August 7, 2010

when you got nothing, you got nothing to lose


This song came up on my shuffle on this sunny Saturday morning with all the windows open and the sun glinting off the wooden floors. It sounded so, so right that I’ve put it on repeat and it hasn’t stopped looping yet. That harmonica solo at 2:45 is delicious.

Everyone should have this mp3, and play it loud.

Like A Rolling Stone (Bob Dylan cover) – The Rolling Stones

June 30, 2009

These United States cover this Bob Dylan :: “To Ramona”


The marvelously raw and literate These United States recently recorded a cover for a French compilation called Dylan Mania (which also features Magnet’s version of “Lay Lady Lay,” and Antony and the Johnsons knocking on heaven’s door alongside many French bands).

Where Dylan’s original of “To Ramona” waltzed and lilted in courteous measured style, These United States keel off into the hayloft as we hasten the jamboree. The thrumming and playfully creative drumbeat (courtesy of mohawked Robby) builds and drives the song along, while Jesse’s voice earnestly cracks exactly where you hope it will. There’s also some pedal steel bringin’ the lonesome, and a particularly nice clattery-taptastic breakdown towards the end.

Ramona come closer, shut softly your watery eyes
The pangs of your sadness will pass as your senses will rise
For the flowers of the city though breathlike get deathlike sometime
And there’s no use in trying to deal with the dying
Though I cannot explain that in lines.

To Ramona (Dylan cover) – These United States

One reviewer said that TUS plays their folk “the way it was meant to be played: hard, fast, big, slow, long, loud, loose, and at last unburdened. They play it like they mean it.” Personally they describe their music as cumulonimbus wordpop for the jangly railyard dreamer — I really like that.

tus-coverTheir 3rd full-length release in 18 months Everything Touches Everything (oooh!) is out September 1st; I think last year’s excellent Crimes was underrated and overlooked.

They have more live shows than anyone you’ve ever met, so go see ‘em. They put on one of the best live shows I’ve seen in a long time; we adored them at SXSW and our Hillbilly Prom they played.

For completists, here’s the original and a cover that David Gray did on his 2007 cover album A Thousand Miles Behind. And as David says at the beginning of the recording, “I absolutely loved this one from the first time I heard it…”

Oh, me too.

To Ramona – Bob Dylan
To Ramona (Dylan cover) – David Gray

I’d forever talk to you but soon my words
would turn into a meaningless ring
for deep in my heart I know there’s no help I can bring
Everything passes, everything changes
just do what you think you should do
And someday maybe, who knows baby
I’ll come and be crying to you

[photo taken in a sweaty bar at SXSW by one Todd Roeth]

February 5, 2009

Dark Was The Night / New National

Curated by brothers Bryce and Aaron Dessner of The National, the Dark Was The Night compilation (Feb 17th, 4AD) is so stuffed full with amazing covers and duets and original songs from so many of my favorite artists, it’s almost ridiculous. The double-disc album benefits the Red Hot Organization, an international charity dedicated to raising money and awareness for HIV and AIDS.

The one track on here that I’ve been most itchin to hear is the new one from The National (although the Dessner brothers’ musical contributions reach further throughout the album, with collaborations with Bon Iver/Justin Vernon above, and Antony heartbreakingly covering Bob Dylan). “So Far Around The Bend” sounds like a time warp to me, like it foxtrotted in from some other era. It is almost jaunty, but with that rich gray undercurrent swirls, and drums thump like a pounding heartbeat.

The Gillian Welch/Conor Oberst duet on “Lua” is absolutely murdering me right now (listen in about a week on the MySpace player, it will rotate through to its day in the sun), and Jose Gonzalez and The Books covering Nick Drake? Really? Sigh. It really is an exceptionally high-quality and eminently listenable collection; the full tracklisting is here.

Aaron Dessner writes more about the process of how this album came to be, and the end results:

As we invited friends and peers to contribute, our collective social awareness became apparent: anyone that had the time was willing to donate their time and their music to the Red Hot cause. But there were many different stories behind each song: some we had heard live and knew had to be on the record (The Books “Cello Song”, My Brightest Diamond’s “Feelin Good”); close friends whose arms we knew we could twist enough to give us special tracks (Arcade Fire, and Sufjan Stevens); bands we asked who were too busy but had solo projects or side projects they could include (Dave Sitek of TV on the Radio and Jonsi Birgisson of Sigur Ros); songs we had always imagined certain artists singing (Cat Power’s “Amazing Grace” and Antony’s “I Was Young When I Left Home”); and dream collaborations (David Byrne and The Dirty Projectors, Feist with Grizzly Bear and Ben Gibbard, and my own song with Justin Vernon of Bon Iver).

