Anywhosers... "God Is Saying This to You" proceeded to sell out ASAP and disappeared into eBay record collector obscurity. Thankfully, Mexican Summer just repressed it in a limited edition 2,000 LP copies with digital download included, boo yah.
Here's the blurb on the album from when it first came out, but all you really need to know is it sounds exactly like Constant Hitmaker.
"More than a mere odds-n-ends collection, Kurt Vile’s latest LP is a compilation of tracks from Overnite KV, a tour-only CDR, along with a handful of extra tracks recorded specifically for this release. Here we find Kurt solo, four-trackin’ as usual, and blowing minds with his mix of bluegrass guitar, blazed singer-songwriterisms, and the knowledge of how to balance these contexts out with laidback precision. Psychedelic to its core, these twelve tracks speak to the will of the casual perfectionist, honing his craft with effortless aplomb. You’ll be hearing plenty more from this Philadelphian wizard in the months to follow, and we’re happy to keep the ball rolling with God Is Saying This to You… "
Check out Team Ghost's debut EP. It's the half of M83 that made the S/T M83 and Dead Cities, Red Seas & Lost Ghosts such sad and epic affairs. You Never Did Anything Wrong to Me (aforementioned debut EP) is seven tracks of that, plus fuzzed out '90s guitar a la... wait for the hackneyed rock critic comparison... My Bloody Valentine.
Also on the electronic tip, I saw yesterday that Solvent is playing at Home Sweet Home on 6/9/10 in support of a new album I didn't know he had out. "My Radio", from 2004's Apples and Synthesizers has always threatened to bring the waterworks, as the song's narrator laments the loss of a friend in commercial radio from behind a heavy vocoder effect. "It doesn't seem so long ago/when I loved you, my radio/you promised me so much/but now you've changed/you always played my favorite songs/those red-hot disco marathons/inspired me to buy my first machines/You've changed and I don't know why/so strange you never said good-bye." There's also a good Schneider TM reworking of this tune out there, wherein he switches the lyrics to "late night punk rock marathons/inspired me to buy my first guitar."
Steve Reid died a few weeks ago. Wax Poetics's site did a nice thing about him, check it out.
Steve Reid was a free jazz/spiritual jazz drummer who most recently was collaborateing with Kieran Hebden (Fourtet). If you haven't checked out those Kieran Hebden and Steve Reid "The Exchange Sessions" discs, I recommend them. They are probably Captain Cralwable, or else hit me up and i can put them on a CDR trade in the mail because I'm old school like that.
Future Islands, a baltimore band off Thrilljockey records, played Death by Audio last night. I was there to see them but walked in on one of the openers, Double Daggers. I checked out both bands yesterday on myspace trying to figure out what show to see and Future Islands sounded good, Double Daggers didn't.
But I'll check out any band on Thrilljockey records, the label out of Chicago that ya'll know with Tortoise, Brokeback, Isotope 217, and both bands are on that label.
Got a few beers from the spartan bar in the back and all of sudden Double Daggers started playing and it got crazy. I was not expecting stage-diving at this show and the whole place blew up into a mosh pit. Some guy had a giant Chinese peasant hat on and was constantly jumping off the stage on to the surging crowd, upside down people everywhere. The lead singer is a bald provocateur; it's essentially straight punk they play but he finished one song with shouting "IF YOUR BAND SOUNDS LIKE ANY OTHER BAND THEN BREAK UP!"Someone shouted that they sounded like Fugazi and he got all pissed off and starting yelling "you see two guitars up here?!", but okay, they sounded like Fugazi without the two guitars, but with the bassist on a distortion pedal instead. It was intense and I mostly hated it, but I'm sorta glad I saw it?
Future Islands was cool. Trio, from Baltimore, all electronic drums, same guy plays keyboards, bassist, lead singer. The lead singer is a cross between Danzig and Morrisey and he looks like Jack Black. They remind me a little bit of Wild Beasts, dramatic singers, electronic-rock. I found their new album "In Evening Air" pretty easily through the increasingly policed blogosphere, worth checking out.
