Friday, April 29, 2011

Live Ledge #14: God Save the Queen!

The past few days of Royal Wedding coverage has me so fed up with our celebrity culture. Who gives a fuck that some spoiled rich assholes tied the knot in ANOTHER FUCKING COUNTRY??? I'm shocked and dismayed that supposedly two billion morons found the time to pay attention.

At least one good came out of this idiocy - two hours of anti-wedding, anti-royalty rock 'n' roll POUNDERS!!! Download this sucker now here!

1. British National Anthem
2. Sex Pistols, God Save the Queen
3. Adrian Edmunson & The Bad Shepards, London Calling/Manchester Calling/The Monaghan Jig
4. The Smiths, The Queen is Dead
5. Schoolhouse Rocks, No M ore Kings
6. David Bowie, Queen Bitch
7. John Wesley Harding, Bridegroom Blues
8. Graham Parker, England's Latest Clown
9. Paul Westerberg, Who You Gonna Marry?
10. Paul Westerberg, $100 Groom
11. The Replacements, Nobody
12. The Replacements, Date to Church
13. Beck, Leopard Skin Pill-box Hat
14. Jesse Malin, Queen of the Underworld
15. Drive-By Truckers, Marry Me
16. Rachel Sweet, Truckstop Queen
17. The Flamin' Groovies, Little Queenie
18. The Kinks, Little Queenie
19. Guided By Voices, Big Boring Wedding
20. Boston Spaceships, Queen of Stormy Weather
21. Hoodoo Gurus, Monkey's Wedding
22. X-Ray Specs, I Am a Poseur
23. X-Ray Specs, Oh Bondage Up Yours
24. Rocket From the Crypt, Slumber Queen
25. The Caravans, Princess of Darkness
26. Jim Jones Revue, Princess and the Frog
27. Turbonegro, Prince of the Rodeo
28. The Chentelles, Be My Queen
29. Rich Kids, Ghosts of Princes in Towers
30. Groucho Marxists, Burger King Queen
31. Exploited, Royalty
32. Motorhead, God Save the Queen
33. Daniel Johnston, I'll Never Marry

Thursday, April 28, 2011

Another From the Archives: Squeeze's Glen Tilbrook

Earlier this evening, I finally got around to watching Glenn Tilbrook: One For the Road, a documentary of his 2001 solo tour of America. Instead of luxury limos and 100-foot tour buses, Tilbrook and his crew of four (including the film crew)rented an old RV that broke down more than a few times (the first time was just blocks from the dealership).

Watching the good-natured songwriter shrug off not only mechanical problems but a music business that has ignored great songwriters such as himself inspired me to pull out this old Tempest article from August 5, 1992. 
Tilbrook was a great interview, and I wish I knew where the original tapes now lay as we originally chatted for close to 90 minutes. The show this interview was plugging was also one of the best to ever hit our town, and watching Tilbrook, Steve Nieve, and Pete Thomas sitting in with a country cover band hours after the show was the icing on the cake.

Why don't we get shows like this anymore?

