Conor Oberst- S/T

Prodigy.

That’s a hard word for many individuals to swallow and live up to, especially in the music industry. Recently I was hanging out with some writers and musicians when the topic of music came up in our conversation. During this time, we argued back and forth over our favorite music of the year for several hours. It was intense, but very entertaining to say the least. Luckily one good topic came up- Conor Oberst’s music.

For those not familiar with Conor Oberst, you are truly missing out. Over the past 15 years, Oberst has formed Bright Eyes, worked on side projects like the supergroup Monsters of Folk and has been a solo artist. Being compared to an icon and living legend like Bob Dylan is a hard thing to endure over one’s musical career, but somehow he has always embraced the moniker.

Connor Oberst is my generation’s “Dylan” and continues to make magnificent music. In February, Bright Eyes will be releasing their new album, “The People’s Key” and I decided to revisit one of my favorite solo albums of the past five years. I first started listening to Bright Eyes at the behest of one of my best friends. I was immediately intrigued by the lead singer and lyrics. From that moment on I have been an admirer of Conor Oberst’s work. Whether it’s Bright Eyes, solo projects, The Mystic Valley Band, Monsters of Folk, or guest collaborations, Conor Oberst has remained at the top of his game.

Recently I started listening to Oberst’s self-titled “debut” album, which came out after over a decade in the music business. It’s always interesting when a well-established artist releases an eponymous album because it usually leaves a bitter taste for certain fans. To be perfectly honest, it really doesn’t matter as long as the content is good. I have not been disappointed once by Oberst. Prior to its release, Conor  was named the top “Songwriter of 2008” by Rolling Stone. The album was produced and recorded in Tepoztlán, Mexico, with his new band dubbed the Mystic Valley Band. This soulful songwriter solidified his career with a very grownup album.

The album opens up with the infectious “Cape Canaveral” that is a throwback to late 1960s folk music. The gentle acoustic guitar strumming accompanied by Oberst’s sweet, soft voice catapults this song into tranquility. From the moment the song starts “Oh oh oh brother totem pole/ I saw your legends lined up/ And I never felt more natural/ A Part/ I just came apart,” Oberst has you hooked.

Camping never sounded so good with “Sausalito” and we finally hear the Mystic Valley Band in the background.  "Get-Well-Cards" feels and sounds like a Dylan song from the Blonde On Blonde-era. With perfect pacing and pitch, the melody pulls you in while the lyrics keep you entertained for 3 ½ minutes. Easily, one of the best songs on the album. The beautiful, bold political “Lenders in the Temple” has a nice subtle edge that is comforting in a disturbing way. I loved all the references to The Bible, Joan of Arc, Julius Caesar, and the government within the song. A well-composed song from an exceptional entertainer.

Although “Danny Callahan” is a good song, it seems out of place. Maybe it’s because it feels like a Neil Young song circa early 1970s or the fact it could be a bar band song instead of a Bob Dylan or Bruce Springsteen-like song. Still, it’s enjoyable. Luckily, it’s followed up by “I Don’t Want to Die (In the Hospital).” The song is a rockabilly/country rock song that feels like the lovechild of Johnny Cash, Jerry Lee Lewis, and Hank Williams. You can’t help, but sing along with this bluesy badass rockabilly song. It’s cheesy at times, yet infectious and irresistible.

As the album progresses, “Eagle On A Pole” illustrates Oberst’s maturity and shows he has grownup. If this is an inkling of what is to come I can hardly wait. Oberst gets better with age and seems destined for bigger, brighter things. My favorite song is “NYC- Gone, Gone,” which is a foot stomping, blood pumping beat that lasts over a minute. Filled with electric guitars and diligent drums, Oberst embraces his “On the Road” persona that makes you want to chant this song all day long.

Oberst is the combination of classic country rock, rockabilly, folk and great rock music. This is obvious in the Tom Petty-esque “Moab,” which is a wonderful and memorable song. “Moab” is arguably the best song on the entire album. Critics of Oberst will argue that he is trying too hard to be Dylan, Springsteen and other influential artists, but I wholeheartedly disagree. He is merely showing his influences and expressing his heart. Sure there are also echoes of Tom Waits and Paul Simon as well, but listeners will observe Oberst is more focused.

