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Buffalo Springfield Performed by the Wild Honey Orchestra 2/17/18, Glendale CA

Dates: February 17, 2018

Location: Alex Theatre, Glendale CA

PHOTOS BY SUSAN MOLL

Live at the Alex Theatre in Los Angeles (technically: Glendale) on February 17, it was a Springfield early spring festival. And yes, before you ask, notable in their absence were Stills and Young.

A benefit for the nonprofit Autism Think Tank (autismthinktanknj.com) which “brings together a team of top autism specialists, via an internet medical conference, to tackle the painful medical/psychological issues faced by kids like Wild Honey’s co-founder Paul Rock’s thirteen-year-old son, Jake, a non-verbal autistic boy with extreme digestive distress and self-injury issues.” To date The Wild Honey Foundation (a 501(c)(3) nonprofit) has raised over $100,000 for the Autism Think Tank. Among the performers: Furay (of course), Micky Dolenz, Susan Cowsill, Terry Reid, Martha Davis, Elliot Easton, Claudia Lennear, Dream Syndicate, Rob Laufer, Brent Rademaker, Three O’Clock, Gary Myrick, Stephen McCarthy, Greg Sowders, Carla Olson, Darian Sahanaja, Ciny Lee Berryhill, Iain Matthews, Don Randi, Luther Russell, Syd Straw, Joss Cope, Chris Price, Bebopalula, Steve Stanley, Nick Guzman, Corinna & Isabelle Scott, All Day Sucker.

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CHRIS MORRIS (host/emcee)

 

BRENT RADEMAKER

 

CARLA OLSON

 

CHRIS PRICE

 

CLAUDIA LENNEAR

 

DARIEN SAHANJA

 

NICK GUZMAN

 

OUR TRUTH

 

SUSAN COWSILL

 

JOSS COPE

 

GARY MYRICK

 

LUTHER RUSSELL

 

ELLIOT EASTON

 

STEVE STANLEY

 

WILLIE ARON

 

DAVID GOODSTEIN

 

 

SYD STRAW

 

THE THREE O’CLOCK

 

MARTHA DAVIS (The Motels)

 

FUZZBEE MORSE

 

ROB BONFIGLIO

 

MICKY DOLENZ (The Monkees)

 

TERRY REID

 

IAIN MATTHEWS

 

CINDY LEE BERRYHILL

 

ANDREW SANDOVAL/ROB BONFIGLIO

 

WILLIAM TUTTON

 

 

BEBOPALULA

 

RICHIE FURAY

 

GARY GRIFFIN

 

ALL DAY SUCKER

 

DREAM SYNDICATE

 

ROB LAUFER

 

PROBYN GREGORY

 

JORDAN SUMMERS

 

SCOTT SELLEN

 

 

Whitney Rose 2/13/18, Denver

Dates: February 13, 2018

Location: Goosetown Tavern, Denver CO

Live at the Goosetown Tavern!

BY TIM HINELY

I’ve been a fan of Canadian Whitney Rose since her sophomore release, 2015’s Heartbreaker of the Year, but I’d missed the last time she played in Denver. This time I was determined not to miss it. Plus it gave me a chance to check out the Goosetown Tavern, which is right across the street from the venerable Bluebird Theatre. The Goosetown used to be called the Across the Street Café, a venue that I saw Richard Buckner in on my first trip to Denver in ’97, but I digress.
Another early show and as we walked in about 8:30 PM she was a few songs in (per the doorman) and the venue, though small, was pretty packed for the charismatic Canadian. She had a full band including two guitarists, a rhythm section and of course Rose who only sang on most songs, but did bust out an acoustic guitar for a few numbers. Also, she’s a talker, loves talking to the crowd and told some funny stories.

Her latest record, Rule 62, came out last year via Six Shooter Records/Thirty Tigers and it’s got 11 slices of some real nice countrypolitan with terrific songwriting (also, it was co-produced by Raul Malo and Niko Bolas, two guys who know what they’re doing). It’s a bit glossy but not the typical county Nashville gunk

Off said new record we heard classic cuts like “I Don’t Want Half (I just want out),” “Arizona,” “Wyoming” and the single, “Can’t Stop Shakin’” (which Rose talked about it inspired at least in part, by her bouts of anxiety).She tossed in a few covers as well including a Tom T. Hall (“Harper Valley P.T.A.”) and from the Heartbreaker.. We heard “The Devil Borrowed My Boots” and “There’s a Tear in My Beer.”

