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Big Ben – London

At least one day a week I walk past the House of Commons. Normally on the south-side of the Thames where I see all the tourist trying to capture a photograph of the clock tower. On this day I joined them, but massed the photo up a little bit.

Big Ben


Free House: Salisbury

Pubs come in a variety of states and sizes. In a working class community, which I was brought up in they became one of the focus points of the local neighbourhood. Less so now with the advent of cheap take away booze from supermarkets, which seems to have pushed people increasingly to drink vast amounts of alcohol in the home and in many cases alone.


Morning Glory – Salisbury

I must admit I had a little giggle to myself when I wrote the title of this little blog and photo collage. Salisbury is such a conservative, but beautiful city. I do just like wandering around and taking random shots. I’m sure it has all the problems that blight most communities, excessive drink and drug use, employment, crime, etc. Salisbury just has a good way of  hiding it.

Today I Stumbled Upon: You’ll Never Get To Heaven

The snap of the letter box and a cassette lands on the doormat following my latest purchase from Bandcamp, which is the first cassette I’ve bought in many years. There is something subversive about cassette music, which can either label you a pretentious anorak or the member of a cool club. Whatever your preference I feel like a member of the cool club today.  I find myself  in Canada on the next stop of my adventure and I have arrived at the delicate ambient haze of Chuck Blazevic and Alice Hansen better known as You’ll Never Get to Heaven. They have recently issued the EP Adorn on a limited cassette format release, as well as download.

You'll Never Get to Heaven - prevuing walls from falling down

You’ll Never Get to Heaven prevent another wall from crashing down

You’ll Never Get to Heaven are from London, Ontario and like the name sake on this side of the pond London is a melting pot of creative energy and influences. To the east we find New York, to the west Detroit to the north Toronto. London, Ontario is no stranger to musical innovation being home to the rather brilliant and eccentric Nihilist Spasm Band. A band with the ability to make the listener excited, laugh, cover their ears and appreciate all at the same time. Think of Captain Beefheart’s classic album Trout Face Replica in warped condition, playing backwards, at the wrong speed and you start to get the picture. I mention this purely to draw attention to the rich tapestry and creative environment You’ll Never Get to Heaven inhabit, which must surely provide immense influence.

You’ll Never Get to Heaven are the type of electronic band I enjoy greatly, but I must start with my prejudices. Having lived through the 1980s and the onslaught of synth drums infused in over produced medico music. At best this was  highly regrettable, but thankfully quickly forgettable. For every Joy Division sat a myriad of New Romantic lost souls who sought self indulged enjoyment from wearing  stupid customs, donning silly haircuts, trained like monkeys to press a few buttons rather than create music that would be savoured beyond its immediate sell by date. It is true the likes of Gary Numan, Orchestra Manoeuvres in the Dark and the Human League provided some initial interest, but you can only pretend to be a droid for so long until people start treating you like an elaborate teas-maid.

Not a good luck

New Romantic bad

My key contention is aimed at the producers of the time who simply sought to replicate traditional instruments and song structures rather then use new technology to innovate. The effects of this bastardisation left scars in my psyche resulting in me instantly rejecting electronic music as a serious force other than Kraftwerk, Eno, Rodion G.A, Harold Budd, etc. Rightly, or wrongly my record collection would occasionally submit to the odd electronic based track, but nothing substantial. There was little change in my mindset until Aphex Twin’s sublime 1994  Selected Ambient Works Vol 2, which went on to unlock  my ears to groups like Autechre.

How it should be done

Joy Division good

More recently the increased accessibility to make electronic music with little effort through most computers has delivered a variety of outcomes from the sublime to the largely predictable. In this democratisation of music production it is refreshing to stumble across bands like You’ll Never Get to Heaven whose influences can be seen and heard, but importantly do not simply seek to replicate what has gone before.

The gentle distorted soundscapes, twisted samples and warped beats create a dream like platform for Alice Hansen’s fragile vocal to drift aimlessly like a child exploring a lost magical world. Firstly the influences I hear in their music.  My record collection includes a variety of early Brian Eno albums and given the Adorn release makes reference to Eno this would be a rather lazy reference to make. Vocally I hear hints of early Elizabeth Fraser (The Cocteau Twins) or Tracey Thorn (Everything But The Girl), especially the tracks Thorn recorded with Massive Attack for the Protection album. The overall production I find interesting because whilst the aforementioned bands utilised more traditional beat and melody structures to create catchy pop songs You’ll Never Get to Heaven have ventured down a different lane. The result is creative tensions, which provide the freedom for the duo to roam, explore and experiment endlessly.

