The Damned’s “Evil Spirits tour” has begun, and their new album is out April 13th!

THE DAMNED ANNOUNCE NEW ALBUM ‘EVIL SPIRITS’ TO BE RELEASED APRIL 13th VIA SEARCH AND DESTROY/SPINEFARM RECORDS
LISTEN TO NEW SINGLE ‘STANDING ON THE EDGE OF TOMORROW’ ON SPOTIFY

Photo: Steve Gullick
Formed in 1976 at the forefront of the fledgling London punk scene, The Damned kickstarted the birth of punk as we know it, leaving an influential legacy for generations to come. Their musical journey has seen the quintet intent on moving forward, courageously exploring sights and sounds way beyond their brash wide-eyed beginnings – and they’re back to do it all over again.
Some ten years since the release of their last studio recordings, The Damned return with a new album, ‘Evil Spirits’, to be released April 13th on Search And Destroy/Spinefarm Records, preceded by the new single ‘Standing On The Edge Of Tomorrow’, streaming online today ahead of their forthcoming Evil Spirits UK tour starting January 26th.
Propelled by an enormously successful Pledge funding campaign, the band headed to Atomic Sound Studios in Brooklyn in early October 2017 and began a frantic, high-energy, nine day burst of creativity with famed producer Tony Visconti, whose list of past working-relationships reads like a who’s who of popular music. (David Bowie, T Rex, Morrissey, U2, The Stranglers, Iggy Pop and Thin Lizzy to name but a few), Reunited with former bassist Paul Gray (who played on the legendary ‘Black Album’ and ‘Strawberries’ in the early eighties), the renewed line up took full advantage of the studio’s classic Neve recording desk, valve gear and vintage equipment to form the new record.
“We deliberately recorded the album retro style,” explains guitarist Captain Sensible. “The same way our debut album was made, basically. There’s something wonderful about the seventies sounds; glam, rock and punk records, they all sound so great and Tony specializes in beautifully crafted old school production. He had us all playing live, bashing it out in the same room with a focus on getting the initial band version of each song as close as possible to the finished thing.“
The first taste of ‘Evil Spirits’ comes in the form of ‘Standing On The Edge Of Tomorrow’, a song penned by frontman Dave Vanian, that packs a punch and carries a melody that is impossibly hard to shift once heard.
“It’s supposed to be very optimistic, even though it’s about a dark subject,” states Vanian. “As an artist, you can’t help but reflect the times, because that’s what art does. I think we always do it, but in a slightly different way. So a song like ‘Standing…’ may seem quite joyous and uplifting musically, but some of the lyrics might be about quite dark things. That’s what I’d like to think this album is – an uplifting album, not a moaning old album – not ‘this is terrible, and that’s terrible’, and then not offering any answers. It’s more a case of, ‘If we get it together, maybe we could change things a bit”.
Across the album’s ten-tracks, The Damned get to the root of their collective song-writing and ‘Evil Spirits’ is an album which doesn’t shrink from opposing the dastardly political forces at work in 2018, and indeed triumphs in seeking higher ground, to progress beyond them.
“This album is filled with a lot of influences from our earlier, pre-’70s tastes – the ’60s stuff. ‘Standing…’ is really linked into Joe Meek, ‘Telstar’, and that kind of stuff,” continues Vanian. At first, I’d said in an interview before we started writing this stuff that the album would be psychedelic, and maybe a trip through the historical side of The Damned, as in what we like. It didn’t happen in the way I thought it would, but it still does the same thing. It still has all that in there, but it’s not as obvious as it could’ve been, which is good. It’s not like pastiches of songs you remember, it’s more a case of, what was great about something you loved as a kid has somehow influenced a guitar sound, or the way the drums are. You might not even know it if you’re one of our younger fans, but if you’re a little older, you’ll hear it, which is kinda cool.”
And of the ‘Evil Spirits’ that the album intends to dispel?  “I started buying records in 1967, the Summer of Love,” adds Captain Sensible. “There were so many positive changes happening through the 60s and 70s; civil rights, feminism, the anti-nuclear demos in particular. Whatever happened to all that? Where are today’s anti-war marches? Whatever happened to the beautiful hippy dream of worldwide peace and love?”
Evil Spirits will be available on digital download via Spotify and i-Tunes, on CD and 180g vinyl available to pre-order HERE