In the end, there was enough great music to produce two discs–one dark and homegrown with almost classical arrangements of folk themes; the other more bright and evocative of the best of independent rock music at the beginning of the 21st century. “Dark Was The Night” and the Dore illustrations for Milton’s Paradise Lost, which make up the art imagery in this booklet, evoke a “fallen” world of struggle, but also the capacity of art to inspire us to rise above the obstacles put in our path. Our nights may be dark, but music gives us inspiration and hope of brighter days to come.

August 30, 2008

Wilco and Fleet Foxes live in Spokane :: “I Shall Be Released” (Dylan cover)

Knowing how excited the Fleet Foxes were to be touring with Wilco, I smile to watch them stand all crowded around one microphone in this video, shuffling their weight back and forth in what seems like “still flabbergasted” anticipation. Taken 8/21/08 at the Opera House in Spokane, this Dylan cover is just lovely, especially when Tweedy breaks into hearty and unabashed falsetto around the 2 minute mark.

I Shall Be Released (live in Spokane) – Wilco & Fleet Foxes

And hey, remember what my absolute favorite favorite cover of this song is? Yeah.

[thanks once again, Cusa!]

December 10, 2007

Monday Music Roundup

Hot on the heels of the date we lost Lennon, and after a long weekend in a hospital waiting room, I am not going to commemorate another morose anniversary today.

Instead let’s celebrate the life of Otis Redding. I’ve re-upped all the great songs on this post from his birthday last year in honor of this fantastic musician, one of my favorites. Today I’d also like to add one addition to the Otis playlist:

Hard To Handle
Otis Redding

So I could save face and be all, “Yeah, I knew that Black Crowes song was totally a cover of Otis.” But that would be a big fat lie. Somehow (?!) I missed this original until a guy recently enthusiastically cited it to me as Otis’ best. Song. Ever. That title is up for some discussion with me (I like Tramp. Or maybe Dreams To Remember). This tune was originally released posthumously in 1968 as a b-side, and soundly trumps the Black Crowes cover I’ve been listening to all these years. You can find it on this recent anthology. Go Otis. We miss ya.

Skinny Love
Bon Iver
While I work on finalizing my year-end favorites list (meaning painfully hacking perfectly good albums left and right in order to narrow it down into something meaningful) I’ve been taking the opportunity to listen to some artists that never actually got the chance to vibrate my eardrums in 2007. Dodge put this album as his #1 for the year, and since Dodge is right about a lot of things (he loves me, for instance) I thought I should spin it. Wow. As you listen to Bon Iver, it starts to scrape something loose inside of you. This is one that you might find yourself listening to over and over again as I have been, even if you are unsure when it first kicks in. Something intangible and gorgeous and raw thrums under the thin skin of this song.

Phantom Planet

While the themesters of the O.C. (sorry but they are never, ever going to slip out of that recognizable tinny piano melody rising to the top of my mind whenever I say their name) work on recording a new album for Spring 2008 with Fueled By Ramen, Phantom Planet is making a limited-edition tour EP available with some new tunes. Aptly titled Geronimo, this song sounds pretty ferocious and relentless, like a fashionably new-wave native jumping off a sandstone bluff onto the waiting trusty steed? Not like I would know firsthand, but I have been re-reading some Cormac McCarthy. So.

Can You Please Crawl Out Your Window? (Dylan cover)
The Hold Steady
This came on the local SF radio station KFOG this weekend when I was out in California, one of the few bright spots of my hellish weekend. Starting slowly from the restrained opening, it cracks open like a carnival into something exuberant and near life-affirming. Something about the way The Hold Steady treat this, it perfectly preserves the just-barely-hanging-together feel of the original, with a huge rush of their own unique spirit. Probably the best song on that (dang good) I’m Not There soundtrack.

Weird me out. I was adding this song into the post, the final paragraph of which has already been written with that Singles nod in the last sentence, which really is the only way to say it. I visited one-man-band Sean Jackson‘s MySpace and I see that his profile quote is, “Other than that, he was ably backed by Stone and Jeff.” And I love him. So I’m just gonna leave it at that; you may be familiar with how much I love that movie and quote it at inopportune times. This guy definitely has tones of the Foo Fighters (although not as good as their new album, more from me on that later perhaps) and he namechecks influences like Westerberg and Malkmus. So okay, we’ll listen. Album is called For You.

