ROLLING THUNDER REVUE A Bob Dylan Story by Martin Scorsese
Posted: January 21, 2021 in MUSICTags: Bob Dylan, Robert Zimmerman, Rolling Thunder Revue
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Bob Dylan’s life and career are so encased in myth that it can be hard to untangle the romanticism from the reality. As much a symbol as he is a man, Dylan has spent most of his adulthood resisting being labelled the voice of his generation while slyly welcoming fans’ desire to dissect his every utterance, devoting much of the last couple decades opening up the vaults to release a series of official “bootleg” recordings associated with his most iconic albums and tours. He invites us to look deeper and listen harder, as if the answers can be gleaned from closer study.
Long before David Bowie, Tom Waits, Madonna or Lady Gaga dabbled in persona play, Robert Zimmerman made us ponder masks in popular music. He’s both there and not there, which can be frustrating and fascinating. Both sensations are on display in Rolling Thunder Revue, the oft-spectacular, sometimes shtick-y chronicle of Dylan’s 1975 Rolling Thunder tour. As is typical when depicting anything in the Dylan universe, this concert film/documentary simultaneously oversells its subject’s genius and provides overwhelming evidence of what a brilliant artist he is.
More layers of myth are applied while trying to present an honest account of a tour and a performer. At nearly two-and-a-half hours, Rolling Thunder Revue is overlong but also overpowering, inconclusive yet undeniably stirring. It left me exhausted, but I kinda want to see it again.
In 1975, in an America defined by both the self-mythologizing pomp of the upcoming bicentennial and ongoing socio-political turmoil, Bob Dylan and a band of troubadours—including luminaries such as Joan Baez, Allen Ginsberg, and Joni Mitchell—embarked on a now-legendary tour known as The Rolling Thunder Revue, a freewheeling variety show that was part traveling counterculture carnival, part spiritual pilgrimage. Director Martin Scorsese blends behind-the-scenes archival footage, interviews, and narrative mischief, with a magician’s sleight of hand, into a zeitgeist-defining cultural record that is as much a concert “documentary” as it is a slippery, chimerical investigation into memory, time, truth, and illusion. At the centre of it all is the magnetic Dylan, a sphinx-like philosopher-poet singing, with electrifying conviction, to the soul of an anxious nation.

BONUS FEATURES: DIRECTOR-APPROVED SPECIAL EDITION FEATURES:
• New 4K digital transfer, approved by director Martin Scorsese, with 5.1 surround DTS-HD Master Audio soundtrack
• New interviews with Scorsese, editor David Tedeschi, and writer Larry “Ratso” Sloman
• Restored footage of never-before-seen Rolling Thunder Revue performances of “Tonight I’ll Be Staying Here with You” and “Romance in Durango,” and of a never-before-seen cut of “Tangled Up in Blue”.
• Trailer
• English subtitles for the deaf and hard of hearing
• PLUS: An essay by novelist Dana Spiotta and writing from the Rolling Thunder Revue tour by author Sam Shepard and poets Allen Ginsberg and Anne Waldman
Genre – Documentary
Director – Martin Scorsese
Running Time – 142 minutes

WILLIE NILE – ” New York At Night “
Posted: January 21, 2021 in CLASSIC ALBUMS, MUSICTags: New York At Night, Willie Nile

