Grand Funk - E Pluribus Funk

I love a good proto-metal challenge! Especially when it comes from one of the
top experts (if not THE expert) of all things hard-n-heavy, Martin Popoff. If
you don't know who he is, go check out his website martinpopoff.com and order
some of his books. He's got great ones on UFO, Black Sabbath, Rush, Blue Oyster
Cult, THREE on Thin Lizzy among many others. Dude knows his shit. Recently on
facebook he printed a list of "The Greatest 100 Heavy Metal Albums Of The ‘70s"
that's an appendix from his mighty tome The Collector's Guide to Heavy Metal:
Volume 1: The Seventies. It's hard to argue with a list that puts Motorhead's
Overkill in the #1 spot. All the usual suspects from Judas Priest, Black
Sabbath, AC/DC, Deep Purple and Rainbow are ranked accordingly alongside nice
surprise listings of the debut albums from The Damned and U.K. Subs that also
deserve to be there.

Lists like this are always subjective and bound to cause discussion about who's
left off. In this case, a few people said they were surprised not to see any
Grand Funk Railroad on the list. Their 1970 Live Album is very heavy, but live
albums and greatest hits packages were excluded from Martin's list. When I
suggested he try Grand Funk's 1972 album E Pluribus Funk he responded with - "Ha
ha, no, YOU try it. Report to me on all nine or whatever songs. Describe their
styles one by one. Specifically point out the proto-metal. Per song. Not Marks
muscles, or his voice or anything. Tell me about all the riffs and slabs of
power chords. I've been so baffled over the years. It's like the gods gave me
different records inside my Grand Funk sleeves to everybody else on the planet."


I know the bosses at Ripple love proto-metal and, like I said, I love a
challenge so here you go, Martin. Here's my blow-by-blow of an album that could
probably replace Triumph, Moxy or Rex (but not Ram Jam, that album kicks ass!)
as one of The Greatest 100 Heavy Metal Albums Of The ‘70s.

Side one starts off with the killer boogie of "Footstompin' Music," a song that
would open their live shows for the next few years. The powerhouse rhythm
section of bassist Mel Schacher and drummer Don Brewer set up the groove with
Mark Farner getting down on the organ. About a minute into it Mark switches to
guitar and lays down some fuzzed out lead guitar fills to answer his vocals
before erupting a full blown solo. Metal? Probably not. Heavy? Medium heavy, but
definitely a solid 8 on the scale of hardness. "People Let's Stop The War"
starts off kind of quiet but when Mel's bong rattling bass comes in there's no
question that this is gonna be a heavy one. Mark switches to a killer wah-wah
riff that's equal parts Stooges and Temptations. The groove is perfect for
simultaneous headbanging and air guitar, which can be tricky on faster songs.
Mark's vocals are passionate and full of rabble rousing lines like "there's
money in them war machines, ain't this
 a bitch!" "Upsetter" starts off kind of poppy but maintains a solid boogie
foundation, especially when Mark breaks out the harmonica and lets it all hang
out. Side one wraps up with one of their all time best songs "I Come Tumblin.'"
Mark hits a "TV Eye"-esque open A power chord and let's it ring, noodles around
a bit and then the band comes in with a dynamo jam. Totally kick ass and over
too soon after five and a half minutes.

Side two picks up where side one leaves off with "Save The Land," a boogie
monster sung by Don. "No Lies" is up next and features some scorching fret work
from Mark. He played a low budget Messenger brand guitar that had a built in
fuzz that had a totally unique tone. The album wraps up with the nine minute
"Loneliness," sort of a sequel to "Closer To Home/I'm Your Captain" from the
Closer To Home album. It's ballady but does pick up the tempo a few times for
some righteous jams. Strings and orchestrations come in at the end to give it an
epic feel. It's not exactly "Kashmir" but not bad for a bunch of kids from
Flint, Michigan.

Out of 7 songs, 6 of them are killer hard rock bordering on metal to make this a
worthy contender in the proto metal sweepstakes. The cover also deserves special
mention. It's round and shiny to make it look like a coin. The front features
the profile of Mark, Don and Mel and the back has an etching of Shea Stadium.
Grand Funk broke the Beatles attendance record with a show there in 1971 (Humble
Pie was the opener). It's hard to get more 70's and metal than that. The CD
remaster is cheap and comes with 4 great live bonus tracks from the 71 tour that
make it worth adding to any heavy rockers top 100 of the decade. Do it!


--Woody

Proto-Metal Report: Scorpions - Fly To The Rainbow

 
 

I've been totally negligent in listening to new music lately. In about 2 weeks my schedule is going to allow me to listen to more of the great stuff that I've been sent to check out for Ripple reviews but in the meantime, here's a proto-metal report about the album I've been playing a lot lately. Everyone knows I'm a huge fan of the Uli Roth era Scorpions and recently a friend gifted me with a vinyl copy of this album in all it's RCA budget label glory. It's such a great album and this copy is extremely clean. My remastered CD sounds great, the mp3's on my iPod are perfect for blasting in the car but LP is where it's at for this underrated 1974 psychedelic hard rock gem.

