has left the blogging building for serious reasons and I wish him and Mrs Yin all the best for the future.
Say goodbye here!
Stone Axe Signs With Ripple Music For Future Releases
Fresh off the success of their first collaboration, a 7" split single between Stone Axe and Mighty High, multi-instrumentalist and rock preservationist T. Dallas Reed has signed with Ripple Music to re-release the critically praised Stone Axe self-titled debut on both vinyl and deluxe CD packages. Originally released in 2009, Stone Axe lit the message boards on fire with it's ballsy, retro, bluesy sound, bringing back the classic sound of rock that so many were craving. Now set to be gloriously re-unleashed, the vinyl edition of the album includes an extended jam of one of the original tunes and a full lyric sheet. The LP version will hit the streets on September 7th.
The CD edition of the album, which will see the light of day later in the year, will be a deluxe package with almost 30 minutes of bonus live tracks and a DVD of original promotional videos, live performances, and bonus footage from the recording of the album. A true panacea for the Stone Axe fans!
"Stone Axe are quietly becoming one of the most seminal “new classic” rock bands on the scene.” – Sleazegrinder, Classic Rock Magazine
But, that's not all. Now signed to Ripple Music, T. Dallas Reed has opened his ever expansive vault of recorded material to Ripple Music. In 2011, Ripple Music will release a mind-blowing third Stone Axe full length LP, and a re-release of the first Mos Generator LP to celebrate the ten-year anniversary of the debut of this legendary stoner rock band. This Mos Generator LP will be laden with bonus material and live performances.
Look for a surprise Stone Axe EP to come out later this year as well!
www.stoneaxeband.com
www.ripple-music.com
"They may very well get lumped into the stoner rock category. That wouldn't do them justice though. These guys lug out the massive sounds and they begin spinning them around, manipulating and pulling us with them.” – Heavy Metal Time Machine
April's End - Break Through Sorrow EP
April’s End is a New York heavy hard rock band that fuses alternative and melodic lyrics to create a breathtaking blend of alternative metal music. Entertaining, energetic and ecstatic, lead singer Cyrille Robes commands the band with her powerful vocal range that demands to be reckoned with. Immediately, one can’t help, but think of all the female lead singers fronting current rock bands like Avril Lavigne and Hayley Williams of Paramore. However, Robes is reminiscent of a badass, bitchin’ lead singer with a killer band like Wendy O. Williams and the Plasmatics, Joan Jett & the Blackhearts and Amy Lee of Evanescence. Disregarding April’s End is a mistake.
Let me be honest. I initially brushed them off when I was handed their Break Through Sorrow EP, but after a few days passed I decided to give them a chance. I am so glad I did! Kicking off with “One Chance” the band blasts off with their hard rocking sound solidified by Danny Lysogorski’s drums. Reeling you from beginning to end, the amplified sound of Daniel Buquicchio’s guitar and JayR Castillo’s bass along with Robes robust voice, creates a stimulating song. Their abilities to pump up the listener make them a band worthwhile to check out. As a matter of fact I hardly could contain myself as I listened to this entire EP. I was just overwhelmed with energy.
“Push” just continues the steadfast energy emulating from this excellent EP. With catchy lyrics and a hard sound, it’s easy to understand why fans of heavy music like Killswitch Engage, Atreyu, and Bullet for My Valentine have appreciated the band. Their brutal, brash music makes it hard to truly classify them as they continue to waver back and forth between various hard rock and metal genres. Nothing solidifies a band’s intensity and integrity like not wanting to be labeled. Break Through Sorrow is consistently good like its predecessors. The fourth song “Tranquility” is the only song that seems out of place, but as the title suggests, it’s very relaxing and it calms your heart down before getting your blood pumping once again for the final track, “No Other Way.” At times “No Other Way” reminds me of Evanescence’s “Bring Me to Life.” It’s undeniable the similarities between the vocal ranges of Amy Lee and Cyrille Robes. Cyrille Robes is definitely someone to keep an eye out for and good things seem destined for April’s End.