TRACKLISTING: 
1. Standing On The Edge Of Tomorrow
2. Devil In Disguise
3. We’re So Nice
4. Look Left
5. Evil Spirits
6. Shadow Evocation
7. Sonar Deceit
8. Procrastination
9. Daily Liar
10. I Don’t Care
Catch the band on tour this January and February. Main support comes from fabled Stray Cats drummer Slim Jim Phantom (*except Koko), whilst support at Koko and The Forum comes from Kristeen Young.
See The Damned on their ‘Evil Spirits’ tour 2018: 
27th January – Dundee, Caird Hall
28th January – Glasgow, O2 Academy
30th January – Leeds, O2 Academy Leeds
31st January – Manchester, Academy 1
1st February – Birmingham, O2 Academy
3rd February – Leicester, O2 Academy
4th February – Nottingham, Rock City
6th February – Folkestone, Leas Cliff Hall
7th February – Southend, Cliffs Pavilion
9th February – Cardiff, Great Hall
10th February – Bristol O2, Academy Bristol
11th February – Bournemouth, O2 Academy
13th February – Southampton, O2 Guildhall
14th February – Bexhill De La Warr Pavilion
16th February – Koko, London*
17th February London, O2 Forum
Tickets available HERE
Follow The Damned at:
Keep your mind open.
[No evil spirits will visit if you subscribe…I think.]

Ty Segall – Freedom’s Goblin

It’s hard not to like an album that opens with a song about the lead singer’s dog.

That’s exactly what Ty Segall does on his newest record, Freedom’s Goblin, a sprawling double-album with rock riffs galore, wild horn sections, funk jams, new wave trips, ballads, and psychedelic freak-outs.  The opening track, “Fanny Dog,” launches like a Polaris missile with a full brass accompaniment and Segall shredding his guitar like his dog probably shreds a stuffed animal.

Segall makes a hard right turn on “Rain,” which seems to reveal his admiration for Radiohead with its simple piano chords, unadorned vocals, slightly warped horns (which are all over this record, really) and lyrics about pining for a lover.  His cover of Hot Chocolate’s “Every 1’s a Winner” is outstanding, and one of the best covers anyone has put out in a couple years.  Segall and his crew keep the funk but up the fuzz on it, and we’re all winners for it.  Speaking of funk, the bass on “Despoiler of Cadaver” is downright slick, and the rest of the tune is a weird, disco / new wave fun zone.

“When Mommy Kills You” is appropriately hard-hitting.  “My Lady’s on Fire” is a ballad that displays Segall’s love for 1960’s folk rock, and the saxophone solo on it  immediately gets your attention.  “Alta” is stadium rock brilliance.  Want more cowbell?  There’s plenty of it on the groovy “Meaning,” which blends hot beats with guitar freak-outs.  “Cry Cry Cry” isn’t a cover of the Johnny Cash song, but it does sound like a nice salute to ELO‘s ballads.  “Shoot You Up” is a slugging, chugging song that I think is about the dark side of the record industry, or fame, or both.

“You Say All the Nice Things” and “The Last Waltz” are two love songs, one about love in the now and one about a love lost to death.  One of the longest tracks on the record, “She,” is a wild jam that would be appropriate for any lady wrestler’s entrance music or the theme song for any metal-loving dominatrix.  “Talkin’ 3” is almost a free-form acid jazz session, but with a noise rock band playing at the same time.  “The Main Pretender,” with its skronking, squealing saxophone by Mac DeMarco, was one of my top 10 singles of 2017.  “I’m Free” gets back to Segall’s love of 1960’s folk, and “5 Ft. Tall” has some 1960’s power pop touches to it and then evolves into a garage rock fuzz-fest.  The closer, “And, Goodnight,” is a twelve-minute psychedelic jam and a great finale.

As you can guess, Segall is all over the map on Freedom’s Goblin, but it all works.  He’s created a record that embraces his many influences and is having a great time exploring all of them.  It’s a treat for us as well.

Keep your mind open.

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Loma release “Joy” from upcoming album due February 16th.