Scorpions released their tripped out, almost Krautrock debut Lonesome Crow in 1972 but when guitarist Michael Schenker left to join UFO, the band broke up. Founding Scorp guitarist Rudy Schenker and vocalist Klaus Meine teamed up with the incredible Uli Roth and the rhythm section of his band Dawn Road to form a new superpower. They eventually rebranded themselves as Scorpions and and recorded Fly To The Rainbow.

Side one's opener "Speedy's Coming" starts off with some vintage Stratocaster whammy torture from Uli before the rest of the band blasts in. It must have been a shock for anyone expecting the dreamy grooves of the previous album. Klaus' vocals are much more aggressive and his lyrics on this song have always been a great source of entertainment for me. "You like David Bowie & friends at the Royal Albert Hall" is a classic inside joke/put down amongst a small circle of my friends. The song is no joke, however, just kick ass 70's hard rock with incredible guitar playing. This is a great example of a guitar team that works well together. Rudy's tight rhythm guitar blends so well with Uli's virtuoso leads. "They Need A Million" starts off with Uli on acoustic guitar and ballad-ish vocals from Klaus. After about a minute Rudy fires up a strong riff and Uli's lead gets doubled by some proggy synths. The real surprise is that Rudy takes his a turn as lead vocalist with Klaus backing him up. "Drifting Sun" is Uli's chance to show off all of his best Hendrixisms. Killer wah-wah licks and his laid back Jimi-delic vocals. Klaus joins in on the chorus and Rudy sings the psychedelic bridge through some kind of rotating speaker effect. All of this is just a build up for an outstanding groove that Uli's guitar soars over. It's about 8 minutes long but could easily have been longer. Play this for your snobby Krautrock friends and don't tell them who it is until after the song's over. They'll freak! Side one wraps up with the slow, bluesy "Fly People Fly" that was co-written by Klaus and Michael Schenker.

Flip it over and "This Is My Song" fades in from mid-jam into a solid mid-tempo heavy rocker. "Far Away" is the type of ballad that would become a Scorpions trademark. Written by the usual Kluas/Rudy team it also features contributions from Michael. The title track ends the album with a 9 minute epic. It's also the only song co-written by Michael Schenker and Uli Roth. Michael probably wrote it before he quit for UFO and Scorpions wisely decided to hang on to it. Part of the acoustic intro also show's up on UFO's "Crystal Light" on their album Phenomenon (also released in 1974). Uli must have finished the music and clearly wrote the words, even though Klaus sings it. There's some great twin guitar parts that pre-date Thin Lizzy's harmonies and it's obvious that young Steve Harris was taking notes for future use in Iron Maiden. Uli's guitar playing is once again incredible and the live version on Tokyo Tapes is even better.

Fly To The Rainbow often gets overlooked compared to the more hard rocking In Trance, Virgin Killer or Taken By Force. As a metal youth it was the one I listened to the least but has grown to be a real favorite of mine over the years. It sounds great alongside Sad Wings of Destiny by Judas Priest, Rainbow Rising, UFO's Phenomenon and Thin Lizzy's Nightlife. You have all of those, right?

--Woody

Rock's Come Back of the Year - Interview With Jimmy Ronnie From Iron Claw

 Here's an interview conducted by fearless Ripple Scribe, Boogeyman, that originally ran on his own blog, Long Live Rock N Roll.  Pop over there for more insights from the Boogs.



Being called Rock's "Come Back Bands of the Year" by Metal Odyssey, and having a string of great reviews from the likes of The Metal Minute, Rocktopia, and The Soda Shop just to name a few, I've been given the great pleasure to interview Iron Claw's guitarist and one of the band's original founding members, Jim Ronnie. As you'll find out, it's one hell of come back for these Proto Metal Pioneers indeed.

Boogs: As a musician myself that use to play in a band and have been out of the music scene for quite some time, what was the spark that ignited your desire to get the band back together after such a long time and start rockin' again?

Jimmy Ronnie:  The last thing on my mind late 2009 was an Iron Claw reunion. I became aware of  Rockadrome's release of the band's self titled CD and must admit to giving that little attention either. However, it became clear that there was indeed a lot of interest out there for our 1970's recorded back catalog. That was the spark that ignited the possibility of a reunion in my mind. I arranged a meeting of the surviving former band members and that was it! Iron Claw was reborn!

There wasn't much of a plan at that stage other than "let's record some new material and see how it goes". All that changed when Ripple Music got involved and suddenly we were now faced with the task of producing an album for world wide release on this new dynamic label.......wow!

Boogs: That's amazing! How are some things better now with Iron Claw than they were back in the day when you guys first started out?