Skip the 49 second “Valle Místico (Ruben’s Song)" and instead listen to “Souled Out!!!” “Souled Out!!!” is a beautiful ballad fused with power pop and folk. The album closes with “Milk Thistle,” a good bookend to finish the album. Although an acoustic song about the grim realities of dying, “Milk Thistle” fits flawlessly with the overall theme of exploring our emotions. Yearning for more morbid music is absurd, but if it’s this provocative and poignant, please sign me up. Conor Oberst is an amazing artist worth discovering if you appreciate good music.

--Mr Brownstone

Buy here: Conor Oberst
Buy here Mp3: Conor Oberst

Holy Terror - Mind Wars

Since I've listed this as one of my top five albums of all time, I felt I should explain.

Tiny review: melodic/ fast/literate/ angry.

Bigger: Iron Maiden if they grew up in southern california in the 80s, rather than Birmingham in the late 60s. Southern California speed metal (à la Dark Angel) with a great ear for melody and the right singer (Keith Deen)-- an actual singer who can become a raspy screamer where needed.

Track 1, "Judas Reward," is essentially a microcosm of what you can expect from Mind Wars (originally released in 1988), Holy Terror's second and final album: it starts with a slow chuggy, vaguely-British metal intro, but by 0:45 tremolo-picked riffs kick in and the song is off at around 200 bpm, complete with poetically strange lyrics, that, album-wide, seem to detail a loose concept about a defrocked priest. (That's always been my interpretation, though I've no real evidence for that.) Then, once you're about to tire of the speed (at 2:00), it slows down into a memorably melodic lyric which then becomes a Judas Priest-y guitar solo, and THEN, speeds up again (2:45) with a solo Dark Angel would be proud of.

The end of track 2, "Debt of Pain," is another great exemplary piece: a riff that sounds like Paganini sped up; complex riffery (shut up, that's a word) played furiously fast-- or just furiously.

In short, what all intelligent metal is. Intricate and emotionally layered, though still badass and scary.

Track 3, "The Immoral Wasteland," track 5, "Damned by Judges," and the final track "Christian Resistance," are, no shit, on my top 10 songs of all time. Nostalgia does play a part in this selection, though not nearly as much as you might think. (Though I did name my cat Kilfelt, after the guitarist/ mastermind Kurt Kilfelt. We called her Kilfy. She was solid gray. Wicked cute.)

Dig these "poetically strange" lyrics from "The Immoral Wasteland":

Empathic prophet speaks
Divining reach, the hand of fate
Providence of true belief
The raven cries, it's callous caw
For kismet iniquity
Knighted brothers, Sextons to the church
Patriarchs against the ebb of eternal night

You may not have the life-changing experience with Mind Wars that I did/ do, but it's worth 40 minutes (down to the last second, with bassist Floyd Flanary sliding down his fretboard) of your time.

--Horn

Buy here: Mind Wars
Buy here mp3: Terror And Submission-Mind Wars

Ripple Library - Raisin' Cain - The Wild and Raucous Story of Johnny Winter by Mary Lou Sullivan

In my previous book report on Cheetah Chrome’s autobiography I mentioned it’s amazing that he’s still alive to tell his story. Well, that goes double for Johnny Winter. Cheetah is an insane rock & roll wildman but I bet he could’ve picked up a few useful pointers from Johnny on partying, guitar playing and day to day mayhem.

Johnny Winter was born in 1944 and caught the rock & roll bug when the music was still in its infancy. By the age of 15 he was leading his own bands in Beaumont, TX and became an eager student and apprentice of the blues. Armed with fiendish talent and a huge set of balls, he got to sit in with B.B. King and managed not to embarrass himself. After spending years on the road and cutting singles for shady local record he got a big break and was signed to Columbia Records. Playing Woodstock in 1969 helped catapult Johnny into superstardom.