LOMA SHARE NEW SINGLE, “JOY”

https://youtu.be/IMUApFRVfRw

SELF-TITLED, DEBUT ALBUM OUT FEBRUARY 16TH ON SUB POP
(photo credit – Bryan C. Parker)

 

Loma, the new project comprised of Jonathan Meiburg, best known as the singer of Shearwater, and Emily Cross and Dan Duszynski of Cross Record, will release their self-titled debut album on February 16th via Sub Pop, with their first North American and overseas tour to follow and more dates to be announced. After presenting singles “Black Willow” and “Relay Runner,” Loma shares the first song the trio wrote and recorded together, “Joy,” a song about the giddy, terrifying experience of falling in love, especially against your better judgment. Of that initial session, Meiburg noted “There was something special about the combination of the three of us, and very different from either of our bands. But I think we were afraid to say so out loud, for fear of jinxing it. I remember the hairs on the back of my neck standing up when Emily hit that high, screaming note on the clarinet on ‘Joy’; it sounded like a human voice.” That sense of discovery, stoked by the album’s urgent and searching lyrical themes, is felt throughout the entirety of Loma and extends to the listener.

Listen to Loma’s “Joy” –
https://youtu.be/IMUApFRVfRw

Watch:
“Black Willow” Video – https://youtu.be/u4yA8zM0ifY
“Relay Runner” Video – https://youtu.be/GAIeORh7TLs

Pre-order Loma –
http://smarturl.it/loma

Loma Tour Dates:
Fri. Apr. 6 – Phoenix, AZ @ Valley Bar
Sun. Apr. 8 – Los Angeles, CA @ The Bootleg
Wed. Apr. 11 – San Francisco, CA @ Bottom of the Hill
Fri. Apr. 13 – Portland, OR @ MS Studios
Sat. Apr. 14 – Seattle, WA @ Sunset Tavern
Tue. Apr. 17 – Salt Lake City, UT @ Urban Lounge
Thu. April 19 – Taos, NM @ Taos Mesa Brewing
Sat. Apr. 21 – Austin, TX @ North Door
Thu. April 26 – Atlanta, GA @ The Earl
Fri. April 27 – Asheville, NC @ The Mothlight
Sat. April 28 – Carrboro, NC @ Cat’s Cradle Back Room
Tue. May 1 – Charlottesville, NC @ The Southern
Wed. May 2 – Washington, DC @ DC9
Fri. May 4 – Brooklyn, NY @ Baby’s All Right
Sat. May 5 – Philadelphia, PA @ Johnny Brenda’s
Sun. May 6 – Allston, MA @ Great Scott
Tue. May 8 – Montreal, QC @ L’Esco
Wed. May 9 – Toronto, ON @ The Garrison
Thu. May 10 – Detroit, MI @ Deluxx Fluxx
Fri. May 11 – Chicago, IL @ Schubas
Fri. May 25 – Kortrijk, BE @ De Kreun
Sat. May 26 – Amsterdam, NL @ Paradiso (London Calling)
Sun. May 27 – Brussels, BE @ Botanique
Wed. May 30 – Brighton, UK @ The Hope
Thu. May 31 – London, UK @ Lexington
Fri. June 1 – Bristol, UK @ Rough Trade
Sun. June 3 – Manchester, UK @ Gullivers
Mon. June 4 – Leeds, UK @ Headrow House
Tue. June 5 – Glasgow, UK @ Hug and Pint
Thu. June 7 – Dublin, IE @ Whelan’s
Fri. June 8 – Liverpool, UK @ Buyers Club

Download hi-res press images and album art –
www.pitchperfectpr.com/loma/

MIEN release first single, “Black Habit,” and it’s a doozy.

Is it too early to say I’ve already heard one of the best singles of the year?  MIEN, consisting of the Black Angels‘ Alex Maas, Elephant Stone‘s Rishi Dhir, the Earlies‘ John Lapham, and the Horrors‘ Tom Furse, have released “Black Habit,” the first single from their debut self-titled album due out April 6th.

The single is a heady, almost nightmarish trip blending psychedelia with a bit of dark wave.  The album is available for pre-order and the band will play live at Levitation Austin this April.  I already have my tickets for their performance.  Don’t wait to get yours, or to order this record.

Keep your mind open.

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Five David Bowie albums due out February 23rd individually on vinyl for the first time since 1991.

All five David Bowie albums released in last year’s A New Career in Town box set are being released individually on February 23, 2018 for the first time on vinyl since 1991. The albums include all of Bowie’s iconic “Berlin” trilogy – Low, Heroes, and Lodger, as well as Scary Monsters and the live album Stage.

