R.I.P. Joe Strummer
Joe Strummer died yesterday of a heart attack at age 50. This is very depressing, he was a great songwriter, a very intelligent man, and still very young. In tribute to his passing, I’ve put up an mp3 of a live recording of The Clash performing “(White Man In) Hammersmith Palais” in New York City in 1981, so that any visitors who don’t understand the significance of this loss can hear the man perform one of his best tunes at his peak.
I’ve Got Something That’s RED HOT
Thanks to the generosity of Phantroll from Waking Ear, I will now be offering a new set of MP3s every few days for your enjoyment. I’m going to keep this first set up til just before New Year’s, because I know the traffic on this site will be down, and I want to give as many folks a chance to get these songs before I put more up. Once the holiday season is over, I’ll probably be changing the songs every three days or so.
In this first batch of songs, we have “Slowly” by Tricky, which I think is one of the man’s best songs, but is inexplicably only found on the soundtrack to the dreary Sandra Bullock/Ben Affleck film Forces Of Nature. This is one of my great frustrations with Tricky – I don’t think the guy has a good sense of what his best work is. This song is an outtake from the Angels With Dirty Faces LP, which was mostly a murky, tuneless affair; and though I can see how this song could not have fit in with what he intended that album to be, I can’t help but wonder why he’d leave a song so sublime on the cutting room floor. As it stands, “Slowly” is one of the sexiest songs he ever produced with Martina Topley-Bird, and will surely appeal to anyone who is a fan of the Maxinquaye and Pre-Millenium Tension albums.
“Something We Got” by The Minx is an out-of-print funky soul number from the mid-60s, which unfortunately hasn’t been released on cd yet, but is available here for you due to my own craftiness and initiative. It’s just an irresistable song; with an excellent bassline, funky keyboard solos, background party shouts, and a memorable vocal hook. This song is way too good to be obscure. Pass it around.
Another song which is too good to be obscure, but thankfully has been reissued in recent years, is Smiley Lewis’ “That Certain Door”. Lewis was an amazing r&b vocalist, and this is a fine example of the man’s vocal gifts.
Finally, I’ve got a performance of “Jo Jo’s Jacket” by The Jicks in Malmö, Sweden on February 10th, 2001. Stephen Malkmus was in good spirits for this whole show, but I think “Jo Jo’s” is the highlight of the set, with him explaining the origins of the song’s title in the introduction, and a silly approximation of the Yul Brynner sample at the beginning of the song. It’s a very enthusiastic reading of one of the most joyous songs that Malkmus has ever written; and heck, it also includes a couple lines in the middle about Christmas, making it the closest thing he’s ever come to a Christmas tune.
So Merry Christmas, everyone. If you want to, feel free to email me about the songs (or any downloading problems) by emailing the address on the sidebar to the left.
Singing The Blues
If anyone out there can help me find a place where I can find Mary McCreary’s 1974 album Jezebel on cd or mp3 (old vinyl records are useless to me, unfortunately), I would greatly appreciate it if you contacted me.
To Signal Kin
Though I am bored to death with the glut of year-end lists clogging up the majority of the music blogs that I read at the moment, I would like to point out that there are a few that I think are very smart and well written in spite of my rather extreme distaste for the very concept of such lists. Kyle Whelliston of the Intersection blog has put together a list of records that I’m mostly disinterested in, but his writing is consistently on-point and enthusiastic, and he’s kind enough to supply an MP3 from each album on his list. My favorite bit is his write-up for Sonic Youth’s Murray Street which offers a 9/11-centric take on the record that I think may be a bit of a stretch, but is still rather convincing. Meanwhile, Fred Sollinger over at Vain, Selfish, and Lazy has a list of pop songs which I mostly quite like a lot, with commentary that verges stylistically on being the kind of Village Voice critspeak that I tend to loathe, but somehow manages never to be anywhere near as dumb or as obnoxious as the average Voice review. The highlight for me thus far has been Fred’s review of the Fischerspooner remix of Kylie Minogue’s “Come Into My World”.
“Give Me Your Tired, Poor, And Huddled Masses / You Know They’re Yearning To Be FREE!”