Jimmy Ronnie:  The internet is probably the biggest single change that has happened to music since 1979. Musicians now have a vehicle for getting their recorded music out to the world.

That didn’t exist during our first time around and record companies were practically the only way to get recordings heard. There were no CDs of course and pressing your own vinyl records was not a practical option. Even if that could be overcome, how do you distribute them?

On the negative side though, there are now a lot fewer live venues much less opportunity for bands to play. That’s a great shame. We need more live venues. That is how new young bands learn their craft and if they don’t get a chance to play live the standard of music will drop. Never mind TV talent shows. That’s not what it’s all about.

Boogs:  Once again congrats on A Different Game being praised as the "Come Back Album of the Year" in the world of rock and classic rock. How does that feel? It's gotta be an extremely gratifying feeling. Especially being labeled "Proto-metal Pioneers." That's gotta be honor being a part of that.

Jimmy Ronnie: The reviews for “A Different Game” have been astounding. Almost universal acclaim which is about is good as it gets. A couple of Doom sites don’t seem to like us but we’re not a Doom band so that’s fine.

It is extremely gratifying as you say. It’s always nice to get applause for a performance and the music press has thrown themselves behind us 100%.

As for “Proto-metal Pioneers”, I guess that’s what we were but that’s not something that was ever considered at the time. I never thought about breaking new ground. We just did what we did and had a great time doing it.

It was obvious then though that the music was not mainstream and we didn’t always go down well. “Play something we know!” being a common cry from the unsuspecting audience. The response was usually “Fuck off, you’re getting hard rock whether you like it or not!” Ah… the arrogance of youth!

Boogs: Your new album A Different Game is quite different than your first album. What was the experience recording A Different Game as opposed to your first album? What was your guys' focus on this album, or was it just this music beast within just itching to get out and rock shit again?

Jimmy Ronnie: The main difference is that this is an album produced as a single project, in one studio, with a single line-up of musicians. It was all done in a relatively short period of time as well.

The Rockadrome album is a compilation of recorded work done during our first lifetime (1969 to 1974). As such it is a good mixture of styles and production techniques and shows the bands evolution through the first 5 years of our existence.

The focus on “A Different Game” was clear from the start. We wanted to produce a record that was pure Iron Claw and that was about capturing the live spirit of the band on record. This was about returning to our roots as a band rather than writing and recording about where we may find ourselves as changed individuals today.

Iron Claw is what was called for and Iron Claw is what was given. The end result is that we have produced an album for today. The spirit of the record is 40 years old but the sound is now. I’m very pleased with it as you can probably tell!


Boogs: Absolutely, and you have every reason to be! I definitely have my favorite tunes on A Different Game, one of them being the album's title track. What would you say is your definite song favorites writing as well as recording?

Jimmy Ronnie: I, too, like the title track which, together with “It’s Easy”, comes from a mid-90’s solo recording project of mine. A couple of the songs had been part of our 1970’s live set but never recorded in the studio. Some were recorded first time round in 1970 but never released.

This was actually our very first album recorded in Luton near London with Mike Waller on vocals. Some of the songs are brand new and written in the studio for this album. So some of the songs are old, some are new but all of them have been stripped bare and reworked for the album.

I don’t know if I’ve got any real favourites. It depends what kind of mood I’m in. “What Love Left” is definitely the right choice for the opener and single….straight to the point rock n roll! I like the Youtube promo video too (not everyone shares my opinion on that though!)

Boogs: I know you all played The Barlinnie Prison last October for charity. What else is in the works for Iron Claw?

Jimmy Ronnie: Yes. The official album launce was at Scotland’s largest prison in Glasgow. That was a very special night for us. A few hundred very sober prisoners gave us a frosty welcome to the stage. By the end of our set they were rockin' full on! That was immensely satisfying for us and hopefully we managed to plant a few seeds that night.

As we speak we are rehearsing with our new vocalist and hopefully it shouldn’t be long before we’re back on the road. Looking forward to that.

Ripple Music have offered us the chance to make another album. Their only stipulation being that it’s as “kick ass” as this one! That is some time away but we’re really looking forward to that as well.

It has been two years since we decided to reform. Two very intense, busy, yet satisfying years. Personally, up until Ripple Music came along I had given up all hope of fulfilling my dream and securing a recording and publishing deal. Just goes to show that you never know what's around the corner! As long as there is an audience for Iron Claw and we can still do it then it continues…..Here’s to the future!
---------------------------------------------------------------------------------------------

Yes, indeed, you never know what's around the corner, and as this year almost closes in, I can only suspect great things for the Iron Claw boys. There's is a great story, a very cool story that's not often told in rock. I personally love it. It takes courage and a big brass set of kahones to make a come back like Iron Claw has.

Once again, I'd like to thank Jimmy Ronnie for being gracious enough to take the time out to answer a few questions for this hard rock fan.