Just before 10 PM she called it a night, no encores but the crowd seemed satisfied. Her merch table has everything from cds and vinyl to t-shirts to a rack of assorted clothing that she got a local thrift stores. A veritable pop-up store! Not much else to say, really, Rose has a great voice, terrific songs and an uber-talented band. They’re definitely worth leaving the house for.

John5 and the Creatures 2/15/18, Pittsburgh

Dates: February 15, 2018

Location: Hard Rock Cafe, Pittsburgh, PA

The scene of the crime was the Hard Rock Café, and on a rainy night, following an opening set from hometown act God Hates Unicorns, the instrumental headliners slayed.

TEXT & PHOTOS BY TIFFINI TAYLOR

Hard Rock Café Pittsburgh welcomed John5 and the Creatures on a rainy February night. Anyone that enjoys great guitar playing would have completely enjoyed this show. John5 is a guitar virtuoso for the ages. He can switch from an electric guitar to an electric mandolin to a banjo and keep rocking. This is a tour not to be missed.

Since I was young, I can remember listening to the sounds of guitars. To me they were magnificent. (I can play some, but not superb, far from it.) I enjoy guitar solos, the longer the better. When I first heard John5 play, I was awestruck. This is what I wanted to listen to. This is someone who I enjoyed watching play. He and genuinely enjoys playing, one can see it in his emotions and face. It is a wonderful sight.

Rain was coming down as I arrived at Hard Rock Café in Pittsburgh, Pennsylvania. Once inside, I knew that it would be a good show. The opening band, God Hates Unicorns, took to the stage. An interesting name for a band, the name reminded me of Deadpool for some reason. Anyway, God Hates Unicorns hail from Pittsburgh. They were playing to hometown crowd, that is always nice for a band. The audience kept growing and growing. This was a sold-out show. A very fun opening band. Now for the main event.

John5 took to the stage from the Hard Rock Café kitchen. That is correct, John5 came running up the ramp to the stage from the kitchen. This is very cool. The band itself, known as the Creatures, is Rodger Carter on drums and Ian Ross on bass. John5 joins the band already on stage who are surrounded by blow up creatures. There is Frankenstein and a couple of Grim Reaper style blowups. A simple stage, that is all. This is nice to see because the music is why I came—an all instrumental show was performed, and performed well.

Some may not be into instrumental shows, but this is the type that would change their minds quickly. The uniqueness of this band along with adding country to rock to metal to pop to blues to bluegrass is incredible to see. The guitars themselves can be very entertaining; an illuminated Fender at the end of the show is beautiful and sounds fantastic. Then there is the electric mandolin—a surprise, and one which John5 plays fantastically. And also a banjo— who plays banjo in a metal band?!?

 

Seriously, the guitars, mandolin and banjo brought out the diverse talents John5 really has. To bring in the banjo was unexpected by most in attendance but it was well received by the crowd. The mandolin is not often thought of as an instrument in metal but he uses it incredibly. All the instruments were played well by talented musicians, showing what hard work and dedication and a little love can achieve. Music can be a beautiful thing.

It was nice that the crowd sang along too. Yes, this is instrumental but a couple of songs that were played were covers and it was fantastic. I will never forget this line and I quote John5: “Guitars, tits, and monsters” (the title of a song on the recently released Live album). “Beat It” was played and the medley is something that one does not want to leave early and miss. The show was extremely entertaining, from the light on the guitars to the quick change to masks, as well as the glow mouth that John5 does so well. Altogether, a beautiful and well thought out show. You’ll be thrilled you saw it.

 

 

Spook School 2/7/18, Denver

Dates: February 7, 2018

Location: Lost Lake Lounge , Denver CO

Live at the Lost Lake Lounge, the Glasgow combo may have been the opening act, but they stole the show.

BY TIM HINELY

It was a major treat hearing that this young, Glasgow, Scotland band were gonna not only be touring the states but making a stop in the Mile High City (not a lot of the indie pop bands seem to stop here). Not only that they were opening for Diet Cig (who I didn’t stay for) and Great Grandpa (who I stayed for a few songs and wasn’t into). I’m all about the early nights.