Right now, U2log is offering an mp3 of Bono performing a brand new U2 song, “An American Prayer” with a cd player of the backing music and a tone deaf choir as accompaniment. It’s a thoroughly mediocre and bland song, and the lyrics are full of obnoxious “Gee whiz! Ain’t America great!” cliches. It’s absolutely ridiculous, honestly. It sounds like a blatant grab for post 9-11 jingo dollars, I can’t think of this as anything other than a purely cynical move on their part. To think that they went from Zooropa to this in ten years just breaks my heart. I really hope that this song ends up on the cutting room floor, and not on the next album.
Recommended Songs Without Explanations
I would put up mp3s if I could, folks…
The Waitresses “Christmas Wrapping”
James Brown “Santa Claus Goes Straight To The Ghetto”
Erma Franklin “I Get The Sweetest Feeling”
Daniel Johnston “I Saw Her Standing There”
Nas “One Love (Large Professor remix)”
Latyrx “Off With Their Heads”
MF Doom “The M.I.C.”
Kool G Rap “Money In The Bank”
Notorious B.I.G. “Unbelievable”
Eddie Fisher “Two By Two”
Billy Butler “The Right”
Judy Freeman “Hold On”
This Ain’t Yr Archetypal Street Sound
I’ve finally come around to liking The Streets’ Original Pirate Material over the weekend. I remember that when I first heard it over the summer, I had thought it was some kind of annoying joke, but perhaps that was because I didn’t listen to it as an album. Maybe it just took me some time to get over how unique it was, I know I’m not alone in this being an acquired taste. I still feel that the sung bits are very lame – is that Mike Skinner singing, or someone else? Whoever it is, they really ought to stop.
I think the thing that made it easier to swallow was that I’ve been listening to Nas’ Illmatic a lot lately, and when I listened to Original Pirate Material late Saturday night I noticed that the tone of those two records were actually quite similar. I don’t think Original Pirate Material is anywhere near as great as Illmatic, but it’s definitely a very good album, and I feel embarassed for not noticing it sooner. In a lot of ways, it’s like the record I’ve been wanting Tricky to make ever since Pre-Millenial Tension; and since it seems unlikely Tricky will embrace hip hop and r+b again, this will have to do.
News From Noisewhere
I can’t verify if this is the real deal, but this is the Pig Lib tracklisting that has been passed along to me.
01. Water And A Seat
02. Ramp Of Death
03. (Do Not Feed The) Oysters
04. Vanessa From Queens
05. Sheets
06. Animal Midnight
07. Dark Wave
08. News From Noisewhere
09. Ladies To Men
10. One Percent Of One
11. Tambourine Wife
I’m guessing that based on the fact that “Us” is ‘track 11’ on the mp3 download from Matador, that “Us” = “Tambourine Wife”.
(Note – I’ve been told that there are in fact 12 tracks on the album…)
That’s When He Should’ve Reached For His Revolver?
Do Eminem and Russ have alibis?
Seriously, that’s one way to prove that yr hard, eh? Jumping a skinny Christian vegan pacifist with a few of your buddies after he signs some autographs. The mace seems a little over the top, don’t ya think?
Poor guy.
That’s How I Escaped My Certain Fate!
Thanks to the nice people on the Pavement mailing list, I’ve been able to correct/fill in the blanks on my Jicks Warsaw setlist. It’s still not complete, so if anyone can email me the corrections, that would be extremely rad.
Special thanks to “Hunter” in particular, who was the first to get the corrections to me, but also delivered the unfortunate news that “Memory Pulls” will most likely not be on Pig Lib, which kinda broke my heart.
Terrible News
Stereolab guitarist/vocalist Mary Hansen has died at age 36, she was hit by a car while riding her bicycle in London. I was just listening to Stereolab for the first time in a long while on the day that she died, thinking about how great her dynamic and chemistry with Laetitia Sadier was, she will definitely be missed. More information is available here and here.
Recommended Song With Brief Explanation
The Last Emperor “Secret Wars part one” – Hip hop MCs do battle with Marvel superheroes. Yes. If you love hip hop and have ever read superhero comics, this is a must. [Thanks to Bio K-9]
To Discard The Life I Once Knew
Apparently, based on Zwan’s first single “Honestly”, Zwan : The Smashing Pumpkins :: The Jicks : Pavement. “Honestly” seamlessly picks up where the final Pumpkins singles left off, and it could easily pass for a late period Pumpkins song, or even something off of Mellon Collie And The Infinite Sadness (think “Muzzle” and “Here is No Why”). I’m curious to hear how much this song will represent the first Zwan record, since the few live Zwan songs I’ve bothered to listen to were considerably more dense and prog-ish. Those songs at least gave me some understanding as to why Dave Pajo and Matt Sweeney were suddenly bandmates with Billy Corgan, because this is not at all the kind of song I would associate either of them with.
