On May 7th 2021, Night Beats – the Texas-born brainchild of Danny Lee Blackwell – will release their fifth full-length, ‘Outlaw R&B’, via Fuzz Club Records. The album arrives following the 2019 ‘Myth of A Man’ LP (produced by Dan Auerbach of The Black Keys and released by Heavenly Recordings) as well as last year’s ‘That’s All You Got’ 7” vinyl. Made during the height of the California wildfires (where Blackwell currently resides), rioting in the streets and a nation in lockdown, the raucous technicolour rock’n’roll of ‘Outlaw R&B’ is a call to rejoice in some sorely needed post-apocalyptic hedonism.
Blackwell says of the album: “Outlaw R&B is music for the borderless, the free, the outcasts and the forgotten. The outlaw is the runner. Those whose minds aren’t sold by perfect pitch and clean fingernails. Through this medium you can escape the confines of mental feudalism and bask in the euphoric glow of psychedelic R&B.” Where the last Night Beats LP was a distinctly polished and soulful affair, ‘Outlaw R&B’ sees the band return to their natural habitat: riotous, acid-fried rock’n’roll to lose your head to.
Having originally been born as a solo drum machine project by Bert Hoover, Hooveriii (pronounced “Hoover Three”) has now evolved into it’s true final form – a six member band adept at creating their own brand of psychedelic space rock. And after almost a decade in, the band is set to release their sophomore album and debut for The Reverberation Appreciation Society, “Water For The Frogs”. Influenced by Iggy’s The Idiot, Bowie’s Berlin records, and Soft Machine, the LP sees the band creating their own version of prog rock, circa 2021.
In 2019, Hooveriii took their live show to Europe for the first time. Bert Hoover shares, “seeing all the old cities and beautiful landscapes while becoming closer as a band had a huge impact on this album. A lot of our favourite music came from the Krautrock scene in Germany from the late 60’s-70’s, and when we had a day off in Furth, Germany, we spent most of it writing the record,” he continues, “we were able to rehearse in an old German bunker that has been converted to rehearsal space. It definitely had a strange energy that helped give this album light.”
The former Velvet Underground’s chanteuse Nico performing at the Manchester Library Theatre in 1983. An incredible collection of some her most haunting songs is included here in this 14 track-acoustic album. From the stirring a cappella version of “All Tomorrow’s Parties”, to some of the pieces included in Nico’s gem “Camera Obscura”, the album is a journey into her distinctive profound vocals, the enchanting voice and her impenetrable lyrics.
Includes the bonus track “Reich Der Traume”, released for the first time on vinyl. Presented on clear vinyl, here are some great recordings from Nico’s 1983 performance . Featured are acoustic renditions of some of her most haunting songs,
Nico had spent the best part of the 1980s living in Manchester – yet another unexpected footnote in the story of her life, “Manchester, during that period of the late 70s, early 80s, had a great music scene. After 1981’s ‘Drama of Exile’, Nico found herself in this rather unexpected city of Manchester and remained there for the best part of a decade. Initially paired up with a local promoter (who replied: “who’s he?” when asked to put her on), Nico soon found herself managed by this man, Alan Wise. Basing herself in Manchester during the 1980s may seem a bizarre choice for someone who has a history attached to the elegance of 1950s Paris or the bohemian boom of 1960s and ’70s New York but Young feels the city was something she could relate to. “Nico liked Manchester. It was a dark gothic city and was in a state of semi-dereliction at the time; empty Victorian warehouses, factories closing down. She said it reminded her of Berlin, the ruined city of her youth.”
James Young, who became the piano player in Nico’s band between 1981-86 and wrote a memoir about his time with her (Songs They Never Play on the Radio), recalls his first unexpected encounter with her, saying: “Out of nowhere there was this German lady on my doorstep with an old friend, Alan Wise. Before I knew it, Nico was taking over my flat. First she colonised the bathroom and once she’d ‘freshened up’ she took over the kitchen, as she wanted to make lentil soup. She carried a bag of dried lentils with her, like a nomad.”
At Manchester Library Theatre in a room thick with cigarette and marijuana smoke, a set that was “beautiful, powerful and dark.” Ignoring the heckles for Velvet Underground tracks such as ‘Heroin’, Nico played a request of ‘Frozen Warnings’,
It’s not totally clear when or where Nico was born. The late German singer, model and actor had a complicated relationship with the truth, even when it pertained to the details of her own life – she was most likely born in Cologne in 1938, but there’s a chance it could have been Budapest in 1943.