Don’t miss out if you’re a vinyl collector, Bowie fan, or both.

Keep your mind open.

[Don’t forget to subscribe before you go.]

Kelly Lee Owens announces March U.S. tour.

KELLY LEE OWENS ANNOUNCES MARCH 2018 U.S. TOUR

LISTEN TO KELLY REMIX ST. VINCENT’S “NEW YORK”
https://youtu.be/fw1uuMxoZG0
(above image by Jason Williamson)

“Kelly Lee Owens’ debut album introduces the world to a fully formed aesthetic . . Not many debuts balance emotion and economy with such finesse.” — Pitchfork, #3 in Best Electronic Albums of 2017

“Kelly Lee Owens splices luscious Cocteau Twins–influenced hymns with passages of
four-on-the-floor hypnosis. The analogue sounds of bells and tabla give standouts like ‘Bird’ or ‘Arthur’
a homespun feel, and there’s plenty of structural and lyrical intrigue nestled within the album’s all-enveloping, pastel pulse.”
— The Atlantic, #9 in Best Albums of 2017

“KLO’s stunning debut is a beautifully immersive and enveloping take on all of our favorite things: emotional, floating electronic dream-pop and more propulsive and visceral dance music that pulses like an underwater heartbeat, seamlessly woven into something that feels both familiar and entirely new.”
— Gorilla vs. Bear, #2 in Favorite Albums of 2017

London-based Kelly Lee Owens announces a March U.S. tour in support of her self-titled debut album, out now on Smalltown Supersound, and a remix of St. Vincent’s “New York.” Owens will play many cities for the first time on this second U.S. tour. All dates are below.

 

Named Album of the Year by the influential Piccadilly Records, Kelly Lee Owens was named the #2 album of 2017 by Gorilla vs. Bear, Loud and Quiet, and Drowned in Sound, while also making year-end lists from Pitchfork, The Atlantic, Under The Radar, Brooklyn Vegan, Bandcamp, Mixmag and beyond. Additionally, Owens capped off the year with Björk featuring the album’s lead single, “Anxi” ft. Jenny Hval, in her Cover Mix for Mixmag.

Stream Kelly Lee Owens’ Remix of St. Vincent’s “New York” – 
https://youtu.be/fw1uuMxoZG0

Watch/Listen/Share:
Kelly Lee Owens – https://open.spotify.com/album/3Zx14dyUjtZcEas89nZZfn
“Anxi” ft. Jenny Hval video – https://youtu.be/FdDf2Ib4B64
“Anxi” ft. Jenny Hval stream – http://bit.ly/2qZpJuq
“Throwing Lines” video – https://youtu.be/oyx-lpJYGCg

Kelly Lee Owens’ Tour Dates:
Fri. March 16 – Brooklyn, NY @ Elsewhere – Zone One
Sat. March 17 – Philadelphia, PA @ Boot & Saddle
Tue. March 20 – Chicago, IL @ Schubas Tavern
Wed. March 21 – Denver, CO @ Bar Standard
Thu. March 22 – Boise, ID @ Treefort Music Fest
Sat. March 24 – Knoxville, TN @ Big Ears Festival
Sun. March 25 – Washington, DC @ Union Stage
Tue. March 27 – Miami, FL @ Floyd
Thu. March 29 – Seattle, WA @ Barboza
Sat. March 31 – Los Angeles, CA @ The Sanctuary at Pico Union
Sun. April 1 – San Diego, CA @ Soda Bar

Purchase:
Kelly Lee Owens – http://smarturl.it/KellyLeeOwens
“More Than A Woman” – http://smarturl.it/STS32612

Facebook | Instagram | Twitter | Soundcloud | Hi-res press images

Shopping – The Official Body

Are you shopping for Valentine’s Day gifts?  Do you need something for your lover who hates everything played on commercial radio, or your husband who loves 80’s music, or your wife who enjoys funk and dance rock, or yourself?   Let me save you some time: Buy them The Official Body by Shopping.

Consisting of just three members (Rachel Aggs – guitar and vocals, Billy Easter – bass and vocals, Andrew Milk – drums and vocals), Shopping’s third full-length is the grooviest post-punk album I’ve heard all year.  The opener, “The Hype” (which you’d better believe with this band), begins with a Bow Wow Wow-like drum count before the three of them put down a groove that instantly gets you moving.  I love their vocals bounce off each other like they took lessons from the B-52’s.

