Archive for the ‘Uncategorized’ Category

Lou Reed Singing about Motorcycles

Wednesday, May 30th, 2012

Just one song tonight, but it’s a doozy.

The Beachnuts
Cycle Annie 

I’m browsing through some crates at Jerry’s today when Jerry pulls out this record.

He recently bought it in a bulk sale. He gives it to me and tells me to give the last track a listen.  The song is something called “Cycle Annie” by a group calling themselves The Beachnuts.

As I drop the needle on the record I’m thinking to myself, “Why the hell does Jerry want me to listen to this?” I go to Jerry’s a lot, he knows my musical tastes. If it doesn’t have a synthesizer on it or if it isn’t by a 90s rock band, I’m usually not interested. So why the hell does he want me to hear some silly surf-rock song from the late 60s?

As the song starts I quickly realize why, it’s because “The Beachnuts” are really Lou Reed. This is a pre-Velvet Underground Lou Reed recording. Jerry said he’d knew I like it because I like “weird shit like this.”

He knows me well.

Needless to say, I bought the record (for five bucks) and immediately dove into the Internet to find out more about the song. Turns out that this wasn’t the first record that “Cycle Annie” made an appearance on. While Out Of Sight! originally came out in 1967, most of the songs on it were originally on another album called Soundsville, which was released two years earlier in 1965.  That entire album was co-written by Reed, and featured another song with him on vocals, “You’re Driving Me Insane.”

It’s crazy how much both “Cycle Annie” and “You’re Driving Me Insane” sound like other Lou Reed songs from that era, even if they are a little more polished and “pop.” If the lyrics to “Cycle Annie” were changed to be about a junkie rather than a biker, it would have totally fit on a Velvet Underground record. I’d give anything to ask Lou about this song now, but given what a dick he is to interviewers who ask him legit questions, I’m sure he wouldn’t take kindly to that. Of course, that kind of makes me want to do it even more. How could he be ashamed/embarrassed by this song?

I mean shit, It’s better than Lulu.

A Word From Our Hidden Sponsors – 1980s Radio Interviews

Tuesday, May 1st, 2012

I’m a journalist (at least I try to be), so allow me to drop a journalism term on you: Advetorial content.

An advertorial is a paid advertisement that tries to come off like editorial content. You’ll sometimes see them in magazines, they’re the multi-page ads that look like articles but have the word “advertisement” in tiny print a the bottom of the page. Advetorials are deceptive by design, and if you ask me, more than a little bit evil. They’re not made to be intriguing or thought-provoking content designed, they serve no other purpose than to drum up fake news coverage for a product.

In the 70s and 80s (and probably into the 90s and even today) record labels released their own form of advetorial content known as “radio specials.” These were glorified PR kits that were given to radio stations in the hopes that they would play them on the air, passing them off as a special presentation when it was really little more than a 30 to 45-minute ad for a band that the label poured a lot of money in. I don’t know how successful these radio specials ever were at drumming up interest in artists, I don’t remember ever hearing them when I was a kid, but either the radio stations or the labels loved them, because I always see a ton of them in used record bins today.

I imagine that if I stumbled upon something like this on the radio today I would be outraged at the deceptive advertising practices that were being used. But whenever I come across an old one like the ones I’m sharing tonight, I find them oddly charming, and in the case of the one with The Mekons, incredibly entertaining.  I hope you enjoy them as well.

The Dream Academy Talk About Their Debut Album
Lloyd Cole Talks About His Album
These are from a 1985 promotional LP titled “The Warner Bros. Music Show” (Bugs Bunny is even on the label). As you can probably guess, The Dream Academy program starts (and ends) with the band talking about their mega-hit “Life In A Northern Town.” Advetorial content or not, the guys responsible for this record knew not to bury their lead.

Also within seconds, the lead singer name checks the producer of the record, who was Pink Floyd’s David Gilmour. I can’t really blame him though, if I just finished working on something with David Gilmour I would mention it as much as possible as well. Although when he says “when I talked to Paul Simon, who I’ve known for years…” that’s a bit forced.

But at least the people in The Dream Academy are interesting and seem to enjoy talking about their music, which is more than I can say for Lloyd Cole. To be honest, I don’t know much about Lloyd Cole or his band The Commotions, but his interview really didn’t do much to alleviate that problem either! All I picked up from his conversation is that his goal as a popular musician was to make it on The Top of the Pops, and since he had he really had no idea what to do next. Not really enthralling stuff to be honest.