Since her death in 1988 (after suffering a heart attack while cycling on holiday in Ibiza), Nico has been immortalised as a troubled muse. To date, her work has mainly been examined in relation to the men by whom she was surrounded – the Velvet Underground, Andy Warhol and Alain Delon. Nico, born Christa Päffgen, is widely known for modelling for Chanel, appearing in Federico Fellini’s La Dolce Vita and singing on the Velvet Underground’s debut album. Less well known, however, is her work as a solo musician.
SIDE 1: 1. My Heart Is Empty 2. Procession 3. All Tomorrow’s Parties 4. Valley Of The Kings 5. The Sphinx 6. We’ve Got The Gold 7. Mutterlein 8. Innocent And Vain
SIDE 2: 1. Afraid 2. Frozen Warnings 3. Fearfully 4. Tananore 5. Femme Fatale 6. Reich Der Traume
TIGER BAY is a label specialised in luxury and limited edition releases on vinyl. Focusing on progressive, experimental, psychedelic and jazz-rock, TIGER BAY’s releases include both out-of-print reissues and rare or unreleased material works by artists that contribute to expanding these genres through the years. TIGER BAY works closely with artists and labels to realise high-quality licensed vinyl, with re-mastered sound, and finely designed artworks.
The third single from Australian artist Indigo Sparke’s forthcoming debut album “Echo” , “Colourblind” is an intimate, yet expansive indie-folk track on which Big Thief songwriter, solo artist and Echo co-producer Adrianne Lenker makes her presence felt. Sparke’s stunning vocals are sandwiched between soft electric guitar on one side and rustic acoustic chords on the other as she sings, “There’s a knowing in your eyes / There’s a truth behind my lies,” stretching that last syllable for what feels like miles. Indeed, the song has a distinctly pastoral, wide-open appeal to it, particularly in the whistled outro—you half-expect a tumbleweed to blow through the track, and its Paris, Texas-inspired video (co-directed by Sparke and DP Monica Buscarino) only adds to the effect. It’s rare to encounter a young singer/songwriter with that sort of transportive power. “I think there was a period of time when I was almost laughing at how sad I was in the space of ambiguous liminal love.
If you don’t start laughing, you just cry more,” Sparke says of the song. “Its a feeling when you are kind of sick to your stomach and anxious but excited and not knowing what the fuck is going on. The space of waiting. Waiting to know someone else’s truth, or waiting to see someone, or waiting to see what the future holds for you and that person, or waiting to see if it’s even real. Everything becomes that person, everything reminds you of that person, everything speaks that persons name. It’s a bittersweet thing.
Indigo Sparke brings her deeply personal lived experiences to her music, highlighting the spaces between the polarity of softness and grit. Pulling her experiences of addiction, of healing, of queerness, of heartbreak, of joy, of connection, of the softness and of the grit alchemising it all into tenderness through her music, she conjures up a myriad of feelings that is undeniably potent. Indigo was born in the belly of Sydney, Australia straight into the heart of a family with music in their bones. Her parents, a jazz singer and a musician, named her after the Duke Ellington song “Mood Indigo,” and her childhood was spent serenaded by a rich soundtrack of Joni Mitchell and Neil Young. From a young age Indigo felt called to the stage, attending a performing arts high school, and followed it with three years in an acting school, working as an actress before embedding herself and heeding the call to the path of music.
Indigo taught herself to play guitar in her early twenties. Over the next few years, she established herself on the Australian music scene, and released her EP “Night Bloom” in 2016. Indigo’s career continually bloomed, opening for Big Thief on the Australian dates of their 2017/ 2018 tour, and then was invited to play at South by Southwest 2019. There, NPR’s Bob Boilen was first taken by Indigo, writing that her lyrics ”both cut hard and comfort” and that her performance “balanced heavy, reverb-drenched verses with moments of airy and acoustic whispers.” Sparke began 2020 with a February Tiny Desk Concert at NPR, and had been booked as the opening act for Big Thief’s sold-out tour of Australia and New Zealand, including a scheduled performance at the Sydney Opera House before Covid-19 saw everything change.
