MOTHER’S GREEN interview with March Giaccari

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

I got nothing.

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

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

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

TEEDER: When did you first pick up the guitar?

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

TEEDER: What were your influences growing up?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

TEEDER: What’s the song about?

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

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

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

~Teeder


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

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 - LO-PAN To Begin Let Freedom Ding Tour; Vinyl Out Now!

Ohio rockers LO-PAN have unveiled their latest slew of tour dates in support of their Small Stone Records debut, Salvador. After scores of shows across the country with the likes of Truckfighters, Dixie Witch, Gypsyhawk and Fight Amp, LO-PAN’s Let Freedom Ding tour – allegedly named for the many bells that mysteriously occupy the dashboard of the band’s van – will find the outfit bringing their fuzzed-out soul rock bliss to the Midwest alongside heavy hitters like Bloodcow, Droids Attack, and Chapstik.

In addition, Small Stone’s 180-gram vinyl pressing of Salvador is available now in white and red/blue clear swirl. Whatever flavor you choose, it’s delicious, and available now at smallstone.com/store. The band will also have copies with them on the road, and they take credit cards. Seriously.


LO-PAN Let Freedom Ding Tour:

08/17/2011 The Mill - Iowa City, IA w/ Snow Demon
08/18/2011 The Waiting Room - Omaha, NE w/ Bloodcow
08/19/2011 Tennyson's Tap - Denver, CO w/ Low Gravity, Black Lamb
08/20/2011 Burt's Tiki Lounge - Salt Lake City, UT w/ Muckraker, Dwellers, Top Dead Celebrity
08/23/2011 The Aquarium - Fargo, ND
08/24/2011 Triple Rock Social Club - Minneapolis, MN  w/ Droids Attack
08/25/2011 JB's Speakeasy - La Crosse, WI w/ Droids Attack
08/26/2011 Club Inferno - Madison, WI w/ Droids Attack
08/27/2011 Red Line Tap - Chicago, IL w/ Heaving Mass, Droids Attack
08/28/2011 Small's - Detroit, MI w/ Chapstick, Knife



Lo-Pan, Salvador vinyl track listing:

Side A:

El Dorado

Bleeding Out

Seed

Bird Of Prey

Deciduous



Side B:

Intro

Chichen Itza

Struck Match

Generations

Solo

Poobah’s Award-Winning LP, Let Me In, Back In Stock at 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 16^th: Mud Mayhem Festival – Logan, OH  7:00pm
July 22^nd: Lemon Grove – Youngstown, OH  9:00pm
July 23^rd: Iron Saddle Rock Club – Akron, OH  9:00pm
July 30^th: Charlyfest 3 – Toledo, OH  6:00pm
Aug. 6^th: Fishbone Grill (Alzheimers Benefit) – Vienna, WV  4:00pm
Aug. 13^th: Birdies Rec – Sebring, OH  8:00pm
Aug. 19^th: YRRH Rockfest (Jam night) – Youngstown, OH  5:00pm
Aug. 20^th: YRRH Rockfest – Youngstown, OH  10:00pm

RIPPLE MUSIC STORE

www.ripple-music.com

Ripple News - UNIVERSAL MUSIC GROUP DISTRIBUTION (UMGD) LAUNCHES GROOVETOWN VINYL (www.groovetownvinyl.com)

Premiere Online Destination for Bundled Vinyl & Lossless FLAC Products

Universal City, CA, Tuesday, April 5, 2011 – Universal Music Group Distribution (UMGD), the award-winning sales, marketing, and distribution arm of Universal Music Group (UMG), the world’s leading music company, today announced the launch of Groovetown Vinyl (www.groovetownvinyl.com), an exciting new online storefront specializing in high-quality audio products for the discerning music fan. For the first time, visitors to the site will be able to purchase “lossless” audio FLAC files bundled with collectible high quality vinyl at a discounted price.

“In recent years, there’s been a revolution in sound quality and consumers are clamoring for the richest experience from their audio collection,” stated Mitch Rotter, SVP Marketing & Product Development for UMGD.  “Music fans have fallen in love all over again with the vinyl experience, from the packaging to the distinctive sound to the collectability, and the FLAC file provides the ease of digital listening without any of the sacrifice that normally accompanies digitally compressed audio files.  Groovetown’s quality audio products will satisfy all types of consumers - the audiophile, the technologist, and the true music aficionado.”