* * * * *
And PS – I got a kick out of this; I somehow made the Business section of the Tulsa World newspaper.

The final sentences read, “As for me, a few days later — before the technician could arrive — the light on my modem mysteriously came on again. With all apologies to my wife, I went straight to Heather. Honey, it had been too long.” I am loved in Belgium, and apparently Tulsa! Thanks John.

October 30, 2007

Tuesday Music Roundup

New York slayed me in the best possible way. I had only seen a few parts of it before on a trip in 2003 to the Grammy Awards (I saw mostly the tall buildings of the Financial District, the neon Times Square area, and Madison Square Garden) so I missed out on so much of its character before this past weekend. My friend’s boyfriend James is a walking New York history book, like even better than those headsets they give you at Alcatraz. Spurred by a childhood interest in Spiderman and other superheroes from NYC, he soaked up just about as much trivia about the city as anyone I know, so James was the perfect guy to hang around with this weekend as he would spout random historical facts in flawless form. We walked through almost every neighborhood in Manhattan, and some of Queens. We missed out on Brooklyn and Bronx and Staten Island this time around, but I’ll be back.

This week’s belated Monday Music Roundup (after a red-eye home on Sunday night) is a loose collective of the sounds I’ve been hearing and relating to these last couple days. It’s not a “New York Mix” (you already got one of those), it’s “My Weekend, Sonically.” There’s a constant hum and pleasant cacophony in that city and I loved absorbing it all.

MC2 (Theme Realidades)
Willie Colon/DJ Le Spam & The Spam Allstars

Our first night in New York started with a ferocious, sexy bang at the SOB’s (Sounds of Brazil) club in Greenwich Village. My friend Zein recommended meeting there to see a certain DJ Le Spam and The Spam Allstars who were in town from Miami, and remixed old 45s with a live band fronting. It was a Latin/Jamaican/African/funk extravaganza, and I loved it. In addition to the DJ (Le Spam himself, nee Andrew Yeomanson from Montreal), they had a guy on African & steel drums, an electric guitar, 2 saxophones, and a spry flutist. They gave out free CDs too, so this is kind of how it sounded. From the Fania Records: Live 02 From Miami//DJ Le Spam CD.

Positively 4th Street
Bob Dylan

So the next time I go back to NYC I want to take a big fat map and plot on it all the musical references from bands I love, and then do a 100% admit-you’re-a-dork walking tour. I am sure such a guide already exists; I saw this crazy map once about Hold Steady references in the Twin Cities and loved it. I could do the same thing with Bob Dylan and all of his continuous references to streets and avenues. This is the song that was winding its way through my head during the entire meander we made through the lovely Village on a rainy Saturday.

Love Me Or Leave Me
Nina Simone

We were enjoying bibimbap –or “bippitybop” as one of us endearingly called it– at a very dimly-lit Korean place called Dok Suni’s in the East Village (near St. Mark’s) on Saturday night when I happily picked the distinctive piano interlude of this song out over the din. I have long loved the growly sass and smoky perfection that Nina Simone brings to this song. The DJ was mixing it in with present-day dance grooves, and it perfectly held its own among more modern company. Certain sentiments are always in style.

To Hell With Good Intentions
We stumbled into the “bring your laptop and required intelligentsia reading” Think coffee shop near NYU, and this was blasting over the speakers. At the very moment that I was wondering, “Who is this?” the fuzzy guy working the registers yelled to the other bearded/spectacled guy making the espressos, “Hey, who is this?” McLusky was a Welsh band that released this hard, fast, catchy Britpunk album McLusky Do Dallas in 2002 (produced by Steve Albini) and now seem to have kind of vanished. They don’t even have a MySpace, if you can fathom that. But how fantastic is this tune? I just can’t get enough.

Hotel Chelsea Nights
Ryan Adams

My first night in NYC, we had been careening through the dark streets at some ungodly hour and I caught a fleeting glimpse of the Hotel Chelsea around a corner, and then it was gone. We finally made it back into that neighborhood Sunday evening before my flight for a quick pilgrimage to this hotel that has housed a whole lotta musical and literary history. This song perfectly encapsulates the vibe of the neighborhood, and the bohemian feel of the hotel that Ryan called home for a time. I listened to this tune on repeat as I took off from NY over a huge yellow harvest moon rising.