At some point in the future there’s going to be a big party in New York and it may well be revolving around a musician named Willie Nile and his new album “New York At Night”. Written and recorded before the COVID-19 pandemic crisis lockdown happened, here Willie celebrates The Big Apple in all its glory. And that passion is what New Yorkers will to need when all this pandemic madness is under control.
“New York At Night” released in May 2020 and I do hope that people find inspiration in it. I have to say Nile who still proudly holds on to his New Jersey roots even after 30-plus years in California (and several months in locked down isolation!). Willie’s music has a distinctly East Coast vibe which frankly we could use some of out here on the West Coast. How about Willie and his band opening up for Bruce’s next tour? That’d be a great double bill! If you’re not familiar with Willie Nile’s music, you need to get onboard.
That said, on New York At Night Willie Nile continues his home-run-hitting string of great albums that mine that well worn corner of pure Rock and Roll and street-wise soul spirit.
And it is just what the Doctor ordered…True to form, this is a classic Willie Nile sound with twanging electric guitars, hook-filled choruses plus rocking riffs that bridge the gap between the Stones and Springsteen. That was never more evident on “The Fool Who Drank The Ocean” which grabs the essence of The Stones’ “Live With Me” and takes on a rich ride around New York’s dark side. “Lost And Lonely World” is one of those songs based on those classic chords used on a bazillion other rock and pop music hits, yet once again Willie has overlaid a great melody and ear-worm worthy hook chorus to make it his own.
For me, the heart and soul of “New York At Night” is a track I suspect would be at the end of Side One of the vinyl LP version. “A Little Bit Of Love” is one of those epic sing-a-long anthems you can’t help chiming in on at first listen. “The time has come to the land of need, enough of anger, hate and greed… you and I can plant the seed”
“Run Free” feels like what might have happened had U2 come out of New Jersey — where the streets all have names –replete with glorious Gospel-like choral voices taking that song out like a sweet muscle car speeding through the Holland Tunnel into Manhattan.
You can of course look for Willie’s new album out on CD and on vinyl (click on any of the titles here in this review to jump Willie’s page on Amazon ). When I get my hands on the on the latter I’ll be sure update to update this review. But for now it just feels good knowing some strong new rock ‘n’ roll is out there to help us get through these supremely surreal difficult times.
Willie has also written a song just for the Covid-19 crisis which he has posted on his Facebook page: “Occupy Your House” delivering the poignant message” You can have your rock, you can have your roll… you can save your immortal soul.” As Willie says in the video: “keep your chin up, we can do this…”
When we are all safe and ready to party on the streets, Willie Nile’s “New York At Night” will be a big part of that joyous soundtrack. Turn it up!
LAEL NEALE – ” Blue Vein “
Posted: January 21, 2021 in CLASSIC ALBUMS, MUSICTags: Acquainted With Night, Lael Neale, Sub Pop Records

Singer/songwriter Lael Neale recently signed to Sub Pop Records, and she’ll release her new album “Acquainted With Night” on February 19th via the label. It features recent single “Every Star Shivers in the Dark” and the just-released “Blue Vein.” Like the previous single, it’s an Omnichord-fuelled offering of dream pop/psych folk that fans of Mazzy Star and Beach House should not sleep on. Acquainted With Night features ten tracks, and includes the previously released standouts “Every Star Shivers in the Dark” and “For No One For Now.”
Well…It is my great honour and thrill to announce I have signed with Sub Pop Records !!! In celebration, we are sharing my debut single and video “Every Star Shivers in the Dark” which is available NOW everywhere, directed the video & the song was produced by Guy Blakeslee & was mastered by Chris Coady my excitement is beyond measure immense thanks to the good people of Sub Pop Records, Uncut calls the album, “A thing of shimmering beauty, led by Neale’s otherworldly voice with its shades of Vashti Bunyan and Julia Holter.”
“Blue Vein” is her personal anthem. A Paul Revere piece. Galloping through the town as a strident declamation. She offers this, “I wrote this song pre-Omnichord and it is the only recording I play guitar on. I wrote it around New Year’s Eve and it felt like a resolution.” Indeed, it is an amalgam of thoughts, concerns, and lessons as she nearly speaks the words, unmasked by flourishes, ensuring the meaning cuts through. In the final verse she states that, “some say the truth springs for reservoir seekers, but I think the truth sings to whoever listens” thereby establishing herself as the proverbial carrier pigeon delivering a message.
Lael returned to her family farm back in April 2020 and has taken advantage of the limitations imposed by this period. She re-discovered her Sony Handycam from high school and is using it to make impressionistic companion pieces to the songs she recorded in Los Angeles. She continues, “I am enjoying the strong contrast between the songs I wrote and recorded in California and the videos I am making for them in Virginia. It offers something unexpected.”
The lo-fi quality of the films certainly suits the tone of the album. Guy comments, “an idea that was floating around in our conversations before and during the process was ‘lost tapes’ – and I think these recordings feel like such an artifact – a sonic portrait of a season of a life, a sacred tape made in private by an artist at the peak of creative power and rediscovered by chance for the ages.”
“Blue Vein” by Lael Neale from her album Acquainted with Night (Release Date: 02/19/2021) Sub Pop Records.