For more information on the Iron Claw band, visit the link to read their biography and get a healthy taste of some of their tunes featured on the their new cd release A Different Game!

Looking for the cd? Click the link to go to Ripple Music's store and grab your copy of Iron Claw: A Different Game released on Ripple Music now!

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

Legendary Acid Rockers, JPT Scare Band, Drop Hard Rocking New Single and Video “Long Day” to Celebrate National 420 Day. Exclusive World Premiere on The Obelisk

After more than 3 solid months of Acid Blues is the White Man’s Burden, holding down a top 5 spot in CD Baby.com’s Extended Jam Category, legendary acid rockers, JPT Scare Band come roaring back with a blitzing assault on their newest single, “Long Day.”  Featuring the sizzling guitar work of Terry Swope, “Long Day,” tears through more than 7 minutes of searing guitar leads, massive bass riffs, and mammoth drum jamming, all in the definitive JPT Scare Band style.

To make things even more appropriate, JPT Scare Band and Ripple Music will release the single and world-premiere of the psychedelic video on April 20, 2011, National Weed Day.  The term 420 originated from a group of teenagers at San Rafael High School in California in 1971. The teens met after school at 4:20 p.m. to smoke out at the Louis Pasteur statue.  Since then, the date has become legendary in the Stoner Rock community.  An ethos JPT Scare Band embraces whole heartedly.

After years of plying their frenzied, hard-rocking, acid blues trade in near obscurity, the love and accolades keep pouring in for JPT Scare Band.  Classic Rock Magazine honored JPT by including their last single “Not My Fault” on their November cover-mounted CD.   After previously naming JPT Scare Band one of the “lost pioneers of heavy metal,” Classic Rock continued the love fest proclaiming that “JPT Scare Band plied a terrifying form of ear-bludgeoning hard rock that was so far ahead of its time, people are still trying to catch up.”

The world premiere of the hard-rocking, definitively heavy psych video for “Long Day,” will make its debut April 20^th exclusively at The Obelisk, one of stoner rock’s premiere websites and the home of The Obelisk Forum, a watering hole for thousands of fans of hard, heavy, stoner and doom rock.  You can find the video here: The Obeliskhttp://theobelisk.net/obelisk/2011/04/19/jptvid/

 “Long Day” will be available as a digital single from CD Baby and all fine digital music emporiums.   Meanwhile, Acid Blues is the White Man’s Burden is still available in limited quantities from Ripple Music in two-toned, gatefold, double-LP with two bonus tracks, Deluxe digipack CD, or digital at www.ripple-music.com

Go here to check out the world premiere video.

Poobah’s "Let Me In" Tops Rolling Stone Year End List!

As 2010 came roaring to an end, Poobah’s Let Me In, released on Oct. 12th found itself at the top of many Year End Lists, being hailed as a Re-Issue of the Year by David Fricke, senior writer for Rolling Stone Magazine, Pat Prince of Goldmine Magazine, Ray Van Horn, Jr. of The Metal Minute/Retaliate Magazine, and even going as far as being called “album of the decade” by Ray Dorsey of Ray’s Realm!

So, congratulations go out to Jim Gustafson for creating a piece of music with the vitality and staying power that Let Me In has, as well as a big round of applause to T. Dallas Reed for his countless hours of blowing off the sonic dust from the original 1972 analog tapes, and graphic designer Vic Jong for laboriously toiling over the details of the packaging reproduction in an effort to retain the visual feel of the original LP!

Here are a few more words to carry us into 2011:

“Between Jim Gustafson’s primal vocals to his gut wrenching licks on his Les Paul . . . they should have been huge, Black Sabbath Huge, because they were on par as far as sound and attack but it was not to be." -- Metal Exiles

"One of the highlights of the year!  Let Me In is an album deserving of any status this reissue can give it, be it “classic” or otherwise.” – The Obelisk

“On the basis of Let Me In, Poobah is more than just a shaggy curiosity from the Me Decade – it’s a band worth discovering for fans not satisfied with endless Grand Funk retreads on classic rock radio." -- Sleazegrinder

Catch Poobah on the road throughout the winter of 2011!

Fri. Jan.7 WRANGLER Whipple, OH 8:30pm
Fri.Jan.21 MARIETTA BREWING Co., Marietta, OH 9:45pm
Fri. Jan. 28 JACKIE O's Athens, OH 9:30pm
Sat. Jan. 29 HOME Tavern, Logan, OH 9:00pm
Fri. Feb. 18 IRON SADDLE Akron, OH 10:00pm     
Sat. Feb.19 HAPS Bar New Waterford, OH 9:45pm
Sat. Feb.26 LAKEVIEW Tavern Albany, OH 8:30pm
Fri. March 4 NICOLOZAKES Fairpoint, OH 9:45 pm

Poobah - Let Me In

One of the first things that attracted me to the Ripple Effect freaks is their deep love and understanding of the ultra obscure heavy bands from the 1970’s that they feature on the “Proto Metal Report.” Anyone who takes time out of their lives to champion Dust, Sir Lord Baltimore, Toad, JPT Scare Band, Jerusalem, etc is someone I want to know. Nobler than just talking about it, they are putting their time and money into bringing some of these lost artifacts back into existence again on their Ripple Music label. They’ve already unleashed a great collection of unreleased JPT Scare Band recordings and now they’ve done us all a huge favor by reissuing Poobah’s Let Me In.