October 20, 2007

Exclusive! Eddie Vedder & The Million Dollar Bashers, “All Along The Watchtower”

The new Dylan biopic I’m Not There takes the interesting, surrealistic angle of illustrating Bob at different stages of his life through the rubric of six distinctively different actors (including a black man and a woman): Cate Blanchett, Heath Ledger, Marcus Carl Franklin, Richard Gere, Ben Whishaw, and Christian Bale. I am very curious to see how this works itself out in the film – at least it’s a fresh angle (I mean, how many Dylan movies can you make?).

In addition to this creative lens used in the film to examine the man himself, the soundtrack is a double disc jamboree of some pretty cool Dylan covers, including disc 1, track 1 with Eddie Vedder & The Million Dollar Bashers covering “All Along The Watchtower.” Fuel/Friends is pleased as punch to get an exclusive stream for you guys to take your first listen of this!

“All Along The Watchtower”

Stream FLASH

And who are said Million Dollar Bashers? It’s Wilco’s god-like guitarist Nels Cline, Lee Ranaldo and Steve Shelley (from Sonic Youth), bass player Tony Garnier, keyboardist John Medeski (from Martin, Medeski and Wood), and guitarist Smokey Hormel (onetime Beck guitarist, Smokey & Miho). I never thought I’d hear musicians from those bands all jam together. The guitar solo (assumedly from Nels?) is pretty blazing, and Vedder’s got the seething caged scream goin’ on.

Historical tie-in from last summer: there was an absolutely scorching live version of this song that full-band Pearl Jam did in San Francisco (when Sonic Youth opened), climaxing in a very rock n roll moment of Mike McCready giving his guitar the Townshend treatment and then surfing on it across the stage. PJ has played Watchtower 4 times live before, but that was my favorite. If you’d like to hear that one as well, the link over on that old post still surprisingly works.

You can also stream four other full songs from the biopic over on the soundtrack’s MySpace (the ones by Sufjan Stevens, Cat Power, Jeff Tweedy, and Jim James with Calexico). Among others, I’m also looking forward to hearing Mason Jennings’ two contributions, The Black Keys cover of Wicked Messenger, and The Hold Steady enticing me to climb out my window. The soundtrack is out October 30, and the film opens Thanksgiving weekend.

Would you like to win one of two copies I have to giveaway of this lovely double disc? Of course you would. Leave me a comment to enter, make sure I have a way to contact you (might wanna spell out that email addy), and if you feel so inclined, please let’s talk about your favorite Dylan cover. So I can wrap this up before I head to NYC, this contest ends Wednesday at midnight.

Disc 1
1. Eddie Vedder & the Million Dollar Bashers: “All Along the Watchtower”
2. Sonic Youth: “I’m Not There”
3. Jim James and Calexico: “Goin’ to Acapulco”
4. Richie Havens: “Tombstone Blues”
5. Stephen Malkmus & the Million Dollar Bashers: “Ballad of a Thin Man”
6. Cat Power: “Stuck Inside of Mobile With the Memphis Blues Again”
7. John Doe: “Pressing On”
8. Yo La Tengo: “Fourth Time Around”
9. Iron and Wine and Calexico: “Dark Eyes”
10. Karen O and the Million Dollar Bashers: “Highway 61 Revisited”
11. Roger McGuinn and Calexico: “One More Cup of Coffee”
12. Mason Jennings: “The Lonesome Death of Hattie Carroll”
13. Los Lobos: “Billy”
14. Jeff Tweedy: “Simple Twist of Fate”
15. Mark Lanegan: “The Man in the Long Black Coat”
16. Willie Nelson and Calexico: “Señor (Tales of Yankee Power)”