Lurking under the soundscape structures I find fragmental influences from the Boards of Canada (Geogaddi album) and early Sigur Ros (Lek album), which leans more to the structures of classical music than pop. Beats are deployed with intelligence, sometimes sparingly leaving silence to contribute effortlessly to the overall effect (especially when listening through headphones). Via my trusted laptop and the powers of email I managed to hook up with Chuck Blazevic and presented him with the Old Man Adventure questions.

JK:     What was the main influences behind the album?

CB:    We’re often inspired, either directly or indirectly, by the music we listen to on regular basis. We highly enjoyed listening            to the following artists at various points during the making of Adorn: Jeunesse D’ivoire, Anna Domino, Antena, Brenda Ray, Ennio Morricone, Belong, X-Ray Pop, Durutti Column, Chromatics, & Cleaners From Venus.

JK:     Which is favourite track and why?

CB:    ‘Caught in Time, So Far Away’ is the most recent track on the EP, so, in this respect, it feels a bit more exciting to us than some of the older tracks on this release.

JK:     If you could have a guest artist to appear on your next venture who would it be (dead or alive) and why?

CB:    We’d love to work with Brenda Ray (of Naffi/Brenda and the Beachballs) if given the opportunity. She has the best vocals and her productions often strike that delicate balance between raw immediacy and ornate elegance.

You’ll Never Get To Heaven – Adorn

"If you're happy and you know it claps your hands"

“If you’re happy and you know it clap your hands”

The Adorn EP opens with Caught in Time, So Far Away with its carefully crafted synth drum beat, textured layers and pitch perfect vocals make this a mighty and clever pop laden introduction. Whilst the track is highly enjoyable it also misleads the listener into a false sense of ease as we enter the deeper material contained on the EP.

By This River is a slower and more thoughtful piece all together. Simple and devastatingly in delivery.  Unravel  takes us deeper down like a gramophone record playing effortlessly in a cabin on the sinking Titanic. Adorn is a magnificent, dense textured 4.25 minutes of shoe gazing brilliance. The beat plays perfectly with the vocals to leave the listener slightly disorientated. Enfantillages Pittoresques: Berceuse is an intoxicating music box with slightly out of synchronised keys. Derived from the Erik Satie’s piece, which can also be found on the David Bowie ‘The Man Who Fell To Earth’ film. The result is truly haunting and  beautiful.

The EP comes to an end with Closer, which is a further 2.44 minutes of soundscapes, but on this  occasion the Titanic sits broken on the seabed until its discovery some 73 years later. Together this  is one of the most beautiful set of tracks I have heard in this genre for a long time. Almost impeccable in making the listener warm, distant and slightly disorientated. It comes highly recommended from this adventurer.Buy it now.

Hey, hey, mama, said the way you move, gonna make you sweat, gonna make you groove.

I was 7 years old when Led Zeppelin were formed in London 1968. Consisting of guitarist Jimmy Page, singer Robert Plant, bassist and keyboardist John Paul Jones, and drummer John Bonham they were the quintessential English rock band who went on to personify the ultimate rock band worldwide. Many have sought to emulate, many have copied, but none have equalled.

A quick listen of the first two Queen albums released in 1973 and 1974 respectively exposes Freddie and the boys original blueprint. Brian May, whilst a highly gifted guitarist could never match the swagger and presence of Jimmy Page strutting his stuff across the stage. Queen went on to become in effect the worlds biggest cabaret act whilst  Led Zeppelin managed to remain solid as a rock even if later albums experimented with funk, disco, or African infused rhythms. They also retained a sense of humour. The final track on the Houses of the Holy album The Crunge with its tongue in cheek nod to James Brown for example.

Rock bands had become so ostentatious during the 1970s that a bedroom poster was the nearest I would came to seeing Led Zeppelin live. There remains the faintest of hopes that they may reform as they did for the one off concert in 2007, but I will not be holding my breath. Yet perversely it was  un-obtainability that seems to have drawn me (and 1000s of others) closer to their enigma. This was in total contrast to my affinity with Pink Floyd, which was shattered by the punk explosion in the UK (1977-78). I did not listen to a full Pink Floyd album for many years afterwards, although I did regain my senses in time for their Pulse Tour resulting in a quite amazing evening on 20th October 1994 at  Earls Court Exhibition Centre, London.