The Midwest completely missed the punk/new wave resurgence in the late 70’s and early 80’s. While people in New York were rediscovering the three-minute pop song, most of this part of the country was mired in the corporate mentalities of Kansas, Journey, and Head East.
What this area was missing was a resurgence of the pop song, three minutes of clever hooks delivered with energy and passion. And Squeeze was the master of hooks. To parallel the original mid-60’s rock explosion, if Elvis Costello was the era’s Dylan, the Clash were the Stones of the time, and the Jam were the Who, Squeeze was certainly the Beatles of the early 80’s.
Now, 15 years later, Squeeze has survived through good and bad times. Despite personnel changes, label problems, and a two-year layoff in the mid-80’s, the band is still around, and its influence is heard in much of today’s music, from Material Issue to the Smithereens.
For the first time, Sioux Falls gets a taste of the magic of Squeeze, in a special intimate format that should entertain old and new fans. With the help of former Elvis Costello sidemen Pete Thomas and Steve Nieve, the band will be bringing a special “unplugged” format to the Jeschke Fine Arts Center tonight.
A few days ago, Tempest was proud to have the opportunity to chat with Glenn Tilbrook, the lead singer of Squeeze. While most veteran performers have a pretty jaded outlook towards interviews, Tillbrook was extremely gracious, full of wit yet serious about his craft.
Here’s what Tilbrook had to say:
Tempest: Who were your influences, and how did they affect your music career?
Glenn Tillbrook: I’ve always thought that influences, certainly in writing and performing, are sort of 50% of what you grew up listening to, your bedrock of influences which I think always stay with you, while the other 50% are what you’re listening to at any given time.
I grew up listening to things like the Beatles and Jimi Hendrix. I grew up at a time when songs were very dominant in pop music, and I think that was a very big influence on me.
T: How did you meet Chris Difford?
GT: He put an ad in a local store window advertising for a guitarist for a band that had a recording deal. I replied, and he had been bluffing a bit. There wasn’t a band, there wasn’t a record deal. In fact, there was only Chris. (Laughs) We hit it off and started writing together within a couple of months after meeting each other. That was back in 1973.
T: How did the rest of the band get together?
GT: I had been playing with Jools Holland (original Squeeze pianist) before I met Chris, and I introduced the two of them after about six months of knowing Chris. So that was the moment the band started.
T: How quickly after that did you begin writing?
GT: Chris and I were writing individually when we met, but soon both of our strengths and weaknesses became apparent, and that’s when we linked up. Chris is an excellent lyricist, and I was better at tunes than he was. So that’s how we split the writing up, and that’s how we continued.
T: There’s a misconception in America that the British music scene in the 70’s was completely dead, and the Sex Pistols came out and inspired everyone to form a band. Obviously, that’s not true. What was the scene really like in Britain in the mid-to-late 70’s?
GT: It was interesting. Because we were quite young when we started, it took us two years to get three gigs. No one wanted to know about a bunch of 15-year-olds. When we started getting shows, it was supporting bands like Curved Air and Renaissance. That was still in the days when people sat down at gigs. Like at university shows people would be sitting on the floor, which was quite weird.
And we’d come out playing three-minute songs, and people didn’t know what to make of it. Everyone was playing long songs in those days, and there’s nothing wrong with that. It was an odd time.
Then there was this sort of “pub rock” movement, which started in about 1975, I guess, of which we were a part. This turned into punk/new wave, and I think we were seen to identify with the frings of that, although we were never a punk band.
T: Your first album was produced by former Velvet Underground member John Cale. Was that a wise pairing, and what was he like to work with?
GT: He was fantastic to work with. He’s one of the few people I’ve worked with who I’d describe as a “tortured genius” (laughs). He really was. It was a very good experience for us, mostly. I can’t say he was 100% in us; sometimes he’d fall asleep in the studio. Then we’d get him back by scribbling on his face (laughs again).It also paved the way for us to produce ourselves. By the time that John Cale finished the album, the record company said, “we don’t think there’s any singles there”, so we said “we think we can go in and do those ourselves.” In fact, the two tracks that we went in to produce, “Take Me, I’m Yours” and “Bang Bang”, ended up being the singles from the album. That sort of pointed the way for us for a while.
T: Argybargy is considered by many critics as the album where you grew up. Did you feel that you found a comfortable direction at that point?
GT: I think so. Cool For Cats, which followed the first album, was like our proper first album, because they had discarded all our songs and told us to write new ones, which we had dutifully done. Cool For Cats represented the band’s sound live as it had been at that time. Argybargy was more of a thoughtful album, and a bit more of a real record for us.
T: Around this time Jools Holland left, which started a pretty regular revolving door. Looking back, did the constant juggling hurt the momentum?
GT: I thought it did in those days. I don’t any longer think it does, because the heart of the band always revolved around the writing of Chris and I. At that time it was very upsetting, because I hadn’t accounted for the fact that anyone would ever want to leave. I can perfectly understand why, nowadays.
T: The next album, East Side Story, stands out for its wide range of styles. Was this a conscious attempt to break out of the regular routine?
GT: No, we had always done a very wide range of stuff, almost too wide. Our management said, I think very rightly so, “If you do all that stuff, people won’t know what to make of you. Just sort of narrow it down and expand later”. Elvis Costello, who produced that album, did that in a good way. There were some songs that I would never have considered played for the band that he pulled out and said, let’s use it.
“Labeled For Love” is a good instance of that, being sort of country influenced. I was never going to play that for anybody, but I was fast forwarding a cassette of demos to find one that I wanted to play. I stopped on that song and Elvis said “let’s do that one”.
T: What was Elvis like to work with?
GT: He was very inspirational for us, I think. He had a certain sense of direction and urgency that I don’t think we had, so that was very inspiring for us.
T: At this point, although you were huge in Britain, success in America was tougher to come by. When you finally did have a hit with “Tempted”, it wasn’t even sung by you or Difford. Was this frustrating?
GT: Not really, because Paul (Carrack) sang it in such a great way. I love that record and think he did a great job on it. I would have never sung it that way.
T: The press, however, was behind you from the very beginning. I remember one review around this time that basically stated you had yet to write a bad song. Do you think the rock press helped you out in those days?
GT: I think we’ve been fairly lucky that we had a good situation. I think that was very encouraging. It meant that when our albums weren’t selling overly well, that at least we had some encouragement from somewhere, that it wasn’t all going horribly wrong (laughs).
T: One thing that I’m sure got frustrating after a while was the Lennon/McCartney comparisons. Do you think the comparisons are valid, and how much of a bother did that become to you after a few years?
GT: It’s a very flattering comparison. I don’t see any connection, really, besides the fact that we’re British and a songwriting duo. To me, it would be valid if we were tremendously successful, but we haven’t been tremendously commercially successful. I think our writing style is ages away from their writing style. It’s a very flattering comparison. It was one that you had to consciously try to live down for a while. Now I don’t really think about it.
T: In the early 80’s, there was a musical based on your songs. How did that come about?
GT: After we’d done Sweets From a Stranger and toured, we had done five albums in five years and done a lot of touring, and I think we were all wiped out. It was a bit like being put in a dishwasher backwards so you come out of that process.
And we were still young. To be honest, at that time I felt we had done everything we could do. We had played Madison Square Garden, so we had reached that kind of level, at least on the East and West Coasts.We were just burned out. What we should have done was take a rest, but what we rather dramatically di was to say to the band, “that’s it, we’re splitting up”. So it was nice to get involved in a musical, and suddenly instead of five people to deal with in a band, you’re in a situation where you’re dealing with 30 people – the cast, the script writer, director, house band. It was a fantastic experience, but it also took up quite a lot of time. But it was very rewarding.
T: Around that time, MTV became very big, mainly due to its airplay of British pop music. Do you think you missed a big opportunity by splitting the band at this point?
GT: Who’s to say? At any given point you make a decision and you go in that direction.
T: Why did the band get back together, and did it seem like the old days?
GT: No, it didn’t seem like the old days, which was fantastic, because by the time we split up it was fairly miserable. We spent the last year before we split up not really enjoying ourselves. That’s a terrible thing to happen for a musician. To not enjoy what you do is just hell.
I had sworn that we would never get back together, but when we did (it) was for a small charity gig at a London pub. We didn’t rehearse for it; we just went in and played, and it was such tremendous fun that we realized at the time it would be silly not to get the band together again. It felt so good. We decided to structure it so we would have more time; that music wasn’t the only thing you do.
T: Your second album after reforming, Babylon and On, became a big success. Were you surprised after years of limited success?
GT: I was pleased with Babylon and On, because I think it represented what I thought the band was capable of at that time. It had our only real hits in America, which was gratifying after years of banging your head against the wall.
T: With Babylon’s success, one would have thought your next album would be huge, especially one as good as Frank. Why do you think that album didn’t do so well?
GT: It’s an album that I’m still very proud of, and we were unfortunate enough to release it at a time when A&M (their record company at the time) was being sold. Everyone at the label was insecure about their jobs at that point, and I’m afraid we were the men in the middle.
T: After signing with Warner Brothers, you reportedly wrote more than 30 songs for the Play album. Were you upset with the lack of support for that album?
GT: Anytime you have a record out, it’s sort of like making a baby, and seeing how it develops. I don’t want to sound pretentious, but it’s a very personal thing, and you put something of yourself into it. When it doesn’t happen, of course you’re upset. I have to say that I was pleased with the album, and I still think it contains some of our best stuff. What I don’t think it has, and why I don’t think it sold, is something on it that says “this is definitely a single”.
T: One of the more interesting things about that album is the liner notes, where the lyrics are arranged in a script format. Did they just happen to work out that way, or did you write some songs just to make them fit?
GT: That was the last idea of all, actually. Before we assembled the running order of the album, Chris and our A&R guy, Tim Carr, came up with the idea together. It sort of made it more interesting than just a straightforward lyrical layout. In a way I think it (lyric sheets) robs you of a bit of your imagination. I’m a big fan of radio plays or reading a book, because it creates a scenario that you imagine. I think it’s the same as listening to a lyric. And the difference between listening to a lyric and reading it is the same difference between reading a play or a book and watching a film.
T: Most people think that everyone in the music business is extremely rich, yet I saw an interview with you a couple of years ago where you said you had to go on tour to raise money to record Frank. After 15 years of releasing albums, are you set for life after music?
GT: (Laughs) That makes it sound like it’s boring. I like touring and playing live, and when I’m not touring, I’m playing in my house. I’m lucky enough to get paid for what I love. But it’s an expensive thing to run a band, and at that point there were five of us who needed keeping the year round, and when we’re rehearsing and recording. That’s the point of recording, to keep yourself afloat financially.
T: Over the years, you have made a name for yourselves by playing live. You said you enjoy touring, but do you think it keeps your music fresh?
GT: Oh yeah, like this tour we’ve got almost a completely different band. But what the band’s had, ever since we got back together, is the ability to absorb lineup changes and make it work in our favor. On this tour, Chris fell ill before the tour and we were thinking about whether to cancel it or not. But we decided not to because we got such a strong band with Keith Wilkinson and half of the Attractions (Elvis Costello’s band for most of his career) and it’s just fantastic. We all miss Chris very much, but the sound we’re making is fearson.
T: Is he out temporarily?
GT: Yeah, he’s got this lung infection and he’s taking care until the end of August.
T: What do former Attractions Steve Nieve and Pete Thomas add to your music?
GT: Both Steve and Pete are extremely gifted players, and they have an intensity that brings a lot to the group.
T: The “unplugged” acoustic format is nothing new to you. You and Chris have done a few tours before. What do you think it does to enhance your music?
GT: It’s fantastic to strip down songs and hear them in sort of a more naked form, without embellishments. That’s the whole appeal to me.
T: Do you think it brings out your songwriting skills more?
GT: It lets the songs breathe. It’s a less cluttered way of doing it. Although I have to say that what’s happening on this tour, with Chris falling ill, is that things start out very bare and it sort of grows throughout the evening until it ends up being an electric set. It gradually transforms itself, which is a nice way for it to be.
T: How are the audiences reacting to seeing the Attractions play with you?
GT: Brilliant! It’s some inspired company (laughs).
T: What’s in the future for Squeeze?
GT: After this tour, we’re finishing building a studio for ourselves. We’re going to make our next record in there. We’re starting in September.
T: As far as the current music scene goes, what do you listen to?
GT: I like the Teenage Fanclub album. Actually, I like the George Harrison live album, on the other side of the spectrum.
T: Do you hear a lot of your influence on today’s music, especially in the pure pop stuff like Teenage Fanclub?
GT: Yeah, there’s elements of us that you can hear in a lot of things. That’s nice. I’ve just been working with a guy who’s just been signed to a label in London, who actually grew up listening to us. He was seven when he first started to listen to us. Now he’s got a deal. Working with him and singing with him is quite amazing. He’s got his own thing, but he sounds like me as well. So singing with him is strange.
T: Any final thoughst?
GT: Just that we’re the most fantastic people to see live, and I recommend that everyone come to see us (laughs).