I bought my copy just to support the label but didn’t know what to expect. Turns out this is right up my alley. Vintage Alice Cooper, Black Sabbath, Jimi Hendrix, Johnny Winter, Grand Funk Railroad is some of my favorite rock and Let Me In is a killer mix of all of ‘em. Grand Poobah, guitarist, singer, songwriter, Jim Gustafson is an awesome player and burns up the fretboard like a muther. It reminded me a lot of the first time I heard the Truth & Janey band – kick ass American power trio rock from the Midwest with lots of heart and soul.

Recorded back in the glory days of 1972, the original LP of Let Me In featured 6 killer jams and a great album cover. “Mr. Destroyer” starts off with a very funny spoken intro, somewhere in between Cheech & Chong and the voice on the early Ohio Players song “Funky Worm” before an almost “War Pigs” style riff. Jim peels off some great solos and they rhythm section of bassist Phil Jones and drummer Glenn Wiseman is very tight and grooves hard. Jim’s playing brings to mind both Ron Asheton and Tony Iommi at the same time. “Enjoy What You Have” is a mellower song that should replace Boston’s worn out “More Than A Feeling” on the playlist for all classic rock radio stations. It’s followed up with the killer mid tempo boogie of “Live To Work.” Even though Poobah is from Ohio, this is pure Texas boogie that would make Johnny Winter take notice.

Side two of the original LP kicks off with probably my favorite song “Bowleen.” It’s got a great tribal drum beat similar to Alice Coooper’s “Black Juju” and Jim adds some spooky organ on top of his creepy guitar riff. “Rock N Roll” is the type of song that my older brothers used to love to torture my mother with back in the 70’s. It’s loud and obnoxious with lyrics about how great rock is and of course getting high! I can practically hear her screaming to “TURN IT DOWN” during the guitar breaks. “Let Me In” is a 6 and a half minute epic that has everything you could possibly want – great riffs, lyrics about brotherhood and a drum solo.

In addition to this great album, there are TWELVE bonus tracks! You get everything from what was probably their intro tape (“Here’s The Band”) to unreleased gems like “Going To Rock City” and “Walk Of The Bug” to live rehearsals and radio edits. No expense has been spared on this package. Audio restoration and mastering was handled by none other than Tony Dallas Reed of STONE AXE. This guy knows a little bit about how classic rock should sound, so you know the fidelity is top notch. The CD is almost 80 minutes and the double LP is a thing of beauty. The colored wax is a tripped out marble and the inside spine awaits your seeds!

--Woody

Buy here: Let Me In

Proto-metal Report - Featuring Lucifer's Friend and Night Sun

What was going on in Germany in the early 70’s that they were able to produce such kick ass world class heavy rock? And what’s wrong with the world that the music of Lucifer’s Friend and Night Sun are not being played on your local classic rock radio station right now? The debut albums from both of these bands are required listening for all fans of the mid-tempo hard n heavy realm.

The debut album from Lucifer’s Friend was first unleashed in 1970 and the opening song “Ride The Sky” is something everyone needs to hear. Released the same year as Led Zeppelin III, the song was accused of ripping off “Immigrant Song” but it turns out “Ride The Sky” came first. Take a listen for yourself and see if the opening fanfare played on French horn sounds similar to Robert Plant’s wailing vocals. Zep has been known to pinch some riffs here and there, but this might just be a weird co-incidence. But you never know. It wouldn’t surprise me if Jimmy Page was intrigued by a band named Lucifer’s Friend given his interest in the occult.

Even though Lucifer’s Friend were a German band, they were fronted by British born belter John Lawton. His high pitched voice soars above the heavy, gloomy music perfectly. I must admit the first few times I listened to this his voice reminded me a bit of Mickey Thomas but luckily there are no cheesy songs like “Fooled Around & Fell In Love” or “Jane.” The heavy organ sound makes for immediate comparisons to Deep Purple and Uriah Heep, but Lucifer’s Friend are probably closer to early Atomic Rooster in their blend of doomy guitar/organ interplay and they rarely venture into full on Emerson, Lake & Palmer prog.

All 8 songs on the original album are great. There’s everything from creepy slow ones like “Keep Goin,” mid tempo groovers like “Toxic Shadows” and faster ones like their theme song “Lucifer’s Friend. The latest edition of the CD comes with 5 bonus tracks that vary quite a bit. “Horla” is from 1970 and fits in perfectly with the album. However, there are some songs from 1973 that are pretty lame pop-rock junk like “Our World Is A Rock N Roll Band” with horrible synths and David Cassidy style vocals. Just goes to show what happens when the record company demands a hit!