Led Zeppelin where also at the top of their game as both a recording and live band when the UK pop charts were dominated with the likes of the Bay City Rollers singing Bye, Bye, Baby, Pete Shelley, Love Me Love My Dog and even Laurel and Hardy charted with The Trail of the Lonesome Pine. It is clear to see now given the quality of pop music on one hand and the rock dinosaurs on the other that pop and rock music where driving into a car crash that would fuel the brief, but necessary punk period. Punk fizzled out like a damp torturous fart from a septic stomach with its ultimately boring and predictable uniform of wall to wall mohican haircuts, tartan trousers and biker jackets.

Whilst monster bands like Emerson, Lake and Palmer  were never to rediscover their self indulgent status after the punk period Led Zeppelin remained unscathed, which is pretty surprising given their 1979 weak album offering In Through the Out Door. Led Zeppelin had not performed live for two years since the death of Robert Plant’s son during the band’s 1977 North American tour, and they had not performed in the United Kingdom for four years.  It was the bands manager Peter Grant who decided that the band should perform at what is now renowned as the classic Knebworth concerts instead of embarking on a lengthy tour. A estimated 400,000 people attended the two Knebworth events on 4th and 11th August 1979.

The death of drummer John Bonham in 1980 all but brought the curtains down on the band. The reunion (with Phil Collins on drums) at Live Aid 1985 was such a disaster that they refused to allow it to be included on the Live Aid DVD release. Collins still remains sore about his Live Aid jam with Led Zeppelin 25 years after the gig and recently revealed that he almost walked off stage in mid-set. Collins and Chic drummer Tony Thompson had both apparently been drafted in as replacements for the late John Bonham.

Jimmy Page blamed the replacement drummers for not learning their parts, but Collins claims it was Page, Plant and Jones who ruined the experience.  “They weren’t very good and I was made to feel a little uncomfortable by the dribbling Jimmy Page.” Collins concluded recently.

O2 Arena, 2007.

It was an ignominious farewell and one that would dog any potential reunion for years to come. Fans were kept at bay by Jimmy Page’s remastering and repackaging releases of the bands historical material. That was until the Ahmet Ertegun Tribute Concert held in memory of the music executive at The O2 Arena, London on 10th December 2007. The band performed their first full-length concert since the death of Bonham in 1980 and in a fitting touch for this one-off reunion Bonham’s son Jason played drums during the set.

The 02 concert seems to have provided the band with an exorcism of the Live Aid debacle and unlike the Live Aid concert the 02 concert was formally released as both a CD and DVD under the title of Celebration Day, but for the fan it added nothing to what had gone before.

Led Zeppelin IV

The first Zeppelin album I recall buying was 1971s Led Zeppelin IV, although I would have purchased it later circa 1974-75. Over the course of a year I went on to purchase all their available albums, which was no mean feat in those days. Initially attracted to the album through the seminal track ‘Stairway to Heaven.’ which seemed to filter into my brain at night as I lay beneath my bed sheets, transistor radio pressed against ear hoping my parents would not detect the sound of the tuning radio. Inevitably they did and the said radio would be confiscated and so the cycle between generations would turn and grind around.

It was about this time I obtained my first cassette recorder, so with transistor radio perched safety I would hold the small cassette recorder microphone close to the transistor and tape the music. Building up c60 or c90 cassette tape to be traded at school with my fellow spotty, greasy haired and adolescent boys we were like desperate junkies.

What in eck do you do with this?

What in eck do you do with this?

This is how I  was  introduced to the likes of The Beatles, Hendrix, Dylan, The Doors and all those bands that did not penetrate the mainstream pop shows on TV. The cassette case, which housed the tape had self-made inserts normally constructed from a magazine photo that would somehow relate to the music contained on the tape. I still have a few cassettes from those days.