I'm also into the Morning Benders, but I think I played that shit out sitting on the beach in Jamaica a few weeks ago. The new MGMT is just okay, they sound like Air a lot, but the title track of their album is great. Growing is great, and so is the new Flying Lotus, "Cosmogramma". Oh, and I bought a Guild today, 1960 T-100, and I'm pretty happy about that.
this is a bit of random post, but thought there might be some general interest value here
first off, speaking of esoteric, did anyone catch the review of the new "crystal castles" album on pitchforkmedia today? shit like this makes me want to vomit:
"Crystal Castles may have come on at the tail-end of the blog-house/nu-rave/French-touch mini-rage, but they've now transcended it, moving from scene linchpin to indie stars."
secondly, did anyone read about the recent Joni Mitchell interview where she called out Bob Dylan for being a total fraud? Here's the quote, from the LA Times...
“Bob [Dylan] is not authentic at all. He’s a plagiarist, and his name and voice are fake. Everything about Bob is a deception. We are like night and day, he and I.”
Which brings me to one of the most hilarious blog posts I've read in a while, ripping Mr. Zimmerman a new a-hole:
It's a pretty entertaining read if you've got a moment. To put it into context, this comes from a blog by and for hardcore right wingers in Hollywood, so should probably be taken with a fairly large grain of salt.
down again? are we to believe the claim that somehow music has taken over this dude's life and that he is pursuing other interests? or is the shadowy hand of the web sher*iff at play? I didn't even get to read that guy's interview with the guy who started captaincrawl, and I scored some great stuff recently off Radiobutt, 2.0, including Growing, the new Gorillaz, the new Broken Social Scene, the latest MGMT (really like the title track, a whole post kicking around my brain about the title track...), and now this. bummer.
Momus. If I could choose the prick to be, I'd choose to be he if only (and this isn't the only reason one should envy his gumption) to have been the guy who produced Kahimi Karie's masterpiece KKKKKKK, getting her to sing about prancing around in print cotton underpants. Perhaps actually making her prance around in print cotton underpants? I love Japan.
Scored some good music at a garage sale this weekend. LIke 20 something albums, i think.
This was the big score, Brian Eno box set from mid 80's with all this albums from 1973-1983, plus rarities disc and some other box-only LP. All the records inside are in original packaging with original covers, etc. Score to get at the Garage Sale nice price, and will act as a good bookend for the record shelf. Booyah.
Anyone know what's up with Peter Green? I feel like i've seen this before, the jaguar with the robotic font. This record is real good, kind of early 70's white boy blues vibe.
I never knew that that part of first Tortoise album where a robot voice is saying "Monday... Tuesday... Wednesday.." is actually a sample from "The Who Sell Out". Huh. Did they clear that?
This is a solo joint by the guy from Tangerine Dream, so its all super mellow ambient synth tunes with water drop sound effects in back ground. Pretty good, think i'll find samples on it.
dc
p.s. went and saw Tobacco of Black Moth Super Rainbow fame with EJ last night. Pretty wacky, it was good. We had no idea what to expect.. 5 man band? Solo? It was basically him playing a bass, a mic, and a lap top, and some chick who looked like his girlfriend or something doing some kind of compuer/effects thing, and massive crazy visual component with footage of like 80's pornos and random infomercials and the like. here's an example from YouTube.
Blayyter.
Thursday, April 22, 2010
I've been really enjoying releases from Jahtari recently. I think I've mentioned this label on here before. They're based in Leipzig, Germany and release dubby, reggae-ish computer music (ha! I suck at describing things! ...and spelling) that encorporates video game sounds among other things. They have a bunch of free downloads at their website - http://www.jahtari.org/
hahaha, in preparation of the esoteric post i'm going to drop later, check this article out. This is a *joke* article, people, but now I know what it feels like to read some of my posts. And it is bitter sweet....
Really into this album by The Morning Benders, a bay area band. They sound a bit like the Fleet Foxes and Broken Social Scene. Actually, even more than BSS, they sound like the BSS guitar player's side project, Apostles of Hustle, which is another cool band, if you haven't check them out.
And, predictably, I love Robert A.A. Lowe & Rose Lazar, "Eclipses", which DC got me hip to off Thrilljockey, anything ambient, weird electronic, I'm all about.
I've been a big fan of Luke Sutherland's band Bows since I picked up their second and final disc, Cassidy (Too Pure 2001). And, though I have almost bleached the ones and zeros off that disc with 10 or so years of laser light and overplay, for some reason I never went back and checked out his previous band Long Fin Killie. Not until this week, that is, when a recently discovered blog that a friend had led me to to grab an amazing array of live and vinyl-only Shellac material surfaced the first record, Houdini, and I groggily hit play on my way to work yeterday.