Lucifer’s Friend went on to make a few more albums but changed their style quite a bit from the debut, which is where Night Sun comes in. Another German band with a high pitched screamer and pounding organist, this sounds like it should have been the second album from Lucifer’s Friend. Their debut album Mournin’ from 1972 has been described as Lucifer’s Cousin or Lucifer’s Friend That Came With The Other Guy.

Album opener “Plastic Shotgun” is an insanely complex song that will make your head spin. Night Sun has a bit more ELP in their sound than Lucifer’s Friend but are too heavy to be a full on prog rock band. “Got A Bone Of My Own” and “Slush Pan Man” are dead ringers for Death Walks Behind You-era Atomic Rooster outtakes. “Blind” has a nice jazzy groove to it similar to Deep Purple’s “Lazy” with some nice guitar work. Fast ones like “Crazy Woman” and “Nightmare” use the “Speed King” template to excellent effect.

Sadly, both of these albums are out of print but used copies can be found in all the usual places. Both of these albums belong on your stereo if you love Captain Beyond, The Groundhogs, Hard Stuff and all of the bands already mentioned. It might cost you, but heavy rock this good is hard to find.  -- Woody

Buy here:  Lucifer's Firend

Buy here: Mournin' [2010 Reissue Vinyl]

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

Guitar Legends JPT Scare Band Devastate BP with New Music Video, "Not My Fault"

After a hugely successful, 1 week debut on some of rock's finest websites, JPT Scare Band unleashes their darkly sarcastic attack on BP to the general public and the world.  Reports are that the biting, inflammatory video was picked up by over 40 news outlets and websites, as anger over BP's mishandling of the Louisiana Gulf Crisis bubbles over the boiling point.

Featuring the guitar wizardry of Terry Swopes, often hailed as "the most unheralded guitarist in rock" "Not My Fault" is a classic JPT Scare Band tune, written by drummer Jeff Littrell in the '70's but not recorded until 2004.  The ironic, almost cheery nature of the song plays in direct contrast to the destruction that BP has left in it's wake.

If you like the video, stay tuned to the very end, as the original 911 call BP made to the Louisiana Police demonstrates their epic downplaying of the situation.

And if you enjoy the video, please pass it on to your friends.  Link to it, embed it, twitter it, facebook it.  BP has paid millions of dollars to buy up all the sensitive search terms on the gulf crisis and is spending hundreds of millions of dollars white-washing it's role in the disaster and cleansing it's reputation. 

This is just one small way we can all fight back!

"Not My Fault" appears on the new JPT Scare Band album, Acid Blues is the White Man's Burden released by Ripple Music. 

Ripple News - The New Ripple Music Record Label Prepares New Releases from JPT Scare Band, Fen, Poobah, and Kevin Beadles

Hello friends!

Welcome to May and Spring is in full swing, flowers are bloomin' like crazy and the happy little elves at Ripple Music are preparing for a summer full of releases! 

We'll be seeing our first official release hitting the streets on June 22nd, 2010 in the form of JPT Scare Band's Acid Blues is the White Man's Burden. The heavily fuzzed out blues-based rock outfit has worked hand in hand with Ripple Music in the song selection and the album art to fully encapsulate the bands (in)glorious history as the unsung heroes of proto-metal. Coming on the heals of the widely acclaimed self-released album Rumdum Daddy, Acid Blues will be available in deluxe CD digipak, digital download, and multi-colored double 12" vinyl formats. The vinyl edition will also include two bonus tracks for your listening pleasure! Follow the link to hear more from this painfully obscure classic rock outfit! http://www.reverbnation.com/user/login#/jptscareband

Vancouver's beloved alienists on the path of self discovery, Fen, are preparing for the release of their fourth album, Trails Out of Gloom. The epic album of brooding and hauntingly beautiful songs will hit the streets on July 13th with the band working the road in support of the disc. Initially, Trails will be available in deluxe CD digipak and digital download formats, but plans are underway for a follow up 12" vinyl release. To hear some advanced tracks, please follow this link . . . http://www.reverbnation.com/user/login#/fen

Bay Area singer/songwriter, Kevin Beadles, also has an album available for the masses of happy and hungry music listeners. You Can't Argue With Water will officially hit the streets through Ripple Music on July 13th, 2010, featuring well crafted songs that are highlighted by thought provoking lyrics. The album will be available in CD digipak and digital download formats. For some samples of Kevin's work, follow the link . . .http://www.reverbnation.com/user/login#/kevinbeadles