Oh my goodness so much goodness

Oh my goodness so much goodness

Whilst Stairway to Heaven holds a special place. It is a track, which has been slaughtered to many times by warbling tight trousered rock crooners who simply have had too much hair and hairspray at their disposal. Each counterfeiter dreadfully seeks to represent their own interpretation, which makes listening to the original feel like a Vietnam veterans flash back of carnage, panics and cold sweats. Led Zeppelin 4 also has possibly the two finest opening tracks of any rock album in history.  I defy anybody to dispute this.  ‘Black Dog’ and ‘Rock n Roll’ set a standard that has simply not been matched.

It started with the Beatles Anthology where literally anything picked up by the microphone in the recording studio, including instrument tuning, conversations. mistakes, practice warm ups and lack lustre mixes were to be given a formal release. The classic Doors and Hendrix albums were given the same treatment. Pink Floyd’s followed with their immersion box set releases. Now we are to be subjected to yet another repackaged and remastered release of Led Zeppelin’s first three albums with the “super deluxe box set” coming in at a whopping £91.00 ($150.00) each.

When it comes to making money from fans with Led Zeppelin the song definitely remains the same with each “super deluxe box set” the buyer will receive:

  • CD1: Original album newly remastered in vinyl replica gatefold sleeve
  • CD2: Companion audio in a new sleeve, featuring previously unreleased studio outtakes
  • Vinyl 1: Original album newly remastered in gatefold sleeve replicating the original album on 180 gram vinyl
  • Vinyl 2: Companion audio on 180 gram vinyl in a new sleeve featuring negative artwork based on the original album artwork, and featuring previously unreleased studio outtakes
  • HD Download Card with original album and companion audio in 96 kHz/24 bit
  • LP sized, individually numbered, high quality print of the original album cover
  • Album-size hardback book (80 pages)

Led Zeppelin are one of the most successful, innovative and influential rock groups in history. If the 1960s belong to the Beatles then the 1970s belong to Led Zeppelin.  I’ve taken a look at these “super deluxe box set” you know what? I’m going to stick with my old vinyl.

Whilst London Sleeps – Clapham, London

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Roseberry Topping – Teesside

My home town is Stockton on Tees. On a recent visit home I went for a walk and climbed the beautiful Roseberry Topping. It was also a beautiful sunny day. Possible the first day in 2013 where I experienced rays of sun on the back of my neck after the dark and wet winter.

Today I Stumbled Upon: The Lone Crows

Arriving home after my fragile adventure to New Zealand and found the vinyl album I had ordered via Bandcamp has managed to wing its way  across the Atlantic. I tiptoe to Minneapolis, USA crank up the volume and enter the blues-rock world of The Lone Crows and their self-titled debut album.  The album cover had been personally signed by each member of the band (thanks guys) and now sits on the turntable for this review.

My general rule of thumb concerning any new rock bands who define themselves in a specific genre and walk a  path that has been well trodden before is (a) you need to be good and I mean really good, or (b) you better limit your ambitions to becoming a half decent covers band. There is no grey area between (a) and (b) after all if you are going to wear your influences on your sleeve then boy you need to be special or risk languishing in Spinal Tap purgatory.

The Lone Crows have navigated themselves away from the danger of musical purgatory by producing one of the best debut blues-rock albums my ears have had the pleasure of hearing.  Yes, The Lone Crows are that good. The album is a ludicrously self-confident effort without a hint of arrogance, which is equally impressive given its humble origins.  The Lone Crows initially started gigging in 2009 and by mid 2011 their sound had matured into the blues rock style, which dominates this album. The band consist of Tim BarbeauGuitar, Vocals, Julian ManzaraGuitarAndy BattcherBassm Joe Goff- Drums, Percussion

With old man questions at the ready I spoke to Tim Barbeau and Julian Manzara about the album and their influences.

JK:  What was the main influences behind the album?

Tim:  I can only speak for myself but I think we all took our personal influences and brought them together to make the album. I’ve got too many influences to mention, I just wanted to make a record that punches you in the chest.
Julian:  We each have our own influences, as tim said. we never discussed who we wanted to sound like.

JK:  Which is your favourite track and why?

Tim: ‘When I Move On’ only because that song was finished just before going into the studio and I had no idea it would turn out so well.
Julian: ‘When I Move On’ is my favorite as well, to this day its the most fun to play live. It has a hell of a groove.

JK: If you could have a guest artist to appear on your next venture who would it be (dead or alive) and why?

Julian: John Paul Jones on organ. Who needs a another guitar player?