Wednesday, April 27, 2011

The Ledge #71: Blog Finds

I have to admit that I'm addicted to music blogs. No, I'm not talking about sites like mine, where blabbermouths go on and on about shit nobody cares about. What I'm referring to are blogs that provide a valuable service to insane music collectors such as myself - the types of sites that find, rip, and upload rare, primarily out of print records that quite often fetch big bucks on Ebay.

I have over a dozen of these types of blogs that I visit almost every day, and quite a few others that I end up on when there's something specific I "need". This week's show is a sampler of recent finds. Some of the tracks played on this show are rare versions of familiar songs. Others are 7" single releases by bands who didn't survive to see their second single. The last half hour of the show are 60's garage rock treats inspired by articles I've read in Ugly Things.

To hear the show, the drill is the same as always. Download The Ledge iPhone/Android app, or directly download it here.

1, Frank Black, Changing of the Guard
2. Graham Parker, Discovering Japan
3. Cheap Trick, Southern Girls
4. Easter, Lights Out
5. The Original Sins, Party's Over
6. Tot Rocket and the Twins, Reduced
7. The Infections, Kill For You
8. Testors, You Don't Break My Heart
9. Pagans, Street Where Nobody Lives
10. Richard Hell & the Heartbreakers, I Wanna Be Loved
11. The Nuns, Media Control
12. The Real Kids, Can't Talk to That Girl
13. The Other Kids, Another Boring Day
14. The Clash, Garageland (Rude Boy Rehearsal)
15. Joe Strummer & the Latino Rockabilly War, Neferetti Rock
16. The Rezillos, Somebody's Gonna Get Their Head Kicked In Tonight
17. The Headaches, Teenage Sex
18. Chris Spedding, Wild in the Streets
19. Hollywood Brats, Then He Kissed Me
20. Hi-Fi's, I Don't Know Why (You Love Me)
21. The Searchers, Hearts In Her Eyes
22. Brain Jones Was Murdered, So Long Now
23. The Feelies, Barstool Blues
24. Scruffy the Cat, My Baby She's Alright
25. The Records, Girls That Don't Exist
26. Belfast Gypsies, It's All Over Now Baby Blue
27. Unrelated Segments, Where You Gonna Go
28. Bob Hocko and the Swamp Rats, It's Not Easy
29. The Misunderstood, Children of the Sun
30. The Rationals, Look What You're Doing
31. Dean Carter, Rebel Woman
32. Downliners Sect, I Got Mine
33. The Twilighters, Move It
34. Mott's Men, She Is So Mean

Announcing a New Facebook Group - Build It Nowhere

My RPR friends can probably skip this blog post, as it deals with a local issue. For Sioux Falls residents, I announced on KRRO this morning the foundation of a new Facebook group - Build It Nowhere. Here's the audio.

Tuesday, April 26, 2011

From the Hudson Archives: Graham Parker

One of the highlights of my decade-long run with Tempest Magazine occurred when I had the opportunity to interview Graham Parker. Like almost all of them, it was done via phone a few days before he appeared in Sioux Falls. The night of the show, Graham greeted me inside the club and said it was one of the most enjoyable interviews he had done in quite some time...and that I should send it off to VH1 as my intro stated that Parker should be the permanent host of their Storytellers interview/concert series.