“Wild Child” (a song about keeping up appearances) continues the dance grooves (and Easter’s killer bass work), but brings in some subtle synths into the mix.  The use of synths is frequent throughout the record and brings even more of a dance-punk feel to the album.  Aggs’ guitar on “Asking for a Friend” is bouncy and tight, which is difficult to pull off, but she seems to do it with ease.  “Suddenly Gone” is a sharp song about Aggs’ struggles of being black and queer in an industry dominated by straight white dudes.

Milk sings about losing one’s sense of self  on “Shave Your Head” while Aggs’ guitar chatters over his typewriter-like beats.  The synth bass on “Discover” is a bit jarring at first, but I love the darkness it brings to a song about being desperate for attention.  “Control Yourself,” despite its title, will get your toes tapping before you realize it (thanks in large part to Milk’s wicked beat).  I also love the chorus of “I know what I like, and I like what I know.”  It sums up the (closed) mindset of many these days.

Aggs’ guitar work on “My Dad’s a Dancer” is a bit Middle Eastern and her vocals about bigotry (i.e., “Would you like me if I looked like you?”) are sharp as a knife.  “New Values” begins with synth bass that reminds me of weird 1990’s 16-bit video games, but Easter’s vocals are solidly in the modern world.  “Overtime” seamlessly blends the synths and the traditional instruments as it builds in tempo toward an exhilarating finish to the record.

I’ve been on a post-punk kick all year, and The Official Body is a great kick-off to 2018 for me and the genre.  Don’t let it slip by you.

Keep your mind open.

[Don’t procrastinate.  Subscribe now.]

Black Rebel Motorcycle Club – Wrong Creatures

I’ve been looking forward to Wrong Creatures, the new album from Black Rebel Motorcycle Club, for a while.  I was interested to hear how they’d follow up Spectre at the Feast – an album that dealt with loss and upheaval following the death of bassist / vocalist Robert Been‘s father, and how they’d bounce back after drummer Leah Shapiro was diagnosed with a brain disease and had to undergo surgery (from which, thankfully, she’s fully recovered).

The new album is mellower than some of their past material, but no less haunting.  Most the tracks have names that evoke images of ghosts, shadows, dreams, or the unknown.  After a brief instrumental opener (“DFF,” which almost sounds like a haunted train station), the first full track is “Spook.”  It starts with that rough, almost spaghetti western soundtrack guitar (from co-vocalist and guitarist Peter Hayes) that BRMC does so well and I’m happy to say that Ms. Shapiro is still able to lay down serious beats.  The lyrics mention dead cities falling into ruin.  One of the first lyrics on “King of Bones” mentions living on borrowed time.  Been’s fuzzed bass growls through the entire track.

“Haunt” comes after it, with Hayes taking lead vocals on what almost becomes a western-twinged ballad.  “Echo” is aptly named.  Sometimes it’s big and bold, other times it’s quiet and distant.  “Ninth Configuration,” with its rainstorm-like guitar work (some of Hayes’ best on the record), lies somewhere between shoegaze and dream pop.  “I’ll give you what you want if you promise you’ll keep walking away,” Been sings on the wicked “Question of Faith” – a song about obsession and heartbreak.

“Calling Them All Away” sprinkles in what sounds like a sitar with Hayes’ droning guitar and Been’s humming bass.  The piano in it is another nice touch.  “Little Thing Gone Wild” is a scorcher, with Hayes shredding harmonica and guitar and Shapiro sounding like she’s beating her kit to make up for the time she lost while recovering from surgery.  Another aptly named track is “Circus Bazooko.”  It has this slightly creepy circus sideshow organ riff throughout it while Hayes swaggers, Been grooves, and Shapiro puts on a precision clinic.

“Carried from the Start” brings back the wall of fuzz BRMC mastered a long time ago while Shapiro’s beats border on Native American pow-wow rhythms before hammering out solid rock riffs.  The album ends with “All Rise,” a slow burn of a track that builds to stadium rock levels (and includes violin!).

It’s nice to hear BRMC stretching their muscles.  Not counting the instrumental “DFF,” the shortest song on this album is 3:19.  It’s also nice to hear them embracing the soft and the hard, which are found in all of the album’s themes (death, sex, love, etc.).

