Ripple News - TheLiveLine Sponsors the Tantric, Adema, Burn Halo Tour

Irvine, CA based mobile marketers TheLiveLine  has been confirmed to sponsor the TANTRIC, ADEMA, and BURN HALO tour, with FLAW appearing on select dates.  TheLiveLine will be powering all mobile efforts for the tour, including tour mobile clubs, in-venue mobile, and much more.

Text POP to 81899 for all tour updates, contests, coupons, and more!!

TheLiveLine will also be using its innovative in-venue mobile on this tour.  Concert attendees will be able to text NOW1, NOW2, or NOW3 to 81899 to receive a bounce back digital coupon for discounts off merch, exclusive contests, and more.  All in-venue mobile will take place live at the concert, as NOW is the idea here.  Different NOW keywords will be in effect for different venues.

Look out for more tours TheLiveLine will be sponsoring – stay tuned, my friends…

Check out TheLiveLine on the web: http://www.theliveline.com



TANTRIC, ADEMA, BURN HALO tour dates below with presale ticket links.  Buy yourself a pair now!

7/28 – Denver, CO @ Grizzly Rose - BUY TICKETS

7/29 – Grand Junction, CO @ Mesa Theater – BUY TICKETS

7/30 – Vernal, UT @ Western Park

7/31 – Salt Lake City, UT @ Club Vegas

8/3 – Sparks, NV @ The New Oasis – BUY TICKETS

8/5 – Santa Rosa, CA @ Chrome Lotus – BUY TICKETS

8/7 – Las Vegas, NV @ The Hard Rock Café on the strip – BUY TICKETS

8/8 – Tempe, AZ @ Club Red – BUY TICKETS

8/9 – Tucson, AZ @ Club DV8

8/11 – Abilene, TX @ Midnight Rodeo III

8/12 – Harker Heights, TX @ The Music Vault

8/13 – San Antonio, TX @ Scoutbar – BUY TICKETS

8/14 – Houston, TX @ The Scoutbar – BUY TICKETS

8/15 – Dallas, TX @ Trees – BUY TICKETS

8/18 – Jonesboro, AK @ The Brickhouse Grill

8/19 – Little Rock, AK @ The Village – BUY TICKETS

8/20 – Charenton, LA @ Rox Nightclub (IN) Cypress Bayou Casino

8/21 – Panama City Beach, FL @ Club La Vela – BUY TICKETS

8/22 – Jacksonville, FL @ Brewsters Pit Live – BUY TICKETS

8/25 – Philadelphia, PA @ Polaris – BUY TICKETS

8/27 – Watertown, NY @ The Exhibition Hall – BUY TICKETS

8/28 – Rochester, NY @ The Montage Music Hall – BUY TICKETS

8/29 – Cheswick, PA @ Ches-arena Entertainment Complex – BUY TICKETS

8/31 – Baltimore, MD @ Bourbon Street Quarter – BUY TICKETS

9/1 – Eden, NC @ Modelo Bay

9/2 – Charlotte, NC @ Amos’ Southend – BUY TICKETS

9/3 – Jacksonville, NC @ The Party Zone (no BURN HALO)

9/4 – Fayetteville, NC @ Jester’s Pub (no BURN HALO)

9/5 – Wilmington, NC @ The Soapbox Laundro Lounge (no BURN HALO)

9/9 – Bay City, MI @ Prime Event Center

9/10 – Warren, MI @ The Ritz

9/11 – Glendale Heights, IL @ Shark City – BUY TICKETS

9/14 – Waterloo, IA @ Spicoli’s Grill And The Rever

9/15 – Maplewood, MN @ The Rock Night Club – BUY TICKETS

9/16 – Madison, WI @ The Annex

9/18 – Rockford, IL @ Kryptonite Bar



No ADEMA, now FLAW

9/20 – Syracuse, NY @ The Lost Horizon

9/21 – State College, PA @ The Arena

9/22 – Allston, MA @ Harpers Ferry – BUY TICKETS

9/24 – Providence, RI @ The Ruins

9/25 – Rochester, NY @ The Rochester Opera House

9/26 – Middleton, NY @ Orange County Speedway

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Salif Keita - La Difference

The descendant of warrior princes, the son of two black African parents, Afro-pop pioneer Salif Keita was born “white.” Inheriting albinism, a lack of skin pigmentation, Keita instantly stood out among other Africans and stood out as a spokesperson for tolerance in all forms.

On La Différence, the legendary singer addresses this deeply personal issue–albinism in Africa—and gives it an urgent global resonance that takes his songs from Bamako to Beirut. As Keita’s famed “golden voice” cathartically croons in the title track, "I'm a black man, my skin is white and I like it, it's my difference/I'm a white man, my blood is black, I love that, it's the difference that's beautiful."