Disc 2
1. Mira Billotte: “As I Went Out One Morning”
2. Stephen Malkmus and Lee Ranaldo: “Can’t Leave Her Behind”
3. Sufjan Stevens: “Ring Them Bells”
4. Charlotte Gainsbourg and Calexico: “Just Like a Woman”
5. Jack Johnson: “Mama You’ve Been on My Mind”
6. Yo La Tengo: “I Wanna Be Your Lover”
7. Glen Hansard and Marketa Irglova: “You Ain’t Goin’ Nowhere”
8. The Hold Steady: “Can You Please Crawl Out Your Window”
9. Ramblin’ Jack Elliott: “Just Like Tom Thumb’s Blues”
10. The Black Keys: “Wicked Messenger”
11. Tom Verlaine and the Million Dollar Bashers: “Cold Irons Bound”
12. Mason Jennings: “The Times They Are a-Changin’”
13. Stephen Malkmus and the Million Dollar Bashers: “Maggie’s Farm”
14. Marcus Carl Franklin: “When the Ship Comes In”
15. Bob Forrest: “Moonshiner”
16. John Doe: “I Dreamed I Saw St. Augustine”
17. Antony and the Johnsons: “Knockin’ on Heaven’s Door”
18. Bob Dylan: “I’m Not There”

[Vedder photo credit Kerensa Wight, header image credit Playlist]

September 26, 2007

Jack White wants to meet you and Bob in the morning, in Nashville

Jack White made a big splash last week at the Ryman Auditorium in Nashville when he joined Bob Dylan onstage as an unannounced guest and picked a song to perform that had never been done live before.

“Meet Me In The Morning” (off Blood On The Tracks) tranforms from a winsome travelling folk tune into a scalding romp of electric blues with Jack on lead vocals. A friend speculated that Dylan must have known how big of a fan Jack is, and let him pick the tune (which is a fanciful ideation, of course, and just that – pure speculation. But a good story). In any case, good choice on Jack for knowing the lack of live history here, and how sweeeeet it would sound. How is it possible that this song has never been paraded out in over 32 years?

The following night, Jack was back for 2 more tunes, “One More Cup of Coffee” from 1976′s Desire (which the White Stripes also covered in ’99 on their debut album) and “Outlaw Blues” from Bringing It All Back Home in 1965. As far as I can see, that recording has not surfaced yet.

Meet Me In The Morning (live) – Bob Dylan & Jack White
Ryman Auditorium 9/19/07

Meet Me In The Morning (original) – Bob Dylan

Poor Meg’s also been in the news a lot lately and I’ll abstain from any speculative comments about that (but . . . it totally isn’t her).

[img credit]

July 26, 2007

Memorable Moments in Music: Dylan leaves the folkies dumbfounded, plugs in at Newport

In an age of Marilyn Manson and Gwar, it seems almost laughable that something as small as using an electric guitar was, at one time, a revolutionary act of heresy to hear some tell it. But there was a time in 1965 when a folksy Bob Dylan took a risk, plugged in, withstood the booing, and helped to usher in the beginnings of a whole new sound of electric sin in popular music.

The Newport Folk Festival was an annual convergence of the Hootenanny crowd in Rhode Island begun in 1959. Dylan had been a hit at both of his previous performances in 1963 and 1964. But as July ’65 came around, Dylan was beginning to experiment with a new sound, evidenced clearly on his song “Like A Rolling Stone,” which had just been released as a single to radio four days prior.

From the 1986 Shelton book No Direction Home: The Life and Music of Bob Dylan, a play-by-play of his set that night that stuck in the craw of the crowd:

At the festival, Al Kooper, whose session work had already impressed Dylan, was strolling about when Albert said Bob was looking for him. Dylan told Kooper he wanted to bring the “Rolling Stone” sound on-stage. Three members of the Butterfield Band were recruited: guitarist Mike Bloomfield, drummer Sam Lay, and bassist Jerome Arnold. At a party in Newport, Dylan completed his band with pianist Barry Goldberg. In a Newport mansion, Dylan rehearsed this instant group until dawn. They kept their plan secret until they walked onstage, Dylan, in a matador-outlaw orange shirt and black leather, carrying an electric guitar.

From the moment the group swung into a rocking electric version of “Maggie’s Farm,” the Newport audience registered hostility. As the group finished “Farm,” there was some reserved applause and a flurry of boos. Someone shouted: “Bring back Cousin Emmy!” The microphones and speakers were all out of balance, and the sound was poor and lopsided. For even the most ardent fan of the new music, the performance was unpersuasive.

As Dylan led his band into “Rolling Stone,” the audience grew shriller: “Play folk music! … Sell out! … This is a folk festival! … Get rid of that band!” Dylan began “It Takes a Train to Cry,” and the applause diminished as the heckling increased. Dylan and the group disappeared offstage, and there was a long, clumsy silence. Peter Yarrow urged Bob to return and gave him his acoustic guitar. As Bob returned on the stage alone, he discovered he didn’t have the right harmonica. “What are you doing to me?” Dylan demanded of Yarrow. To shouts for “Tambourine Man,” Dylan said: “OK, I’ll do that one for you.” The older song had a palliative effect and won strong applause. Then Dylan did “It’s All Over Now, Baby Blue,” singing adieu to Newport, good-bye to the folk-purist audience.