Twelve years later, I was looking for some info on what Parker is up to these days, and my interview is still up on his website! I'm beyond honored. Here's the transcript of that conversation, which was held on April 3, 1999.

Tempest: Hi, Graham. This is a real honor to talk to you. I've been following your career for over 20 years now, and could easily ask you questions for hours.

Graham Parker: Please don't.

T: I'm not going to. I'm narrowing it down mainly to questions about the new record. I read that the idea behind Loose Monkeys came to you after discovering a box of cassettes.

GP: Yeah, the idea came before that with people asking if I had any spare tracks, or that I must have loads of spare songs. Really, I don't. I don't go into the studio and record a lot of superfluous stuff. A studio for me is a great place to get out of, you know.
So I had just a handful; the ones that are actually recorded with bands that were left over. So most of the stuff is demos. That's when I started thinking I could make an album. I had made a lot of demos in the '80's that were really pretty good material. Pretty interesting material, at least. When I do demos, it's not really a very sloppy affair. I know what I'm doing and where I'm going with it.
When I was in my place in London last summer I started rooting around and found a bag of cassettes sitting in the attic. I pulled them out and saw all of these titles and thought, 'whoa, here we go.' They sounded great, even on cassette.
Then it was just a case of tracking down the master tapes so I could do a professional job and not have tape hiss and stuff. Cutting them from cassettes would have been a real drag, but I found all the tapes. And everything was in really good shape. They had all been in storage in London in a climate-controlled environment. I just mastered all of the stuff and there were no major problems. I didn't have to bake any tapes, or any of that nonsense. It was all great. So there it was, I had an album.

T: The majority of the tracks come from a short period you had with Atlantic Records. Why was there never a record during that time?

GP: I think it was more of a miscommunication than anything. My manager was sort of trying to get me to work with the record company. I think that's a mistake for somebody who writes songs and gets their own direction for each album. I was lackluster about that idea, but I went along with it. And Atlantic really expected me to go into the trenches with them to find a way to make a really big selling record with them.

T: They obviously didn't know you too well.

GP: No. I just listened to what they had to say and played them the stuff I had written. They didn't really take to it. They didn't think it was strong enough, and they thought I should co-write with people. I had about 20 songs, and then I wrote the songs that became Mona Lisa's Sister while this period was going on. And they still really didn't get that stuff. And I thought I had really taken it up a notch with this stuff. I mean I think the demos on Loose Monkeys is good stuff, but Mona Lisa's Sister stuff went up another notch.
By then, they sort of lost the plot, really. They were really rooted in that '80's sensibility where you have people help you to do this. Producers, and you get a drum sound. Like a drum sound was really important. My thinking then was that this whole drum sound thing has to go away. And maybe I should make a record that's really sparse and simple, and I should produce it so that I don't get somebody who really forces a sound on me that's trying to fit with Atlantic's idea of a hit record. Or anybody else's idea.
I was at that stage in my life where I thought things were going to get basic again, and I was right as well. They weren't right; they were wrong. So that's how it kind of transpired. It just fell apart really because once I said that I should produce myself and I should have an ordinary drum sound because the drums don't matter, the songs matter, that was it. They wanted to get me out of there. They thought that was really eccentric. So I was left with all of those songs, and I tend to write and move on. So that's why I didn't sort of pine over them and think I should make an album with this stuff. I just let it go and carried on writing new stuff for every album from then on.

T: What's really surprising to me is that for songs that are considered "lost," this is a pretty strong record. You mention in your liner notes that you feel that "demos are always better than records." Do you think that's one of the reasons this record stands up so well?

GP: Yeah, demos have a feel to them that is unrepeatable. And even though these songs haven't got drums on them, I am my own drummer in the way I play the acoustic guitar anyway. So it's not like they're rhythm-less. They really roll along; they punch along fine. That's why I can play solo. I can pick up the slack.
You know,12 Haunted Episodes is my favorite record. I don't know if you know that one.

T: Of course I do. I've got them all, Graham.

GP: Good. That one started off as a demo. That is literally a demo that I thought, "I'm going to do it this time. I'm going to add instruments to this." Much to the engineer's horror. And that's what I did. This kind of spaciousness to it, the feel, the looseness, as opposed to that terrible locked in feeling that you sometimes get in the studio; especially when you hear something back months later on the radio. It sounds very stiff, and very kind of considered.
Whereas the demo thing is not considered. It's like first takes where you're not quite sure what happens next so I'll do a chorus. No, I'll leave that chorus out. That's the way to go. And you get that feel happy, and you're not locked into following the drum kit. You're locked into the song. That opens up a lot of possibilities for feel. So I think it's good that Loose Monkeys isn't just professional studio outtakes with a band. I think it's good that there's a variety.

T: I want to talk about some of the individual songs and get your take on them. For example, in your liner notes you say that you wanted to give "Wherever You Are" to Michael Jackson.

GP: That's from the Real Macaw area, and that's definitely not one of my more hardcore rock 'n' roll records. I was definitely trying to get some soul balladry into things, and some more esoteric material. And to me, this song was too close to the edge for a Graham Parker album. I thought it was very commercial and very slick. I could just hear it sung by Michael Jackson as a ballad. It would have been right up his street, but as usual I never bothered to try to get it to him. I thought he wouldn't pay any attention.
So it just sat there and festered away.

T: You also make a comment about how Celine Dion could cover one of your songs if she was into performing well-written material instead of pop fluff.

GP: I don't think the Titanic theme is that bad, but it's still comes from what I call "rent a songs" sensibility. My idea of melodic structure is a kind of '60's thing that comes from the Beatles more than anything, which is a melody cutting across the chord sequence in a sort of angular fashion. And the same way that Motown did that, as opposed to these sort of soft kind of r&b kind of things, which is kind of her sort of thing. These people like her and Mariah Carey do a lot of very impressive vocal tricks. Their vocal chops are unbelievable. Whitney Houston as well.
But a lot of the songs to me are "elevator lite" in their melodic structure. "Wherever You Are" has a '60's sensibility in structure, and they don't do that kind of stuff too much.

T: I don't want to sound like a cliche, but I immediately thought of early '80's Bob Dylan when I heard "Tortured Soul".