The distinction is often interpreted as an ill omen in his native Mali, and invited a life of ridicule, making Keita an outcast in his own community. Society, including public schools in Mali, perpetuates harmful beliefs about albinos, and they are often shunned, ridiculed, and even killed for superstitious purposes.

Although he and others have come to terms with albinism, Keita has struggled long and desperately with the stigma attached to his skin color. Though born into a noted caste of musicians with direct links to Sounjata Keita–the heroic 13th-century warrior-prince who edified the ancient Malian Empire–Keita was forbidden to play music growing up. He was also disowned by his father, kicked out of school, and rejected by the local aristocracy.

Filled with unrealized musical ambitions, Keita had no choice but to leave Mali as a young man. Armed with the strength of his convictions, he travelled to neighboring Ivory Coast, then Paris, London, and New York, where his skin color could not keep him from expressing his artistic vision. His perseverance paid off throughout the 1970s and 1980s, as he became an internationally recognized icon thanks to his gravely voice, innovative musical arrangements, and profoundly poetic lyrics.

In 1997, Keita’s fame helped him to overcome the stigma attached to albinism that persisted in West Africa, allowing him to make a triumphant return to Mali. Cautiously re-entering a community that once shunned him, he discovered a newfound acceptance, which allowed him to re-establish roots there, including building a studio in the capital of Bamako.

La Différence is the latest in a trilogy of acclaimed acoustic oriented recordings (Moffou 2002, M’Bemba 2006) that were primarily recorded at Keita’s Bamako studio. The intimate acoustic environment of La Différence allows Keita’s vocal timbres to shimmer and soar, highlighting their poetic nuances and the poignant themes of his lyrics. While the album is dedicated to the plight of albinos in Africa, leading with its title track that aims to increase the global awareness of this cause, the remainder of the album delves into a wide range of social and political issues.

Over a thick sanguine female vocal chorus and rhythmic guitar riffs, “Ekolo d’Amour” seeks to inform listeners about the ecological devastation that has befallen Africa. Fusing the powerful traditional tones of the 21-stringed kora with a contemporary guitar-rich, down-tempo, polyrhythmic groove, “San Ka Na” cites a specific example of ecological destruction, alerting audiences of the need to protect Africa’s Niger River, upon whose banks Keita played as a child. With a rough and urgent voice, Keita scorns local politicians for their neglect and complacency regarding such problems.

La Différence also finds the singer re-imagining a few previous recordings with a new palette of sounds. Harnessing the deeply echoing, bluesy textures of guest guitarists Bill Frisell and Seb Martel, an intimate rendition of 1995’s “Folon” offers a stripped-down, horn-absent version that allows Keita’s haunting voice to pierce the mellow cosmopolitan soundscape. With producer John Henry, Keita reaches back to the 1970s, recalling his days with the Ambassadeurs du Motel band in Bamako, with a new incarnation of “Seydou.”

Departing from the original track (“Seydou Bathily”), this softer version bathes Keita’s voice in a rich sonic world of resonant vocal refrains, Arabic-tinged string arrangements, interlocking guitar tones, and a multilayered percussion ensemble that merges sounds from Africa and the Middle East. Given that these songs have been refined by Keita and his band over the course of many years, some for decades, it is no wonder why his delivery comes across with a relaxed, sophisticated confidence.

Further linking La Différence with Keita’s long musical career, the melody of “Djélé” is decorated by the intricate balafon work of Keletigui Diabaté, a monumental figure in Malian music and one of Keita’s most faithful musical partners, helping him to develop as a guitarist over the course of almost four decades. Drawing on his international sojourns, “Djélé” reinforces Keita’s cosmopolitan approach to this album as the breathy tones of an accordion dance with a concert piano over top a bed of deep electric bass, legato orchestral strings, plucked African lutes, and a global array of polyrhythmic percussive timbres.

La Différence is an intimate journey into Keita’s personal struggles. Singing a hymn of universal tolerance Keita poetically claims, "some of us are black, some are white/all that difference has a purpose…for us to complete each other/let everyone receive love and dignity/the world will be a more beautiful place.”

-- provided to the Ripple by World Music News Wire

buy here: La Difference

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YOU'RE THOR...

OK this looks brilliant

From Comicon, Thor



HT: The Bleeders

Otis Redding - Live on the Sunset Strip

It’s hard to believe that Otis Redding was only 24 years old when these live shows were recorded in Hollywood, California back in April 1966. Even though he was still a young man, he was an old pro by the time he hit the stage of the famous Whiskey A Go Go having experienced many hit singles and successful albums on the legendary Stax-Volt label. Otis usually recorded with Booker T & The MG’s but rarely toured the United States with them since they were so busy with studio work in Memphis.