Author Mary Lou Sullivan met Johnny Winter in 1984 and was fascinated by the crazy life he’d led and decided to write his autobiography, against the wishes of Johnny’s manager at the time. Eventually she spent a years worth of Saturday nights interviewing Johnny at his home and on the phone. Once she got his version of the story, she started talking to dozens of people in his life including his mother, brother Edgar and his wife. Key collaborators like Rick Derringer, Tommy Shannon and Uncle John Turner told their tales alongside numerous other friends, record producers and industry people. You get a well rounded view of the man’s life. Johnny is brutally honest and never tries to make himself the hero when he wasn’t. And when his memory differs from others, both sides are presented.

The tales from the glory years of the 1960’s and 70’s are just as wild as you would expect. There’s plenty of sex (Johnny loved to get naked and show everyone his white pubic hair if anyone doubted he was truly albino), drugs (you won’t believe the amount he’s done) and, of course, rock and roll. Working with his hero Muddy Waters led to some of the greatest music both men ever produced and Johnny loves talking about the albums they made together. If you’re a blues fan, these chapters will make you very happy.

Towards the end of the 1980’s Johnny began to have some management issues that caused huge problems for him that lasted many years. The portrait painted of ex-manager Teddy Slatus is not a pretty one and a great lesson out there for anyone who wants to know what really happens in the entertainment business. His actions negatively impacted Johnny’s mental and physical health, finances and, ultimately, his music. Johnny’s affairs are now handled the right way and word has it his playing is regaining its fiery brilliance.

Raisin’ Cain is one of the better rock biographies I’ve read (and I’ve read A LOT of them). The research, dedication and excellent writing make this a must for anyone with a pair of eyes that has a good pair of ears.

--Woody

Buy an autographed copy from the author
http://www.johnnywinterbook.com/paypal_orders


Buy from Amazon: Raisin' Cain: The Wild and Raucous Story of Johnny Winter (Book)

Comeback Kid - Symptoms And Cures

It was a lovely, tranquil day.  The sun was shining, the temperature was balmy, and there were only a few puffy clouds disrupting the clear blue sky.  Not bad.  Not bad at all.  Shortly after noontime, I set out to make myself lunch.  Just after I put the finishing touches on a delightful sandwich the phone started to ring.  I checked the caller ID and recognized the name of a friend on the LCD, so I picked up the handset.

“Hey there stranger.  What’s going on?”
“Penfold, dude!  You’ve got to help me man!”
“Whoa, whoa, whoa.  Slow down.  What’s happened?”
“I don’t know man, I don’t know!  But something is seriously wrong!”
“Okay, are you in any danger right now?”
“No, I don’t think so.”
“All right.  Take a deep breath, relax a little bit, and tell me what happened.  I’ll help you any way that I can.”
“Thanks Penfold.  You’re a true friend man.  Well…everything was normal when I woke up this morning.  Nothing was out of the ordinary.  But then I listened to this album and my world turned upside down.”
“Uh, huh.  I see.  Music can certainly have that effect.  Believe me, I know.  So what album was it that created such turmoil?”
“That is the strangest aspect of this whole thing!  You remember that music label Victory Records?”
“Yeah, I’ve never really had any use for that label.  In fact, not to badmouth them or anything, but I can’t remember a band or artist signed to that label that I’ve cared for at all.  Not one.”
“Exactly dude, exactly!  None of the music released by that label has ever excited my interest either.  It’s not terrible music, just not what I’m looking to listen to during my free time you know?”
“We agree there.  So what does this have to do with your situation?”
“Everything man!  I put on the latest album from Comeback Kid, a group signed to Victory Records, and the world went nuts!”