-- Mr Brownstone
Josiah - Procession
Josiah has a strong Black Sabbath influence but combine it with a speedy Motorhead attack which separates them from the run of the mill stoner rock. “Broken Doll” brings to mind Bomber-era Motorhead and Sir Lord Baltimore at the same time. “Dying Day” swipes Rush’s “Working Man” riff. If you told me this song or “Procession” were unreleased outtakes from Buffalo’s Volcanic Rock sessions I’d believe you.
The live songs were captured hot n nasty on tour in Sweden, but where’s the crowd noise? The songs kick ass but could benefit from an insane crowd cheering them on. “Looking At The Mountain” sounds like Mountain at their heaviest. “Time To Kill” is a frenzied rewrite of Sir Lord Baltimore’s “Hard Rain Fallin” that really smokes. “Silas Brainchild” has plenty of cowbell and wah wah to thrill fans of Dust and Hard Stuff. “Malpaso” is a James Gang groover and “I Can’t Seem To Find It” has a great Captain Beyond feel to it with some nice Stooges guitar freakage.
If you’re into belligerent, loud power trio rock chances are you already love these guys. Too bad I got to the party too late, but Procession is a great gateway drug album that’s gonna make me check out the older albums and guitarist Mat Bethancourt’s new bands Cherry Choke and The Kings Of Frog Island.
--Woody
Buy here: http://www.allthatisheavy.com/info.asp?item_num=ATH-7123
Below the Fall - S/T EP
Have you ever pondered what makes a band great? Is it years slogging away on the toilet circuit honing your craft playing covers to disinterested crowds…that seemed to work for The Beatles and Black Sabbath. Maybe it’s a case of constantly refining and redefining your sound by pumping out numerous demos until, at last, you get it right. Or maybe, just maybe it’s a little thing called chemistry. Below the Fall have come, seemingly from nowhere. As yet the band have yet to play a single gig, have released nothing prior to this recording and don’t appear to have been together for more than 5 minutes yet on this two track recording have, not only secured a label release through the newly formed Witch Hunter Records, have produced a release absolutely brimming with class, power and style.
Eschewing most of the current trends the band create and emotionally charged (but not emo) sound that draws heavily on bands such as Far, Deftones and Hundred Reasons (anyone remember them?). This is big on atmosphere, heavy of guitar and hypnotic of groove. Below The Fall are not out to show how clever they are on their instruments, there is very little excess fat in the structures and certainly no unsightly public displays of masturbation to contend with. Instead the band are solely about the tunes. Both tracks here, “Commissioner” and “Just Run Away” display a musical awareness and grasp on song writing that is as impressive as it is refreshing. The guitars weave subtle melodies around each other before coming together in orgasmic crescendos of heaviness, the vocals are clear, clean, precise and naggingly catchy. The apparent simplicity of the music allows the voice to carry the melody and drive it into your memories. As for the drumming, based on this display I would have assumed that drummer Alex had been playing for years but such is his innate skill, groove and flair it’s hard to believe he’s still a relative newcomer to this game…Dave Grohl watch your ass!!!
While I’m praising the shit out of the music on offer here I may as well mention the production. Most bands on their first outings may settle for a rehearsal tape or some shitty back street 4 track studio to get their ideas down. Not so Below The Fall. Despite being recorded quickly in a local studio this would be worthy of any major release…the guitars sound rich and full of depth, the bass underpins proceedings with a lovely weight and the drums snap and pound in all the right places. If you’d told me this had been recorded at Abbey Road I’d have no reason to doubt you.
At only two tracks this is very much a tease…I’ve just listened to it three times straight on my ipod whilst writing this and could easily go again…so I guess we’ll have to wait patiently for more in future. Hopefully the guys will get some decent gigs off the back of this excellent release and take this to a world in which I think they’re due to find a very warm welcome.
If you do want to grab a nice physical copy of this in its screen printed, environmentally friendly recycled sleeve it is limited to 150 copies in the first instance. Alternatively it is available as a “pay what you like” download from their Bandcamp page but I would strongly urge you to throw a few notes their way for this, it’s more than worth it.