(On a side note, what's with the internet these days? It's a crackdown chill like the end of the Cultural Revolution- great blogs are dropping like flies on a dry evil wind. The site I found Houdini on is gone now.)
Long Fin Killie was 3 records in 4 years- '95, '96, '98. Two of them here. Some other stuff here. It was post-rock guitar squall and free jazz and spoken word. This guy says it was the reason Mogwai formed. Sutherland also played violin on Mogwai's Young Team, so there may be some merit in that. I'm giving Houdini another close listen today, then it's on to the others. What do you guys think?
What's up, dudes. Nothing especially blogworthy to report, but the site is hurting for content, so here are a few random records that happen to be on the shelf next to my computer.
Garcia's first solo album from 1972. Really good. Even though it has Dead classics like "Sugaree", "Loser", and, my #1 Dead jam, "The Wheel", it also has some bugged out spacey interludes a la Beatles "Number 9".
Tonto's Expanding Head Band? Where did I get this? I don't what the fuck this record is about. It has some good samples, crazy synth moog I think.
Ten Years After, "Stonedhenge". This is really one of my fave albums, this shit is so good. So good i captaincrawled it for a link for your convenience. This is actually like the third copy of this I have. I would always find it at Garage Sales and shit but the copies would always be trashed. Finally I scored a clean copy.
First album by The Rapture on white vinyl on Sub Pop. I know it is kind of esoteric and douchebaggy to always say "i like their early stuff", but, yo, I do like this album the best, it has that disco funkiness buried somewhere, but so aggressive and rough. DFA and James Murphy would come along to shine these guys up a year or so later, but this first record is so raw and immediate and sparse, its one of my faves.
I'm psyched to check out the new MGMT album, these guys come off well in this profile.
I'm also listening to Tomasz Stanko's "Dark Eyes" right now, and it's hitting the spot.
I've also been meaning meaning to drop a post about Heitor Villa-Lobos for a while, anyone into Shostakovich or just any good, moody chamber-music should captain-crawl that name and dig in.
Finally, a productive afternoon or evening can be spent checking out the list of jazz that this guy makes available on the left side of his blog; Adam Rodgers, a NY-based guitarist, is one of the scores I've gotten off this blog. Ability to read spanish is helpful, but not necessary.
Well... I'm a sucker for everything about this guy's aesthetic. This solo record doesn't veer too far from the Sigur Ros stuff, a bit more English spoken, a bit less grandeur. You can stream it here: http://jonsi.com/go. There are interesting vids there as well. Sigur Ros (and Jonsi) have some serious recording chops; while the band records in an intense studio in Iceland, I think he recorded a lot of this one in his New York apt., yet it still sounds excellent.
Check out this post on StreetBoners.com with a download of Das Racist's new "mix tape". That Site has been riding this band's jock pretty hard for a while now. I think some, if not most, of you guys will hate this. It couldn't be more Williamsburg-ed out. But I like it, and even though it is funny/jokey (not something i typically like) it is definitely "real".
I checked out "Combination Pizza Hut and Taco Bell" on their MySpace a few weeks ago and it has been stuck in my head ever since.
Whatever, I'm not wasting any more time trying to hype this one. Check it out, "Das Racist". Enjoy!
There is an enormous but by no means comprehensive posting of Krautrock & Kosmische put up recently at Glowing Raw. I don't much care for the Kosmische stuff, but listening to Krautrock is what I do instead of going to church. Some excellent stuff called out here, and stuff I haven't heard. Looking forward to hearing the solo Roedelius and Moebius stuff. If you haven't heard the Eno/Cluster collaborations, don't have Harmonia's Deluxe, and haven't heard any of Michael Rother's solo, post-Neu!, post-Harmonia work, most of it is here. Harmonia's Deluxe cover art is included here just for that golden sunset feel.