“Okay.  What do you mean the world went nuts?”
“Don’t laugh Penfold.  I know you too well.  You’ll think I’m kidding, but I’m totally serious!”
“I promise, I won’t laugh.  Now give me some examples of the world unhinged.”
“All right, all right.  You remember that I live on a farm right?”
“Of course.  How could I forget?  I visited you there just a couple of months ago.”
“Oh yeah, I forgot.  Well anyway, when I played this music, I felt a shift in reality.  Kind of like an earthquake or something.  I walked into the kitchen and my dogs were sitting at the kitchen table smoking cigars and playing poker!  I know you’ve seen that painting.  That was near identical to the scene in front of me.”
“Now hold on a…”
“And that was not the strangest part.  I backed out of the kitchen into my living room, and looked out the window towards the barnyard.  My pigs had sprouted wings and were flying around their pigpen.  Flying dude, flying!  And to top that off the doors on my barn were swinging open.  I knew I had locked them the previous night, so I ran out to see if something unwanted was inside the barn.  When I entered the barn I found a stairway leading straight down that was lit by torches.  I don’t have a basement in my barn man!  I can’t explain why, but I decided to descend the stairs.  In no time, I came to a door.  When I opened the door, I saw Hell!”

“You saw Hell?”
“Yep.”

“Was it hot?”
“Oh, it was hot alright.  It was a hot mess!  Everything was frozen over!”

“Are you sure you took your medication this morning?”
“Penfold, you know that I don’t take any meds man.  You know that!”
“You’re right, man.  I’m sorry.  I just…”
“Forget it man.  You won’t understand until you hear these songs.”
“Okay, okay.  I’ll listen to the album.”
“You do that man.  Do that, and call me back!”

That was how I found myself seeking out a copy of Comeback Kid’s Symptoms And Cures.  It was easy enough to find, and I quickly loaded it into my media player and hit play.  Talk about a surprise!  What I said before to my friend was true.  I’ve never cared for music from Victory Records, so I was caught completely flat footed when this band began their musical onslaught.  And make no mistake, it is an onslaught!

Comeback Kid plays a fiery brand of hardcore / punk music.  But is it melodic hardcore?  Is it straight hardcore?  How punk is it?  Who cares!?  These songs are musical wrecking balls, and that is all that really matters.  Right out of the gate the full fury of this band is unleashed.  I knew almost instantly that I needed to throw my preconceived notions right out the window where they could plummet several stories to their timely demise.  The album opens with the one-two punch of “Do Yourself a Favor” and “Crooked Floors”.  Both of these songs begin with high tempo passages designed to give the listener the lay of the land.  To be honest, I was expecting this aspect.  What I did not expect however was for the band to transition, slow things down a bit, and let the two guitarists drop Hammer of Thor riffs that come out of nowhere.  Before I knew it, my head was banging forward and back violently, and I was powerless to stop it.  Seriously; those righteous, meaty guitar tones; give me a break!

The album progressed and more and more highlights emerged.  “Because of All the Things You Say”, “Balance”, and “Magnet Pull” each deliver a bit more melodicism while maintaining their sharp, diamond-cut edge.  In fact, I would have to say that “Balance” might just be my favorite track off the album.  That was a tough call with all the other strong tracks on offer.  There is just something about the vocal variety, uplifting (at least to me) guitar lines, solid rhythm section work, and numerous tempo changes that takes top honors from this listener.  Another standout is “Manifest”.  Unlike some of the other noted songs, this one unflinchingly begins at warp speed and never lets its foot slide off the accelerator.  In a word, brutal!  It was time to give my friend a call back.

“Hey Penfold, did you listen to the album?”
“Yeah I did!  You were absolutely right.  This album is terrific!”
“Crazy right?”
“You know it!  I never would have expected this from Victory Records.  I suppose this is a lesson, teaching me once again to never rely on my assumptions.  They almost always end up wrong.”
“Boy howdy, I know what you mean.  So…have you noticed anything strange?”
“Well, nothing like what you told me about.  I mean I don’t live on a farm, so there are no flying pigs, and I don’t own any dogs so there are none around my kitchen table playing cards.  Looking around I don’t notice…”

“Penfold?  You there man?”

“Penfo…”
“Yeah man, I’m here.  Listen, I’ve got to go.  Something has happened.”
“What man?  What happened!?”
“Can’t talk now.  I’ll call you later.”

--Penfold


Buy here: Symptoms + Cures 
Buy here Mp3: Symptoms + Cures [+Digital Booklet]

Tom Principato - A Part Of Me

“Gods” I told them.  It was 1976 and we were debating great guitarists.  It was a lazy Saturday night.  Here we were in the first semester of college,  all of us nearly penniless and all a long way from home.