It was in 2019 that Indigo lived and travelled across America, in places like NYC, Minneapolis, Topanga, Taos, in many hotel rooms and amidst the vast stretching landscapes on the never ending highways, channelling her creative energy into the completion of her latest album, “echo”. “echo” was recorded between LA, Italy and New York, co-produced by Sparke, Adrianne Lenker (of Big Thief), and Andrew Sarlo (producer of Big Thief, Nick Hakim, Hovvdy, Courtney Marie Andrews, Bon Iver, Hand Habits, Active Child). The record was completed at Figure 8 Studio in New York City, studio of musician Shahzad Ismaily. Phil Weinrobe (producer/engineer for Leonard Cohen, Damien Rice, Adrianne Lenker, Buck Meek, JFDR, and Lonnie Holley) engineered and mixed the album. Of this incredibly deep and intimate record, Indigo says, “When writing and recording the record, I wondered how it would all come together. I felt like I was standing back in the desert, looking up at the blue night sky, wondering how all the stars would connect. I think sometimes it’s the dark matter or void space between them, that holds it all together.
This record is an ode to death and decay. And the restlessness I feel to belong to something greater. Adrianne and I talked so much about keeping the record stripped back and simple, that is, we are all just constantly getting stripped back and humbled by life.” Indigo’s art searches for the vulnerability that comes with a feeling of true safety, a vulnerability that can grant access to a world behind tangible experience. It is clear Indigo has lived and woven her many lives into these songs, telling us, “I feel and have often felt a million different women ramble and reconfigure the corners of my mind and soul. I think in my life, I have ricocheted off so many different walls within myself. It’s an endless search to understand the mysteries of life and love and history. As soon as you think you’ve got it, it’s gone. Sometimes I feel so thin. Sometimes I feel so robust. I think that comes through the music.” “I feel that death and time hang over me like questions, I have felt the shimmer and the edge for so long now but what I long for are the worlds of safety and safe love. There are so many windows in life to look through and so many ways to heal and express. My photography, poetry and music, were born at a juncture mirroring different parts of me. I see and feel visually, I am obsessed with immortalizing memory.”
Indigo Sparke – the album “Echo”, out February 19th 2021, via Sacred Bones Records
Chicago trio Moontype have announced their debut album “Bodies of Water”, due out on April 2nd via Born Yesterday Records. They’ve also shared a new track, “About You,” which follows their debut single “Ferry.” “About You” is a snappy, easy going piece of indie-pop tune, and its giddy tempo changes mimic the excitement of being drawn to someone who’s an instant mood-booster. Lead singer/bassist Margaret McCarthy’s vocals are trustworthy and sweet, as she beams about touching memories with a close friend over peppy guitars. “When I wrote ‘About You’ I was sitting in my apartment missing my friend who had gone abroad for the semester and thinking about all the moments that made our friendship so special. The friendship began as a crush but it slowly melted into something more lasting we made a synth together, we wrote songs together and I really just wanted to be around them most of the time!”
McCarthy says. “There was this feeling of being two magnets, pulling towards each other, but the pull doesn’t stay that strong forever and I wanted to remember what it felt like at the start. I’m grateful I wrote it down in that way because now me and my friend fall in and out of touch but every time we play that song I remember how special they are and how important they are to me.
Dave Davies, who first came to prominence as lead guitarist and co-founder of The Kinks; he has been an original & unpredictable force, without whom guitar-rock styles including heavy metal & punk would have been inconceivable; he slashed the speaker cone of an Elpico amp with a razor blade & fed it into a larger amp, thereby ‘Inventing’ pregain & a raunchy guitar sound that turned rock’n’roll guitar playing on its head, as heard on The Kinks first major hit ‘You Really Got Me’ in 1964.
In addition to his dozens of albums with The Kinks, Dave has released a series of respected solo albums over the years; his evolution as a musician, songwriter & recording artist has paralleled his passionate pursuit of spiritual knowledge – a story told on his DVD, ‘Dave Davies Kronikles: Mystrical Journey’ he also released, with his son Russ Davies, The Aschere Project – ‘Two Worlds’…a futuristic concept album described as sounding like “Art Of Noise meets Pink Floyd”.
