WFHB ADDS 10/2 & 10/9
DATE: 10.2.06ARTIST:Beck
TITLE: The Information (Interscope)
GENRE: ROCK/ALT
GRADE: A-
REVIEW: With Nigel Godrich in the booth for the third time, Beck spent over three years crafting the songs for The Information. Gone, almost completely, is the love-nausea of Sea Change. In its stead, Beck goes back to the mangled, junkyard pop of his youth, mixing broken-porch funk and beat-patterned shout-alongs into an album far more groove-oriented than even the underrated Guero. These songs, almost across the board, are bound to their bottom, as Beck uses his ear for antique nouveau to create the sort of astonishingly simple but hypnotic rhythms that he’s been patterning since Mellow Gold. “Elevator Music” and “No Complaints” fume with smokehouse funk, crashing, churning bits of Odelay-themed bass-pop. “Nausea” is perfectly titled: a woozy, jungle-tangle of clanging cow-bells and stiff bass amidst monkey-voices and a cloying multi-tracked chorus, while “Think I’m In Love” finds Beck shyly reacquainting himself with love over a thicket of pianos, strings, and a paperbag writer’s bass. “New Round”’s frail beauty is a shot in the arm for Beck here; acoustic guitars flicker with trampled heart tones and a subtle drum pattern-knowingly nudged to the back—as he hums fractured couplets about chain-link winds and blackboard nights. More than with either Mutations or Sea Change, you can hear Godrich’s rich instrumental layering beneath the rhythms. A perfect headphone album, strings, shards of voice and singing, simmering static, harmonica, synths, and bell-toned electronics seem to almost collapse into their places. Sometimes, these deep interludes and bridges distract from a song’s central melody however (as on the otherwise fantastic Headhunters-jive of “Cell Phone’s Dead”) and threaten its composition, but typically they serve instead as interesting flourishes.
RECOMMENDED TRACKS: 1, 2, 7, 10, 12, 14 FCC:3 (SHIT)
REVIEWER: excerpt from stylus.com
DATE: 10.2.06
ARTIST:Robyn Hitchcock
TITLE: Ole! Tarantula (Yep Roc)
GENRE: ROCK/ALT
GRADE: A+
REVIEW: Olé! Tarantula sounds like a trip back to the iconic singer/songwriter's early A&M days. Long, Byrds-inspired harmonies, jangly electric guitars, and random bursts of piano, harmonica, and saxophone pepper the collection in fits, seasoning Hitchcock's already delicious wordplay with exactly the right amount of spice. Opener "Adventure Rocket Ship" sounds like a lost track from Underwater Moonlight, the kind of confident psychedelic rocker that used to spill from the anti-bard's leafy pen like battery acid in the early to mid-'80s. That confidence coupled with the tight, road-ready band vibe permeates Tarantula's swollen belly, allowing only one or two forays into the esoteric balladry that has become the norm for the artist's post-Egyptians catalog. With the jaunty "'Cause It's Love (Saint Parallelogram)," co-written by XTC's Andy Partridge, the creepy and dissonant "Red Locust Frenzy," and the impossibly ridiculous title cut, the former "Man with the Light Bulb Head" has distilled the best of each of his eras into one big shambling creature. Lyrically, he's still obsessed with crabs, eggs, tomatoes, and things that are fleshy, furry, and spindly, but his greatest strength has always been his ability to toss a clear nugget of profundity into his most surrealist rants.
RECOMMENDED TRACKS: 1, 2, 4, 5, 6
REVIEWER: allmusicguide.com
DATE: 10.2.06
ARTIST:Mindy Smith
TITLE: Long Island Shores (Vanguard)
GENRE: FOLK/SS
GRADE: A
REVIEW:Long Island Shores doesn't exactly take Smith to new places -- she remains perched firmly between mainstream and daring -- but it's as solid an effort as her debut and confirms that the level of talent it displayed was no fluke. On Long Island Shores, Smith never succumbs to the clichés of craftsmanship or production that mar so many contemporary efforts within the genre. Although her tunes are relatively free of edge and quirk and her voice is naturally tender and crystalline, the vulnerability and honesty in her words and delivery elevate her quickly from novice to confident veteran. Smith is willing to explore and unafraid of intimacy. In the heartrending title track she longs for a family reunion that can never be, and the intimate soul-baring detail of "Peace of Mind" is confessional songwriting at its best: "I need peace of mind and a lullaby/'Cause there is an angry voice in my head tonight/Telling me to do things that can't be right." Though there is a seriousness to much of her writing, it's not all meant to weigh heavily: "Tennessee" is a love letter to her adopted home, and both love (of the non-religious/non-geographic sort) and loss find themselves the center of attention in tracks like "Edge of Love," "You Know I Love You Baby," and "What If the World Stops Turning?" It remains to be seen whether Mindy Smith will emerge as a major player, but there's no sophomore jinx here. Though some might find it on the meek and lightweight side, many more will likely revisit Long Island Shores again and again.