Ripple Music is also proud to announce the release of the 1972 lost classic, Let Me In, from Poobah. Featuring the guitar wizardry of Jim Gustafson, Poobah has milled about in the same circles as classic rock icons Hawkwind, Blue Cheer, and Iron Butterfly. This deluxe re-issue will be available in jewel case CD, digital download, and multi-colored double 12" vinyl formats . . . and all will include bonus tracks from "lost tapes" of the Let Me In recording sessions. Look for the album this summer, and in the meantime, feel free to listen to some of the music that you have missed over the years . . . http://www.reverbnation.com/user/login#/poobah

Finally, Modern Day Moonshine has submitted the cover art and the album title for their long-awaited follow up to their self-titled EP from last year. Refuge follows the same big sky, open land path that this trio has walked for the past five years . . . but with a fresh burst of energy and a focused approach. Refuge will initially be available in CD digipak and digital download formats, but we're not ruling out a vinyl edition in the near future. 

Ripple Music has also come to agreements with the Santa Barbara modern rock outfit, Tripdavon, to re-release their latest album, Sketches From Silence, in a deluxe format filled with unreleased tracks and bonus material. And, as of this writing, the label has also come to a verbal handshake with classic proto-metallers, Iron Claw, from the UK to release their first collection of studio material since their classic self-titled 70's release. 

2010 promises to be an exciting year with a ton of great music, so tune in frequently, or simply sign up to our mailing list and get the 411 before anyone else! 

That's all for now . . . and remember, if you're not listening to it loud, you're not listening to it right!

Ripple Music

www.ripple-music.com

Protometal Report - Nazareth - Loud N Proud

Every now and then I try and convince myself that I like Guns N Roses. After about half a song I turn them off and reach for my copy of Loud N Proud by Nazareth. Axl Rose has never been shy about proclaiming his love for this great Scottish band and the influence on early Guns N Roses is unmistakable. Nazareth guitarist Manny Charlton even produced some demos of songs that later wound up on Appetite for Destruction. But enough about them, this review is about NAZARETH!

Loud N Proud was the 4th album from the band and was released in 1973. The first two (Nazareth and Exercises) have some good songs but are a bit uneven. The band started to define their sound on their 3rd album Razamanaz (also released in 1973) with the help of Deep Purple’s Roger Glover as producer. Loud N Proud would take the hard hitting sound of its predecessor and expand on it. It’s hard to believe now, but back then most bands were required to put out 2 albums a year and tour the globe to support each of them. Good luck getting a band to do that now.

There are 8 songs on this album and there’s not a dud in the bunch. Throw this muther on at a party or road trip and you’ll just keep turning the volume up. Kicking off with 2 of their hardest hitting songs, “Go Down Fighting” and “Not Faking It” set the mood for drinking, fighting and fornicating. “Go Down Fighting” starts off with a huge stomping chorus that sounds like a skinhead anthem and alternates with quieter verses. Just when you think the song is gonna get all country rock on you, they fire up the big chorus and a guitar solo that make you shake your fist in the air. “Not Faking It” is a fast kick ass rocker that flat out smokes. Dan McCafferty’s vocals really soar on this one. His influence on not only Axl Rose, but AC/DC’s Brian Johnson is obvious. Roger Glover’s production really helps the band shine. The sound is hard, tight rock n roll. The rhythm section of Pete Agnew (bass) and Darrell Sweet (drums) rock hard in the pocket and let Manny’s guitar boogie on your face.

There’s a lot of variety on this album. The ballad “Child In The Sun” points the way to their future megahit “Love Hurts” but also has parts that sound like “Paradise City.” “Turn On Your Receiver” and “Free Wheeler” are hard rock but incorporate some California influences like The Doobie Brothers and Little Feat without sounding too mellow. They even cover Little Feat’s “Teenage Nervous Breakdown” turning it from a New Orleans shuffle into a Chuck Berry rocker.

The only way for most bands to put out 2 albums a year was to do some covers. In addition to the Little Feat cover there are renditions of Joni Mitchell’s “This Flight Tonight” and Bob Dylan’s “Ballad Of Hollis Brown.” Thankfully, I’ve never heard either of the originals but I bet Nazareth’s versions are drastic interpretations and “This Flight Tonight” was a hit for them in Europe. “Ballad Of Hollis Brown” is one of Loud N Proud’s standout moments – a 9 minute super heavy dirge that challenges Black Sabbath for early 70’s proto metal stoner doom madness.

Nazareth went on to make other great albums in the 1970’s like Hair Of the Dog (their biggest seller, especially on 8-track!), No Mean City and Expect No Mercy and continue to this very day with Dan and Pete as the only original members. Most rock fans have a best of Nazareth somewhere in their collection but none of their albums. Loud N Proud deserves a place in every hard rock fan’s stack right next to their favorite Deep Purple, Rose Tattoo and Johnny Winter albums. The CD is out of print in America (of course) but the import is pretty easy to find and comes with excellent remastered sound and a few radio edits as bonus tracks. 