For Alicia Bognanno, the onset of each tour begins with a familiar ritual. She gathers her 16 distortion pedals (yes, you read that right: 16) and begins a process of elimination – “a distortion off,” as she likes to call it. Starting with a batch of five, she narrows down the winning gritty, aggressive tone and repeats the procedure until just three are left standing. And, as always, her Greer Amps pedal is triumphant.
“For some reason in my head I’ll be like, ‘What if I’m not maximising my pedal tone.’ I hate myself for saying that, but it’s true.” She laughs. “It’s just such a waste of time. I go through it and every time it’s the same. What the fuck am I doing?”
I suggest it has therapeutic benefits. “Clearly it’s doing something for my mental health. So yeah, that’s my relationship with pedals. Maybe we leave that bit out,” she jokes. The singer and engineer behind gritty punk act Bully eases into conversation gently. I can sense we’re both a little anxious, which is oddly comforting. She eagerly offers up pictures of her “ginormous” nine-year-old dog that she lives alone with in Nashville.
We discuss everything from the excess of over-the-top dudes doing pedal demonstrations on Youtube – “there’s a guy noodling on like a blues guitar and you’re like, ‘What the fuck?’ Like, does this translate? … He’s got his foot up on his amp, and it’s like, ‘Okay we get it’,” she says between laughter, – to the need for the representation of friendship between teenage women in film.
“I think that’s why Ladybird was cool. There’s so much you need from [those friendships]. Like talking about getting your fucking period and what’s supposed to be normal,” she explains. The track ‘Focused’ was written about her best friend growing up. She reflects on what they went through as teens; how they confided in one another when they couldn’t speak with their families. “As culture we’re told to hide our tampons when we’re walking to the bathroom, you know what I’m saying? When you’re kids you’re so embarrassed. You’re constantly being shamed for it in middle school,” Bognanno explains.
She misses the depth of those youthful, devious and playful friendships. “Even just having sex when you’re young and being called a slut. I mean, guys don’t get that. Ever. That’s an award for them.” She wishes these dynamics were examined with a greater degree of wisdom in film. And in a way that is truly accessible, so you’re not trawling through the deepest, darkest corners of Rotten Tomatoes to find a story that’s told well.
Having grown up in a small town in Tennessee, Bognanno didn’t start playing guitar until she was 20 after moving to Nashville. She wasn’t raised in a musical family. In fact, she was only exposed to one local band growing up. “Playing music was not a thing,” she explains. She dabbled with piano at home, but found the instrument limiting. “I was really bad,” Bognanno says, comparing it to sounding like the soft and polished pop singer-songwriter, Sara Bareilles.
When she first picked up an electric guitar, her music started to translate into the gritty, high-velocity punk that it was destined to be. “I got my first SG when someone was like, ‘If you can fix this, you can have it.’ And it was just a soldering point in the input jack that was messed up, so I was like, ‘Perfect’,” she says.
She’s noted a sense of imposter syndrome in previous interviews. Asked if this feeling remains, she says it does, but Bognanno is thankful for the team behind Bully and their manager, Ryan Matteson. “[He’s] constantly just like, ‘You’re worth more than that’,” she explains. “I’m [consistently] just in this headspace where I’m like, somebody is going to say what I’m doing isn’t fair or that I don’t do deserve what I’m getting, which I do. I work my fucking ass off.”
Bully have been constantly on the move, having played at least 85 shows across the States, the UK and Europe,
Asked how guitarist Clayton Parker, bassist Reece Lazarus, and herself prevent burn out on tour, she explains, “We are really independent. I think when we’re touring around other bands they get confused, because we’ll just get to places and scatter … Everyone really likes their alone time.” Small acts of thoughtfulness helps to ease tension. “It’s like, don’t crack open a hard boiled egg in the van,” she says, laughing. “We went out to band dinner last night. It’s a lot of silence, but it’s good – it’s the thought that counts.”
Her songs have always been personal, and instilled with whatever anxieties were playing on her mind at the time of writing. However, after Trump’s election, she decided to be more outright. “The election in the states, whether or not it was intentional or subconscious, definitely affected everybody’s art,” she says. “It’s just built up the need to more vocal about everything in general.
“There was a lot of stuff that I kept more personal because I didn’t feel like I needed to talk about it, like my sexuality and stuff,” she explains. “I’ve brought it up this year because it’s just like, let’s just make a safe space for everybody … I think people are just searching for that connection a lot more.”