Finished off my busy live music week with The Walkmen at the Bell House last night. I wouldn't say that that was necessarily another case of liking a band a lot more live than on the record; I liked their latest album "You & Me" when it came out and I've been listening to it the last few days and got more into it. But they are definitely a great live experience. The frontman, Hamilton Leithauser, has crazy stage presence and an amazing voice; he's got this kind of Dylanesque inflection but he's got more power behind his voice. I like how low-key the band is, unpretentious, cool under-stated style; dude has his shirt tucked in, not everyone in a band has to dress like a hobo. I got the two songs I was waiting on, "In the New Year" and "Red Moon", the former about 2 songs in to the set and the latter as the closing song of the encore. Same understated vibe in the lyrics for The Walkmen; "In the New Year" he leads into one chorus by building up his voice saying "I'm just like you, I never hear the bad news" and the music crescendos off that. In "Red Moon" he sings about darkness settling all around him, you wait for more but you wind up with a minor chords and some low-key horns and you realize that it's all that needs to be said. My friends Cedric and Christina and I were talking about how their music sounds like 50s ballads mixed with indie-rock, and the occasional mariachi horns, perfect for drunken late night walks past neon lights.
I want to connect the dots on something I noticed the other day when listening to the new Gorillaz single, "Stylo." The dots to be connected are located in the years 1991 and 2010, respectively, and they are anchored to the 1991 Recoil album Bloodlines and the 2010 Gorillaz release Plastic Beach.
Part I: The Fountainhead
Alan Wilder was one of the synth guys for Depeche Mode during the period of their signature sound- large, clipped orchestral arrangements marked by swells and fat synthesizers. He left that band in 1995 to devote more time to his other more neglected project, Recoil. I had always thought that all the really finished Recoil material was released after Wilder's departure from DM, but apparently Bloodlines was released in 1991. In a lot of ways, this is the logical realization of what some DM songs only hinted at- there is a hard edge and dramatic darkness to these songs that skirts the pathetic, pre-emo tendencies of Depeche Mode, and the swells and synth lines that were cut off in favor of a more pop sensibilities in his more mainstream band are given full, eccentric rein here.
Part II: The Pupil Learns from the Master
While this record didn't make a big splash on American radio, tricks from Bloodlines' arrangements and style were snuck into the fakebooks and back jean pockets of more than one artist since. Notable among these musicians was Bloodlines guest vocalist Moby, whose '99 hit record Play, one could argue, owes the full debt of its popularity to Wilder's influence. You can hear the Wilder style on the orchestral swells of "Porcelain", and, most relevant to this post, Moby's use of samples of black spiritual music throughout the record. If, like me, you thought this Moby record sounded dated when it came out, that it's aping the style of a mid-'80s stadium synth icon sounds like a pretty good explanation as to why, doesn't it?
I suppose it's only fair to give a taste of what I'm driving at. Below is Recoil's track "Electro Blues for Bukka White," a song that's not much more than a proto-industrial drum sequence, a fat and driving synthetic bassline, and a sample of old Bukka White blues tune, "Shake 'em on Down."
Part III: The Gift of Ancient Knowledge Gives the Hero Great Powers
With the release this month of Plastic Beach, Blur frontman Damon Albarn's guest-driven project Gorillaz' new album, I happily have another reason to dig out the old Recoil material and have a critical listen. Why? Because "Stylo," their lead single featuring Bobby Womack and Mos Def, is a cleaned-up, groove optimized, updated version of the song you just heard above. There was always something plodding about DM's, and Wilder's, songs, but this has been corrected for on the Gorillaz record. That extra half-note or whatever it was that was holding up the tempo of Wilder's song is gone on the Gorillaz track, but the allegiance to the basic structure of the bassline on "Electro Blues" is not.
What's that? You say a lot of songs share similarities like that? That pop music only has so many tropes so a song that sounds like another one is bound to come along sooner rather than later? That's as may be, but the similarities go beyond the bassline. Singer Bobby Womack seems to have been recruited because of how much his singing style here mimics the sampled Bukka White on "Electro Blues." Right down to the inflecting flourishes with which he finishes his sung phrases (a few seconds after his first appearance in the song, listen to that spoken "right now," or the "That's what I'm talking about" later in the song), he proves that Albarn had to have drawn influence from Recoil. Womack's flourishes are analogs to White's barely decipherable "and it's like that" utterances at rhythmically opportune intervals in the Recoil tune.
If you don't believe me, have a listen to "Stylo."
Proof that good musical ideas don't go away, but if they're good enough they may go uncredited.
Just like A Sunny Day in Glasgow, I liked Califone more live than on their records. This isn't always the case for me, in fact I'm pretty frequently dissapointed live by bands whose records I really like, Pinback is a good recent example. But both of these bands were great live.