The sixth floor residents were thrown together by College Housing because we all had some form of musical talent.  My Rush-crazy roommate played electric bass through a full stack.  He also played tuba in the university’s marching band. He practiced both in our 12 foot by 18 foot room.  Across the hall were two guys that played every known Allman Brothers song like Dwayne Allman and Dicky Betts, note for note, at ear-splitting volumes.  There were also a few piano players on the floor until the baby grand got tossed out a balcony window - but that’s another story.

The top level guitarists would be considered “Gods” I indicated.  Thus, we had to decide whether a certain guitarist was a God or could become a God.  Jimi Hendrix, Eric Clapton, Jeff Beck, Jimmy Page, Dwayne Allman, Carlos Santana, Django Reinhardt, Andres Segovia, Carlos Montoya, Chet Atkins, John McLaughlin, Paco de Lucia and Joe Pass  were all designated “Gods” without objection.  Then the game got interesting.  The debate centered on whether Alex Lifeson, Al Dimeola, Brian May, Roy Clark, Billy Gibbons, Earl Klugh and George Benson were or could become “Gods.”  It was 1976 and, as silly as this might sound today, very few of us had great music experience outside of mainstream FM radio.  We had never even heard of Stevie Ray Vaughan, Gary Moore, Larry Carlton or Tom Principato.

I bet I know what you’re thinking.You just read that last sentence and thought to yourself who in the H E double hockey sticks in Tom Principato?  If you don’t know who Tom Principato is I suspect you will after his eight track album A Part Of Me is released on January 11, 2011. Principato has been around since my days in the university dorms.  Based in Washington D.C. he has confined much of his considerable talent to the East Coast. He plays well with others - ike blues legends Big Mama Thornton, Sunnyland Slim and James Montgomery. In 1984 he started a solo career and he has released 16 albums and 2 DVD’s.  He is also the author of music publisher Hal Leornard’s  book "Open-String Guitar Chords."

You may think,  “okay, he may be good but good guitarists are a dime a dozen. Sixteen albums and 2 DVD’s and I still haven’t heard of him.  Must not be that special.” 

While you might be able to make that argument with regard to some of his other work, A Part Of Me is “that special.”  On it Principato wrote all of the music.  Then he went out and added a few amazing guest performers - Sonny Landreth (the legendary blues guitarist), Chuck Leavell (keyboardist for Eric Clapton and the Rolling Stones), Brian Auger (the legendary Hammond organ master), Wayne Jackson (Memphis Horns’ sideman to Otis Redding, Albert King and  Al Green),  Jim Brock (percussionist and drummer for Joe Walsh and Joe Cocker) and Willie Weeks (Eric Clapton’s bass player). Principato also recorded with  his personal band- Steve Wolf and Jay Turner on bass, Joe Wells on drums and Josh Howell on congas and percussion.  

The album commences with a very Allman Brothers-like song, “Don’t Wanna Do It” that contains a hot Sonny Landreth slide solo and a wonderful, but controlled, Principato counterpoint.  Principato’s voice gives the song just the right amount of southern drawl. “Sweet Angel” is a smooth blues with a great little Chuck Leavell Hammond organ lead. “Part Of Me” follows -  a slow ballad with a nice blues rhythm, Hammond organ, and a wonderful horn section that consists of trumpet, sax and trombone.  However, it is Principato’s soulful lead guitar solo that really shines. “Down The Road” is a syncopated country jazz instrumental that shows off Principato’s crossover chops. Brian Auger’s keyboards also get a workout. “Down In Lou’siana” is a hot, dirty, creole jambalaya mix of a party song.  Principato plays a wonderful electric guitar throughout the stompin’ with fantastic lead interludes and Leavell’s Hammond work makes the entire effort a veritable Mardi Gras.  “Back Again & Gone” is a fingerstyle guitar jazz instrumental where Principato shows off another aspect of his guitar virtuosity.  It is as close to a George Benson/Larry Carlton type vibe as Principato gets. “Stranger’s Eyes” is a smooth blues with the feel of a Steely Dan/Doobie Brothers/Dave Mason/Van Morrison mixtape.  Sort of “Moondance” meets “Spooky.”  “Stranger’s Eyes Pt. 2” instrumentally reprises “Stranger’s Eyes” with a much nastier distorted lead guitar.  Bottom line - this is great stuff.