For a limited time, visitors purchasing bundled FLAC and vinyl products will receive a 15% discount on all purchases and free shipping on transactions over $50.00. Visitors can also enter a sweepstakes to win a vinyl starter collection consisting of 1 copy of every LP available on the site.  This promotion will run from April 5th to April 19th.

Andrew W. K. - Close Calls With Brick Walls and Mother of Mankind

He will forever be known as that Detroit hard rock singer who likes to party and “only” write party anthems. It doesn’t seem to bother Andrew W. K. at all. Sure he is probably best known for his song “Party Hard,” but the guy really knows how to make kick ass hard rock music.

Andrew W. K. is a positive party rock machine that spews out remarkable, ridiculous lyrics you can’t help, but enjoy every moment of it. He can be best described as having a larger than life personality like Meat Loaf, the killer jams of a Thin Lizzy and the soul of Bruce Springsteen- he’s wholesome rock n’ roll with a positive party rock attitude.

Producer, promoter, entertainer, musician and motivational speaker are just some of the hats Andrew W. K. wears. Regardless of what he does, Andrew W. K. is one energetic, engaging entertainer who knows how to put on an amazing show. Early on his career, critics and fans alike didn’t know if Andrew W. K. was playing a character, but does it real matter when an artist continues making cool music?

When I told friends I was writing a review on this album two comments constantly kept coming up: 1) Andrew W. K. is f*****g awesome! and 2) Didn’t that album come out four years ago? Sure you can easily debate the first statement (I don’t know why), but the latter needs some explaining because it’s true. Close Calls With Brick Walls is Andrew W. K.’s third album and was originally released in 2006, but only released in Japan and Korea. Eventually it was released in the United States as a limited edition vinyl with bonus tracks, but in very small quantities. Due to legal issues, it wasn’t released on CD until earlier this year when it was packaged with an additional CD containing rare and unreleased songs for the album Mother of Mankind.

Unlike previous albums, Andrew W. K. sings instead of screaming his vocals and is more experimental. The album is more traditional rock, but Andrew’s awesome and amazing high level of intensity still remains. Whether or not you appreciate his party attitude, you have to admit he continues to enjoy making music.

Close Calls With Brick Walls opens with "I Came For You" and the joyride begins for a fun, fantastic time of debauchery. “Not Going To Bed" is so over-the-top and ridiculous it’s exactly what’s needed. “You Will Remember Tonight" contains great guitar riffs and distinct drums that support Andrew W. K.’s killer vocals on this fun, fresh party song. Another amazing song is “Pushing Drugs."

It’s very rare that a song makes me want to get up and party nonstop, but that’s what “One Brother” makes me want to do. This song is an eminent example of a good party song Andrew W. K. writes. Banging my head and throwing my hands in the air I feel so alive every time I hear it.

Most of the other songs that are worth checking out include “Las Vegas, Nevada," "I Want To See You Go Wild," "When I'm High," and “Don’t Call Me Andy.”  He is all over the place, which is great to see an artist explore themselves on an album. There are touches of a somber Scott Walker, 80s power metal, pure party music, soulful sounds, and just good old school hard rock music.

Mother of Mankind is a treasure trove of unusual and unique songs or as Andrew W. K. has put it as a “box of songs to explore.” For some it’s cool and others crap because some songs contain no vocals, no guitars, no instrumentation and that can be unsettling. I will let you be the judge, but it’s worth exploring if you enjoy Andrew W. K.

With about two hours of entertainment and 39 songs, what else could you ask for? Honestly, it’s truly a bargain to receive so much for so little. More artists need to be like Andrew W. K. and stock their albums full of songs instead of barely compiling a record that resembles more of an EP than album. Other fun loving artists to check out include the Aquabats and Electric Six.

--Mr Brownstone

Buy here mp3: Close Calls With Brick Walls / Mother of Mankind
Buy here: Close Calls With Brick Walls/Mother of Mankind

Praise Pours in for the Stone Axe/Mighty High split 7" Single

Ok, here's the conundrum.

We got on our hands one of the coolest pieces of split vinyl to come around in ages.  But we're much too shy to write about it ourselves, and we wouldn't want anyone to think we were illegally tooting our own horns on this release.  But we wanna spread the word.