--Ollie
http://www.belowthefall.com/
http://belowthefall.bandcamp.com/
http://belowthefall.bigcartel.com/
http://www.witchhunterrecords.com/
Ed: By the way, we'd like to welcome Ollie to the Ripple family. Main beast of Grifter, he joins Woody's Mighty High as Ripplers who rock. Welcome aboard Ollie!
Lee Ritenour’s - 6 String Theory
"We’re not worthy! We’re not worthy!"
Garth Algar: "We’re scum!"
Wayne Campbell: "We suck!"
- Wayne’s World (1992)
That is exactly how I feel after listening to Lee Ritenour’s 6 String Theory. I have played guitar for thirty-nine years and I am in awe of the music and talent that Lee Ritenour has assembled on this album. I can only dream about playing any the pieces on the album and, even if I learned the music, I can only dream of being able to perform them with such talent and precision.
Right off the bat Ritenour teams with progressive jazz guitar master John Scofield on Ritenour’s Lay It Down. As if trading guitar licks with John Scofield is not enough, Harvey Mason is on the drums, Melvin Lee Davis plays the bass and Larry Goldings mans the organ. My fingers could never keep up. Then, the album gets better.
Ritenour accompanies Keb’ Mo’ and Taj Mahal as they perform “Am I Wrong,” a hot delta blues song which features an amazing swamp guitar tone topped off by Taj Mahal’s tasty harmonica and Keb Mo’s and Taj Mahal’s raw vocal power. I attempt to recreate this guitar blues tone and fail.
Les Paul “L.P. (For Les Paul)” is an up-tempo tribute to Les Paul written by Ritenour. A guitar duet between Ritenour and guitarist Pat Martino (Joey DeFrancesca on organ and Will Kennedy on drums) has dual leads so precise that I would need ice for my fingers before I could complete the first stanza.
Joe Bonamassa and Robert Cray show up on the fourth track to play a slow burn blues version of Tracy Chapman’s “Give Me One Reason.” If I have one wish it is to play as well as Joe Bonamassa or Robert Cray. Some wishes will never come true.
If these embarrassments to my guitar playing ego weren’t enough, Ritenour follows it up with with Steve Lukather, Neal Schon and Slash performing Lukather’s instrumental “68”? Okay, now I can’t find the notes, the speed or the tone. Great. Then they throw it in my face again. Lukather, Schon and Ritenour play a mellow Ritenour jazz piece called “In Your Dreams.” It seems to say to guitarists “you don’t have to play fast. It is about feeling and tone.” The question for me is how does a guitarist even attempt to measure up to this?
Ritenour provides an immediate answer with George Benson performing “My One And Only Love,” in a straight-ahead jazz style. I could never play like Joe Pass. This track makes it clear that I will also never play like George Benson. (Sigh of resignation.) As if one amazing George Benson guitar instrumental number is not enough Ritenour follows it with Benson swinging “Moon River.” I can play “Moon River” but, uh, not like that. (Deeper sigh of resignation.)
Damn, the musicianship and music gets even better. What have I done to deserve this? B.B. King, Vince Gill, Keb’ Mo’, Jonny Lang and Ritenour together play an up-beat version of B.B.’s classic “Why I Sing The Blues.” They vamp, and trade vocals and licks. Can I live with this? There’s only one King, Gill and Keb’ Mo’ got chops, and Lang and Ritenour are prodigies. I’m scum.
I look at the next track - a song by some unknown named Joe Robinson that is called “Daddy Longlicks.” I think, finally, a no-name. Maybe I can regain a bit of guitar player self-esteem. Out of the speakers comes a flurry of fingerstyle guitar picking. I check the CD liner notes and find out Ritenour discovered this 18 year old Australian fingerstyle guitar master. HE IS 18 YEARS OLD!!!! My life is over.
To further my grief Ritenour plays with Lukather and Andy McKee an instrumental version of Sting’s “Shape Of My Heart.” I faintly recall the name Andy McKee and Google it. He is the amazing guitarist with the viral YouTube video in which he plays the guitar as a percussion instrument. A second track of McKee and Ritenour follows called “Drifting” that was written by McKee. Unbelievable. I have no idea how he does it. I get more depressed. Anyone interested in buying a used guitar or two?