GP: Yeah. I was definitely into that style at that time. I was really exploring that style very much, more than the kind of soul music style that I explore quite a lot. So, I thought "Dylan should do this," but I don't have the time to bother. In fact, he might think I was being funny.

T: You never know. In the last decade or so he has covered quite a few songs from other people.

GP: Well, it's out there now. So it's available for him to hear now, as opposed to being in an attic somewhere.

T: Another song that caught my ear was "Corporate Rock." The sentiments were certainly true then, but it's probably even more appropriate now.

GP: I suppose it is to a certain extent. It never goes away, does it? But there definitely was a style of music that could have been called corporate rock, and it was all the kind of Journey, Boston, Kansas kind of stuff that the youth of America seemed to think was really hip. "Play some rock 'n' roll, man." To me it was a bit of pantomime music.That was definitely what was going on with the record companies at that point. That was what they understood the most, you know. So that was a song that somebody had to write, and it's definitely along the line of a period piece.

T: Why did you decide to just sell this on the web?

GP: I didn't think I should try to clutter the stores up with it. There's been a lot of compilations out, and reissues and things. I thought let's just let the fans fight their way to this information. Let them work for it. Let's see what word of mouth does, and let's keep it on a small scale as well. I regard this as small scale, as opposed to an official album where a record company publicizes it and spends money trying to get it on the radio. Razor and Tie are the distributors only. I'm spending money. I paid for the freebie copies that have gone out and stuff like that. And Razor and Tie are paying for a few things, I'm sure, but I'm not saying to the them "why aren't you trying to get it on the radio?" It doesn't matter to me. It's not really the point of the record.
It's a great experiment. This is the time to check this stuff out and see how it flies. Eventually, Razor and Tie have said they'd like to put it out in the stores one day and that's kind of up to me. If it stops selling on the internet completely and there's nowhere else to go, maybe I'll let them do that and strike a whole different deal.
You know, I've had quite a lot of records out in recent years. Four for Razor and Tie, two studio and two live, and when you push these in stores, and stores are mainly interested in making money like anybody else. So the enthusiasm for opening the box and displaying them is pretty thin. I really didn't want to put them through the effort with Loose Monkeys.

T: Prince has received a lot of notoriety in using the web to sell his records, but in his case it's mainly just so he doesn't have to share the proceeds with any record company. In your case, I think you're perfect for selling material on the web. You've been around for a long time, you've got some hardcore fans who will buy anything with your name on it, and at this point in your career record labels don't really know what to do with someone like you.

GP: No. It's very difficult. There are a million artists who are singer/songwriters that are played on AAA radio, but AAA radio doesn't generate huge sales. I have to hand it to record companies like Razor and Tie. They're very enthusiastic about this kind of music, and getting it to the AAA format. And even though they know they're not going to get on the modern alternative rock stations, which is where the money is for rock 'n' roll (as opposed to the middle of the road "rent a songs" format, the adult contemporary,) they still plug away hoping that maybe someday 45 year old people will start buying records again. They're suffering from illusions, but it's good that there is still that enthusiasm to put the stuff out because god knows it doesn't sell.

T: One thing I was impressed with your web site is how much time you have put into it, answering questions, posting diatribes, etc. How energizing is it to have this direct contact with your fans?

GP: It's pretty exciting, actually. It's maybe a self-therapy thing as well, because you sit there and feel kind of free to blurt out any kind of nonsense. There's a few stream of consciousness things that hit me, and I just let it go as opposed to censoring it too heavily.
I'm oftentimes described as a "cult artists," which is a real misnomer. That's a kind of euphenism for "doesn't sell very much." A cult? Are people listening to me with black candles going, and wearing makeup or something? We're not talking about goth here.
If you're going to be called a cult artist, you might as well make it like a cult. And this is almost like a cult-ish thing, to send information out on cyberspace through fiber optics wires into people's homes. I mean, it's quite cult-like.
It's really taking that idea and actually capitalizing on it. Hopefully, people find it interesting, and obviously it rankles a people as well. I get a few comments that say I'm an asshole and to stop complaining. I sort of fight back to that, so you get a bit of stimulation going and it's a good way of keeping people in touch. On so many tours I've done people have come up and said, "gee, I just found out about this gig today." So now if you're online, all you have to do is hit the tour schedule, and you only have to hit every couple of months or something and you'll find out where I'm playing. You'll find out what records are coming out. It's information for people who really care enough to want to find out about it.

T: I want to ask you a little bit about the past, but I'm not going to deluge you with questions about every single album you're released. It's my opinion that the records that were released on RCA (Mona Lisa's Sister, Human Soul, and Struck By Lightning) are very underrated. Do you agree with this assessment?

GP: Actually, Mona Lisa's Sister and Struck By Lightning are records that people rank right highly. Mona Lisa's Sister actually sold quite well, but by the time we got to Struck By Lightning I think the record company had changed hands, the usual thing and nobody did very much, and they wouldn't have gotten it on the radio anyway. But In Europe, Struck By Lightning sold pretty damn well and I was out opening for Dylan for awhile. I went down really well and shifted records afterwards. And then I did my own solo tour right after that, and it was pretty successful in its own way. So I don't think I got a bad deal out of those. It's not like, "wow, why don't people recognize those?" They do, I think.
And Mona Lisa's Sister is being reissued on the Buddha label, which is pretty cool. And I think they may be going for Struck By Lightning, as well, which is great because the stuff has been out of print from RCA. They just kind of move on, you know, like big record companies do if it's selling below a certain number every year. They just delete it.
But luckily there are all of these little labels out there, and a lot of these people are fans of mine who worked for big labels years ago. And I think this is one of the first things they're putting out on the reformed Buddha label. So I think there's great appreciation for it, which is highly gratifying.

T: I guess when I say they're underrated I'm talking about whenever you read a history of Graham Parker, it's always Squeezing Out Sparks and Heat Treatment, and you don't see too many mentions of the newer records.

GP: You're right. You know, Heat Treatment is not my favorite album. I think there's some lame material on there. Mona Lisa's Sister is a far more powerful and stronger record I think. But at the time, Heat Treatment was like an amazing thing that in 1976 somebody was making music like that. And Squeezing Out Sparks transcends the medium. I don't think there's anything as good as that by anybody anywhere. And I don't even take credit for it. I don't know what happened. I blacked out.

T: You said earlier you think 12 Haunted Episodes was your best record. What do you think is your most overlooked record?