Pete Shelley Interviews the Mekons
On most of these interview specials you don’t even hear the inteviewer ask their questions. All you get are plugged in responses by the artists in question. They don’t sound like proper interviews or conversations, instead they sound like what they really are, which is PR designed to sell records. But this interview is hands and feet above the others, because not only do you get to hear a real, organic conversation between the artist and the interviewer, but the interviewer in question is Pete Shelly of The Buzzcocks.

Pete Shelley is awesome. That’s a proven fact. So hearing him just sit down and shoot the shit with one of the better post-punk bands of the era is really fascinating. The Mekons (John Langford and Tom Greenhalgh) are obviously well-acquainted with Pete, and don’t have any kind of pretense or sense of self-importance around him. If anything, they are overly self-deprecating in their views of themselves, their music, and most entertainingly, the state of music in the mid-80s. It’s a great listen (and hysterical, their riffs on Casey Kasem, Simple Minds and pretty much all of America are great), and it’s made even greater if you do what I do, and imagine Pete Shelley conducting the interview while wearing the white suit from the Homosapien video, sitting with his legs crossed and his hands on his knee.

Polyrock
1981 Radio Special Side 1
1981 Radio Special Side 2
1982 Radio Special Side 1
1982 Radio Special Side 1
Polyrock was perhaps the greatest band of the early new wave era that didn’t “make it,” and the fact that they never broke through to at least some cult level of success int he early 80s has always been a mystery to me. Not only did they sound absolutely incredible, a perfect combination of dance-friendly new wave and dissonant, minimal no wave, but they had a hell of a hook when it came time to promote their albums, Philip Glass (who was super hot shit at the time) served as a producer on the first record, and even played with the band on the second album. But alas, the band never clicked with any kind of audience, and after their two albums, RCA dumped them, leading them to breakup sometime after.

But to RCA’s credit, they sure as hell tried their best to promote Polyrock, I have several magazines from the era that feature Polyrock ads in them, and the label went out of their way to record not one, but two separate radio specials for the group. Oddly enough, no one from the band appears on the first radio special. Instead, Philip Glass and his co-producer Ken Munkacsi serve as the focus of attention. What they say is very interesting though, and doesn’t just sound like PR bullshit. They obviously like Polyrock, and they have unique perspectives on what qualifies as rock music, dance music and the recording process. It’s a fascinating interview.

For the 1982 special,the focus is shifted to Billy Robertson, the vocalist and guitar player for the group. He talks a lot about what exactly “new wave” means, instrumentation vs. lyrics and a lot of other geeky music stuff.

Both these interview specials feature a lot more of the band’s music than the Lloyd Cole and Dream Academy programs, and even include some complete songs. So if you’ve never heard of Polyrock there’s still something here for you to check out if you love new wave, because Polyrock was one hell of a new wave act.

 

 

Hey kid, wanna be in a magazine?

Monday, December 19th, 2011

If you’ve bought a super deluxe box set in the past two years and want to be interviewed about it for a magazine article, shoot me an email (addy is to the right).

I’ll have a post with actual music later tonight.

San Francisco Records Store Reviews – Soundtrack by Erasure (Again)

Tuesday, August 23rd, 2011

While I was in San Francisco for Outside Lands, I also made a special effort to hit as many of the city’s fine record stores as I possibly could. I have heard epic things about the San Francisco record store scene, and I certainly wasn’t dissapointed. It’s no Portland (which has over 10 independent stores) but it was still mighty impressive. So impressive, in fact, that I ended up having to buy an extra suitcase to pack all the damn records I bought.

Here’s a quick rundown of the stores I made it to during my time in that great city.

Amoeba Music
If you ask someone who has been to Amoeba to describe the store in one word, that word would probably be “massive.” You could also accept “huge,” “monstrous,” “cavernous,” and “really fucking big” (although technically that last one isn’t one word).

Seriously. It’s huge. It’s so huge that it’s hard to even put into words, but I’ll try. Imagine a Best Buy, now take out all the dicks in blue shirts, all the shitty computers, overpriced TVs and crappy video games and replace them with CDs and LPs. Then imagine a medium-sized grocery store filled with nothing but DVDs, Blu-rays, VHS tapes and freakin’ laserdiscs and slap that on to your mystical Best Buy. That’s how big Amoeba is. Okay, maybe it’s a little bigger, but you get the idea.

The store is so big that when I first walked in I didn’t even know where to being. I just kind of circled the outer peripheries of the aisles for a few minutes, plotting my plan of attack. I decided to start with the CDs since they’re easier to carry than LPs.