As for how she’ll connect with her audiences in the future, we’ll have to wait and see: Bully are currently working with five new songs, and Bognanno plans to start demoing fresh material from mid this month to September. “[Whether or not I’ll] think those songs are total garbage in five months is still up in the air.”
Bored At My Grandma’s House is the moniker of 19-year old Leeds-based Amber Strawbridge, starting out as an exercise in passing time when she was quite literally bored at her grandma’s place. First single & EPp opener ‘Showers’ is about time alone & listening to your mind – “do you ever think of showers as like a new beginning?“ is a poignant opening line, about that therapeutic space for you to really think and let your thoughts surface. In Amber’s own words “showers are a kind of therapy in my opinion, they give you time to reflect and think without influence from anything external.” born in Whitehaven, Cumbria to musical family, and raised on the likes of Bowie & Pink Floyd there was always plenty of opportunity to mess around on the various instruments lying around the house.
Attempts at proper music lessons went awry as Amber shunned the rules & rigidity, and so instead she gradually taught herself piano, guitar & drums. after time travelling in Cambodia, teaching English & helping with projects in various villages, Amber stayed with her grandma & began to use the aeons of spare time to make tunes on garageband & upload them to soundcloud. as a wave of BBC introducing support rolled in, coupled with a move to Leeds to study music, the bedroom set-up evolved & a full EP began to take shape. Playing all the instruments & self-recording most of the EP at home, Amber took the tracks to Alex Greaves (Working Men’s Club, bdrmm) at the Nave studio for live drums & some final mixing flourishes, leaving an EP full of lo-fi charm but with a studio feel.
Inspired by Slowdive, Wolf Alice & Alvvays, “Sometimes I Forget You’re Human Too” showcases Amber’s singular vision of indie-pop, on an ep that deals with topics like humanity, nostalgia & the current refugee crisis. speaking on the EP title Amber says “Sometimes I Forget You’re Human Too” is the realisation that everyone is the same. in the sense that we are all human, everyone has issues and problems to face, everyone makes mistakes and has success. I used to compare myself to others a lot and think ‘wow they have their life together’ or ‘how are they so happy all of the time’ but that’s not the case it’s just what you can see on the outside …so it’s kind of an EP of self assurance and reminding myself that it’s ok to not have it together all the time because no one does as we’re all just human after all” .
The EP is just the start for Bored At My Grandma’s House “I’ve already got a few tracks which I’m thinking could be potentially for an album, I’d definitely like to do a bigger project next and have the sound I’d like in mind. I’ve recently just got a band together so hopefully when live shows are resurrected 2021 is looking to be anything but boring for Amber Strawbridge.
Sarah Tudzin released her debut album as Illuminati Hotties, “Kiss Yr Frenemies”. It was named as one of the best albums of 2018, so naturally each bit of Hotties news this year has been something worth paying attention to. Amidst touring pretty relentlessly, Tudzin’s given us a couple new releases: “I Wanna Keep Your Dog” and a cover of Whitney Houston’s “I Wanna DanceWith Somebody,” and a standalone single called “ppl plzr”. And now, Tudzin’s back with one more new one called “Post-Everything.” As you might guess by the name, there’s a certain end-times vibe to the song. “The world’s burnin, so why the hell not,” Tudzin wrote in a note on Bandcamp before continuing, “Happy 2020.” On Twitter, she elaborated a bit more: “2019 was somehow the absolute Best & absolute Worst year of my life. so here’s a song about the apocalypse.” Fittingly, the lyrics feature snapshots of people losing it, screaming on the street in some form or another — they sound like pretty run-of-the-mill scenes in 2019, which is to say they do sound a bit like the encroaching end of the world.
The lesser known fifth and final leg of the Joad tour comes into fresh view with Nice, France 1997. After 18 months on the road, Springsteen’s solo acoustic performances were honed to a sharp edge, contrasted throughout with humour and soul. “Nice 1997″ offers nine songs from restless heart of Joad, plus captivating readings of “Darkness On The Edge Of Town,” “Murder Incorporated,” “It’s The Little Things That Count,” “Highway Patrolman,” “Long Time Comin’,” “Saint In The City,” “Growin’ Up” and the tour premiere of “You Can Look (But You Better Not Touch).”
Every Springsteen tour starts with a vision and an underlying narrative. What story is our favourite artist telling through his setlist and presentation? Over time, setlists typically evolve and tours explore new themes, keeping things fresh but sometimes departing significantly from the initial concept.
