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Showing posts from February, 2014

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It Was 40 Years Ago Today: Jethro Tull - WarChild

February 28, 2014

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Musical Martyrs- The Vilified Albums: Judas Priest – Turbo

February 27, 2014

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Nada Surf - High/Low

February 26, 2014

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A Ripple Conversation with John Mortimer of Holocaust

February 25, 2014

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Ripple Editorial: Why I don't like The Beatles

February 24, 2014

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Revenge of the Quick Ripple Bursts - Featurning Astralnaut and Jowls

February 23, 2014

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Eddie Brnabic & The Cosmic Fellowship - Subtle Realms

February 22, 2014

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BLACK SABBATH – TECHNICAL ECSTASY

February 21, 2014

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How to Get a Record/Distribution Deal - One Man's (moderately educated) Thoughts

February 20, 2014

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Ripple Field Trip: Blackfoot Gypsies @ Hat Trick's Sports Bar and Grill

February 19, 2014

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Satan's Host – Virgin Sails

February 18, 2014

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Three Way Plane - Fire EP

February 17, 2014

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Trilogy - Burned Alive

February 16, 2014

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It was 40 Years Ago Today - Syd Barrett - S/T

February 15, 2014

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Want a Private Skype Jam Session with Mothership? Jump onto the ship and help them at Ingiegogo.com

February 14, 2014

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Bad Company - S/T

February 14, 2014

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It Was 40 Years Ago Today - Frank Zappa - Apostrophe (')

February 13, 2014

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Ripple Music to re-release Poobah's "U.S.Rock" album in February 2014: Limited Edition already available now!

February 12, 2014

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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
:Twingiant
. Book
. new album
...and the fire within
...in the shadows below
...it's ugly or nothing
...must die
...only a suggestion

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