I so dreaded to hear what Ritenour would do next. He tortures me with the finest version of “Freeway Jam” since Jeff Beck’s Blow By Blow album. Here, Ritenour plays with jazz guitarist Mike Stern (who played with Miles Davis and the Brecker Brothers) and Tomayasu Hotei (one of the greatest Japanese rock guitarists alive, known in the US for his film score in the movie “Fear and Loathing in Las Vegas” and the theme song to the film “Kill Bill” that also can be found on Playstation 2’s version of the game “Dance, Dance, Revolution SUPERNOVA,” called “Battle Without Honor Or Humanity”). How much more of this can I take?
With great trepidation I let the next to last track spin. It is by some guitarist named Guthrie Govan who wrote and performs the song “Fives.” It is fast. exacting, progressive rock guitar - as good as Yngwie Malmsteen. I’m stiff. I can’t play that. My ears bleed. Who is this guy “Govan?” I look him up. Oh, lord, best known for his work with the band Asia and is a former winner of “Guitarist of the Year” honors. He also has his own shred band called Erotic Cakes. I am not worthy.
The final track makes me think I should adjust my attitude. It is a classical piece, “Caprices. Op. 20. No. 2 and 7,” written by Luigi Legnani and performed impeccably by Shon Boublil. I check him out. Boublil is a 16 YEAR OLD Canadian who won an international guitar talent search put on by Yamaha, Berklee College of Music, Monster Cable, D’Addario and Concord Records. He is 16 YEARS OLD! I suck.
- Old School
Buy here: 6 String Theory
6 String Theory [bonus tracks]
6 String Theory
mp3INFALLIBILITY
They say that in pubs you should never talk about religion or politics and it may be so in blogs but hey!
So Pope Benedict is on his way faced with the usual crap that Hawkins would never dare say to an Imam.
I'm not religious, I have belief, but I was brought up Catholic.
It's weird but I don't feel the same about Benedict that I did with JP2.
I was in Italy - to watch a rugby match - and myself and the wife inadvertently ended up in a Papal mass with a blessing with JP2. Though I am not religious I respected that man the same way I respected my old headmaster who married us.
However, religion is about politics or social order. Barrier protection was banned once it became effective - how do you create more believers if someone is wearing a sheaf?
Abortion arguments I can respect, anyone who has seen their child in a scan that is before the legal limit for abortion, must have had thoughts on the legitimacy of abortion.
But I digress. There has been huge amounts of criticism about Benedict and the priest kiddy fiddlers. However there is a major problem - doctrine
People are demanding that the Pope apologises about the sickening actions of his priests but there's a major sticking point.
Papal infallibility. The successors of Paul have infallibility - doctrine-wise they cannot apologise. It's pointless to demand it. The Pope cannot do wrong so cannot apologise.
Yes I know we all think he should, but doctrine and politics demands otherwise.
If that religion says its leader is infallible and that religion demands that stance, what makes the Pope so different from Imams and Rabbis that have also refused to condemn the evils committed in their religion?
Anyway here's XTC. Always loved the song and some of the sentiments:
BTW, don't know if Google ads will turn up but most amused by an advert for Christian Dating accompanying the vid on You Tube!
So Pope Benedict is on his way faced with the usual crap that Hawkins would never dare say to an Imam.
I'm not religious, I have belief, but I was brought up Catholic.
It's weird but I don't feel the same about Benedict that I did with JP2.
I was in Italy - to watch a rugby match - and myself and the wife inadvertently ended up in a Papal mass with a blessing with JP2. Though I am not religious I respected that man the same way I respected my old headmaster who married us.
However, religion is about politics or social order. Barrier protection was banned once it became effective - how do you create more believers if someone is wearing a sheaf?
Abortion arguments I can respect, anyone who has seen their child in a scan that is before the legal limit for abortion, must have had thoughts on the legitimacy of abortion.
But I digress. There has been huge amounts of criticism about Benedict and the priest kiddy fiddlers. However there is a major problem - doctrine
People are demanding that the Pope apologises about the sickening actions of his priests but there's a major sticking point.
Papal infallibility. The successors of Paul have infallibility - doctrine-wise they cannot apologise. It's pointless to demand it. The Pope cannot do wrong so cannot apologise.