GP: I think the ones that are overlooked deserved to be. Not because they were weak, but because they were kind of in-between. You have to make in-between records to get to the ones that really have a great resonance. It's impossible for me to dictate that. I write a bunch of songs and I know when they're credible and when they're good and when they're interesting and when they inspire me enough to make me make a record.
Human Soul is a very interesting record. It's very quirky, but it doesn't have the depth of Mona Lisa's Sister or Struck By Lightning.
And Burning Questions as well. That's a very interesting, very edge-y record. But I don't think it has the emotional consistency of 12 Haunted Episodes. That record to me has a great emotional and musical consistency. It's the kind of record that I always wanted to make. I don't suddenly panic and do a rock 'n' roll song, or an r&b song or something like that. I stick to the program, and everything really joins together. It's like the cliche, a song cycle kind of feel. And that's rarely achieved by me. I generally write a lot of disparate material and call it an album. And that's not as satisfying, I think, as the real inspirited thing. Which is very hard to come by.
So I don't really worry about records that are less rated than others. I have such great fans, even though some records may have a much smaller base than others, and those people are really into it. There are people who really dig Human Soul, and people in this country who first heard me with Another Grey Area, which the British said killed my career. It was the end of it. You're out of here, pal. And it wasn't until Mona Lisa's Sister where they said, "I guess he's not that bad." The British are such miserable bastards. They're really hateful.
But Another Grey Area was pretty well received in America. People look back and say it's not very good, but I remember a lot of good reviews, even Rolling Stone gave it a good review, and you'd think they would be the first to say, "ouch. This is really slick." But it got a good review, and it sold okay. I'd die for those sales now...and so would about 1,000,000 other acts over the age of 10. It's nothing to really worry about.

T: One other aspect of recent years that I find interesting is your use of the Figgs. I've always said that I'd like to see veteran acts hook up with a young, hungry band, and you did that with them. Was that a fun tour?

GP: Absolutely. For one thing, I'd just let them play and did singing. I played guitar a bit, but mostly I got back to stalking around stage a bit, acting half my age or trying to. And they were so powerful. The Last Rock 'n' Roll Tour, to me, is the best live album I've made with a band. The Rumour stuff, obviously it's the Rumour so it's a pretty high level of musicianship. But I don't think the live albums they made were as good as the Figgs one because we stuck with the arrangements so closely. With Live Sparks and Squeezing Out Sparks you don't know which you're hearing half the time. Which one's which? It just doesn't go anywhere with it to me. It's just incredibly intense, which of course is very exciting.
But me and the Figgs, I think there was a different sound. A different band, a real four piece garage band. They were just a great band.

T: When can we expect to see some new material? Are you working on a new record?

GP: No. I've just written a lot of stuff. Loose Monkeys has kind of taken over my time. Once you start looking at a tour, it's kind of all encompassing. I'm sort of held back a little bit.
But what I've got to do sometime this year is get into a demo studio and record all the stuff I've written, and do overdubs on it. And then think about doing an album, and think about a record label, I suppose. I'm not officially with anybody, really. It'd be great to do it on the internet again, but you need a lot of advance money to make a record. So that's where the record company comes in. So what I'm going to do I have no idea. I've got to record songs in demo form and then get inspired. That's what happens. That's the process.

T: In one of your rants on the internet you said you weren't going to tour America again. Now here you are touring.

GP: I know. You should really check the site because I just posted a new "Thoughts From Chairman Parker." And it's a little different because it's observations on all of these gigs. I think when I got to Sioux Falls I wrote that I didn't know the name of the club, and then my comment is that I didn't even know if I spelt "Sioux" right. I had no other comment because I've never been there or played there. At some point I think I was talking about going to Chicago. I said "why the hell am I doing this. Last year I said I'd never tour again. I shouldn't be touring. There's not enough people coming." And at the end of it I said, "are you insane, man?" I guess I must be.
I think the solo thing I just enjoy a lot. It expands the material and give it new breath and new life. And the fact is that it's nice to know you're wanted. My agency tells me that people want me to play, and there's gigs and offers. I'm like, "why are they booking me? I've never pulled anybody in this town." And they say they'd rather have somebody like me than somebody that was a big success two years ago because now nobody wants to know them.
So the club circuit is kind of gratifying, and I guess like any artist I need my ego stroked. That's the truth. You just have to have that to carry on. If it wasn't for ego I would not be writing songs. It's like, "God, they want me. How can I refuse?" I'm stuck with it pal.

T: Well, that's all I had. Like I said, I could sit here and ask you questions forever, and I know how bored you'd get with that.

P: I think you covered the important Graham.

Sunday, April 24, 2011

Rural Ledge-ucation #6: Lonely Easter

I'm home alone on this Easter Sunday, so I spent some time pulling out some forgotten favorites for this latest episode. The Blasters, Sidewinders, Vulgar Boatmen, and The Wedding Present are a few of the noteworthy bands, along with a brand new Bob Dylan cover by Ben Waters that features Mick Jagger, Keith Richards, Charlie Watts, Ron Wood, and Bill Wyman (his first recording with the other Stones since the early 90's). Download this now and enjoy a lazy hour of country-tinged Americana!

1. Ben Waters, Watching the River Flow
2. The Blasters, Marie Marie
3. The Knitters, Rock Island Line
4. Alejandro Escovedo, I Was Drunk
5. The Silos, Tennessee Fire
6. The Vulgar Boatmen, You Don't Love Me Yet
7. Accelerators, The Letter
8. The Sidewinders, We Don't Do That Anymore
9. Son Volt, Back Into Your World
10. The Wedding Present, Don't Cry No Tears
11. Jason & the Scorchers, Are You Ready For the Country
12. Supersuckers, Roadworn and Weary
13. Soul Asylum, Put the Bone In
14. The Rolling Stones, Salt of the Earth

Saturday, April 23, 2011

Live Ledge #13: Supersized Pantsless Show

Home alone for the weekend, this show was broadcast sans pants. Since I was indeed in my most comfortable state, this is also a three hour tour de force of alternative pop, garage, punk, and a few oldies. Two sets of double cover challenges were also aired, along with a handful of blog finds. Download it now here, or through the iPhone/Android app.