There are plenty of live documents of the 1967 European tour and landmark performance at the Monterey festival, but this 2CD set lets you hear exactly what Otis did to audiences night after night with his road band. Most of these have been available in edited form, first on 1968’s LP In Person at the Whisky a Go Go and then more selections were released in 1993 as Good to Me: Live at the Whisky a Go Go, Vol. 2. Even if you already have those, you need to pick this up. You get 3 complete sets of Otis and his tighter than hell road band rocking the stage of a small club. Taj Mahal’s old band Rising Sons (also featuring Ry Cooder) were the opening act for these shows. In the liner notes he’s quoted as “His was one of the most amazing performances I’d ever seen and I’ve seen some great performances. I’m talking about being in the same room, not watching a film or being at some big festival. This cat just had the rafters falling down.” You gonna argue with that

It’s all here. Every grunt, whoop and holler from the Otis and from the crowd, too. When they do fast ones like “I Can’t Turn You Loose,” “I’m Depending On You” or his version of the Rolling Stones’ “Satisfaction” you can feel the everyone rocking. Otis liked to do his uptempo ones twice as fast at the record, but he also liked to do ballads twice as slow. “These Arms Of Mine” is even more powerful than the original and “Chained and Bound” gets the full dramatic treatment with some heartfelt testifying in the middle. His hit “Respect” is given a high energy workout. It’s interesting to compare it to the live version from Monterey a year later when he mentions that “some girl” just stole his song, meaning Aretha Franklin’s hit version. Two of the sets come from the last night of his 4 night run at the club. Otis mentions that now that they’ve been paid they can “goof off.” His idea of goofing off includes an incredible 10 minute version of James Brown’s “Papas Got A Brand New Bag” that gives JB a run for his money.

Since it was the norm for artists to do 2 shows a night, several songs are duplicated but when it comes to The Big O can you really have too much? Otis gave us so much incredible music in his way too short life and this is guaranteed to make you feel good no matter how bad your day is going. Play this one loud.

--Woody

buy here: Live on the Sunset Strip

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Praise Pours in for the Stone Axe/Mighty High split 7" Single

Ok, here's the conundrum.

We got on our hands one of the coolest pieces of split vinyl to come around in ages.  But we're much too shy to write about it ourselves, and we wouldn't want anyone to think we were illegally tooting our own horns on this release.  But we wanna spread the word.

So what we decided to do, was let others tell the story of how killer this split is.  So let's go--

Stone Axe/Mighty High Split 7"

"Impossible not to crack an illegal smile when you hear this.  Stone Axe are one of the best retro-metal acts around.  Kiss might've sounded this good if they'd learned to play their instruments.  There's no one better than Mighty High at making fun of wretched metal excess.  It's priceless."  -- Lucid Culture

"Stone Axe is pure old-school metal played with a power that is sadly rare these days.  Will leave you lusting for more if an ounce of rock and roll spirit throbs in your veins. Mighty High kick off a stoned punk squall that sounds like Queens of the Stone Age playing Rancid Covers.  Both tracks are well worth your time and money and it’s hard to imagine rock fans not wanting to track down at least one of the albums by these fantastic bands. Either way, with two bands of this quality on one release this is something of a must-have."-- Sonic Abuse

"Newcomers Ripple Music managed to get two highly explosive bands onto a 7".   Stone Axe's "Metal Damage" has me thinking of pre-Stained class Judas Priest, the kind of mid-1970's metal where band's took their time and built up the sound with a steady boil of activity. Mighty High's "Don't panic, It's Organic" is even better. The main riff is huge and dripping with 1970's fuzzed out goodness. This is the perfect tune for playing about two minutes after 5:00 on a Friday. Both bands deliver the goods on this album." -- Metal Mark, Heavy Metal Time Machine

"Ripple Music have a gem on their hands. An awesome set of tunes. Stone Axe delivers the goods once again.“Metal Damage” is a throw back to classic Judas Priest from the later 70′s to early 80′s. The best duo around to preserving music from the 70′s. Mighty High really rock with their contribution “Don’t Panic, It’s Organic,”a fast paced, almost punk-like rock song. Get yours today." -- The Soda Shop


Produced in amazingly limited supplies.  The only way to get this is to catch Stone Axe or Mighy High on tour, or get your copy at www.ripple-music.com

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BBC n SAN DIEGO

So the BBC is underfire about the licence fee,excess spending on executives, and the threat in cuts which, as I said a few days ago, really means cuts to programmes rather than the idiots that infest the bureaucracy...

so who paid for Yentob at San Diego Comicon?



ht: Rich