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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 August, 2022

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Telekinetic Yeti – Primordial

August 31, 2022

abominable alex baumann ancient nug anthony dreyer beast cult of the yeti doom metal primordial rockwell heim stoned ape theory stoner rock telekinetic yeti the yeti toke wizard

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The Xroadie Files

August 30, 2022

ambos mundos cachemira enduring physicality ian danter nemesis lately pale wizard records rule of three somnus throne supreme unbeing the xroadie files ziggy stardust 50 years later

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A Fistful Of Questions With Derek Vorndran From Post.Recordings

August 29, 2022

a fistful of questions chris isaacs derek vorndran gillian welch interpol jackie brown metallica pillars post.festival post.recordings protomartyr seeress star wars sushi the appleseed cast toe

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GREAT ELECTRIC QUEST - “Live At Freak Valley” - (Ripple, 2020, San Diego, CA) -

August 28, 2022

great electric quest heart of the son highway star in the flesh live at freak valley of earth ripple Music seeker of the flame victim of changes

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Austin post-hardcore metallers GLASSING to release "Dire and Sulk" EP on Medication Time/Brutal Panda Records next week; watch "Sulk" video now!

August 26, 2022

black metal Brutal panda records Decibel Magazine dire and sulk ep glassing medication time records New Music Video post-hardcore

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A Ripple Conversation With Sean Guy & Nathan Abbott Of Bedroom Tax

August 25, 2022

4AM a ripple conversation alannis morissette arctic monkeys bedroom tax david bowie depeche mode erykah badu Kanye West nathan abbott paul mccartney sean guy the streets

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The Ripple Library - The White Label Promo Preservation Society: 100 Flop Albums You Ought To Know

August 24, 2022

100 flop albums you ought to know baby huey fairport convention ike and tina turner matt pinfield mitchell cohen ripple library sal maida the bonzo dog band the white label promo preservation society

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The Xroadie Files

August 23, 2022

a re-imagining of peter gabriel hits alive at progstock holyroller miasma robert berry's 3.2 swimming witches terror cosmico the cruel intentions the xroadie files through the wire venomous anonymous

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Watchman ★ The End of all Flesh

August 22, 2022

doom metal doom of babylon electric Wizard fire and brimstone Monolord montdoom pour out the vials righteous indignation stoner rock the end of all flesh the smoke watchman Yob

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A Fistful Of Questions With Andy Of Percy

August 21, 2022

a fistful of questions andy wiles Iron Maiden killing joke King Crimson metallica Motorhead neil young pearl jam percy saxon the doors the fall the jam wax phantoms wolf alice

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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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