Here's the tunes that was aired over the Real Punk Radio network:

1. The Who, A Quick One While He's Away
2. Morrissey, You Know I Couldn't Last
3. The Afghan Whigs, Bulletproof
4. The Jesus & Mary Chain, April Skies
5. The Primitives, Crash
6. The Mighty Lemond Drops, The Other Side of You
7. Adorable, Sunshine Smile
8. Madness, Night Boat to Cairo
9. The specials, Do the Dog
10. Selecter, Too Much Pressure
11. The Flamin' Groovies, I Can't Hide
12. The Long Riders, I Can't Hide
13. The Vipers, Cheated and Lied
14. The db's, Bad Reputation
15. The Records, Starry Eyes
16. Shoes, She Satisfies
17. Pixies, Wave of Mutilation
18. Pixies, La La Love You
19. Jawbreaker, I Love You So Much It's Killing Us Both
20. Jawbox, Breathe
21. Animal Train, Gary's Got a Problem
22. The Replacements, Gary's Got a Boner
23. The Unrelated Segments, Cry Cry Cry
24. The Cynics, Cry Cry Cry
25. Frantic Flintstones, Sexy Red Number
26. The Caravans, Know Your Rights
27. The Clash, (White Man) In Hammersmith Palais
28. Eddy Current Suppression Ring, We Got the Beat
29. Belfast Gypsies, Gloria's Theme
30. Rocket From the Crypth, Hippy Dippy Do
31. Hot Snakes, Audit in Progress
32. The Night Marchers, That She Blows
33. Obits, Everything Looks Better in the Sun
34. X, The Once Over Twice
35. The Knitters, Call of the Wreckin' Ball
36. Dave Alvin, Haley's Comet
37. Supersuckers, Born With a Tail
38. Mudhoney, Generation Spokesmodel
39. MonkeyWrench, Call My Body Home
40. The Ramones, We Want the Airwaves
41. The Wedding Present, Pleasant Valley Sunday
42. The Rezillos, Top of the Pops
43. Reverend Horton Heat, Marijuana
44. Tenderloin, Bourbon

Wednesday, April 20, 2011

The Ledge #70: Terry Taylor

If there was ever a MVP of the Sioux Falls music scene, it would have to be Terry Taylor. As a record store clerk/buyer, his seal of approval was all most punk, hardcore, or metal fans needed. He also spent time in a number of bands that actually broke out of the local scene, playing all over the country.

Most importantly, though, is Terry's work as a concert promoter. Terry's events evolved from a few dozen attendees at garage and basement shows to thousands at rented halls. His successes eventually convinced the Pomp Room to initiate all-ages shows, and other more respectable buildings finally welcomed his talents. Over the years, he was responsible for bringing in Green Day, Offspring, Fugazi, Henry Rollins, Less Than Jake, Babes in Toyland...oh hell, almost any punk, indie, or hardcore show of the 90's was a Terry Taylor production.

Taylor is still booking shows in Sioux Falls these days, along with a few other states, as the co-owner of Hunt Industries in Lawrence, KS. In this episode, Taylor reminisces about his life as a fan, promoter, and musician. You can download this episode directly onto your Apple or Android product via The Ledge app, or directly download it here.

Here's Terry musical selections for this show:

1. Leonard Cohen, Dance Me Till the End of Love (Live)

2. Grinderman, Depth Charge Ethyl

3. Volbeat, Back to Prom

4. Against Me, Thrash Unreal

5. Daft Punk, Derezzed (Trom Soundtrack)

6. Foxboro Hot Tubs, Mother Mary

7. Nick Cave, Fifteen Feet of Pure White Snow

8. Black Flag, Thirsty and Miserable

9. Off!, Killing Away

10. Misfits, Saturday Night

11. Combichrist, Sent to Destroy

12. Mike Patton, A Perfect Twist (A Perfect Place Soundtrack)

13. Teenage Bottlerocket, In the Basement

14. Teddybears, Yours to Keep

15. Peeping Tom, Don’t Even Trip

16. Dot Allison, Colour Me

17. Into Another, Underlord

18. Misfits, Halloween

Sunday, April 17, 2011

Rural Ledge-ucation #6, 2nd Annual Record Store Day Extravaganza

This morning's show eschewed the traditional "quieter side of The Ledge". Instead, today's Rural Ledge-ucation went through the deluge of product released for Record Store Day. From the country stylings of Buck Owens to the heavier bombast of Mastodon, the show should have a little something for everybody. Plus, host Scott Hudson has a mini-rant (or, as Angry Hugo called it, "a bit of a rant"), and some short interview with other Record Store Day purchasers.

You can hear this show via The Ledge's iTunes/Android app, or download it here. Today's setlist included:

1. The Decemberists, Down By the Water (Live)

2. Buck Owens, Close Up the Honky Tonks (Early Version)

3. Gram Parsons & the Fallen Angels, Love Hurts

4. Jenny and Johnny, Love Hurts

5. Built to Spill, Ripple

6. Television, Satisfaction

7. Sonic Youth, Personality Crisis

8. Husker Du, Don't Want to Know If You're Lonely

9. Green Day, Don't Want to Know If You're Lonely

10. John Doe & Jill Sobule, I'm in Love With a Girl

11. Big Star, Thank You Friends

12. Nada Surf, The Moon is Calling (Demo)

13. Deerhunter, Nosebleed

14. The New Pornographers, A Drug Deal of the Heart

15. Madtodon, Just Got Paid

16. ZZ Top, Just Got Paid

17. Superchunk, Horror Business

18. Coliseum, Bullet

19. Jimmy Eat World, Game of Pricks

20. Nirvana, Son of a Gun

21. The Deftones, Please Please Let Me Get What I Want

22. The Velvet Underground, Foggy Notion

Friday, April 15, 2011

Live Ledge #12: Remembering Joey Ramone

Ten years ago today, we lost one of the greats. After a long battle, Ramones vocalist Joey Ramone succumbed to lymphoma. Tonight we paid tribute to Joey, with music not only by Joey and his Ramones "brothers" but songs about Joey by Sleater/Kinney and The Dahlmanns. Oh yeah, I also threw in a spoken word piece by Jello Biafra about how Joey changed his life that had the RPR room in tears.

Along with the Joey tribute, tonight's show featured two more Double Cover Competitions, and lots and lots of old and new faves. Download it now here, or directly play it on The Ledge iPhone/Android app!

Thursday, April 14, 2011

I Have An iPhone App, and I Know How To Use It!