2nd GRADE – ” Hit to Hit “
Posted: January 21, 2021 in CLASSIC ALBUMS, MUSICTags: 2nd Grade, Double Double Whammy Records, Hit To Hit, Peter Gill, Philadelphia

This album answers a critical question: What if Robert Pollard wasn’t a heroic drunk, but instead a lovestruck, heart-on-his-sleeve bard? Employing the Guided By Voices’ frontman’s philosophy that every idea is a good one and songs longer than two minutes are bloated messes, this Philadelphia band blows through 24 cuts in a scant 41 minutes on their sophomore album. Fans of Big Star, the Magnetic Fields and Yo La Tengo will appreciate the group’s sensitive song writing approach, which comes in forms of power pop (“Boys in Heat”), alt-country (“100 Hrs”), and lo-fi fuzz rock (“Jazz Chorus”).
For Peter Gill (Friendship, Free Cake For Every Creature), the fearless leader of Philadelphia power-pop group 2nd Grade, being our full, open selves means we can be as sincere as we are sarcastic. New album “Hit To Hit” is about wearing your heart on your sleeve but at arm’s length. It’s about being both earnest and ironic.
Hit To Hit mirrors our multifaceted existence over 24, tiny tracks. Continuing with the fun-size structures of his previous LP, Wish You Were Here Tour (Sleeper Records), the songs act like a collection of short stories. There’s the adolescent, heartbroken tale of “When You Were My Sharona”, the anticipation of making memories on “Summer of Your Dreams”, the first taste of freedom on “My Bike”. While Hit to Hit is absolutely an intricate exploration of the human experience,
Sonically speaking, the songs cover an impressive range of stylistic ground. The sweet, peppy pop-banger “Velodrome” is juxtaposed by the gnarly wailing of “Baby’s First Word” while the sturdy twangs of the Jon-Samuels-sung “100 Hours” bashes against the gentle, ethereally delicate acoustics of “You’re So Cool”. “It almost can’t even hold together because it is so at odds with itself but it does in the end. It’s one group of musicians presenting all these different ideas and directions of songwriting and miraculously, it holds together.” Gill says.
Double Double Whammy Records
ANNA B SAVAGE – ” A Common Turn “
Posted: January 21, 2021 in CLASSIC ALBUMS, MUSICTags: A Common Turn, Anna B Savage, City Slang Records, London