RECOMMENDED TRACKS: 2, 3, 5, 7, 9, 12
REVIEWER: allmusicguide.com
DATE: 10.2.06
ARTIST: The Black Keys
TITLE: Magic Potion (Nonesuch)
GENRE: ROCK/BLUES
GRADE: A
REVIEW: Magic Potion is gritty, raw, immediate and sludgy. It was recorded at the band's studios in Akron, and the only real difference is that they've become even better at what they do. Here are 11 tunes rooted in blues and riff-heavy rock, with only guitar and drums ripping through them like a loose power cable in a thunderstorm. Check out the wildly rockist riff that is at the heart of the album's opener "Just Got to Be," or the wily shambolic blues in "Your Touch." If anything, Magic Potion reminds the listener of the late great Red Devils King King except they have a deeper country, south-of-the-Mason-Dixon-line feel to them, even on a ballad such as "You're the One," which feels like it's barely being held together by Dan Auerbach's voice, which unifies the guitar and Patrick Carney's drums. "Strange Desire" is an electric-acid-blues moan disguised as a ballad, whereas "Just a Little Heat" inverts the riff from Led Zeppelin's "Little Loving Maid " to offer a wide-open howl of distorted guitar and a slippery snare and cymbals crash. For those who feel that the blues have nothing to offer in the 21st century -- especially electric blues, which has spawned countless cookie-cutter, slick deceptions disguised as the real thing -- Magic Potion should satisfy deeply. Here is a future blues that comes right from the groin of history, reinterpreted through garage rock, alcohol, and rage: just check out "Modern Times." In the slow drawling burn, one can hear Junior Kimbrough's ghost possessing Auerbach. "Elevator" closes the set on a feedback-drenched, minimal Delta blues that has more to do with the cagey antics of Charley Patton and Lightnin' Hopkins -- and R.L. Burnside, too -- than with either the White Stripes or Ronnie Earl. This is vulgar music, completely unsentimental or nostalgic but with a deep, wild, and tenacious heart; it's spooky, un-caged, and frighteningly descriptive of our time and place. It's been a long time since the majors put out a record this savage. This is the door to the blues in 2006; hold on to your hips because they will begin to twitch.
RECOMMENDED TRACKS: allmusicguide.com
REVIEWER: 1, 2, 3, 4, 6, 7, 9, 11
DATE: 10.2.06
ARTIST:Grayson Capps
TITLE: Wail and Ride (Hyena)
GENRE: FOLK/SS
GRADE: A-
REVIEW: Capps is not an observer, he's a participant. He's too gritty to really be American Gothic, but he has no idea what year it is, either. Grayson Capps plays a very strange and particular kind of weird country and blues music. It encompasses many American styles, whether he can name them or not. There are nasty acoustic guitars that delve into country when it was country & western, touch on the old modal blues, and then spit out some honky tonk, funky soul, and rock & roll -- all underneath a singer who keeps going on and on about all these people who are busted up, brokenhearted, lost, abandoned, who refuse to accept the hand that's been dealt them, always holding out for one tiny glimmer -- like he's using his one last dime in the hope that this time, the girl down at the end of the bar will notice him. You already know how the story ends, but that hardly matters. "Daddy's Eyes" has the kind of sorrow that only someone who has lost something can hold close, and his observations about the Mason-Dixon line are curious. Trina Shoemaker's backing vocals underscore the tenderness in the tune "Give It to Me," it's a pumped up, funky and twisted love song to a whore, complete with tinkling upright piano and skittering snares and cymbals -- at least until the electric guitars make it a rocker. "New Orleans Waltz" is a bit clumsy lyrically, too full of images and longing and heartbreak about wanting something that is the living proof that nothing lasts forever. But then, having made his home on S. Front Street (literally) for 20 years and losing it to Katrina, he's got a right to be busted up about it, doesn't he? Take the title track and the story it tells of desperation played out between two people to the accompaniment of a Wurlitzer and a pair of guitars on the chooglin blues tip (Guthrie Trapp is a badass picker), and the slippery drums and percussion that carry that beat all the way home. "Poison" is a song that Commander Cody would kill to have written and Dr. John should cover if he ever gets hungry for his music again. "Broomy" is an off-kilter country blues with some other stuff tossed in. But the last two tracks, "Cry Me One Tear," and "Waterhole Branch," are worth the price of thew whole album -- the latter could have been used in the film Jesus' Son. Wail & Ride is a winner. Old Joel Dorn and his Hyena label have some new tricks up their sleeve, but this guy is the jewel hidden in the coal.