So what we decided to do, was let others tell the story of how killer this split is.  So let's go--

Stone Axe/Mighty High Split 7"

"Impossible not to crack an illegal smile when you hear this.  Stone Axe are one of the best retro-metal acts around.  Kiss might've sounded this good if they'd learned to play their instruments.  There's no one better than Mighty High at making fun of wretched metal excess.  It's priceless."  -- Lucid Culture

"Stone Axe is pure old-school metal played with a power that is sadly rare these days.  Will leave you lusting for more if an ounce of rock and roll spirit throbs in your veins. Mighty High kick off a stoned punk squall that sounds like Queens of the Stone Age playing Rancid Covers.  Both tracks are well worth your time and money and it’s hard to imagine rock fans not wanting to track down at least one of the albums by these fantastic bands. Either way, with two bands of this quality on one release this is something of a must-have."-- Sonic Abuse

"Newcomers Ripple Music managed to get two highly explosive bands onto a 7".   Stone Axe's "Metal Damage" has me thinking of pre-Stained class Judas Priest, the kind of mid-1970's metal where band's took their time and built up the sound with a steady boil of activity. Mighty High's "Don't panic, It's Organic" is even better. The main riff is huge and dripping with 1970's fuzzed out goodness. This is the perfect tune for playing about two minutes after 5:00 on a Friday. Both bands deliver the goods on this album." -- Metal Mark, Heavy Metal Time Machine

"Ripple Music have a gem on their hands. An awesome set of tunes. Stone Axe delivers the goods once again.“Metal Damage” is a throw back to classic Judas Priest from the later 70′s to early 80′s. The best duo around to preserving music from the 70′s. Mighty High really rock with their contribution “Don’t Panic, It’s Organic,”a fast paced, almost punk-like rock song. Get yours today." -- The Soda Shop


Produced in amazingly limited supplies.  The only way to get this is to catch Stone Axe or Mighy High on tour, or get your copy at www.ripple-music.com

JPT Scare Band - Acid Blues is the White Man's Burden

This is the first release on The Ripple Effect’s home grown label, Ripple Music, but before you start yelling about nepotism let me set the record straight. I have nothing to do with the label. Racer and Pope are in California and I’m over here in Brooklyn, NY. We’ve never met. What brought us all together is a mutual love of kick ass heavy rock, especially obscure stuff from the 1970’s and it doesn’t get more obscure than the JPT Scare Band. Truth (and Janey) be told, I’d be drooling all over this even if I wasn’t lucky enough to be associated with the Ripple crew.

With that public service announcement out of the way, let’s get down to business of talking about Acid Blues Is The White Man's Burden, a collection of unreleased gem’s from these acid rock freaks. If you’ve never heard the JPT Scare Band before, you’re in for a treat. This is the stuff that weirdos who like the Tommy Bolin-era of The James Gang (like Pope) cream over. Guys who own over 100 hours of UFO bootlegs, including the Paul Chapman years (like Racer). Losers who wish that Fuzzy Duck made a 2nd album (yours truly). This album will sit proudly next to your worn out Leaf Hound, Dust, Budgie and Ram Jam albums.

“Long Day” is the first song and has a more commercial feel than some of their other material, but at 7 minutes and with a typically blistering guitar solo from Terry Swope, there was no chance this song was ever gonna get on the radio. “Not My Fault” is a catchy mid-tempo ditty with a laid back Blind Faith groove and some “Hey Jude” inspired background vocals at the end.

If those 2 songs aren’t your cup of tea, then chances are the rest of it will be. “Death Letter 2001” is a raunchy take on the old Son House classic. This is pure power trio blues rock. Terry lays down some furious licks over a powerful rhythm section featuring some truly filthy bass playing. “Stone House Blues” and “Amy’s Blue Day” are slow ones captured live and dirty in the garage. “I’ve Been Waiting” is almost 10 minutes of guitar orgy ecstasy that sounds like Tommy Bolin sitting in with Budgie.

The title track is the official anthem of JPT Scare Band. Acid Blues has been this bands burden since the early 70’s. Their toil is our reward.

--Woody

Buy here on CD or double colored LP, gatefold vinyl:  JPT Scare Band

or from Amazon  Vinyl Acid Blues Is the White Man's Burden [Domestic]

Export Vinyl Acid Blues Is the White Man's Burden [Export]

or CD Acid Blues Is the White Man's Burden

Ripple News - Baby Woodrose Back Catalog Re-issued

We already professed our undying love for the fuzzed out, bubbling psychedelic pop created by Baby Woodrose, so we were thrilled to learn that lots of previously hard to find stuff is being made available again from Bad Afro Records.