Yes I know we all think he should, but doctrine and politics demands otherwise.
If that religion says its leader is infallible and that religion demands that stance, what makes the Pope so different from Imams and Rabbis that have also refused to condemn the evils committed in their religion?
Anyway here's XTC. Always loved the song and some of the sentiments:
BTW, don't know if Google ads will turn up but most amused by an advert for Christian Dating accompanying the vid on You Tube!
Jeff Kelly – Ash Wednesday Rain
I remember being 10 years old, just waiting for the slow days of summer to end so I could go back to school. Yes, I was one of those. I’d spend free days in August reading encyclopedias, from page 1 on. That’s how much I wanted to learn. School, to me, was an opportunity, hotly anticipated. Old friends to see, new wonders to learn, new teachers to torment, rules to break, suspensions to avoid. I was such an odd mix of good student and authority rebel, that the Principal (who’s office I’d spent many hours in, explaining myself) audibly grunted his displeasure when I won the “Best All Around Student” Award in 6th grade. Damn, that made my day.
Jeff’s experience was totally different, as he makes so painfully clear in his remarkable, mournful song “Shadow Classrooms.” Against the refined strains of a strummed guitar and Hammond organ, Jeff reveals the ancient pain locked inside him all these years. The dread of that first school day approaching, the laughing schoolgirls, the undying wish to disappear. His yearning, strained voice expels his fears as he sings, “Summer’s gone/Winter’s waiting/Icy school rooms fill my brain/they lie in wait/there’s no escaping/please forget me/please forget me and my name.” The song is so drenched in honest neurosis that it’s impossible not to get completely wrapped up in this young kid's drama, driving off to school, “I don’t wanna/I don’t wanna/I don’t ever wanna be young again.” Hammond organ flourishes bring on massive waves of shyness and anxiety. Truly remarkable.
But that’s not the only difference between me and Jeff. Jeff has talent. Amazing talent. The ability to create a seemingly endless stream of somber melodies, wrapped in sorrow, stripped bare to the chilliest bone of exposure. Every nerve is laid bare, every pain left open.
Just listen to “The Greatest Sin.” My God! That song simply bleeds. Pain, regret and self-loathing simply seep from the song’s pores. (If a song had pores, that is.) But it’s not overdone, it’s not a “woe is me, shut up and get on with your life,”-type of somber. The emotion is so real, the melody so stunningly beautiful that I can’t help but wonder what that “sin” was that he committed. I’m thinking adultery, but with Jeff’s slightly obscure lyrics it could be any one of the Big Ten from the Commandments.
Other songs, like “A Year and a Day,” and “Seven Years,” are almost too beautiful to put into words.
But before you go thinking that the album is a downer, let’s don’t forget that Robin Hitchcock factor. Album opener “Living the Good Life in a World of Disease,” is a nearly whimsical piano-led tale that just may be one of the best songs I’d never heard before. “What Became of Betty Page,” is like a tour-de-force of garage anthemic organs and swirling melodies. “The Singer of Another Song,” is a crafty, spunky, downright fun, minimalist off-kilter love song, that basks in its own coolness. Spikes of piano pop in like from the best underground jazz clubs while the song swings along on its cool, beat-poetry club vibe. Organ twirls, punchy percussion. “What Now My Love,” brings on that Hitchockian whimsy with its churning, near-carnivalesque organ.
A treasure of neo-psychedelic, singer/songwriter powerpop. Even more remarkable is the fact that the entire album was recorded by Jeff, at home on an 8-track cassette deck. Guitar, organ, voice, saxophone, whatever. I mean, this cat does it all. When asked to describe the album in one sentence, Jeff said “some good songs and a lot of tape hiss.” But really, it’s so much more.
Originally released by Green Monkey Records in 1995, Ash Wednesday Rain is a long-overlooked classic that fortunately is being given another chance to shine. Green Monkey Records has made Ash Wednesday Rain the album of the month, so you can pop over there and pick it up for a mere 8 bucks. Too good to pass up.
Just don't ask Jeff to go back to school.