I discovered the band last year on their second album, 2015’s Try To Be Hopeful, which shows a young bunch of folks with passion and fire in their bellies ….oh and great, catchy songs as well. What’s not to like?

They hit the stage at 8 PM sharp at this 16 and over show (Lost Lake is usually 21 and over but they occasionally have shows to let the young ‘uns in) and it was sold out. The dark-haired guitarist proudly proclaimed that “We’re a queer band so thank you for supporting us” (or something to that effect) and many of the topics of the bands songs relate to that subject (as well as transgender issues).

He and the female bassist were both totally low-key, but the curly-haired guitarist jumped all over the place and the drummer was absolutely hilarious! This guy, well, he didn’t make the show as the band was terrific anyway, but definitely added to it with his between song comments (before taking his shirt off , tossing out funny one-liners and professing his love for our dear city).

They opened with the opening song from their latest album (Could It Be Different? out over here on the always reliable Slumberland label) “Still Alive” with the great chorus of “Fuck you I’m still alive!” and then proceeded to crank out many of their best songs including “Keep in Touch,” “Less Than Perfect,” “Best of Intentions” “I Only Dance When I Want To,” “Speak When You’re Spoken To” and plenty more. The set was ther perfect length, a little over a half hour and it seemed like the fans there to see them were happily satisfied and they even won over some newbies as well.

Being an opening band there was no encore but the band seemed more than happy to be out on the road, meeting fans and being able to spread the word. It was great fun and if they come to your town please be front and center. You won’t regret it.

 

Wood Brothers 1/28/18, Philadelphia

Dates: January 28, 2018

Location: Union Transfer, Philadelphia PA

Live on a Sunday evening at Philly’s Union Transfer venue, there was a whole lotta sonic sanctification goin’ on… (Photo by Matt Rea, via the band’s Facebook page.)

BY JOHN B. MOORE

The Wood Brothers have not received a lot of mainstream press coverage over the years. You’d be hard pressed to find their music on the radio. And still the band managed to pack Philly’s 1,200 seat Union Transfer on a cold Sunday in January recently. And it took just two songs from the neo-folk, blues, Americana revivalists to realize why.

The band started off the set with the stellar “The River Takes the Town,” off their just released album, One Drop of Truth (reviewed HERE), followed by “Keep Me Around” from 2013’s Muse. And that was all it took to win over the crowd that stayed with the band throughout the impressive set.

The trio, comprised of brothers Chris and Oliver Wood, along with drummer Jano Rox, played a blistering set that managed to fill the cavernous venue, despite only having three musicians up there (and two of them playing acoustic instruments). Although Oliver is technically the guy in front of the microphone, his brother Chris, deftly handling the stand-up bass, was the main focus throughout, swaying, dancing and playing his bass with both a bow and plucking at it like a rockabilly legend. You have to go back to the Stray Cats’ Lee Rocker in his mid-80s prime to find a bass player that can steal a show like Chris. Even Rox got off his stool for part of the set, picking up an acoustic guitar and playing it like a drum with open handed slaps and steel brushes.

Midway through the show, the trio huddled around an antique microphone to play through a series of solid traditional folk and blues numbers, including a remarkable take on “Midnight Special,” surrounded by members of Nashville’s Stray Birds, the show openers that night.

With little press or airplay, The Wood Brothers have managed to build a fervent fan base over the past decade thanks to little more than great songs and night after night of memorable shows. The Philly set proves that formula is still working remarkably well for the trio.

DIVA IN A YELLOW TANK – Diva In A Yellow Tank (LP)

Album: Diva In A Yellow Tank

Artist: Diva In A Yellow Tank

Label: self-released

Release Date: October 20, 2017

https://divainayellowtank.bandcamp.com/releases

The Upshot: A ton of poppy fun via memorable melodies and delightful vocal harmonies.

BY FRED MILLS

Sunshine pop from the Sunshine State have never sounded more luminous: Hailing from South Florida, Diva In A Yellow Tank (a delightfully inscrutable monicker that may or not be the result of the members playing one of those “pick a noun… next an adjective… and then another noun…” naming games) conjures fresh images of classic New Wave acts like Elvis Costello and Squeeze as well as such Paisley Underground icons as the Three O’Clock and early Green On Red. Vocalist/keyboardist DL Mandell, guitarist Dean Anthon, bassist Marissa Mandell, and drummer Bryan David Johnson have an instinctive grasp on how to fuse earworm melodies, sweet harmonies, and kickin’ beats—and, yes, before you ask, they even have a song titled “Sunny Day,” which chugs along merrily via surging organ (Farfisa, perhaps?), la-la-la vocals, thrumming bass, and four-to-the-floor drums.