--Woody

buy here: Loud 'N' Proud

Jerusalem – S/T

It’s easy to see why Ian Gillan was inspired to work with this ragged and raw, incendiary gang. At their best, they managed the compelling riff-mania of Purple, fused with some serious blues licks and the pulverizing heaviness of Sabbath. But on further listen, there’s something else to the band, something much more sinister and malevolent than that simple description puts forth. Yes, Sabbathy, doom-laden riffs abound, but whereas Sabbath played their game like a B-rated horror movie from the House of Hammer come to life, Jerusalem infuse their death-blues with a true sense of the ominous. Fired by the ragged-endothelial celled larynx of Lynden Williams, and I.V. fed with a hefty does of fuzz and spit, there’s something intensely subversive lurking under the at-first-glance straight ahead protometal on this disc.

Produced by Gillan with a brief intro by the Purple man himself -- where he said, "not many bands really excite me. But this one's so raw and completely unpretentious"-- it’s still shocking to this day that Jerusalem didn’t follow in the footpath of their benefactor. Heavy, bluesy, yet melodic, memorable hooks combined with inventive song structures, inspired playing and the gutsy neo-Nazareth vocals, all the components seemed to be there for a long run of success. But is wasn’t meant to be. After this one platter, the band departed into the murky halls of rock and roll’s past.

Thankfully, Rockadrome (as they so often seem to do) weren’t content to let this mini-masterpiece of angst-protometal drift away. Lovingly remastered with the aid of original bass player, Paul Dean, Jerusalem has once again been given the room to spread it’s dark and ugly wings, unleashing a sonic force of near-crazed, ploddingly heavy proto-doom onto a once again unsuspecting world.

In many ways, Jerusalem were entirely of their time. As each song unfolds, all that is fantastic about the protometal period is revealed in stunning clarity. The mutation of blues based rock, a la Cream, into it’s much angrier, disenchanted brother. The dying twinges of psychedelia’s optimism bleeding into an ugly and snarling beast, bleeding and drooling from it’s gaping, tooth-filled maw. Traces of fuzz and wah fighting to survive amongst the downtuned bass and the pummeling low end of the drum kit. But again, listen hard and you’ll find something more. At times, I swear you can hear the amped up, stuttering attack of early Stooges. In the lyrics, hints of horror movie purple prose are replaced with the serious darkness of a funeral epitaph. In other words, Jerusalem were the real deal. What ever it was they were feeling, it was dark and consuming, and needed to be released like the beast mentioned above.

Songs like “She Came Like a Bat from Hell,” and “Midnight Steamer,” pound with a funky, staggering oppressiveness. “Murderer’s Lament,” positively punishes with its discordant attack, stop-start drumming, and descent into a darkened, cold and haunting prison. “Frustration,” brims with protometal energy with it’s fuzzed out rumbling riff and massively mutated blues structure. Throughout, the guitars are a stunning assault, a textbook of early protometal ferocity, while Williams’ vocals, always on the brink of their last functioning cell, add a frenzied, near psychotic velocity to the air.

“Hooded Eagle,” descends into massive Sabbathisms, rumbling and destroying everything in it’s path like a marauding army descending upon a defenseless Saxon camp. “Beyond the Grave,” teases with a jaunty, lute-like intro before laying waste to small villages with a two-pronged, Ozzy-inspired assault of early-Sabbath intensity. And when I mean cloak-laden darkness, I mean it. “Someday we shall meet again/Death is only a minutes pain” Williams spits out, fully convincing in his intent. But perhaps the albums greatest/darkest, most sinister moment is the magna-opus to fuzzed out heaviness that is “Primitive Man.” Williams is barely able to hold his voice together for the entire length of this massive death dirge of pummeling intensity. This has to be the grand epic of heavy, stoner doom for its time. Not one to be missed for the inclined.

But light does emerge from the vast cloak of darkness. Don’t go looking for it in the inappropriately titled “I See the Light,” which drips out of the speakers at funeral procession pace, sounding much more like a crazed man’s moment of complete loss of sanity than a moment of optimism. No, the light peeks through during “When the Wolf Sits,” which denies none of its blackened heritage, but is graced with a meaty, twisted blues riff and melody that would’ve made Nazareth proud. A true toe-tapping, sing along moment amongst the punishing wave of despair.

Rightly so, Jerusalem is hailed as one of the lost hallmark albums of protometal, easily held in the same high regard as Leafhound or Pentagram. In truth, the album is deserving of that praise and so much more. Like the recently Rockadrome resurrection of Iron Claw, Jerusalem produced some of the heaviest, darkest, most punishingly heavy and doom-laden metal to be unleashed during those halcyon days. And they were way ahead of their time. If anything, the album still sounds stunningly frightening today and I can only imagine how it must have terrified the public back then.

A true classic, and deservedly so.

--Racer

Buy here: Jerusalem


www.rockadrome.com