Baby Woodrose - Money For Soul LP (AFROLP018)

On Money For Soul Baby Woodrose created a unique sound that took them to the 60's and back leaving the music being influenced by many shades of rock'n'roll and psych but played with heartfelt punk attitude. Baby Woodrose received quite a lot of attention outside Denmark with their self-released debut album "Blows Your Mind" from 2001. In reality a one-man operation by Lorenzo Woodrose who wrote the songs, played all the instruments, produced the record and put it out on his own Pan Records. Baby Woodrose later became a real band and Money For Soul reflected that. The album was mixed and mastered by Jürgen Hendlmeier and contained their biggest hit so far;” Everything's Gonna Be Alright”. Sleeve made by Malleus. Originally released in 2003 in 2000 copies on black vinyl. New print limited to 500 copies on red vinyl. 

Baby Woodrose – Chasing Rainbows LP (AFROLP035)

Chasing Rainbows was the sound of a band with more musical guts than on previous albums. Clearly inspired by the Baby Woodrose side-project Dragontears, Baby Woodrose  expanded their sound and produced an album that is very different from earlier efforts. Not only because of the use of instruments like cello, lap-steel, flute and tablas. But also because Chasing Rainbows was both their most poppy and commercial release AND their most experimental and druggy album so far. Originally released in 2007 in 1500 copies on black vinyl. New press limited to 500 copies on red vinyl.

Baby Woodrose – Blows Your Mind CD (AFROCD020)

The Baby Woodrose debut album is temporarily out of print on CD but a new new print is on its way!

If you're a fan of psych pop, you won't go wrong checking any of these out.

Ripple Music Announces a Killer New Split 7" with Stone Axe and Mighty High - Released as a Tour Single for the Saint Vitus/Stone Axe Tour

We couldn't be more excited about this.  In fact, we're so thrilled, we're giddy.  Like kids in a candyshop.

Ripple Music is proud to announce that last week we sent in the art and fully-mastered tracks for a killer new 7" split vinyl single featuring the masters of retro-70's rock, Stone Axe and stoner cretins Mighty High.  The single should be ready for your consumption mid-June.

Featuring some mindboggling, fold-out, Mighty High inspired artwork, this 7" is sure to leave em stunned.  Stone Axe contributes a monster rock burner, "Metal Damage," featuring Tony Reed's blistering guitar attack and staggering vocals from Dru  Brinkerhoff.  Mirroring 1978-1980-era Judas Priest, this song is everything that Classic Rock Magazine has been raving about when they declared Stone Axe to ". . . conjure a guttural, soulful hard-rock cauldron. "

Mighty High contributes "Don't Panic It's Organic" with a blistering high energy feel that sounds Rose Tattoo in bed with MC5.  Quite possibly the best thing to come from Mighty High yet.

The split will be extremely rare, limited to 500 and each one hand numbered.  Stone Axe will have some for their West Coast Tour this summer with Saint Vitus and Mighty High will be displaying some at their gigs as well.  The rest can only be bought here, at Ripple Music.  Don't miss out.

Go to www.ripple-music.com for more details.

Here's the Saint Vitus/Stone Axe Tour Schedule

6/25 - EL CORAZON - Seattle
6/26 - SATYRICON - Portland
6/27 - DNA LOUNGE - San Francisco
6/28 - ORIGAMI VINYL -Los Angeles(no Vitus)
6/29 - VIPER ROOM - Los Angeles
6/30 - THE CASBAH - San Diego
7/01 - WASTED SPACE @ HARD ROCK HOTEL - Las Vegas
7/02 - THE ZEPHYR - Reno(no Vitus)
7/03 - THE ALIBI - Arcata(no Vitus)

Punk Me? Punk You! – Featuring the Burndowns and Baseball Furies

Neither of these albums are new.  One of the bands doesn't even exist anymore.  But both came in with a recent shipment of stuff from our good friend over at Big Neck Records, the home of one of my favorite garage otufits of all time, Seger Liberation Army.  Needless to say, I tore into these with abandon.

And I’m still tearing . . .