The latest apple of our eye, Anna B Savage, is putting out her debut via City Slang Records in a couple of weeks, and I can personally say that there hasn’t been a debut I’ve been this excited about in quite some time. The stunning video for the London singer’s unbelievably vulnerable first single off of “A Common Turn”, “Chelsea Hotel #3,” has been on a near loop at my house since it came out nearly a year ago, and its follow-ups have been just as arresting. In addition to having the privilege of pressing A Common Turn to vinyl,
The London based singer-songwriter Anna B Savage makes question-mark-music, captivating and powerful, navigating various recurring themes including female sexuality, self-doubt … and birds. Often questioning the validity of her own thoughts and feelings, her songs are heavy with unanswered queries. Is this even real? Do we have what I think we have? How did I get to this point? Is anyone listening? Or the record’s opening and most potent question: “Do I understand this?”.
Yet these questions are buoyed by her ability to conjure melodies and lyrics so devastatingly candid, vulnerable and honest, that somehow still manage to be bewitchingly charming, utterly modern and often funny. ‘A Common Turn.’ “For me, ‘a common turn’ is those moments of decision where you think ‘I’m not taking this anymore, whether it’s the way someone else is treating you or the what you’re treating yourself” Savage explains.
From a young age, Savage has also always been surrounded by music. The daughter of two classical singers, Savage spent her childhood birthdays in the green room at the Royal Albert Hall, as her birthday falls on the day Bach died and her parents were booked to play the Bach Proms each year. Her 2015 EP was deeply intriguing as a project, it contained four songs, all of which paired Savage’s deep, rich voice with lyrics rife with insecurity and unfinished business and was released with very little accompanying information about the artist.
The success of the EP caught Savage off guard, triggering a form of imposter syndrome, stifling her writing and ultimately affecting her mental health. At her lowest point Savage wasn’t sure if she could continue making music. At one stage her well-meaning parents started to cut out arts administration jobs for her and put them on the bed for when she arrived home.
In the five years between her first release and this forthcoming one, Savage ended the bad relationship mentioned previously (“I was so small by the end of it”), took up odd jobs, moved across the world twice, got herself a lot of therapy and eventually built herself from the ground up again. “I sat in the sun and read, and I ran my book club, and I went swimming in the Ladies Pond, and I went on trips, and I got drunk, started smoking again and going to parties, and I started dancing again and seeing my friends and, most miraculous of all, I started to like myself.”
For the last three years, focused and reenergised, Savage wrote music for her debut album, stitching together influences and references “One month I printed out all the lyrics, blu-tacked them to my wall, and drew lines between each corresponding idea. Making sure I’d lyrically covered all the themes I wanted to, linking ideas, deleting repeats, and making me look like a literary serial killer”. The album is littered with personal and cultural references (Rocky Horror Picture Show, the Spice Girls, female pleasure, mental health, and a ceramic owl mug by Scottish alt-rock legend Edwyn Collins, among others), all of which are now sewn into her music like talismans.
Savage got in touch with William Doyle, (FKA East India Youth – 2014 Mercury Prize nominee)’ having seen his social media post asking artists to contact him if they wanted to experiment together. From their first meeting, William provided ambitious yet elegant production to the demos Anna brought him, and ultimately gave a definitive shape to the record she had at one point deemed officially impossible to finish. Theirs is a blending of earth and industry, of human feeling and mechanized deconstruction of expectations and barriers. As a pair, they were able to make a record that is, in Savage’s words, “about learning, adapting, growing, being earnest and trying really f***ing hard.”
Savage’s music is deeply vulnerable, without being submissive. The subject matter could weigh these songs down, but instead they soar as she lays claim to her own fragility. There’s an intoxicating catharsis woven through the album and the stories she tells are of taking up space, finding connections, and owning the power in not knowing all the answers. Hers are songs for anyone who thinks hard, feels deeply, and asks big questions.
During the years since the release of her debut EP, Savage has also been making a film with two collaborators. The film can be read as in conversation with this album. More details of that will be released at a later date.
“As mentioned in Chelsea Hotel #3, I’m done with being ashamed in any way of taking ownership of my own pleasure. This whole album is about questioning, exploration and trying really fucking hard. Hopefully a vibrator is a good companion for most of these things. To sum it up in two words: wank more.” –Anna B Savage
The KINKS – ” Something Else “
Posted: January 21, 2021 in CLASSIC ALBUMS, MUSICTags: Dave Davies, Ray Davies, Shel Talmy, Something Else, The Kinks

‘The Village Green Preservation Society‘ may the one that gets all the plaudits, but ‘Something Else’ can lay claim to being just as good in it’s own way, featuring some of the best of Ray Davies’ songwriting, which of course means it’s up there with the some of the best song writing ever.
Apart from “End of the Season”, the album was recorded between the autumn of 1966 and the summer of 1967, when the Kinks had cut back on touring and had begun recording and stockpiling songs for Davies’s as-yet poorly defined “Village Green” project. The song “Village Green” was recorded in November 1966 during the sessions for the album, but was released on a French EP in 1967 and did not appear on a Kinks LP until the next release, The Kinks Are the Village Green Preservation Society.
Opening with public school satire ‘David Watts’ (later made famous by The Jam), ‘Something Else’ is a bit of a dry run for ‘Village Green‘, lacking the overarching concept, but still rating high on essential Englishness and also delving into such standard Davies topics as identikit suburbia (‘Tin Soldier’), idle affluence (‘End of the Season) and sibling rivalry (‘Two Sisters’, apparently a coded comment on the band’s brother problems). What does it sound like? Well, it sounds like The Kinks, that is to say that there’s plenty of sprightly sixties RnB based guitar pop, a bit of copycat psychedelia (Davies was never one to overlook to convenience of hijacking bandwagons), some Cockney knees-up pleasantries (Dave Davies’ ‘Death of a Clown’) and enough good humour and essential pathos for most bands to base their entire careers on.
‘Afternoon Tea’, with it’s understated, very British sense of romance and charming, Davies brothers vocal interplay, would be quite enough to carry the LP on it’s own, but alongside the infectious ‘Harry Rag’, ‘David Watts’, ‘Lazy Old Sun’ and the rest, ‘Something Else’ is easily capable of unveiling masterpieces one after another. There is a little filler – Dave Davies’ other compositions don’t quite come up to the mark and ‘Situations Vacant’ is distinctly Kinks by numbers, but all in all this is an essential album by a band too often dismissed as a ‘singles act’. Oh, and it’s got ‘Waterloo Sunset’ on it – what else could you possibly want from a Kinks album?
A classic from the archives, “Something Else” is the fifth studio album by The Kinks and gets a loving reissue on Sanctuary Records. On 140g vinyl with the original UK track-listing, it’s the last Kinks album to be produced by Shel Talmy and showcases one part of a mid-career high that’s still an influence today. Out on vinyl LP from Sanctuary Records.
Originally Released 15th September 1967
JIMI HENDRIX – ” The Lulu Show ” Broadcast January 1969
Posted: January 21, 2021 in MUSICTags: Cream, Jimi Hendrix, The Experience, The Lulu Show