It took quite a lot longer than I expected, but as of this evening there is an app for The Ledge in the iTunes store. Besides the ability to play episodes of The Ledge, Live Ledge, Rural Ledge-ucation, and Rant a Bit, one can also access posts from this blog and feeds from my personal and podcast twitter accounts.

Download it here!

Wednesday, April 13, 2011

Rant a Bit #7: Bernie Hunhoff

Scott Ehrisman and I took Rant a Bit on the road this month, taking the scenic route to beautiful Yankton, SD to interview South Dakota Magazine owner and House Minority Leader Bernie Hunhoff. Besides a handful of local and national issues, we grilled Hunhoff on this year's Legislative Session. Rant a Bit is available in iTunes, or directly download the show here.

The Ledge #69: Matt Mauch

My old friend Matt Mauch was one of the original founders of Tempest Magazine, and is now a professor in Minneapolis. He recently released his first book of poetry, Prayer Book, and while in Sioux Falls for a reading he made it over to The Ledge studio to share some of his favorite tunes. Along with the music, we discussed some of our favorite shows, and Mauch also talked about interesting meetings with Jello Biafra, Dave Pirner, and many others.

You can download the show via iTunes (and why not leave a review while you're at it?), or directly download it here. Prayer Book can be found at all of the usual online book retailers, including Amazon. Here's Matt's musical selections for this episode:

1. Uncle Tupelo, “If That’s Alright”

2. The Lemonheads, “My Drug Buddy”

3. Lloyd Cole, “So You’d Like to Save the World”

4. Liz Phair, “Fuck and Run”

5. Hank Williams III, “Low Down”

6. Dollface, “In Spite of Everything"

7. Billy Bragg, “Help Save the Youth of America”

8. Dead Kennedys, “Viva Las Vegas”

9. Fine Young Cannibals, “Suspicious Minds”

10. Alex Chilton, “Can’t Seem to Make You Mine”

11. Folk Uke, “Motherfucker Got Fucked Up”

12. John Wesley Harding, “The Original Miss Jesus”

13. The Soviettes, “Tonight”

14. The Replacements, “Raised in the City”

15. Green Day, “The Judge’s Daughter”

16. The Jam, “News of the World”

17. Material Issue, “Diane”

18. Shane McGowan & the Popes, “Aisling”

19. X, “4th of July”

20. Rilo Kiley, “Portions for Foxes”

21. Soul Asylum, “Never Really Been”

22. The Lemonheads, “Beautiful”

Sunday, April 10, 2011

Rural Ledge-ucation #5: New Releases

The Ledge is not just about noisy, punk-influenced garage-rock. Every Sunday morning at 11 am central, I present an hour (or so) of quieter, often twangy, tunes from the past and present. This week's Rural Ledge-ucation is all recent and future releases, and includes tunes from Middle Brother, Fleet Foxes, Steve Earle, Hayes Caril, and many more. Download it now here.

Wednesday, April 06, 2011

The Ledge #68: We All Have Hooks For Hands

Celebrating the release of their new EP, Girls, drummer Isaac Show of We All Have Hooks For Hands is this week's guest. Besides previewing every track from the EP, Show also shares some of his favorite bands and talks about their upcoming big show at the Orpheum Theater in Sioux Falls on Friday, April 15. Starfucker opens the show, and this episode also includes two songs from that up and coming band.

Besides Isaac Show, the band also includes his brother, Eli Show, along with Tim Evenson, Tony Helland, Troy Stolen, Dave Lethcoe, Logan Borchardt, and Brent Hardie (plus quite a few cameos from friends). For more info on the band, their new EP, and the show, head over to their website. To listen to the show, you can download it through iTunes or here.

Show's musical selections for this episode are:

1. We All Have Hooks For Hands, Girls

2. Generationals, When They Fight They Fight

3. Minature Tigers, Bullfighter Jacket

4. Local Natives, Wide Eyes

5. Free Energy, Bang Pop

6. We All Have Hooks For Hands, Amy's Room

7. The Morning Benders, Excuses

8. Phantogram, Mouthful of Diamonds

9. One For the Team, I've Been Here So Long

10. Starfucker, Bury Us Alive

11. Starfucker, Hungry Ghost

12. We All Have Hooks For Hands, Games

13. We All Have Hooks For Hands, Changes

14. Mister Heavenly, Pineapple Girl

15. Soulcrate Music, Think About Me

16. Brenton Wood, The Oogum Boogum Song

17. Jackson 5, I Want You Back

18. We All Have Hooks For Hands, Trapped

Friday, April 01, 2011

Live Ledge, Episode 10: Double Cover Challenge!

Although I have kept the publicity of the show to twitter and Facebook, for the last three months I've been doing a live show every Friday night at 5pm on RealPunkRadio. There's a stream and chat box on the left hand side of this page, so anybody can participate in the (usually drunken) proceedings.

The most excellent Mojo Workout follows me, and with greats such as Russell Quan (The Mummies), Mike Lucas (Phantom Surfers), and Yoshiko of the 5,6,7,8's appearing alongside the rest of the Mojo crew this week, I knew I had to bring on at least a B+ game.

After a couple of extremely potent Whiskey/Throwback Mountain Dews, the decision was made to turn this episode of Live Ledge into a contest. The format was simple - I played two versions of one song and allowed the chat to decide which was the stronger version. At times, the results were as expected, but quite often I was more than shocked at the victors.

The contest is not over yet. Download the show here, and in the comments section choose your victors. Interesting answers may be a part of next week's insanity!

Here's the individual contests:

1. "Love Is All Around" between Joan Jett and Husker Du.

2. "Helter Skelter" between Husker Du and Siouxie & the Banshees

3. "Here She Comes Now" between Galaxie 500 and Nirvana

4. "Femme Fatale" between R.E.M. and Big Star

5. "Children of the Revolution" between Lloyd Cole and Violent Femmes

6. "Head On" between the Pixies and Jesus & the Mary Chain

7. "Gudbuy T'Jane" between Stiv Bators and The Replacements

8. "Bastards of Young" between Against Me and Two Car Garage

9. "Whole Wide World" between the Pristeens and Paul Westerberg

10. "Anyway, Anyhow, Anywhere" between the Flaming Lips and David Bowie

11. "I'm a Man" between The Who and The Yardbirds

12. "Brand New Cadillac" between the Clash and Vince Taylor

13. "Wasted" between Camper Van Beethoven and Circle Jerks

14. "Louie Louie" between Black Flag and The Wailers

15. "Hey Joe" between The Creation and The Dukes of Hamburg