I thought Califone were going to be these 20-something indie rock dudes, but they were frumpy, 40-something midwestern guys, totally unpretentious, funny bantering with an audience that was clearly very into them. They'd be a decent band if it was just about the songs they write, but they really get into some cool experimental stuff, with different loops building together and they expertly move into and out of songs off of that stuff. Great show. Regrouping tonight and then back to the Bell House tomorrow night for the Walkmen.
I was taking leak at the Bell House last night when these two dudes started talking:
"Maybe we should pull some Axl Rose shit and go on way late."
"Or just say that there is no apple juice backstage and not go on at all."
They were clearly fucking around, I guessed they were from Sunny Day in Glasgow and we started talking a bit. I asked what the deal was with their name and apparently a few of them went to art school in Glasgow. I said my band has a song called "A Sunny Day in Portugal" and one of them (the tall bassist) said "We'll see you in court!!" Haha, but I told them it was kind of an ode to Panda Bear, and they said they're going to be sharing a bill with him Spain soon.
A buddy of mine might be doing some work for the Bell House so he got me and him comped for a few shows this week. Last night was SDinG, tonight is Califone, Thursday night is the Walkmen.
SDinG were really cool, actually even better than I expected and I like both their records. They have two chick singers, one of whom is this Asian chick who bounces around in a loose 50s style skirt and white keds; I kind of wanted to start dancing with her, she was fun. The other chick was cool too, also in a 50s skirt, and she played keyboards as well. In general I felt there was a pretty big gulf between their recordings and their live peformance. I guess that isn't all that uncommon but I had the feeling that they haven't been recorded right. They rock a lot harder than what you get on the recordings, which are fairly washed out and dreamy, cool but a little bit amorphous and maybe too vague. Live there is still a cool ambient thing happening but the girls' vocals work better together. The biggest difference to me was the drums; the drummer is pretty slamming but the records have way too much reverb/echo going on and that vitality is lost.
Anyway, the Bell House is cool because most of the bands that play there are pretty well-known but they just hang out afterwards, so I managed to semi-drunkenly share my opinion about their recording/live divide with a bunch of different band members. I'm sure that they will think deeply about my beer-soaked ramblings, in particular the keyboardist/singer, who was working their merch table ("LPs sold out"!) who seemed impressed that I was wearing a suit.
My man Record Mike tipped me off to this... is he on here? I don't think so. Check it out, "Relatively Clean Rivers":
"Former Beat Of The Earth leader Phil Pearlman assembled this band in the early seventies and eventually recorded this magnificent rural rock album in 1975. The Relatively Clean Rivers album stands with the very best albums of the era, possessing a purely American sound and walking confidently past the shadow of its previous incarnation. Amazingly well produced for a private pressing, it is the very antithesis of his earlier releases that could be classified as garage (at a stretch, perhaps - they are not without a certain tangible sophistication)."
Fans of Skip Spence etc. should run not walk to Captain Crawl and find this. Kind of a early Dead vibe at times, or CSN/Neil Young vibe. I love that borderline cheezy-but-still-good vibe. Give this one a shot and it will grow on you.
One of the more interesting themes for me to follow on this blog is how technology is shaping how we interact with music. That recent post where the Web Sheriff actually infiltrated our ranks with his Big Brother tactics and sly but insidious appeals for those of us who wanted to check out the new Broken Bells album to actually pay full price for it is a good example.
Another change going on is how I trade music with people. Until very recently I regularly traded DVDs full of music with friends. DC & EJ on the regular, and I even did a mail trade with Gabino a few months ago. But now, with the proliferation of blogs and easy downloads, I can just post here about an album and provide a link, email a friend, or just mention a band and suggest they captaincrawl it (I spread the gospel of captaincrawl regularly, and I think I'd pay for a priority subscription that brings up only full albums and/or gets rid of those annoying commercials). This is cool and easy, but I'm already nostalgic for the 4 gig dump of totally new music, checking out what another person I respect is digging, bantering back and forth about it.