RECOMMENDED TRACKS: 1, 3, 4, 5, 6, 8, 11, 12
REVIEWER: allmusicguide.com
DATE: 10.2.06
ARTIST: The Be Good Tanyas
TITLE: Hello Love (Nettwerk)
GENRE: FOLK/SS
GRADE: A
REVIEW: Frazey Ford, Samantha Parton and Trish Klein harmonize like opposing weather systems, they've all got the same goods but there's a little bit of pushback going on that helps keep things dangerous. For the most part, the ladies have chosen not to stray too far from their plainclothes rootsy sound, and while that may disappoint some fans, there's enough quality stuff here to light a fire in every train yard oil drum from Vancouver to Halifax. Hello Love works best when the whole gang pipes in, and a choice cover of Neil Young's "For the Turnstiles" delivers that effect in earnest. Tight, bluesy harmonies that are as spooky as they are lovely paint a picture of utter desolation that sounds as good turned up real damn loud as it does crackling through an old Victrola. Other covers, like fellow Canadian folkie Sean Hayes' "A Thousand Tiny Pieces," Mississippi John Hurt's "Nobody Cares for Me," and a rendition of the old gospel number "What Are They Doing in Heaven Today" resonate as well.
RECOMMENDED TRACKS: 2, 3, 5, 8, 9, 11, 13
REVIEWER: allmusicguide.com
DATE: 10.2.06
ARTIST:Michelle Malone
TITLE: Sugarfoot (Valley)
GENRE: FOLK/SS
GRADE: A
REVIEW: Atlanta-based Michelle Malone follows up her successful return-to-roots Stompin' Ground release from 2003 with another slab of gritty, boot-scootin' Southern folk-rock, Sugarfoot. Malone is no sellout and has recorded another tough, no-nonsense collection dominated by rugged, folksy blues-rock. The singer/guitarist/songwriter shifts from tough electric guitar rockers such as "Black Motorcycle Boots" to stripped down, acoustic guitar, brushed drums, and upright bass strummers like the politically charged "Down." On the raw, country blues stomp of "Rooster 44" and "Winter Muscadine" she just needs Linda Bolley's driving, primal drums to power the foot stomping music. The lovely "Leather Bracelet" and "Beyond the Mountain" show that Malone's husky voice is just as powerful on ballads, but it's raging thumpers "Miss Miss'ippi" and the opening "Tighten Up the Springs" that find the artist in her most natural habitat. Co-producer Neilson Hubbard keeps the sound lean and mean, with plenty of breathing room. Malone's raw guitar on "Soul Chicken" captures the backwoods swamp in the song's gritty, funky, chicken pickin'. The singer has rarely sounded better or more passionate. She's confident without an ounce of pretension and seems as relaxed and self-assured as any professional musician who has earned her living on the road for 25 years, much of it as an independent artist. And if the comparatively commercial, arena ready and atypical "Where is the Love" brings some much deserved recognition, she's earned every ounce of it the hard way.