I do like “Honestly” a lot, but it seems a little too safe and radio friendly. It’s a bit too cynical for me, I would have preferred Billy to come out with a more brash departure from his old band. Of course, perhaps the Zwan record won’t be a departure at all, but more like Malkmus’ first record which was very familiar and a natural progression from the previous Pavement record. I think that for the both of them, breaking up their old bands and starting new ones had less to do with a desire for a drastic artistic change than it had to do with shedding the expectations of their back catalogue and not wanting to play the old hits in concert anymore. Also, the desire to play with new musicians seems like a pretty obvious thing too; though in the case of this Zwan song, I really can’t tell how Pajo, Sweeney, and the girl from that Tool sideproject band fit into this. Corgan’s still with his old Pumpkins drummer and I can’t even begin to speculate as to what parts of that wall-of-guitar sound were performed by Corgan and what wasn’t. That solo is definitely Corgan’s playing, though. I’ve heard variations of that solo in at least 20 Pumpkins songs by now.
Recommended Songs Without Explanations
Stereolab “International Colouring Contest” (specfically the version from ABC Music)
Trachtenburg Family Slideshow Players “Do You Know What I Mean?” (available here.)
Hot Hot Heat “In Cairo”
Life Without Buildings “New Town”
Norah Jones “Come Away With Me”
Groundhogs “Strange Town”
Liz Phair “Dance of the Seven Veils” (specifically, the live version from Sessions At West 54th available on this site.)
Adaptation
I saw Adaptation yesterday, and it was absolutely amazing. I give it the highest possible recommendation, I urge everyone reading this to see it as soon as it opens in their area. I won’t be writing anything else about the film here, but I will be contributing to this thread on Barbelith about Adaptation, which so far is just myself and Russ going back and forth about it, waiting for more people to join in.
Why Don’t You Shake It Down For Peace And Love?
You can find excellent movie files of Sleater-Kinney’s spirited performance of “Step Aside” on Conan O’Brien here.
Jicks At The Warsaw, December 7th 2002
* FLY
* JO JO’S JACKET
* WATER IN THE SEA – Very prominent drum/guitar groove, but vocal melody offsets it in a weird unexpected way.
* VANESSA FROM QUEENS – another new song, not previously available as a bootleg mp3 to my knowledge. Midtempo pop, can’t remember much more than that.
* ANIMAL MIDNIGHT – another new song, previously unplayed to my knowledge. Vaguely sinister sounding mid-tempo song.
* VAGUE SPACE
* THE OYSTER (aka Crimson Alligator)
* CHURCH ON WHITE
* DARK WAVE – kinda rocking, with a lot of Malkmus “ooh-oohs”.
* NEVER MY LOVE – cover, original by The Association.
* RAMP OF DEATH – Kinda went right by me in a mid-tempo blur. I didn’t know this one either.
* SHEETS – Another new song, very rocking, one of the best new ones. Some great Malkmus vocals on this one.
* WITCH MOUNTAIN RIDGE (Listed as “prog” on the setlist. may actually be “News From Noisewhere”) – This is song #5 from the Buenos Aires show, the one that starts off “calm me down from new frustration”. I really love this song, I was very happy to hear it.
* JENNY AND THE ESS-DOG
encore:
*US – very nice version, Malkmus played seated for this and the next song. Only SM and John Moen sing on this, Joanna and Mike didn’t join in.
*THIRD RATE ROMANCE – Amazing Rhythm Aces cover, thank you to Hunter. I’m very disappointed that this isn’t an SM original.
*EAGLE ROCK – Memphis Slim cover. Joanna didn’t know it. Malkmus just told her to play mostly A and a “little bit of E”.