Other highlights? “Burnt Toast” is an obvious standout, rife with twisty chord changes and back-and-forth tempo shifts that bring to mind vintage XTC; “Trouble In My Mind,” swaggering and sassy, triggering the aforementioned Costello notion; the quirky, garagey psych-pop of “Lost and Found”; and “Always There,” with its sing-songy vocal motif. It would probably do a disservice to definitely peg the band as “retro,” because the quartet doesn’t seem particularly interested in songwriting via template. Rather, given how Mandell’s organ is the dominant instrument here, and the way the harmonies also behave texturally in the songs’ arrangements, it’s impossible not to think of earlier artists who rely on a similar approach. And one thing is guaranteed: These folks are surely a ton of fun in concert, capable of turning a crowded club into a smiling, bouncing-up-and-down mass.

DOWNLOAD: “Burnt Toast,” “Sunny Day,” “Lost and Found”

DEER TICK – Vol. 1 / Vol. 2

Album: Vol. 1 / Vol. 2

Artist: Deer Tick

Label: Partisan

January 01, 1970

www.partisanrecords.com

BY LEE ZIMMERMAN

Releasing two records simultaneously may seem like a bold move, although when it comes to strategy and logistics, it can make sense. Rather than releasing a double album and driving up the cost, it allows listeners to make a choice without committing to far more than they’re willing to entertain. Deer Tick’s methodology is especially effective, in that it divvies up the material according to tone and treatment. One volume dedicated to more mellow fare and the other leaning towards rockier realms.

In truth however, the quality is consistent throughout both records, and while Vol. 1 tends to identify with folkier fare, even the uptick in energy spawned in Vol. 2 doesn’t diminish the melodicism of the music overall. Granted, certain tracks on Vol. 1 (“Doomed from the Start,” “Rejection,” “”End of the World”) lean towards a more nocturnal ambiance courtesy of wistful sax solos and tinkling keyboards, but even so, when they turn up the tempo on Vol. 2, the divide isn’t so wide as to lead to a disconnect. The upbeat songs reflect varied influences — Springsteen (“Don’t Hurt”), Petty (“Jumpstarting,” “Look How Clean I Am”) and even the Pixies (“S.M. F.”) — but even so, there’s no hint of cacophony or chaos. Not that they don’t let loose; closing track “Mr. Nothing Cuts Worse” is primal rock ‘n’ roll fleshed out with full abandon, complete with rollicking piano, strident guitar and a sax solo befitting the best ‘50s rockers.

Those unawares of Deer Tick’s five preceding efforts ought to make every effort to catch up. Likewise, those who appreciate the band’s quality and consistency will find Vol. 1 and Vol. 2 to be a perfect pairing, as compatible as their titles imply.

DOWNLOAD: “Doomed from the Start,” “Rejection,” “Don’t Hurt”

 

 

RIBEYE BROTHERS – All Hat, No Cattle

Album: All Hat, No Cattle

Artist: Ribeye Brothers

Label: Mainman

Release Date: November 03, 2017

https://www.facebook.com/TheRibeyeBrothers/ / https://theribeyebrothers.bandcamp.com/album/all-hat-no-cattle

The Upshot: The Jersey devils reinvent themselves as a pure honky-tonk combo, but with a twist—they cover themselves.

BY FRED MILLS

Having long admired Jersey’s Ribeye Brothers, first as a roots-rockin’ offshoot of Monster Magnet, and, ultimately, as a hard-edged combo with genre subversion in mind, yours truly continues to get sucker-punched. That’s what Tim Cronin, Jon Kleiman, Joe Calandra, Brent Sisk, and Neil O’Brian aim to do—fuck up fans’ expectations—and they now deliver another masterful set steeped in rich melodies, a compellingly propulsive rhythmic attack, and of course their trademark sense of humor. But there’s a twist.