Tim:  It’s cliche as hell, but Jimi Hendrix. They say the guy had the magic touch after all.

The Lone Crows – The Lone Crows

The Lone Crow opens the album and is built on the rock solid foundation of Joe Goff’s drilling drum work, which maintains the momentum throughout the tracks 3.30 minutes. The track is a fine opener that is either going to open a Pandora’s box of treats or runs the risk of firing the bands best shot first. The grinding blues chords of Can’t Go Home Again prick the ears up. The track contains all the characteristics of a classic stadium anthem. Bursting with its crowd induced chorus line. By this stage the listening ear is also thinking where the journey goes next. Heard You Call would not go a miss on a classic Thin Lizzy, or Santana album with its exquisite guitar work. You Got Nothing moves deeper into blues-rock territory and is properly the most accomplished track on the album as it builds and moves through various shifts in structure. Moonshine  is the album’s thoughtful ode to loves drunken influences “You’ve got sunshine in you’re your heart and I’ve got moonshine in mine.” The Ghost is a 6-minute blues thumping instrumental romp, which reminds me of The Doors live at their poignant best. When I Move On takes us back up a notch with its hard rock swagger that Jimmy Page would be proud of. The Crawl bursting at the seams with pounding blues guitars and bass it weaves through its 5.12 minute existence to set up the albums final track brilliantly. Runnin’ Through My Head brings the album to its close with its pounding bass line. In 1974 somebody passed me a copy of The Free’s classic Fire and Water album. and Runnin’ Through My Head  would not be a weak link if added to the Fire and Water Album. I cannot really pay the track a better complement.

Structural variation in both individual track and the manner in which the whole album has been put together keeps the listener engaged throughout. This is an album in the traditional sense rather than a collection of songs that have accidentally been pulled together. There has obviously been some handwork and thought given to it overall production.   There are of course some flaws, but in the scheme of things they add to its character and do not undermine the solid foundation the band has made. I for one look forward with excitement to the next instalment, which I understand from the guys is currently in the pipeline.

Buy this album now! £4.80 for the download or good old vinyl for £7 (plus £6.20 postage). If you happen to be in Germany during May 2014 you can pop along to see the band play live. More details here I complete my listening, take the vinyl off the deck, carefully place back into the sleeve and put it on the shelf next to my Led Zeppelin vinyls.

Signed, sealed and delivered.

Signed, sealed and delivered.

Today I Stumbled Upon: French for Rabbits

New Zealand bound for my next adventure in Bandcamp and hazy days in Christchurch where I found French for Rabbits who released their EP Claimed by the Sea in January 2012. The EP is a gorgeous assortment of 6 reflective, sad and haunting day-dreams and a remix of the title track.  This offering provided me with my first opportunity to purchase a physical (CD) copy, which comes with the usual download through Bandcamp purchases. One week later a brown envelope arrived from the other side of the earth.

It's a whopper!

It’s a whopper!

Baring a hand drawn mouse on the outside of the envelope and a hand written note with a cat drawn on the inside you get the feeling these guys have a sense of humour kicking away, which may offset their material. The CD also came with a pullout lyric sheet, which is bad going for $10 NZD (£5 plus £3 postage), in fact excellent value.

Strange voodoo from exotic parts of the world

Strange voodoo from exotic parts of the world

Before writing this blog I made contact with Brooke Singer, who with John Fitzgerald make up FFR and asked the obligatory Old Man questions:

  • JK: What was the main influences behind the album?
  • Brooke Singer: This album was written at a time when I had just started teaching myself to sing and play the guitar, previously I had always written songs for others on the piano. At the same time I started collaborating with John while we were living by the seaside near Christchurch – I think this comes through a lot in the atmosphere of the record, which is all hazy and dreamy and soft. I’m sitting in the same house now, and I can hear the ocean quietly roaring, and children screaming over by the flying fox down at the park.
  • JK: Which is favourite track and why?
  • Brooke Singer: I still love ‘Claimed by the Sea’. It is the first one we wrote on the EP, and it just came out fully formed. It’s always such a mysterious thing when that happens.
  • JK: If you could have a guest artist to appear on your next venture who would it be (dead or alive) and why?
  • Brooke Singer: I’d love to spend some time hovering over the shoulder (like a ghost) of Leonard Cohen. I’m in love with his lyrics and I’d be intrigued to learn his process of creating them.
Claimed by the Sea EP
FFR are not going to be every bodies cup of tea (as we English say). If you prefer your music club style thumping bass, or metal crunching then I advise you to look elsewhere now.  As Brooker Singer suggests Leonard Cohen is a big influence and he haunts this gorgeous EP in such a good way. Yes, his presence can be felt and heard, but so can a mixture of influences to my ear, early Everything but the Girl, Morcheeba, Patsy Cline, Mercury Rev, they are all lurking around but none come to the fore and this is where this EP holds its own. The influences are the platform, the foundations, but not the house.
Extra respect for the dog and playing my favourite vegetarian restaurant.