RECOMMENDED TRACKS: 1, 3, 4, 6, 7, 8, 10, 11, 12
REVIEWER: allmusicguide.com
DATE: 10.2.06
ARTIST: Citizen Cope
TITLE: Every Waking Moment (RCA)
GENRE: ROCK/ALT
GRADE: B+
REVIEW: There are a number of artists -- Everlast, G. Love, Mat Kearney -- who, while staying firmly within blues and rock, bring in hip-hop tendencies, with varying degrees of success. Citizen Cope is another one who could be added to that group, although the only "rap" he actually incorporates into his music is relegated to an occasional singsongy, quickly spoken line and some internal rhyme. This, along with the characters he created and sang about, was what won him fans on his first two albums, and it's something he continues onto his next. For Every Waking Moment, however, Cope has a slightly broader approach to his songwriting, telling more abstract stories that aim toward the universal rather than the specific. He has that gruff, world-weary kind of voice that sounds like it's seen a few too many things and had a few too many whiskeys, and the band does a pretty good job of taking a standard bluesy line and embellishing it until it almost shines. The best track on the entire album, in fact, is "Awe," an instrumental, because it allows room for them to show off some of their many influences, and ends up with some nice Latin and blues-tinged acoustic guitar-driven rock. It's nothing extraordinary, but the groove is pretty tight, the horns are clean, and the drums are intricate and fun, and it works well with the rest of Every Waking Moment. Cope's catchy, melodic lyrics are here as well ("I got a Brother named Lee who looks a lot like me/He's got a lot of enemies," he sings on "Brother Lee"), and the album should please fans of any of his previous work. ~
RECOMMENDED TRACKS: 1, 3, 5, 8, 10
REVIEWER: Marisa Brown, All Music Guide
DATE: 10.2.06
ARTIST: Los Lobos
TITLE: The Town and the City (Hollywood)
GENRE: ROCK/MAINSTREAM
GRADE: A+
REVIEW: The Town and the City is the first album where Los Lobos have allowed themselves the same degree of freedom and room to play with their signature sound as they had on Kiko, and the result is a quietly exhilarating experience. The Town and the City is a simpler and more measured set than one might expect from Los Lobos, with a lower quotient of full-on rock, but the band's performances are as tight and sinewy as ever; David Hidalgo offers yet another master class in virtuoso guitar playing (without strutting his ego or boring the listener in the process), and Cesar Rosas remains his perfect instrumental foil. The rhythm section gives the songs a firm backbone and adds welcome color and heft to the music, and the production (by the band, with Tchad Blake and Robert Carranza mixing) makes the most of the interplay between the musicians -- this is music that revels in the spaces as much as the notes, and demonstrates that this is truly a great band rather than just five gifted players. The 13 songs on The Town and the City work within a loose conceptual framework as they ponder the Mexican-American experience both among illegals and folks who were born and raised in the U.S.A., and while Los Lobos are too smart and too talented to sink into melodrama, there's a sense of wonder in the opening tune, "The Valley," and an air of measured dread in the finale, "The Town," which leaves room for a great deal that's both joyous and tragic in the lives of their characters. The Town and the City isn't likely to be the soundtrack for your next party, but it's an exciting and emotionally powerful experience that grows with each listen, and it's hard to think of many bands who, after three decades together, are as willing to challenge both themselves and their audience as Los Lobos do on this album.
RECOMMENDED TRACKS: 1, 2, 3, 4, 9, 11, 13
REVIEWER: allmusicguide.com
DATE: 10.9.06
ARTIST: Califone
TITLE: Roots and Crowns (Thrill Jockey)
GENRE: ROCK/ALT
GRADE: A+
REVIEW: Califone’s latest bears the sounds and influences that graced the group’s 1998 debut EP: acoustic Americana, ragged, enduring melodies seemingly scooped out of some yet-to-be-discovered backwater, rustic turntable rhythms (if turntables can be rustic), lazy drones and Tim Rutili’s drowsy rasp. And the Chicago quartet caps it with its strongest selection of songs yet. But there’s some pop luster rubbed onto some of Califone’s new tunes as well. Thanks in part to a horn section provided by Chicago outfit Bitter Tears, “Spider’s House” is swept out of the clouds and into the sun. “The Orchids,” a love song of sorts, uses a layer of whirrs to underpin fingerpicked bliss and lyrics of rebirth, a nervy move in an era rife with ironic distancing. A track such as “Rose Petal Ear,” with its swampy, minimalist slide guitar and cheap, programmed rhythm would fit snugly onto any of Califone’s earliest releases. The real gem on Roots & Crowns, however, is closer “If You Would.” Rutili’s vocals are nearly draped in a piano line that might’ve been composed by Morton Feldman. As the words ooze out of his mouth like dying last utterances, they’re carried into the wind by humming strings and horns where they’re finally scattered by a few plucked notes before blowing away completely