It may seem like it would take a lot to be banned from an entire TV channel, but Jimi Hendrix made it happened with one singular performance. In 1969, Jimi Hendrix would find himself, in quick succession, both making a legendary prime time appearance on BBC television and, just a few songs later, banned from the channel indefinitely for an impromptu tribute to Cream.
While London was positively swinging with rock ‘n’ roll creativity in the sixties, the BBC was still a very stuffy, starch-collar-shirted, stiff-upper-lipped, establishment capable of making rash decisions over the smallest indiscretions. They were likely unhappy about even inviting the mercurial counter culture poster boy, Jimi Hendrix on to the prime time TV show hosted by Lulu, in the first place. They were certainly unhappy with his performance.
Although Lulu could have a subversive side, she was still the natural choice for the BBC when they were sketching out their intent to capture the viewership of the growing counterculture movement. Lulu represented a perfect crossover of styles — having been friends with The Beatles she had some reputation but her bubbly, charming, and well-mannered tone and straight-laced image made her the perfect candidate for the BBC’s new primetime show Happening For Lulu.
The show would air just before the 6 o’clock news, a prime time slot, and was the home to some of the country’s brightest and best musicians. Welcoming artists from the pop music bubble wielding their guitars with their long hair and floral clothing — they were an affront to everything the BBC stood for at the time. But the Beeb needed viewers, so they had to invite the scene’s most daring acts. During the late sixties, there was only one man who could truly live up to that hype, the only act which could spark a revolution with one single note, Jimi Hendrix and his band The Experience. They were a phenomenon that was about to sweep the entire world.
The group were invited to the show with the expectation that they would comply, not only with the show’s practices but also with the BBC’s rigorous straight-laced demands. The first of which would see the band perform two hits, their brilliant song ‘Voodoo Child’ and their latest hit ‘Hey Joe’, to an adoring audience. They were also expected to have Lulu join Jimi and the rest of the group on the latter song to perform a cringeworthy duet.
The scene that Mitch Mitchell and the rest of Jimi Hendrix Experience found when they walked into the studio was, as Mitchell describes in his memoir, “so straight it was only natural that we would try to combat that atmosphere by having a smoke in our dressing room.”
As Open Culture reports, he continues: “In our haste, the lump of hash got away and slipped down the sink drainpipe. Panic! We just couldn’t do this show straight — Lulu didn’t approve of smoking! She was then married to Maurice Gibb of the Bee Gees, whom I’d visited and shared a smoke with. I could always tell Lulu was due home when Maurice started throwing open all the windows. “Anyway, I found a maintenance man and begged tools from him with the story of a lost ring. He was too helpful, offering to dismantle the drain for us. It took ages to dissuade him, but we succeeded in our task and had a great smoke.”
They walked into the studio and began to tune up their instruments and wow the crowd with a spellbinding rendition of ‘Voodoo Child’, which must’ve truly shaken audiences out of their wingback chairs at home. It really is one of the best Jimi Hendrix performances of the song you are likely to see. As the track played the beginning of Hendrix’s ban would start to present themselves.
“That was really hot,” said Lulu as the notes of ‘Voodoo Child’ subsided and the crowd’s cheering rested, left agog by Hendrix and the rest of the band’s talent. “Yeah. Well, ladies and gentlemen, in case you didn’t know, Jimi and the boys won, in a big American magazine called Billboard, the group of the year.” At this moment a sudden, and apparently accidental, piece of feedback shook Lulu off her notes and left Hendrix smiling.
A showbiz pro, Lulu continued: “And they’re gonna sing for you now the song that absolutely made them in this country, and I’d love to hear them sing it: ‘Hey Joe.’”
On that very day, another moment in musical history had already taken place, which would have shaken the British rock elite’s core. The British supergroup Cream had announced their split. Comprised of Eric Clapton, Jack Bruce and Ginger Baker, the group represented the higher echelons of rock and roll and especially British music. Hendrix knew this first hand and knew that their demise was a sign of things to come — the sixties couldn’t last forever.
The guitarist had been at a Cream jam-session when he first introduced himself to the music scene here in the UK and ever since they had remained a firm favourite for the mercurial musician.
So only a few bars into their latest single, on a nationally televised live performance, Hendrix stops the music and says “We’d like to stop playing this rubbish and dedicate a song to the Cream, regardless of what kind of group they may be in. We dedicate this to Eric Clapton, Ginger Baker and Jack Bruce.” The band then give a truly magnificent performance of Cream’s song ‘Sunshine of Your Love’ and brought the house down.
Noel Redding said of the story: “This was fun for us, but producer Stanley Dorfman didn’t take it at all well as the minutes ticked by on his live show. Short of running onto the set to stop us or pulling the plug, there was nothing he could do. We played past the point where Lulu might have joined us, played through the time for talking at the end, played through Stanley tearing his hair, pointing to his watch and silently screaming at us. We played out the show.
“Afterwards, Dorfman refused to speak to us, but the result is one of the most widely used bits of film we ever did. Certainly, it’s the most relaxed.” It would see The Jimi Hendrix Experience banned from the BBC for life but would live on as a moment of rock and roll history unlike any other.