Extra respect for the dog and playing my favourite vegetarian restaurant.

Wisdom provides a 1.56 minute introduction, which advises the listener to follow their heart. Claimed by the Sea. provides a gentle, but haunting reflection of loss. Marauder Brooke Singers voice fragile and innocent tells a story, “If you suffer for love is it worth twice as much?” the pain for adventure and something different when life restricts possibilitiesThe Cats offers hope through loves protection, “Hold me tightly my dear I need you now to feel less lonely in this lonely place.” A Ghosts Broken Heart needs no explanation given the title along provides both context and narrative. The EP comes to it’s haunting closure with Two’s Company which is my favourite “..inhabit your dreams so you cannot sleep because you’re so afraid of what you might see….twos company” is simply beautiful. A remix track of the title track Claimed by the Sea (PLAN Remix) is tagged at the end, which is not essential, but a nice addition.
Maybe not the best choice for a dance party

Maybe not the best choice for a dance party

It is a solid collection, which is apt for sharing with a friend, a loved one, a reflective moment or Sunday morning with a coffee and the sun shining down as you sit and rest in the garden. Its also nice to know that this band do not take their audience for granted. I get a real sense of integrity about this duo and it comes through in their music and the thoughtfulness in which put their material together. I highly recommend  this EP, as well as the other material on their Bandcamp site.
On a final note of strange coincidence. My home town is Stockton on tees and my favourite restaurant is a small and largely unknown place called the Waiting Rooms (Eaglescliffe). When preparing for this Blog I was pleasantly surprised to find that FFR from Christchurch, New Zealand had played the Waiting Rooms on their last European tour. I was further pleasantly surprised to discover they are due to play my second home city Bristol on Tuesday 20th May 2014 more details here:

Today I Stumbled Upon: The Warm Hardies

The Warm Hardies are Matt Batey and Tamara Power-Drutis on guitar and vocals, Samuel Anderson on cello, Colin Richey on drums, Corrie Strandjord on French horn, as well as Matt Bishop and Eric Anderson on vocals.  With song structures and lyrics that remind me of early Paul Simon the Music for Grown Up EP (released in May 2011) consists of 3 tracks, which gently float between folk and pop. The opening track Fast and Heavy sets the scene for the EP’s lyrical supreme celebration concerning the complications of finding love and relationships. All tracks contain beautiful harmonies and excellent musicianship.  Only Someday changes the pace upwards with Tamara Power-Drutis on lead vocals reminding me of  Neko Case (but different, if that makes sense). The 3rd and final track I don’t love you is the most instantly catchy of the collection ‘Love isn’t convient and its never on time’ and from the laughter heard towards the end its seems to have been fun to record. I asked The Warm Hardies a few questions about the EP via the magic of email:

  • JK: What was the main influences behind the EP? 
  • Tamara Power-Druti: Trains, dinosaurs, and rich harmonies.
  • JK: Which is favourite track and why?
  • Tamara Power-Druti: Fast and Heavy, because we wrote it about trains but it became a song about something entirely different. We liked that, and loved the way the strings came together with the vocal harmonies.
  • JK: If you could have a guest artist to appear on your next venture who would it be (dead or alive) and why?
  • Tamara Power-Druti: The Everly Brothers, and we’d do a mega-harmonied version of Dream.
Not your average couple

Pipe Smokers of the world unite and take over

This collection of songs make for a perfect mix for that feel good moment. I have the 3 tracks on a playlist, which also contains tracks from the likes of REM (Automatic for the People), Neil Young (Harvest Moon) and Crosby, Stills and Nash’s first album where these songs more than hold their own. The EP is available on a name your price basis (don’t be a skinflint!).
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