*ONE PERCENT OF ONE
I’ll update this setlist once I know what songs were what once I have a copy of Pig Lib. I was very surprised to hear so many new new songs, because I was hyped up to see a lot of the older new songs. I’m afraid that Malkmus may have ditched those songs, which is a real shame because a lot of those songs are better than the less interesting newer songs played last night. I would hate to see “Asp Alert” and “Memory Pulls Me Out Again” be relegated to obscurity, they’re just way too good. I was happy that they played “Jo Jo’s Jacket” and “Vague Space”, as those are my two favorites from the previous record. I was vaguely surprised that no Pavement songs were played this time, given that “In The Mouth A Desert” and “Here” had appeared in some other recent setlists. The performance of “The Oyster” was the highlight of the show for me, especially the newly added extra-long freakout section at the end. Surprisingly, not many of the lyrics to this song or “1% of 1” have been made, though the “Chicago second class, not freight” verse seems to have officially overtaken the “Bennie & The Jets, Eltons wants that early in the set” verse that I prefer in “The Oyster”.
There were waaaaaay too many people with digi-cams at this show.
A Man’s Destiny Is The Mother Of His Own Invention, And His Alone
Christopher Moltisanti on leaving rehab. (Caution: very minor Sopranos spoilers)
“Never Be Influenced By Shallow-Minded Creeps”
Here is a nice little interview with Lance Bangs about Slow Century, via Tim O Thompson. Also thanks to Tim for pointing me in the direction of this very cute letter from Bob Nastanovich to a fan, circa late 1996.
Two-Dimensional Fathers and Seductive Pin-Striped Foreskins
Extracts from the shortlist for the Literary Review Bad Sex Prize 2002 Oh! Chairman Mao!
Recommended Songs Without Explanations
Yellow Note Vs. Pukka “Naked, Drunk, and Horny”
Scissor Sisters “Electrobix”
The Clash “Train In Vain” (live version from Chaos In New York bootleg)
Zoot Woman “Nobody Knows”
Guided By Voices “Beg For A Wheelbarrow”
Mr. X and Mr. Z “Drink Old Gold”
L’Trimm “We Can Rock The Beat”
Har Mar Superstar “EZ Pass”
Sonic Youth “Radical Adults Lick Godhead Style”
Cat Power “Good Woman”
Wilco “Cars Can’t Escape”
He Targets The Fans That You Wish You Didn’t Have
Something that you should know about me is that I’m exactly the kind of guy who thinks this MC Paul Barman lyric is brilliant:
Have I made a mockery of a culture like a Choco-Taco? / Was I to rap as France was to Morocco? / Was I colon rap colon colon France colon Morocco?
I’m a sucker for nerdy punctuation jokes, and Barman just can’t stop himself. That line is from “Old Paul”, which could very well be the most sincerely self-deprecating hip hop song of all time. While on other songs, Barman’s self-deprecating humor is more along the lines of Conan O’Brien’s over-the-top selfloathing, on “Old Paul” it really sounds like Barman is seriously considering his place in hip hop, and makes a strong case for his bravery in the face of overwhelming rejection and/or dismissal from nearly everyone. At any rate, it’s excellent pop with a great chorus; and I find it unfortunate that so many people hate this guy when guys like Ja Rule with half as much talent get loads of inexplicable praise.
Solaris
When I saw Solaris over the weekend, I couldn’t stop thinking about a comment made by Steve Buscemi in his directory’s commentary for the Sopranos episode “Pine Barrens”, which I had seen earlier in the week. Buscemi was talking about how much he admired his director of photography on the episode, and how he thinks that the best camera work does not call attention to itself, that the viewer becomes so lost in the story that the last thing on their mind are the technical decisions and cleverness of the photographer and editors. I think that based on Solaris, as well as pretty much everything else I’ve ever seen by Steven Soderbergh aside from Erin Brockovitch, it’s probably safe to say that Soderbergh does not share this opinion.
Virtually every scene in Solaris begs the viewer to acknowledge how beautiful, clever, or well-shot the images are, to the point that the plot seemed besides the point. I know that I had almost no investment in the story, and I’m not sure if it’s really the fault of the story itself since I’ve never seen the original film or read the source novel. At my most cynical, I wonder if Soderbergh chose to make Solaris not so much because he cared about the story, but that to film the story it would require a number of directorial challenges and that the general philosophical tone would allow audiences to forgive several gratuitous and selfconciously ‘arty’ photographic decisions. The film looks and feels as though Soderbergh is checking off a to-do list of film geek and photo techy things that he wanted to fit into a movie, as if he’s thinking “2001 homage – check. Several scenes in which we linger the camera in tight close-up on one actor for the duration of a conversation – check. Another 2001 homage – check…” In many ways, Solaris felt more like a math problem being solved on screen than a genuine moving story, much less one that is meant to be somewhat romantic and intellectually stimulating.