--Racer
Read an interview with Jeff and buy the album here: Green Monkey Records
No Jeff Kelly videos to share, so here's a Green Pajamas classic to give you a taste of Jeff's music
A Sunday Conversation with the Jet Black Berries
All the band members gathered outside the glorious rehearsal studio (actually our guitar player’s dungeon-like cellar) to share a few pops and answer the questions. It’s a beautiful mid-August night in upstate NY.
Band members:
Chris Yockel – lead guitars, sitars, psychedelic embellishments - Original member
Gary Trainer – bass guitar – Original Member
Mark Schwartz – organ, mellotron, piano – Original Member
Roy Stein – drums, backing vocals, recording engineer – Original Member
Johnny Cummings – lead vocals, piano, guitar, assorted keys – New Kid in Town
Great to have you guys back. In the day, you were such a cool part of Enigma scene, one of the great lost record labels of the '80's. Stretch your minds, if you will, and tell us bit about those heady days?
Gary: It was cool to be on the same label as 45 Grave, Devo, Green on Red, Red Hot Chilly Peppers, Smithereens, TSOL. It was a great scene to be a part of.
Roy: What about Poison and Ratt…..as I remember they paid the bills we ran up.
Chris: I don’t know about heady….I remember long road trips and a crowded van.
Roy: Actually the era had a great vibe to it and Enigma was a really supportive label.
Any particular shows you recall from the halcyon days? Any crazy bands you play with?
Anonymous band member: Well that Cherry Hill New Jersey show, gigging with the Psychedelic Furs, getting off the stage and going back into the dressing room to find literally hundreds upon hundreds of lines of some sort of powdery white substance made freely available to all band members…all of us of course passed the offer up…not sure what the Furs did…stuff wasn’t even on the rider.
Gary: Playing with Willy Loco Alexander at the Rat in Boston, We backed him for the show and he tore the stage up.
Roy: Ya….”Hit her with the Axe”, he was freak’in awesome. Also playing with the Pretenders. Two members of that band were so wasted they could barely stand. There was smoke coming out of Chrissie Hynde’s ears. I’ll thought she was gonna kill them both right on stage.
Your sound was always a wild combination of psychedelic, rock, and more. Go with that. How did your sound come about?
Gary: it’s a blend of Chris’ San Francisco style guitar.
Roy: and Gary’s New York Velvet Underground influence.
Mark: and the band’s interest in psychotronic films and avant-garde literature ala William Burroughs and Jean Genet.
What was the peak of your early career? And the low, what was the low?
Gary: Peak was "Love Under Will" getting placed on Return Of The Living Dead Soundtrack.
Roy: Low was playing a show in Milwaukie for a whole 6 people…who if I remember right were watching bowling on TV…..women’s.
Chris: High and low was sharing a hotel room with 7 guys when you bring a hot girl back to the hotel
How, why did the band come to an original end?
Gary: Our lead singer left the band to take a job in the music industry and it just seemed like the right time to take a break…..
Roy: for 22 years.
What had you all been doing in the ensuing years? Music?
Gary: 3 of us formed the Atomic Swindlers, a female fronted Bowie-esque sounding original band. See: www.myspace.com/theatomicswindlers
Mark: played with a bunch of junkies.
Johnny: (finally speaks now that we are moving into the 90’s and beyond.) - being born and getting potty trained.
So now, however many years later, your back. What led to your reformation?
Gary: We were asked to do a reunion show in a great venue for a decent amount of cash.
Roy: And we went into the recording studio to record a one off single to help promote the show. Gary and I were behind the studio glass when Johnny started singing… he sang the first line to" Garden of Delight", “Jet black berries I do ingest, the body’s transparent soul comes to my bed” and Gary turned to me and said “holy fuck…” He sang great right out of the box and the reunion show was a rip…..everything was so easy we decided to keep it together and see where it lead.
Let's talk about the song-writing process for you. What comes first, the idea? A riff? The lyrics? How does it all fall into place?
Gary: It can happen in a variety of different ways. Sometimes the hook comes first, sometimes an instrumental riff, sometimes words or a phrase.