RECOMMENDED TRACKS: 1, 2, 5, 8, 11, 13
REVIEWER: magnetmagazine.com
DATE: 10.9.06
ARTIST: Sierra Leone's Refugee All Stars
TITLE: Living Like a Refugee (Anti)
GENRE:INTERNATIONAL/AFRICA
GRADE: A
REVIEW: It's impossible to briefly describe the Sierra Leone Refugee All Stars without sounding trite or falling into pathos. How to just mention in passing the forming of a band by a group of artists who between them survived the worst atrocities that man has inflected on his fellow men? A 2002 documentary, The Refugee All Stars, has already captured the group and their lives in a Guinean refugee camp, and two of the songs performed in the film bookend this set. Since then the group has flourished, at least musically. Living Like a Refugee is the All Stars' recording debut, tinged with the trauma of their lives, but in the end an uplifting record that reinforces bandleader Reuben Koroma's abiding belief in the healing qualities of music. And the music is marvelous. It's a heady, happy blend of roots reggae, West African goomba, and American blues. "Smile," the group request, and how can you not, as the group sweetly check off the list of the wicked while also offering a lesson in righteousness? The bubbly "Big Lesson" juxtaposes the bad and the good, a not surprisingly recurring theme in the group's lyrics. The Wailers are an obvious influence on the group, but the differences between the two are equally notable, starting with the choral vocals, the African rhythms that sift through the songs, and the upbeat backings that accompany even the most downbeat and angriest of their songs. Add Geassay "Jah Sun" Dowu Bull's blues-styled, fingerpicked lead guitar, and the band really are in a class all their own. Those unfamiliar with the All Stars may expect this album to be an emotionally wrenching experience, but the stark lyrics of songs like "Living Like a Refugee" and "Refugee Rolling" certainly pack a surprisingly understated punch. That's deliberate, for the group refuse to dwell too much on past traumas; survival means looking forward, finding happiness where one can, and working and educating a new generation towards a better future. And that's precisely what the album offers -- new life, new hope, and the desire to smile and dance one's pain into dust. As musically satisfying as it is soul-comforting, this could well be the most uplifting album of the year.
RECOMMENDED TRACKS: 1, 5, 7, 8, 12, 13, 15
REVIEWER: allmusicguide.com
DATE: 10.9.06
ARTIST: The Decembrists
TITLE: The Crane Wife (Capitol)
GENRE: ROCK/ALT
GRADE: A
REVIEW: The Crane Wife is loosely based on a Japanese folk tale that concerns a crane, an arrow, a beautiful woman, and a whole lot of clandestine weaving. The record's spirited opener and namesake picks off almost exactly where Picaresque left off, building slowly off a simple folk melody before exploding into some serious Who power chords. This is the first indication that the band itself was ready to take the loosely ornate, reverb-heavy Decemberists sound to a new sonic level, or rather that producers Tucker Martine and Chris Walla were. On first listen, the tight, dry, and compressed production style sounds more like Queens of the Stone Age than Fairport Convention, but as The Crane Wife develops over its 60-plus minutes, a bigger picture appears. Meloy, who along with Destroyer's Dan Bejar has mastered the art of the North American English accent, has given himself over to early-'70s progressive rock with gleeful abandon, and while many of the tracks pale in comparison to those on Picaresque, the ones that succeed do so in the grandest of fashions. Fans of the group's Tain EP will find themselves drawn to "Island: Come and See/The Landlord's Daughter/You'll Not Feel the Drowning" and "The Crane Wife, Pts. 1 & 2," both of which are well over ten minutes long and feature some truly inspired moments that echo everyone from the Waterboys and R.E.M. to Deep Purple and Emerson, Lake & Palmer, while those who embrace the band's poppier side will flock around the winsome "Yankee Bayonet (I Will Be Home Then)," which relies heavily on the breathy delivery of Seattle singer/songwriter and part-time Decemberist Laura Veirs. Some cuts, like the English murder ballad "Shankill Butchers" and "Summersong" (the latter eerily reminiscent of Edie Brickell's "What I Am"), sound like outtakes from previous records, but by the time the listener arrives at the Donovan-esque (in a good way) closer, "Sons & Daughters," the less tasty bits of The Crane Wife seem a wee bit sweeter.