Springsteen’s solo-acoustic tour for “The Ghost of Tom Joad” was unwavering in conserving its original vision. Beyond special nights in Freehold and Asbury Park, from the earliest shows in late 1995 through final gigs in the spring of 1997, the core songs from the album served as the spine of the show, while Bruce’s performances stayed steely and steady. Nice, France, a stop from the tail-end of the Joad tour and the first Archive release from 1997, presents an opportunity to reassess this compelling commitment from the little-heard fifth leg.
Bruce performed the same songs from Joad at the LA shows as he would in Nice, more than 120 performances later. “Darkness on the Edge of Town,” “Murder Incorporated,” “Born in the U.S.A.,” and “This Hard Land” are also intact. Adding “Brothers Under the Bridge,” which debuted the second night at the Wiltern, 13 songs remained in the set, anchoring the tale and tone of this special solo outing.
Which isn’t to say those songs are played exactly as they were in the fall of 1995. The Nice performance is unmistakably honed after a year and a half on the road without a band. Case in point: Springsteen’s guitar playing feels less muscular but more masterly. Because the arrangements largely remain faithful, the differences are subtle, but a song like “Murder Incorporated” has evolved from stark noir to more of a beautifully sung cautionary tale, with Bruce’s guitar weaving an unsettling rhythmic bed that lulls us into submission.
“Straight Time,” “Highway 29,” and the title track play truer to form, but there’s extra weariness in the tone of the protagonists that makes their stories resonate all the more. Heard through a post-Western Stars filter, “Highway 29” feels like a progenitor to that recent masterwork, especially its title track. Truest of all is the four-pack that served as the lyrical denouement for show. Nice gets sublime readings of “Sinaloa Cowboys,”“The Line,” “Balboa Park,” and “Across The Border,” and the verb is accurate for these near novellas.
On Broadway, Springsteen set up familiar songs with stories and vice versa, but this storytelling sequence is more like an author reading to an unfamiliar audience. As such, Bruce’s performances of the material place a premium on the vivid details that make the narrative spark to life. For a performer who has earned the position of having his audiences eat out of the palm of his hand, brokering this type of connection with more demanding material must have been a fascinating challenge. Admiration for how he pulls it off night after night is well earned.
Other Joad tour stalwarts are also in top form in Nice. The 12-string reinvention of “Darkness on the Edge of Town,” debuted at the Christic shows in 1990, still sends shivers up the spine. “Brothers Under the Bridge” is perhaps the most underappreciated entry among Springsteen’s Vietnam Veterans material. The song was still unreleased when Bruce performed it on the Joad tour (it eventually came out on Tracks in 1998). The final line, “One minute you’re right there, and something slips,” remains one of the most haunting in the canon.
Nice would also see the final tour performance of “It’s the Little Things That Count.” Bruce revisited the song a couple of times at the Somerville, MA solo shows in 2003, but it has been unheard ever since. The song was written for Joad and later considered for Devils & Dust, but it remains officially unreleased in studio form. Gotta love the transition from “Little Things” to “Red Headed Woman”: “Speaking of tongues…”
Of course Joad tour setlists were not totally rigid. Nice finds Springsteen in something of a nostalgic mood, pulling the kindred “Growin’ Up” and “Saint in the City” into the set, connecting the Joad era to Springsteen’s last turn as a solo artist in 1972. He also takes “You Can Look (But You Better Not Touch)” out for an entertaining spin in its tour debut. “Working on the Highway” is good fun, too, exposing the Born in the U.S.A. song’s Nebraska roots — listen for Bruce hitting a particularly impressive high note at the end of “cruel cruel worrrrrld.”
The final reinvention of the night comes with “The Promised Land.” As evidenced by his use of Suicide’s “Dream Baby Dream” to close shows on his next solo tour in 2005, Springsteen is attracted to mesmeric arrangements. The transformation of “The Promised Land” could be the most radical of all his reinterpretations and merits reappreciation for sheer performance beauty and vocal control. We’re transfixed until that final percussive thwack breaks the trance of a spellbinding evening and a tour that stayed true to itself from the first show to the last.
words by Erik Flanagan
Bruce Springsteen – Lead vocals, guitar, harmonica
The Fat Angel Sings 