All Hat, No Cattle is the followup to 2014’s Call of the Scrapheap, a sterling slice of pure garage rock that invoked the ghosts of 13th Floor Elevators, Bo Diddley, Link Wray, and the Velvets. This time out, though, the gang lobs a huge curveball by covering themselves in country-rock fashion. Which means, for example, that the previously rollicking “Call of the Scrapheap” cranks up, instead, the banjo, brings in the pedal steel and fiddle, and twangs its little heart out. Similarly, the tune “Shit Car,” from 2013’s New Ways to Fail, had a bit of a power pop injection, but here it’s in pure honky tonk territory. And “Death or Greyhound,” when rendered in 2005 for Bar Ballads and Cautionary Tales, came across in contemporary times as a gently luminous folk-rock anthem; this time around, it’s gone full Bakersfield.

The twang ethos has always been part of the Ribeyes’ approach, don’t get me wrong. So a track like “Gunga Din” doesn’t get too radically overhauled compared to its 2014 counterpart; it simply gets its countrypolitan groove on with a bit more deliberation. So in essence, we fans get a unique spin on already familiar material, and the A-B comparison is borderline fascinating. Years ago, Southern Culture on the Skids did a cool little thing for their live shows, opening for themselves as the straight-country outfit The Pinecones, then shifting back to their signature swamp-choogle during the main set. It would be great to see the Ribeye Brothers doing likewise in concert, doing a set of garage and psych, followed by the same setlist but countrified.

Whattaya say, Tim, Jon, and gang?

DOWNLOAD: “Gunga Din,” “Swagger Turns to Stagger,” “Call of the Scrapheap”

DEAD SEA APES – Recondite

Album: Recondite

Artist: Dead Sea Apes

Label: Sunrise Ocean Bender / Cardinal Fuzz

Release Date: February 09, 2018

www.sunriseoceanbender.com  /  http://cardinalfuzz.bigcartel.com

The Upshot: The future of psychedelic music is in good hands courtesy these sonically cinematic, kosmiche maestros.

BY JONATHAN LEVITT

Dead Sea Apes are a force to be reckoned with on their latest record Recondite. Album opener “Tentacles” sounds like a collaboration with Mark E. Smith and Lee “Scratch” Perry; it’s edgy, hypnotic, and will have you swimming in its turbulent wake. “Coronal” is a wildly different beast all together, a mercurial number that builds from a slow repetitive guitar line that swirls over itself and then blossoms into a full-on bloodletting. The vibe on this track reminds me of Tucson, Ariz., band The Myrrors . As the trance inducing gyrations became more feverish, I began to feel uncomfortable in my own skin. Then all of a sudden, my past present and future appeared in stunning clarity right before my own eyes. The feeling was devastating. I began to long for the genie to be put back in the bottle, but no such relief would be had. As the song ended it was like an LSD trip that I had to spend the next few days trying to shake off but just couldn’t.

These two tracks are worth the price of admission alone, and while they blew me away, they were merely a taster of even greater things to come. “True Believers” is edgy, brooding, and a massive crack to your cranium, giving full flight to the bands heavy psychedelic detonations. “The Recognition” is an intensely dark piece that incorporates violin into the mix and feels like the bands version of the old west. In fact, as the tension ratcheted up and began to seethe, I sensed an artistic nod to both Sixteen Horsepower’s Eugene Edwards and film director Sam Peckinpah, coursing through the veins of the song.

“Rethreads” has a spare feel and feels influenced by the Hair and Skin Trading Company album Psychedelische Musique. Here, the effects-laden guitar squalls are the equivalent of gamma bursts being spewed from a collapsed star. Disturbing and singular in vision, the track eventually devolves into orchestrated chaos where the assorted sonic emanations race by you and then morph and meld into a sonic mélange. The song grows increasingly devoid of all earthly context and pretense, and is then shaved down to its elemental core that eventually dives into the blackness of interstellar space.

Cinematic in scope and not for the faint of heart, the Dead Sea Apes have simply speaking blown me away with every measure of music on this LP. Rest assured, people: This is one of the finest bands creating psychedelic music out there. Labels like Sunrise Ocean Bender deserve high praise for putting out records like this one. That said, I see that the double gatefold LP has already sold out on the band’s website, so until the album is reissued, I guess digital will have to suffice. (I’m already on Discogs and eBay, looking for the real deal, bro. — Anti-digital/Pro-vinyl Ed.)  It seems that the future of psychedelic music is in good hands people.