RECOMMENDED TRACKS: 1, 2, 3, 9, 10
REVIEWER: allmusicguide.com
DATE: 10.9.06
ARTIST: Jay Bennett
TITLE: The Magnificent Defeat (Rykodisc)
GENRE: ROCK/MAINSTREAM
GRADE: A
REVIEW: Jay Bennett's fourth solo effort, The Magnificent Defeat, is as dizzying and dazzling as anything he and his former bandmates put together, and it's nowhere near as mopey. For one thing, Bennett's records in general -- and this one in particular -- don't sound like his record collection. They sound like he wrote songs, made noise -- and music -- and had a blast doing it. With a bit of help from longtime collaborator Edward Burch, and co-producer and multi-instrumentalist David Vandervelde, The Magnificent Defeat is one strange, quirky, and labyrinthine journey filled with the quark weirdness of growing up ("5th Grade"), broken love songs (the rollicking country-rock of "Wide Open"), and the gorgeously and perversely orchestrated tale of loss and studied rebuttal ("The Palace at 4 A.M."). "Replace You " is a rocker with plinking high keys from an upright piano, a pumped up organ, and a guitar riff that the glam kings would have fought the biker bands for. When "Out All Night," comes slinking out of the speakers at a volume of ten with throbbing guitar squall, it becomes obvious that Bennett is lyrically obsessed with brokenness in his relationships, but he celebrates it with the grittiness and accessibility of the best rock & roll, rather than just swimming in the emotion. As a result, he comes to accept it all with the words: "Yeah, it was the best that I could do..." Never have heartbreak and loneliness sounded like such a desirable party to attend. In "Overexcusers," a grand, detached, social and political cynicism is sparkled through with pop hooks, bright spangly production, and quaking drums. "Survey the Damage" is a ballad; it's shot through with just enough bitterness to give the listener a degree of empathy rather than pity. The Magnificent Defeat, is a bit of a wonder, really. It's an album you'll be able to play in five or ten years simply because there is so much in it. It's rowdy, sometimes raucous, tender, good-spirited and full of surprises. It's a rootsy yet manic pop thrill.
RECOMMENDED TRACKS: 2, 3, 4, 5, 6, 9, 10
REVIEWER: allmusicguide.com
DATE: 10.9.06
ARTIST: Dead Moon
TITLE: Echoes of the Past (Sub Pop)
GENRE: ROCK/ALT
GRADE: A+
REVIEW: Dead Moon play dark, passionate and gloriously primitive rock & roll that fuses the outlaw energy of punk, the aural snarl of classic garage rock, and the desolation of the blues with a lean and moody groove that cuts like a freshly sharpened bowie knife. Dead Moon have been making great records for years, but getting them out into the marketplace has not been their strong suit, and for years the band's profile has been lower than their music deserves outside of their home in the Northwest. Thankfully, Sub Pop has stepped forward to remedy this with Echoes of the Past, a two-CD set that collects two-and-a-half hours of Dead Moon's best music as chosen by Fred Cole himself. Considering that this music was made by people who were in their early forties when the earliest tracks here were cut (except for relatively youthful drummer Loomis, who was born in the early '60s), it's good to report that this band's music actually gets tougher and more focused with the passage of time, and there's just as much fire, rage, and sweat at the end of disc two as there is at the beginning of disc one. And while there's a sharp edge to this music at all times and plenty of emotional and political rabble-rousing in the lyrics, Dead Moon know when to speed up, ease back, or go heavy, giving the music a welcome sense of dynamics and diversity; while these songs may be simple, the band's approach never gets monochromatic, and over the course of 152 minutes that's a truly powerful virtue. Echoes of the Past is as good an introduction to Dead Moon as one could hope for. Anyone who wants the skinny on one of America's most indefatigable independent rock bands (or how hard parents and grandparents can rock) needs to have this in their collection.
RECOMMENDED TRACKS: hard to choose from almost 50 tracks, let's just say they all rock and all are unmistakeably Dead Moon!
REVIEWER: allmusicguide.com
also added:
Sparklehorse Dreamt for Light Years... Astralwerks
Damien Jurado And Now That I'm In Your Shadow Secretly Canadian
HEM Funnel Cloud Nettwerk
Los Straitjackets Twist Party Yep Roc
No Wait Wait About You Chairkickers
Nikki Sudden The Truth Doesn't Matter Secretly Canadian
posted by WFHB Music @ 4:27:00 PM
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