Roy: Ya…anything can come first, the song" God With A Gu"n was based on a story in the news last summer about some …um….pastor in Kentucky who regularly has sermons about how “God and Guns belong together”…and he asks his parishioners to bring their fire arms to church….I think he was trying to answer that eternal question, “what would Jesus pack”?
What're your intentions these days? What are you trying to express or get your audience to feel?
Gary: World domination
Chris: We want to take our audience on a psychedelic journey.
Roy: We want the audience to feel like evil mushrooms on parade
Gary: I want the record to be an epiphany for anyone hearing it
Johnny: Any musical endeavor is an attempt to recreate for others the magical feeling you felt when some piece of music really inspired you
Roy: Jesus Johnny….you’ve got more way brain cells left that the rest of us.
When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, and Simon and Garfunkel, the first time I ever heard Kiss's "Detroit Rock City," it was a moment of musical epiphany. It was just so vicious, aggressive and mean. It changed the way I listened to music. I've had a few minor epiphanies’ since then, when you come across a band that just brings something new and revolutionary to your ears.
What have been your musical epiphany moments?
Chris: Hearing when the tone arm hits the groove on the first Quicksilver record
Gary : Hendrix - Are You Experienced, Ziggy Stardust.
Mark: Television
Johnny: Discovering the Beatles music for the first time
Roy: Early Procol Harum records. Live it was an eighties Cramps show. They were in a small club in Rochester, NY and the people in front had pulled Lux’s pants off. He was totally naked swallowing his microphone with his johnson waving at the audience, the drummer was pounding out a brutal tribal beat and Ivy was killing on guitar…the whole club was pulsating…to top it off Lux started pulling down the ceiling tiles above the stage, club owner tackled him…the band just kept up the attack…total mayhem….unforgettable rock and roll at it’s best……………
Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?
Gary: Besides the cold sores?
Roy: Lucky for us we couldn’t afford props and such and we never played concert halls big enough to get lost in….and none of us would dare bring our girlfriends or boyfriends on the road, god knows with who and where they’d end up…and Enigma didn’t give a damn as to what our album covers looked like….in retrospect we had it pretty good.
Johnny: I’m very proud of the record in general. I think it’s an authentic and honest album and I think it will really give the listener a ride
Chris: We got lucky on some things this time around
Roy: We made the record that we wanted to make…I was the engineer and mixer on this and I don’t want to sound corny but I was really proud of my mates…they just kept laying down good shit….bam-bam-bam, we never hit a wall. Easiest most fun music I’ve ever made in my life.
Older now . . . wiser?
Roy: Yes
Johnny: I’m older now than I used to be
Roy: Jesus, you weren’t even born when the first two Jet Black Berries records came out!!
The band has just left to fill up on more cheap Imported Royal Ultra Dark Rum, courtesy of Chris Yockel…the band’s medicinal go to guy for all these years.
Who today, writes great songs? Who just kicks your ass? Why?
Seriously….the band says nothing for two minutes while they sip on their various beverages. It’s a contemplative and respectful silence…Finally the general consensus is:
We’ve been in a cave for the past two years so we don’t really know what’s “hip”
Roy: Cormac McCarthy kicks my ass….does that count??
Vinyl, CD, or digital? What's your format of choice?
Chris: Vinyl
Mark: Vinyl
Gary: I’m a format whore
Johnny: What’s vinyl?
Roy: Hey, I say whatever floats your boat but I love the ease of digital.
Band argues and comes close to blows
Whiskey or beer? And defend your choice
Chris: It all works
Roy: Valium and Rum
Johnny: what’s vinyl???
We, at the Ripple Effect, are constantly looking for new music. When we come to your town, what's the best record store to lose ourselves in?
Record Archive is the place to go, The Bop Shop, and The House of Guitars for the total musician’s experience
Any final comments or thoughts you'd like to share with our readers, the waveriders?
Johnny: Chuck Norris once kicked a 50 yard field goal while having sex
All the guys: We’d like to share Postmodern Ghosts…and our thanks to the folks at the Ripple Effect for digging us out of the crypt and giving us the opportunity to say hello and be heard again…..it’s been a while, it’s good to be back.
www.myspace.com/jetblackberries
Single, "God with a Gun" hits radio next week. Full length CD October 12th!!!
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