So here I am some 35 years since that Saturday dormitory conversation.  Looking back I have come to one ultimate truth that arose from our attempt to categorize guitarists. We all must find our own guitar “Gods.”  This week Tom Principato is mine.

- Old School

Buy here: Part of Me

Ape Machine – This House has Been Condemned

“Mister Peabody, the controls have been set on the Way-back machine.”

“Excellent, Sherman.  What year have you set the date for?”

“1971, sir.  That’s when rock and roll really exploded into something heavy. Proto-metal came about with bands like Sabbath, Toad, Bang, Alice Cooper, and Blues Creation.”

“Perfect, Sherman.  Then make haste.  Rush us back to the days of the dawning of the heavy!”

A button is pushed.  The Way-back machine’s lights flash, sirens wail.

But something unexpected happens.

Rather than sending our intrepid rock adventurers back to 1971, the machine’s controls have been manipulated.  In a massive time-meld of Einstein-ian proportions, dimensions fuse, time warps, decades overlap, and without warning, the year 1971 is brought forward to the present, falling in perfect synchronicity with 2011.  40 years flashes without missing a beat.

And the music they’re listening to is Ape Machine.

It isn’t often that an album will make my top 10 list for the year when I haven’t even reviewed it.  But This House Has Been Condemned has.   And for good reason.  This album is a monster of retro-fueled, bell-bottomed, Zep-rock.

In truth, I blame Ape Machine for the massive delay in this review coming.  If they hadn’t recorded an album of such depth and warmth, performed it with such musicianship, crafted it with such Gods-of-rock perfection and a hefty set of Jimmy Page-sized balls, I’d a written this review a long time go.

But they did, and it took me this long to wrap my head around this organic blitzkrieg of modern proto-metal.   It took this long for each layer to unwrap within my skull, each riff to take root in my inner ear, each nuance to be fully digested.

Simply put, This House Has Been Condemned is one helluva album and Ape Machine is one helluva band.

Coming from Portland, this 5 piece takes all the right tones from that glorious year of early rock, infuse it with a modern sensibility, churn it up in an electric blender hooked up to an analogue tape machine, put it on frappe, and pour out one tasty, frothy concoction of legendary-inspired rock.  Quite a few bands delve into these fertile fields, but only a few can pull it off with such ease.  Most get caught up in posturing and watered down riffs stolen from dad's record collection, like The Answer.  Not Ape Machine.  These guys live it, they breathe it, they are it.

I haven’t been this caught up in an album since the reissue of Siena Root’s debut and that's a good launching point for thinking about these guys.  Think of Ape Machine as a Siena Root without the deepness of the Purple influence, or a heavier, less-stoned Dead Man, or a just-as-heavy-but-less-progressive Kamchatka.   If any of these bands ring your bell, then you gotta check Ape Machine out.  Think of them as a rock and roll band with a finger on the pulse of the 70’s and their asses firmly in the present.  Real heavy-psych for the iPhone generation.  True guts and glory rock and roll.

“Under Your Skin,” kicks the affair off with a charging proto-metal riff of such epic proportions it must've been handed down by Sir Lord Baltimore from the top of the Mountain and handed directly to Lucifer's Friend. After a rocket-fire drum attack, the riff is propelled on the backbone of Brian True’s bass.  Ian Watts and Jimi Miller explode in flourishes of incendiary electric guitar while Monte Fuller holds the anchor that keeps this song from floating off in a THC-induced haze.   Then comes Caleb Heinze, who brings a Robert Plant swagger to the proceedings, in spirit and confidence, if not in the wail.  Caleb has a voice that sounds like it came directly from the early ‘70’s from the tone to the phrasing.   He's not trying to sing like the singers from the 70's, he is from the '70's, a beneficiary of our Way-back Machine mishap.  As with the rest of the guys, there’s no pretending here, this is real.