It’s not George Clooney’s fault, though. The guy gives a fairly decent performance, given what he has to work with. He’s a likeable screen presence, and he doesn’t overact, much unlike his tremendously irritating leading lady, Natascha McElhone. McElhone grates on me in many ways which are obvious (poor acting and line reading, a mysteriously fluctuating accent, a tendency to flail about a bit too much) but also in ways that I’m not sure I can verbalize. Something about her is just so wrong, I can’t help but be repelled by her. I can’t remember the last time I saw a movie in which an actress bothered me as much as she does – if I were rating this film on a star system, I think that I would take off a star simply for the fact that she was cast in it. She’s just that awful.
It’s probably best for people to avoid Soderbergh’s Solaris unless they have a genuine interest in Soderbergh as a filmmaker, or have already seen and/or read the previous incarnations of the story. It’s not without redeeming qualities — the story may not have done much for me, but it’s not awful; and as gratuitous as many of Soderbergh’s shots may be, they are still quite beautiful and much of it would work well as still photography. Regardless of that, the faults of this film are too distracting and ultimately make this film a passable curiosity.
Blue Moon In Your Eyes
Jesus Christ – I leave for a couple days, and I return to find that my daily traffic has spiked due to about 50+ people arriving here looking for “Sopranos spoilers”, as if I have any better idea of what to expect than they do. Last night’s episode was amazing though, and it’s good to see that I’m not alone in anxiously awaiting next week’s finale. I’m fearing the worst, personally – my predictions are that Carmella will file for divorce, Paulie will die, Carmine will be killed, Junior will go to jail, and it will all be pretty much the beginning of the end for Tony. Things will be extremely dire after next week, setting up the final act of the story next season.
The Shape Of Things That Finally Come
Thank you to Sara for passing this along to me:
I was looking at your web page and saw that you wanted to know what Stewart
Lupton from Jonathan Fire Eater was up to? He is in a new band called Child
Ballads. They are based in Washington DC and are just starting to play shows.
You should keep your eyes open for them!
Killer Tunes Bubblegum Disaster
Sonic Youth put on a typically great show last night at Irving Plaza. My only complaint is that I would’ve preferred that they had played more than two songs that weren’t played at the Central Park gig, and that Kim didn’t dominate the setlist with eight songs to Thurston’s five and Lee’s two. Still, I can’t complain because they did play the song I was most hoping to hear, “Skip Tracer”, and it’s no problem to me to get to see them play “Candle” and “Shadow Of A Doubt” again. Though I think the Central Park show was more exciting and was a slightly better performance; the intimacy of Irving Plaza compared to Summerstage really changed the tone of the show and I think the audience had more fun overall. There was a lot more moshing, stage diving, and crowd surfing than I’m normally used to, but it was never out of hand. It’s weird, the most intense the crowd got all night was for “Kissability”, which I’d never really thought of as a popular Sonic Youth song. For me, I’d say the highlights of the show were “Skip Tracer”, the ending of “Radical Adults…”, the particularly tense reading of “Shadow Of A Doubt”, and the finale of “Kool Thing” with Kim’s rant about cd prices and the record industry. “Plastic Sun” was a lot of fun, too.
The Liars opened up, and they were extremely good. I had their record, but very seldom listened to it besides the first two songs, but their set last night was so perfect from start to finish that I’m now convinced that they are a great band. I’m going to have to pull out the album later on – I can’t believe I didn’t catch on to them earlier. Granted, at least half of their set were new and unreleased songs, so I think that perhaps much of what I was responding to were those songs and their intensity of performance. I’m definitely looking foward to that next album, and seeing them live again.
Sonic Youth’s setlist, 11/29/02:
Bull In the Heather / The Empty Page / Rain On Tin / Skip Tracer / Kissability / Candle / Plastic Sun / Radical Adults Lick Godhead Style / Shadow Of A Doubt / Karenology / Drunken Butterfly / Sympathy For The Strawberry // Disconnection Notice / Making The Nature Scene /// Kool Thing
Moving Backwards In Time
David Rees goes to town on Henry Kissinger’s recent appointment with hilarious results.