The Burndowns – S/T

An absolute frenetic, frantic, and fantastic fury of primal methamphetamine fucked up punk rock.  Burndowns are a chemical amalgamation of the basal abandon of hardcore with some solid straight up, post-70’s punk attitude.  Songs burn-out in a smoky tailspin after two minutes of non-stop, adrenaline-surging guitar rage and drum punishment.  Perhaps it’s the slight touch of Oi! Style punk that rides through the back bone of this one that elevates it above the heap.  It’s something, because Burndowns have produced one of the more scorching punk albums I’ve heard in while.

I could go into each song, but to be honest, there’s no need.  At near breakneck pace, they pass so quickly it’s kinda hard to tell where one starts and the other ends.  An entire side of this album passes faster than a bloated guitar solo in some noodling-ass prog band.  But this I can say, amongst the volume and guttural velocity, Burndowns know how to write a song.  Great, catchy choruses punched into the air with gangland vocals, make this one an instant ear catcher.  Primitive guitar solos fire through the pounding chaos of accelerating punk abandon.  Vocals are appropriately gruff, but not hardcore.  Raspy, throaty, but clean enough that you can even hear what he’s singing about.  If you care, that’s a good thing.

“Where You Been,” is a blur of guitar chaos and choruses.  “Out of My Head,” passes by even faster.  “Tell Me Why,” is a pounding terror, the drummer punishing his skins as if he was beating the face of a Las Vegas gambler who owed him money.  Dig the tone on the guitar solo and the Oi! Vibe.  Strong work.  “Nothing Better to Do,” rounds out side one and maybe the best song on the side.  Kicking off with a slightly cleaner, fuzzed garage tone, the boys lay straight into a true-on singable, memorable chorus and gangland vocal hook.  You want punk, you got.  One big splenic vent of bile. Reminds me of The Bones.  Love it.

Buy form Big Neck Records.  It's only $8

Baseball Furies – Throw Them to the Lions

This other treat from Big Neck Records blew me away.  I got a thing for bands that can properly combine the discord and spittle of punk with the chunky, bass-massive darkness of post-punk.  Bands like The Estranged and more recently The Beautiful Mothers have hit it square.  Now that’s a perfect description of this release from Baseball Furies. 

I’m not a long-time fan.  Never heard of these guys before.  My sole association with baseball furies are the 10” action figures on my bookcase modeled after the characters in the Warriors movie.  So I got no reference to compare these guys to their prior releases which I understand are grinding, primitive garage punk and roll.  I also understand that Throw Them to the Lions was the Furies parting shot.  Their last ride off into the sunset.  And all I can say about that is, too fucking bad.

Cause what I’m hearing right now should be damn proof positive to any fan of near-putrid, garage-y post punk that Baseball Furies were only skimming the surface of what they could do.  This is one glorious bastard of an album.  Bringing in a boozy post-Replacements sensibility to their bass-thumping grime and rock.  The Furies stopped just short of what undoubtedly would’ve been a masterpiece for their next album.  Each song here is a visceral attack of angular, throbbing, guitar agitations that hit you like a soccer kick to the crotch. 

“Blood on my Hands,” kicks us off with a scratch of guitar that builds like a TSOL missive.  When the bass kicks in it packs enough power to dissolve your liver.  Propulsive, subversive, mean.  Oh yeah.  The darkness that’s draped over this song could almost be like some lost Bat Cave shit from the ‘80’s.  “Are You Going to Point Your Gun at Me?” picks up the pace and the agitation factor with epileptic spasms of guitar like Gang of Four on uppers.  A huge post-eighties vibe runs through this, scraped up, thrown into an oily can, tossed into the back of the garage and allowed to fester and ferment for months.  Nearly rabid bass playing propels this beauty with the intensity of a snared animal about to gnaw off it’s own leg to escape from a trap.

Then “Don’t Leave this Place,” leaks out sounding like the best Replacements outtake I’d never heard.  Either that or some ugly step-brother to the Hoodoo Gurus.  The pace is slowed, the bass brought way up front, the vocals assured.  A true sing-along post-punk anthem.  “Cultural Dump,” ends side one riding the Iggy wave like a fetid surfer on a sea of sludge.

Plus the whole thing comes on some of the coolest clear vinyl I’ve seen.  If the names I mentioned trigger a little hormone release from your pleasure center, buy this.

--Racer

Get it from Big Neck.  It's worth the $12

Ripple News - Vinyl Sales Continue to Rise!

 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's Acid 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.