It’s fitting as I write this on the night of July 25th, a hard-to-believe 42 years to the day of this performance. There is certainly controversy about why people were booing that night – revisionist history rages, with some saying that the booing was due solely to the poor sound quality and not the music itself. Folk music patriarch Pete Seeger has been widely quoted as saying that if he had an axe, he would have chopped the cable that night, even though he’s given varying reasons for that statement in the following years.

Hearing these performances and seeing the footage in the Scorsese documentary No Direction Home, I can lean towards feeling that there was a crackle of discontent in the air that night that I don’t think was just a PA issue. I think there’s definitely a strong argument that Dylan’s performance was an important splinter in the genres of folk and rock music that had profound and immediate implications for both. The “This Land Is Your Land” crowd went one way with the idealism and the acoustic guitars, and the rock barrelled off in another direction best summarized by Dylan himself the following year in response to the infamous heckler at the Manchester show: “Play fucking loud!

July 25, 1965

Maggie’s Farm
Like A Rolling Stone
It Takes A Lot To Laugh (“Phantom Engineer”)
Mr. Tambourine Man
It’s All Over Now Baby Blue


July 24, 2007

Guest post: George Harrison demos

Since I’m on vacation, it’s a fine time to let someone else take the wheel for a bit, as one of you recently commented. So today we’ve got a special treat to the Fuel/Friends blog with a guest blog on a nice little set of demos from Beatle George Harrison.

I’d been entirely unfamiliar with any of Harrison’s solo work before I was recently challenged to unearth this set of demos from Harrison’s All Things Must Pass album (1970). I was surprised at the gentle and warm acoustic loveliness, not being at all familiar with Harrison’s work aside from The Beatles.

This particular pal is responsible for introducing me to a massive amount of good music, and possesses an encyclopedic library of musical minutae in his head. Not kidding, it’s like world-record material. This is his first attempt at blogging: for years now he’s just had to try and unload his vast musical knowledge on disinterested friends and poor passersby. Finally, he has a willing audience. He writes:

Not only are these sessions amazingly historic, but they’re just beautiful — like the George Harrison cafe sessions! Art of Dying was written in 1966 and fuck me does it sound like it totally could have been on Revolver — which it would have been considered for?! But I think it probably sounded too much like Eleanor Rigby, and since it was Paul vs. George…ta da.

George sat down on solo guitar with Phil Spector in Abbey Road Studio 2, and ran through the cache of songs he had built up over the repressive last years of the Beatles. Sit back, get a coffee, put on a turtleneck if you feel pretentious enough, make like it’s the end of the ’60s, and let George play you some of the tunes he’s been collecting over the past few years.”

w/ Phil Spector (“Beware of ABKCO” sessions)

Run of the Mill
Art of Dying
Everybody, Nobody

(sounds to me like a variation of the riff from I’ve Got A Feelin’)
Window, Window
Beautiful Girl
Beware of Darkness
Let It Down
Tell Me What Happened To You
Hear Me Lord
Nowhere to Go (a Harrison/Dylan collaboration)
Cosmic Empire
Mother Divine
I Don’t Want To Do It (Dylan)
If Not For You (Dylan)


Note: the title of this boot comes from a changed lyric on the song “Beware of Darkness” to “Beware of ABKCO” (Allan B Klein Company).

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Bio Pic Name: Heather Browne
Location: Colorado, originally by way of California
Giving context to the torrent since 2005.

"I love the relationship that anyone has with music: because there's something in us that is beyond the reach of words, something that eludes and defies our best attempts to spit it out. It's the best part of us, probably, the richest and strangest part..."
—Nick Hornby, Songbook
"Music has always been a matter of energy to me, a question of Fuel. Sentimental people call it Inspiration, but what they really mean is Fuel."
—Hunter S. Thompson

Mp3s are for sampling purposes, kinda like when they give you the cheese cube at Costco, knowing that you'll often go home with having bought the whole 7 lb. spiced Brie log. They are left up for a limited time. If you LIKE the music, go and support these artists, buy their schwag, go to their concerts, purchase their CDs/records and tell all your friends. Rock on.

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