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The Ripple Effect

The best music you're not listening to.™ Reviews of lost classics and obscure titles. Unheralded bands and songwriters. New bands deserving of greater attention. The site for the music omnivore. It's all here, on the Ripple Effect

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Showing posts from November, 2011

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Landmine Marathon - Gallows

November 30, 2011

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Charles Mingus - Mingus, Mingus, Mingus, Mingus, Mingus

November 29, 2011

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Soul Cycle - S/T and Oresund Space Collective - Dead Man in Space

November 29, 2011

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A Ripple-full of Blues; featuring Roy Roberts, Sista Monica Parker, Gina Sicilia, and Paxton Norris

November 28, 2011

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A Sunday Conversation with Pile

November 27, 2011

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No Turning Back - Take Control

November 27, 2011

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Head Cat - Walk the Walk...Talk the Talk

November 26, 2011

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Sunn O))) - ØØ Void

November 25, 2011

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HUMBLE PIE - EAT IT

November 24, 2011

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Confused Little Girl - Southern Gentlemen

November 23, 2011

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Confused Little Girl - Southern Gentlemen

November 22, 2011

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The Heavy Company - The Heavy (Please Tune In . . .)

November 21, 2011

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Shovel's Unearthed Treasures - free music for your ears

November 20, 2011

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Green Day - Awesome As Fuck

November 19, 2011

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Fen Head Back to the Studio to Record the Follow-up to their Massively Successful Ripple Debut, "Trails Out of Gloom"

November 18, 2011

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Landmine Marathon - Gallows

November 18, 2011

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Noiseworks - Noiseworks

Back in the late eighties an Australian friend of mine, whom I've sadly lost touch with since, sent me a cassette of a Sydney-based band. It was their self-titled debut and the band in question was Noiseworks. At this point in time, this five-piece were completely unknown to me and based off of the artwork, a photo of the band against a white backdrop with the logo above, I had no clue what to expect. However, once the music started I was sold - hook, line and sinker! Australian rock and pop of the eighties had a particular sound. Can't honestly describe it in words but to this day that sound is very identifiable in a good way. And Noiseworks are not exempt of this. They deftly embrace their heritage while going full tilt with awesome hooks, great lyrics and a lot of emotion. What baffles me is that the guys were labeled a pub rock band. Maybe that was the case in their infant years but ‘Noiseworks’ is anything but. Then again, we all look at things differently.

Jane's Addiction - Nothing's Shocking

Growing up as a teenager in the 1980’s I’d say my progression through rock and roll was fairly standard. Status Quo were my gateway band that drew me into a world of distorted guitars and hard assed rhythms. From there it had to be harder and heavier…Quo gave way to Maiden who gave way to Venom, who gave way to Mercyful Fate then to Metallica, Slayer, Bay Area thrash, death metal…etc. I also embraced the pantheon of forebears…Sabbath always did rule the roost for me from one summer’s day in ’83 when I heard “Live Evil” and still do to this day as do the classics like Lizzy, Purple, Skynyrd, Led Zep, ZZ Top, AC/DC, Motorhead, Kiss. I was a typical heavy metal teenager. Metal was always what it was…hard, heavy, escapist…etc but towards the end of the decade there was a shift; the Red Hot Chilli Peppers introduced metallers to funk, The Beastie Boys and Run DMC with Aerosmith introduced metallers to rap, Faith No More introduced metallers to funk and rap and then there was Jane’s Addict

Burn on the Bayou: a Heavy Underground Tribute to Creedence Clearwater Revival

Tribute Albums can be a minefield, depending on whom the chosen artist is that is being given the (sometimes dubious) honour of having their songs covered. Black Sabbath have countless tributes and have had every possible band from the Giants (Metallica) to the bizarre (Busta Rhymes) cover them with extremely mixed results. For every White Zombie and 1000 Homo D.J.s sublime covers of Children of the Grave and Supernaught theflip side is the absolute travesty of Emerald Sabbath (I kid you not) consisting of anyone with the most tenuous connection to Sabbath (Dave Walker, Neil Murray, Bev Bevan) murdering their songs. The first hurdle of any tribute album is avoiding the obvious (Sabbath, Lizzy, Purple etc) picking an artist well known but not covered to point of saturation. So, Credit to Ripple Music A whip smart choice of a tribute and overall executed with style. With Burn on the Bayou the first hurdle has been easily jumped. Creedence Clearwater Revivals music is part of the

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-(16)-
; NASHVILLE
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