As the song whips through its motoring riffs, bluesy inflections, and shooting leads, the band demonstrates one of their most remarkable traits.  Rather than let the adrenaline let the song burnout in a frenzy of hypercharged playing, the guys know nuance.  Suddenly, they let it all drop away.  A “Whole Lotta Love”-styled feedback-and-vocal drenched interlude gives way to a jazzy passage of tom drums, percolating bass, and fusion-minded guitars.   Not a lot of bands would give a song so ferocious as “Under Your Skin” this much space to breathe, but Ape Machine pull it off effortlessly, dropping right back into the main riff with a minute left to go.  The whole thing just evolves so organically, so naturally, with such a feeling of live spontaneity and free form (yet structured) jamming.  Everything you need to know about the band is right there.

I’ve seen the band called stoner rock, but I couldn’t disagree more.  They don’t have any of the redundant pounding of most stoner bands or a big wall of fuzz and feedback. Ape Machine are the return of true festival-worthy, '70's arena rock. 

“Monte Malady,” is even more of a beast, riding out on a riff pinched from any number of 1971’s proto-metal, blues-ified purveyors.   Heinze and the the band as a whole really let their early Zep influence show here, and I mean that in a tone, bluesy, and ballsy sort of way, not a glammed up, dumbed-down “Coverdale/Whitesnake/Tawny Kitaen/Here I Go Again” kinda way.  Check out out Heinze’s Plant-esque vocal phrasing during the song’s ending a Capella parts.  Right before the mean guitars tear on in and rip the ending to pieces.  These guys leave eat and breathe the spirit of early ‘70’s rock.   There’s just nothing forced, trendy, or retro about them. 

The rest of the album is just as strong, but I'll leave that for your exploration.

It’s always tempting to try and pick out a group’s influences, but it’s really not necessary here. This House Has Been Condemned bleeds droplets of ‘70’s blood which I’m sure hints towards the depth of these cats’ record collections.  The end result is a monolith of heavy, blues-infested jam rock that feels timeless in its execution.   An infinitely listenable album.

"Mr.Peabody, it looks like our experiment didn't turn out as we'd planned."

"That's right, Sherman.  It's even better.  Rock isn't dead.  Even in this day and age of over-produced, iTune-downloaded, fill-the-masses with quantity not quality- musical pap, the spirit of those heady days of real rock and roll still lives."

--Racer

buy here: This House Has Been Condemned

My Own Private Alaska - Ripple Radio Interview and Free CD Giveaway

We have a special give-away scheduled on The Ripple Effect Radio Show on Wednesday, January 12^th at 8:00pm (PST). As the first show of the 2011, we wanted to try something new, so we’ve invited Yohan Hennequin, the drummer from French avant-garde art rockers My Own Private Alaska to join us and give us the latest and greatest on the band. We aim to find out what these guys have been up to since the release of Amen, find out if they're gonna' make it back to the U.S. anytime soon, and find out what makes these tortured souls so gloriously tortured!

On top of that, we have five copies of the bands critically-acclaimed album, Amen, that will be given away (Hey! We’re covering the shipping coz’ we love you that much!)

Details for the give-away will be given on the air . . . it’s really simple. Tune in by following the attached link, listen carefully to the instructions given on the air, and if you’re fleet of finger, you get a free CD! 

http://www.blogtalkradio.com/the-ripple-effect/2011/01/13/the-ripple-effect-1

A Sunday Conversation with Astrovan

Joining us today on the red leather interview couch,  Deezer, lead singer of Astrovan, filling us in on all things heavy and Astrovan!


When I was a kid, my house was filled with the sounds of Cat Stevens, Neil Diamond, and Simon and Garfunkel.  The first time I ever heard Kiss' "Detroit Rock City," 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 similar experiences since then, coming across bands that bring something new and revolutionary to my ears.

What have been your musical epiphany moments?

 For me, I would have to say Pearl Jam, and their album Ten. Once I heard it, I was hooked. I remember listening to that album every day for almost a year. It sounds a bit cliche, being from Seattle, but to me, that band was a real eye opener musically.  