I Accept, I Do Decline!
There’s an excellent high-sound-quality Pavement show available for download here. It’s the band’s 1997 Bizarre Festival set, which was previously available in trading circles on video from German television. Those who own the Slow Century DVD would recognize “The Hexx” from this show as being the one that is included in its entirety in the outtakes section of the documentary. It’s one of my favorite Pavement shows that I’ve heard, and it includes very inspired versions of “Grave Architecture”, “Kennel District”, and “FIN.” I highly recommend downloading it while this guy has it up.
Pardon My French
Matador a un MP3 de bibliothèque de porc, et il s’appelle “nous”! Fluxblog au Francais.
Unquestionably The Most Baffling Search Ever Leading To This Blog:
Dude, You’ll Never Understand The Malleable Hammer!
Scroll down to the second consumer review. How’s this for condescending elitism?
i recently saw this title on display at a barnes and noble or borders, or one of those stores, and you really just have to appreciate the irony implicit in all of that, of a band like this appealing to more of a pop-culture audience, who probably won’t understand the full implications of the liner notes, the malleable hammer with the words “hope” inscribed on it, or any of the aforementioned wind fueling the sailing of the ship on the sea of doom, or even the name of the band, really
I mean, really. Because, y’know, people who shop at book stores are such dumb illiterates, right? Why is it ironic that a store which stocks many of the books and periodicals that have either inspired or echoed Godspeed You Black Emperor’s political views would also carry their album? Let’s be honest, this is a self-conciously arty instrumental record which is great for background music while you read books or clean the house. Bookstores that cater to yuppie tastes are pretty much the best place on earth for selling Godspeed records. And so what? If you like the record so much, isn’t it better that more people have access and exposure to it?
If this jackass has such a problem with chain bookstores, then why’s he shopping there? I’ll tell you why. Because this guy lists his location as being in Albany, which I can tell you from experience is not a city big on bookstores. There’s a lot of places all over where there aren’t places to buy books and records, much less ones that appeal to a small hipster/intellectual audience. While it’s true that the world would be a better place if more people frequented smaller, independently owned shops, I think that we should be grateful that in some places there are any bookstores at all.
This guy can be as smug as he wants; insult as many people’s intelligence as he sees fit; but when it comes down to it, at least half of the copies of Yanqui U.X.O. that’s been sold in Barnes & Noble and Borders has likely been sold to a person just as pretentious and self-satisfied as himself. I’d bet that nearly every one of them, on some level, was thinking “Ha! As if anyone else here would understand this! I’m sure the cashier doesn’t even know what this is! How transgressive and esoteric! Oh, the irony implicit in me buying this album here!” when they paid at the register. Then they go home and listen to the record, thinking about how great they are for understanding the “implications” of the liner notes, things that so few others could possibly grasp. And they can all thank Barnes & Noble or Borders for supplying them with that refreshing feeling of detached superiority.
This Is Clearly My Lucky Day
I never thought it would happen – but The Gorch is back!
Chatting Up A Panda In A Bar
Psst. Spread the word – Matador has an MP3 from Pig Lib, and it’s called “Us”. It’s quite good, but quite different most everything else Malkmus has ever done. It’s fairly mellow jangle-rock with three-way vocal harmonies, not that far off from what Wilco were doing on Yankee Hotel Foxtrot. It also reminds me a lot of the Jicks’ cover of the Fairport Convention’s “Tale In Hard Time”, or “Folk Jam” off of Terror Twilight. It’s not Malkmus’ best work, but it’s a worthwhile experiment, I’d say. It’s funny; in its own way, it’s one of the most experimental and brave songs of Malkmus’ career, and that’s almost entirely to do with how blatantly uncool and relatively conventional it is. “Us” sounds very relaxed and confident to me, mature in all the best senses of the word. Malkmus sounds very content with himself, and where he is in his career now.
To those people who may be put off by “Us”: if the other new songs that Malkmus had been playing live are anything to go on (and to a certain extent, they are – most of them are confirmed as songs that will be on Pig Lib), this song is not very indicative of what the other songs will sound like. So don’t get too worried or alienated by this song, but please – if you’re put off by it at first, keep with it. I like it more and more every time I hear it, it’s a definite grower. I can’t wait to hear how “The Oyster”, “Animal Midnight”, “One Percent Of One” et al turned out.