I've been living for a while with the idea that an album has become like a business card, and I check out a ton of music and if I like a band and hear that they're in NY I make a real effort to go out and see them. But lately I've considered spending money on music in new ways and I wonder if it's the beginning of new economies related to music as the standard record company model dies. I've paid for 30 day subscriptions to Rapidshare a few times to accelerate my download speed from blogs, and scored tons of music this way (though a lot of the file-sharing sites are totally free and work great, I think Rapidshare just was an early arriver on the scene and has a lot of that market). I've used yousendit a bit, and I now find myself considering a monthly subscription so I can just blast out albums to friends with a message, say hello to people I don't talk to that often but who might occur to me when I listen to a certain album, that kind of thing. I've even considered starting a blog like the many I troll regularly and post albums and a small description; unclear whether I can get in trouble doing it, so I just haven't pursued it. I'm trying to at least practice what I preach with my own music, Monastics (the band I'm in with EJ and DC) just put up a website and are giving our album away for free.
Oh, and BTW, if the Web Sheriff is out there and monitoring this, Broken Bells came to Music Hall of Williamsburg, I was all over that shit, trying to get tickets right away when they went on sale. And you know what? I couldn't get them, they sold out right away. I was all ready to buy a few tickets and bring friends, as per my promise to you, Danger Mouse and James Mercer. I think those guys are probably doing just fine, even if I didn't make their show and downloaded their album for free.
New Autechre is awesome, I think probably their best, listening to it non-stop.
Been into Boduf Songs for a little while, "How Shadows Chase the Balance", has been a late night staple, finally got on captaincrawl and got "Lion Devours the Sun" and "the Strait Gait". Boduf Songs is an English guy named Matt Sweet, really dark, sparse, hushed vocals, very cool, "the strait gait" is a short, experimental album. Got a bottle of laphroig recently, it won't last long with late night sessions, just finished Out of Captivity listening a lot to these albums, helped put me in the dark Colombian jungle.
Searching for the right soul vibe for a sunny Sunday afternoon, listened to some Curtis Mayfield, some Delfonics, a bit of Sly & the Family Stone, but finally got on to Babies Making Babies, killer compilation put together by the drummer from the Roots, first track, Smokey Robinson, "Quiet Storm", that's what I was looking for------
Just found out that Alex Chilton died of an apparent heart attack today in New Orleans. He was scheduled to do a Big Star show at SXSW this weekend.
I'm having a momentary flashback to Katrina, when his absence was flashing all over the internet for about 48 hours before he was pulled off the roof of his house. This, apparently, is "actual fact", as they say.
It's odd, almost as if there were something in the air: I found a bunch of old Chilton records online & have been listening to him heavily since late last week. Tonight as I made dinner, I was listening to a bootleg of a show he did in Bloomington in '84, cracking up to him doing an impersonation of Paul Schaffer doing an impersonation of Jerry Lee Lewis. He came to Bloomington several times, and there are tapes of every show (before anyone asks, I only have the one). In every show, you can hear some drunken idiot yelling for "Dateless Nights", a song he did with Tav Falco's Panther Burns. That drunken idiot was, of course, me. The first show, he just blows it off. The second show, he says "Did someone actually request 'Dateless Nights'?", shows his band the changes, and then struggles through a version. The third time, I was sitting up front, he got about halfway through the show and asked for requests. I said "Dateless Nights" barely above conversational level, and he wheels around and says "Ha! We're ready for you this time", and then ripped through an incredible version of the song.
I don't know anyone who is serious about his music that isn't down with something that Alex Chilton did, from the Box Tops to Big Star, to the overwrought and degenerate punk singer/songwriter shtick in the late 70's, to the rockabilly trash he did with Tav Falco, to the later Southern R & B that became the centerpiece of his 80's comeback. I once had a good friend and bandmate back in the 80's who derided me for listening to that "hack Beatles paisley pop shit", so I bet him that I could make him a tape of Chilton's stuff and he would become a fan. He listened to the tape nonstop for a month, and never made it past Like Flies On Sherbet on the first side. Ten years later, he was forcing the band to do a cover of "Alligator Man", and is a huge Chilton fan.
Chilton's best music was probably behind him, but when you set the bar that high, you can fall several notches and still be making vital music. About ten years ago, I happened to grab Set on the way out of Louisville straight through to Tucson. That record, a fairly inauspicious collection of covers all recorded in one night (and, according to Chilton, all first takes), not only became the soundtrack for that 30 hour drive, but something I have listened to over and over again through the years. It all comes down to soul . . . Chilton had it.
I was going to do a post here about Like Flies On Sherbet, but I think I'll step aside now. The tributes will be coming fast and furious any second. All I can say is . . . Alex, you will be missed. Very much.
Finished off my busy live music week with 