Talk to us about the song-writing process for you. What comes first, the idea? A riff? The lyrics? How does it all fall into place?

It really depends on my mood. Sometimes I'll sit down and write a song having nothing but words. Sometimes I'll have a melody, or hook stuck in my head, and I'll give it to the guys to run with.  Most of the time, they inspire me. Some of the easiest and best songs we've written have come out of just jamming.  The vibe strikes everyone at the same time, and a riff gets going, then all hell breaks loose...then a song emerges. It's a beautiful thing.


Who has influenced you the most?

I try not to corner myself into letting just one person or band influence me more than another. However, I am a huge Jim Morrison fan. That man was an animal. His passionate, care-free, offensive, song writing and performing were insane. In my mind, he is right at the top. But, there are many others as well. Anyone who has a "fuck it" attitude with the chops to back it up is a definite influence.

Where do you look for continuing inspiration? New ideas, new motivation?

 Life itself. Not the touchy feely parts, but the stuff that pisses me off. Whether it's something stupid that someone says or does. It Could even be about my personal experiences in the past or present. Ideas and motivation are all around. I try to be open-minded enough to see it.  


Genre's are so misleading and such a way to pigeonhole bands. Without resorting
to labels, how would you describe your music?

Mean. Down right mean. Too much music right now lacks attitude. We are trying to put loud, dirty, gritty, balls to the wall, rock n' roll back on the map. Let's stop talking about puppies, and love songs, and start kickin' some ass again! We think it is way overdue.

What is you musical intention? What are you trying to express or get your
audience to feel?

First, have fun. We write, play, and perform to have fun. It's a release from normalcy. When we are having fun, everyone seems to have fun with us. That's the way it should be. When we are hitting hard, people feel it, and they start to let go. They let the stress of everyday life move to the back burner, and just have a good time.

Come on, share with us a couple of your great, Spinal Tap, rock and roll
moments?

There is that time that our guitarist got us thrown out of our own cd release party, but that's a long story for my book.


What makes a great song?

Longevity. A song that you've heard years ago that still gives you the same feeling the first time you've heard it. 


Tell us about the first song you ever wrote?

Wow, I can't even think back to when that was. I started writing songs back in elementary school. I would have to try to dig around and find one from back then. I'll have to get back to you on that one.



 
What piece of your music are particularly proud of?

Actually, it was very recent that this song was written. Most of the time, the band gives me a rough outline of a song, and I write to that. On this particular song called "14 Days, 14 Nights," the roles were reversed. I had an idea, and brought it to them. They came up with a killer riff that took it to a whole new level! I'm pretty proud of that track.


Who today, writes great songs? Who just kicks your ass? Why?

That's really tough. There really aren't any bands that have recently come out that I am into. I've been on a huge Guns n' Roses kick as of late. The older stuff really gets my blood pumping. Anything from Zep, Sabbath, G & R, Van Halen, and others like that. I'm always checking out new stuff, but recently it hasn't hit me in that "kick my ass" sort of way. It's kind of pathetic now that I think about it.


Vinyl, CD, or digital? What's your format of choice?

 I wish I had more vinyl. There is nothing better sounding than vinyl! It's warm, nostalgic, and it just screams rock n' roll! But, I have a lot of digital. Its just too easy to buy, and listen to.


Whiskey or beer?  And defend your choice

 My choice is BOTH! My favorite round of choice is a Bud Light with a shot of Jameson. I will not choose, because I always drink them together. That isn't to say that I'd turn down one without the other!


We, at the Ripple Effect, are constantly looking for new music. What's your home town, and when we get there, what's the best record store to lose ourselves in?

 My hometown is Seattle, WA. The best record store to get lost in would definitely have to be  Sonic Boom Records. Awesome store to check out if you're ever in Seattle.


Any final comments or thoughts you'd like to share with our readers, the waveriders?

Astrovan has a busy schedule in 2011. We have a new record coming out called "Rollin on Shabbos" that should be released some time in late Spring. We'll be on the road a ton, so keep an eye on our show schedule at www.astrovanrocks.com

  Thanks for a great interview...it was a blast!