Keep your mind open.

[I’d go wild if you subscribed.]

 

Red River Dialect shares first Pink Floyd-like single, “Gull Rock,” from upcoming album.

RED RIVER DIALECT SHARES “GULL ROCK,” NEW SINGLE TAKEN OFF UPCOMING ALBUM BROKEN STAY OPEN SKY OUT FEBRUARY 2ND VIA PARADISE OF BACHELORS
https://youtu.be/9xeRP526kq0
“Fuses folk-rock’s past with its future. Red River Dialect is a language open to all.” – The Quietus“Strangely life-affirming sorrow … a tribute to the power of healing and reconciliation.” – All Music

Red River Dialect will release their sophomore album, Broken Stay Open Sky, on February 2nd via Paradise of Bachelors. After presenting the “rhapsodic” (NPR Music) lead single “Kukkuripa,” the band now shares “Gull Rock” described by Uproxx as “frenzied [and] fantastic.”“The cover photograph portrays Gull Rock, as seen from Trebarwith Strand in North Cornwall. Once I had seen this image, the work of Dayna Cowper, it would not leave my imagination, and I hoped it could become a part of this album. Initially I wanted to conceal it inside the album’s sleeve; a double-lurking cave on an inside horizon of childhood memories. But it would not stay hidden, and strangely it shone through every other proposal for the cover.”
-David Morris

The London-based Red River Dialect (with Cornish roots) brings a windswept energy and daylight to a contemplative, gorgeously rendered suite of songs about inhabiting the landscape, and our bodies, in joy and pain alike. Informed by songwriter David Morris’s spiritual practice, and recorded largely live in the studio, this is the band’s most ambitious and emotionally affecting work to date: atmospheric but deeply rooted, equally concerned with investigating the concrete and the cosmic, both quiet details of the everyday and looming matters of faith.

Listen to Red River Dialect’s “Gull Rock” –
https://youtu.be/9xeRP526kq0
Listen to Red River Dialects’ “Kukkuripa” –
Pre-order Broken Stay Open Sky:
Via PoB – http://www.paradiseofbachelors.com/pob-039
Other options – http://smarturl.it/PoB39

L7 – Detroit (live)

There aren’t many better ways to start a new year than a release from L7, and it’s ever better when it’s a recording of a crazy 1990 live show in Detroit.  Detroit begins with the band apologizing for arriving late, co-lead vocalist and guitarist Donita Sparks making fun of a drunk guy in the crowd, and then having issues with guitarist / co-lead vocalist Suzi Gardner‘s microphone before unleashing a sonic assault with “Fast and Frightening.”  Thankfully, Gardner’s microphone works just fine for “(Right on) Thru” as she belts out the vocals like a professional boxer.

“Scrap” chugs along like a monster truck.  “Broomstick” is a forgotten metal classic.  “Packin’ a Rod” seems to fly by at 100mph (and ends with more great banter of Sparks taking down the rude drunk).  The inclusion of one of their earliest hits, “Cat-O’-Nine-Tails” is a welcome one, and the first time I’ve heard it live.  It’s crazier (and better) than I’d hoped it would be.  “Deathwish” is like a saw slicing through a log while the lumber mill is being swarmed by killer bees.  It ends with more fun banter like Sparks promising she’ll learn how to play guitar before their next tour.

“Till the Wheels Fall Off” has drummer Dee Plakas going bonkers through the whole track and probably terrifying most of the men in the crowd.  Gardner’s vocals on “Shove” are, as always, more like a hockey check than a push.  They end on “Bloodstains” before coming back for a fiery encore.  They initially offer to take requests, but that quickly devolves into drunken chaos in the crowd and Sparks dealing with tuner problems.  Bassist Jennifer Finch briefly teases playing some Black Sabbath before they announce “This is really going to suck, but we’re gonna do it anyway,” and launch into “Shitlist.”  This was when “Shitlist” hadn’t reached its levels of popularity that it has today.  This is the first time I’ve heard reverb effects on Sparks’ vocals (as she dedicates the song to her broken tuner), and they push her voice to the back wall of the venue.

Detroit is a welcome edition to L7‘s catalogue, and a nice time capsule of raw 1990’s rock.  By the way, they haven’t lost a thing.  They still hit as hard almost thirty years later.

Keep your mind open.

[Shove your e-mail address in the subscription box before you go.]