DOWNLOAD: “Coronal,” “Tentacles,” “True Believers,” “Lupine Wavelength,” “Rethreads”

 

THE REMAINS – Live 1969 (LP)

Album: Live 1969

Artist: Remains

Label: Sundazed

Release Date: January 12, 2018

www.sundazed.com

The Upshot: Legend has long held that Boston’s Remains were an incendiary live group. A good as their few studio records are, they don’t provide a lot of evidence to support that assertion. But as newly-discovered recording from the tail end of the 1960s makes the point in emphatic fashion. (Check the link at the bottom for an exclusive interview with the band.)

 BY BILL KOPP

The Remains were one of the coolest and most promising r&b-flavored American rock bands of the 1960s. The Boston-based group scored the supreme honor of opening for the Beatles on their final U.S. Tour. And the Remains would be immortalized by inclusion on Lenny Kaye’s incalculably influential garage rock compilation, Nuggets.

What the Remains never quite did manage was to release a proper album. They were “big in Boston,” as the saying goes, but they never broke out nationally, and despite the presence of an excellent songwriter in guitarist Barry Tashian, most of what they would leave behind recording-wise were cover version (albeit very good ones).

Fast forward to present day. Tashian recently made a stunning discover in his personal archives: an excellent quality live concert recording of the Remains. No, it’s not from their opening slot for the Beatles. And in fact it’s not even a recording from the band’s original run. This tape is a document of a reunion gig at the fabled Boston Tea Party on March 16, 1969. And though original drummer Chip Damiani had left right before the ’66 Beatles tour (to be replaced by N.D. [Norman] Smart, later of Mountain and Hello People), he was back behind the drum throne for the reunion.

Perhaps disappointingly, the recording kicks off with a song rock fans have long since tired of” the McCoys’ “Hang On Sloopy.” But in fairness to the Remains, they tear into it with relish, emphasizing the rhythm and blues potential buried within the song. Their reading of “Route 66” is reminiscent of the Rolling Stones’ version (the Stones were a key influence on the band’s sound).

The band’s cover of the Kinks’ “All Day and All of the Night” is quite punky, and keyboardist Bill Briggs’ electric piano is wonderfully nasty, playing the role of rhythm guitar. Tashian simply rips it up on a relatively lengthy lead guitar solo. Bob Dylan’s “Like a Rolling Stone” is pretty good as well, though despite the Remains’ spirited playing and singing, it’s not remarkably different form every other cover of the song you’ve heard.

But things get wild. The very best (by far) songs the Remains ever did were “Don’t Look Back” (written by a young Billy Vera) and “Why Do I Cry.” The latter is here in all its r&b fury, sounding not unlike the Stooges with an electric piano. In fact the Detroit band featuring one Iggy Pop is as good a musical guide for the aesthetic on display for this entire set: exceedingly raw, full of energy and rocking as hell.

In many ways, “Why Do I Cry” is the high point of Live 1969. The rest of the set is mostly familiar material, though it’s played with unmatched fervor. The Remains pile-drive their way through a supersonic (and delightfully ragged) reading of Chuck Berry’s “Johnny B. Goode,” and head straight into a blues number, Muddy Waters’ “She’s Nineteen Years Old. With the pace slowed waaaay down for the blues, the energy flags a bit, but the Remains play the tune in sinister fashion, extending it to nearly six minutes.

“Tell ya what: we’ll just do something else altogether,” Tashian tells the crowd. That something else is Richie Valens’ “La Bamba” (with pretty fine Spanish vocals), sliding right into a malevolent and delightfully bum-note filled Rolling Stones cover, “Empty Heart.” The band wraps up with a track off their ill-fated album (released after they broke up, “Diddy Wah Diddy.” In the Boston group’s hands the tune sounds not a bit like Captain Beefheart’s version; instead, it – once again – calls to mind the Stooges. And what’s not to love about that?

Nobody knew this tape existed until recently. It existence proves something that was always said about the Remains, both by fans and Tashian himself: the band’s studio recording barely hinted at the Remains’ intensity. So here it is, in all its ragged glory. Fittingly enough, the album is available from the folks at Sundazed Records, on good old fashioned vinyl.

You may also enjoy: my wide-ranging interview with The Remains’ Barry Tashian, from 2010.

 DOWNLOAD:  “Why Do I Cry”