to try and release records that I knew would sell. It worked, but I didn't enjoy the bands or the label too much at that time. So, I decided to return to my old credo of releasing bands that I liked and to heck with everyone else.



Who would you like to work with, but haven't yet?

I think I have worked with everyone I have ever wanted. Of course there are bands out there that you are like, “damn if they were on my label, I could afford to quit my job”, but then it wouldn’t be the same label with its current integrity. Did I just say that? Integrity?



What changes do you see ahead for the music industry?

As we move to the future more and more music is going to be self published online. There is really going to be very little use for a record label except for marketing. Currently it’s so easy to press your own records and distribute them online no need for a label. I think we will see the major labels taking a bigger and bigger chunk of merchandising and capital from tours. I think it's funny when label owners get mad at free download sites like Soulseek. I think they are great. I tell everyone to download Big Neck's songs online. Most people who love music will buy the record anyway. If nothing else at least the band's will have people at their shows. Truthfully, that is why I am in this anyway. Help the bands out.

What are you doing to stay on top of new and emerging technology?

Currently, I am including download cards in with my vinyl. So, easy and so cheap. I actually get annoyed when I buy a record and there isn’t a download card. Boot up soulseek. When I have more time you will see digital versions of everything online everywhere. When I have more time.



What's the biggest challenge facing you today as an independent label?

Getting the distributors to pay you, most of them are very good, but some just take forever or never pay you. Other than that the U.S. Postal service is killing us with their rate hikes, especially overseas.



How is most of your product sold? Mail order? Web-based? At shows ? Is this changing?

Most of my product is sold via mail order. I have an eBay store and a store on Big Neck’s website. The distributors make up a rather large chunk, but my label wouldn’t survive without my online sales. When I was younger I would go to shows and sell records, but now I don’t get to hit as many shows, thus I just push the records on the bands to sell when they are touring.


Seems that the sound of the bands you sign keeps evolving. What do you look for in your bands?

What do I look for in bands? I look for music that I enjoy. Mostly anything with some great hooks. Look at HOLLYWOOD their demo stuck in my head for 2 weeks. I couldn’t stop singing “Girl”. Otherwise, I do have to say I am lucky as hell that everyone in every band on my label consists of great people. I mean, seriously I have met some real jerks in other bands, but everyone on my label is cool.

How do you find your artists?

When I lived in Buffalo, it was mainly Buffalo bands. Now a days, I find most of my artists by word of mouth from other bands on my label, but a good percentage from demo’s mailed to me. I love finding that unheard of band that has just a great sound. Great referrals were, The Mistreaters. The Blowtops just got back from a small tour when Aaron Aducci threw a tape at me and said, “we played we these guys in Wisconsin and we were really surprised that they didn’t suck.” Jimmy Hollywood was talking to Jay Reatard one day when Jay was telling him about this new band, The Lost Sounds, on the spot Jimmy said, “we (Big Neck) will press the whole thing.” Great examples of demos being sent in, Sweet J.A.P. Heard it once, sent a copy to Jimmy Hollywood and we both agreed, so I called up Hideo and said, “we will do whatever you want, it’s amazing!” HOLLYWOOD sent me a demo that I just couldn’t get any of the songs out of my head for weeks, so I finally had to release it. Tractor Sex Fatality’s demo was ridiculous, I think I listened to it for a month straight and then I remembered that I forgot to call the band and get them to do a record with Big Neck, luckily I think they scared everyone else away.


Are you a club rat, constantly searching live venues for cool acts?

No, in fact I never used this approach. My judgment is usually skewed by beer. I do try and see most of my bands live before I press their record to make sure they are as great as I hope they would be.





Are you involved in all the creative decisions?

80% I would say. I leave most of the artwork up to the bands and I rely on a system of people who aid in my decision making, Aaron Aducci from Fatal Figures (ex-Blowtops, Suck, Backstabbers), Jimmy Hollywood (AV Murder, ex-Baseball Furies, Tyrades, White Savage), and a few other friends local to where I live.




What would you like to see happen for the future of the music industry and your label in particular?

Future of the music industry? No idea, but I would love to make enough money off my label to live on. In that manner I could do what I like for a living.

http://www.bigneckrecords.com/