ALEX BLEEKER (REAL ESTATE) – ” “Heaven on the Faultline “
Posted: January 21, 2021 in CLASSIC ALBUMS, MUSICTags: Alex Bleeker, Heaven on the Faultline, Night Bloom Records, Real Estate

Real Estate bassist Alex Bleeker doesn’t fall too far from the tree with his solo work. That’s not a bad thing at all, “La La La” is a sunny bit of jangly pop that may warm up your January just a little. It’s from his new album Heaven on the Faultline which is out March 5th. The new album “Heaven on the Faultline”, which departs from his last full-band outing as Alex Bleeker and the Freaks, 2015’s Country Agenda. Whereas that album had a more full-bodied explicitly folk-y feel, Heaven on the Faultline finds Bleeker getting back to his homespun roots over the course of its 13 songs, from the jangly guitar pop of New Jersey heroes the Feelies and YLT’s hushed, acoustic reveries to the open-hearted folk rock that marks so much of the Grateful Dead’s early catalogue. Written and recorded over the last several years, Heaven on the Faultline’s songs were initially recorded straight to GarageBand in Bleeker’s bedroom before receiving further studio refinement in co-producer Phil Hartunian’s Tropico Beauty space in Los Angeles.
With contributions from Confusing Mix of Nations’ Josh Da Costa, Cameron Stallones of Sun Araw, singer-songwriter Kacey Johansing, and Parting Lines’ Tim Ramsey, Heaven on the Faultline achieves a warm and intimate feel that defines Bleeker’s mission for the album: “I wanted to capture the moment in which I fell in love with making music to begin with. This is music for myself—me getting back to music for music’s sake.” The unsteady times we live in certainly creep into view on Heaven on the Faultline. The deceptively easygoing “D Plus” was written on the day of President Donald Trump’s inauguration with the cursed event in mind, while the anxiety of climate change hovers just above the lovely guitar loops of “Felty Feel.”
“The album is very much about dealing with the anxiety of a sense of impending doom,” Bleeker states while discussing the album’s portentous vibes. “When is the hammer going to fall? How do we go forward in the face of such anxiety and experience the complexity of life?” Tough questions with few answers, but try not to stress too much. It’s possible to experience such existential doubt while also enjoying the simple pleasures that life has to offer, and that ethos is square at the heart of Heaven on the Faultline. It defines who Alex Bleeker is, too, and is one of many reasons why I’m proud to have known this special person and artist for so long.
Night Bloom Records is a small independent label founded by friends Kacey Johansing, Jeff Manson and Alex Bleeker. We are based out of Los Angeles and West Marin, California . We feel deeply honored to be able to share music by people whom we deeply admire. Thank you for listening!
From the Album “Heaven on the Faultline” out 3/5/21 on Night Bloom Records