I have never seen a more well-organized/stocked/maintained CD selection in my entire life. The sections make sense: rock/pop, electronic, hip-hop, jazz, country, and the artists are all where they belong (no finding Depeche Mode in electronic or Johnny Cash in rock or shit like that). Each artist of note (and several hundred not-of-note) are given a placard, and in many cases each of their individual albums are given placards as well. For example, if you go to Bowie, David you’ll find an individual placard for Station To Station that has all the various versions of that album that the store has in stock. Such a great system. Box sets and deluxe editions that are slightly too big for the racks are on a shelf above, while the massive box sets get their own section near the end of each genre. It all make sense. It’s how record stores used to be, just on a supermassive scale.

The LPs are slightly less organized, but still well-maintained and relatively easy to search through. The rock section is the cleanest, with nearly every artist you could think of getting their own placard, while the electronic section is much more of a hodgepodge in a kinda-sorta alphabetical order. Everything is packed nice and loose though, so it’s easy to skim through each row. They also separate the new used arrivals from the genreal stock, so if you’re a frequent visitor you don’t have to dig through the general inventory every time you visit.

But all this wouldn’t have mattered if the prices are bullshit. Thankfully, prices at Amoeba seemed relatively fair. I never thought that I was paying too much for a used record, and in some cases I felt like I was getting a steal. They always seem to have a good selection of stuff on clearance (especially in the electronic section) and the only really expensive albums are the ones they put up on the wall, which can range anywhere from $10 to $2,000 (and in case your wondering, the $2,000 record was a butcher baby).

If there’s only one downfall of Amoeba, it’s that it’s too big. It’s staffed rather well, but they’re always busy making sure no one is trying to rip them off, so it’s hard to really talk to anyone. It feels more like a supermarket than a record store, and is lacking that laid-back independent record store vibe.

The being said, it’s definitely the coolest fucking supermarket in the world and it goes without saying that I’m in love with the place. I went there twice during my time in San Francisco and I bought so many records the first time I was there that they had to give me a box, not a bag, to carry them all out in. If you’re a record collector this place is fucking Mecca. A must visit no matter what.

Recycled Records
That isn’t to say that there aren’t other great record stores in San Francisco! Just down the street from Amoeba is Recycled Records. This store may not be as massive and awe-inspiring as Amoeba, but it has its own charm and personality, both of which really made it stand out to me.

The records are easy-to-access, just like Amoeba, and while the store is small, they have a very diverse selection of rock, hip-hop and electronic music. In terms of their selection, what really stood out to me was their soundtracks section. They have a wide variety of odd and weird movie soundtracks, I picked up a copy of the Starman soundtrack while I was there, and at a pretty reasonable price too.

What really makes Recycled Records a store to visit, however, is the staff. From what I could tell, two dudes man this place, and they are both some laid-back bros, even by San Francisco standards. I walked into their store hauling a big box of records from one of their competitors, but not only were they cool about it, they wanted me to show them what I picked up there. They even let me leave the box there while I walked around the neighborhood! If you’re looking for a solid little store with a ton of personality, this is a great place.

Groove Merchant Records
A few blocks down the hill from Recycled Records is Groove Merchant. They mostly deal in soul and hip-hop, so it really wasn’t for me. If you like that stuff, however, then you might want to check this place out. Their records were a little on the pricey side though.

Rasputin Music
Next to Amoeba, I spent the most time at this store in Union Square. It’s huge, but its hugeness is hidden by the fact that it’s spread out over five stories. The first floor has all the new releases, and you take the stairs to the second, which is where most of their DVD inventory is. From there, you take an elevator (which is always manned by an employee) to the rest of the store. The third floor houses the vinyl; on the fourth you’ll find rock, hip-hop and pop CDs; and on the fifth is everything else, including electronic music, jazz and experimental.

It’s a little daunting at first, but the layout make sense once you get the hang of it. All of their inventory is meticulouslyorganized, and everything is super-easy to look through. Their prices are excellent as well. I picked up some imports and hard-to-find 12″ Bjork singles at nearly half of what I would have expected to pay for them anywhere else. The staff isn’t especially friendly, but they are helpful and polite if you need them. A nice surprise, I’ll be coming back here for sure on my next trip.

Grooves
It’s all been sunshine and lollipops so far, but not all record stores in San Francisco were winners.

I really wanted to like Grooves. It seems like a cool little store. They had a ton of records, the dude behind the counter seemed alright and the customers were fun to talk to. However, the place is a freaking mess.

Records, records everywhere and not a way to look through them. The stacks are packed tight, so you have to pull records out before you can even shuffle through them to see whats there, and unless it’s a major artist, you’re going to have to shift through the miscellaneous sections (which weren’t in alphabetical order) to see if they have what you are looking for. Also, be prepared to crawl on the damn floor. As a tall dude, I really hate that.

Sometimes you can have too much of a good thing. Grooves needs to clear out its inventory so people can actually see what’s there. If they did that, the store would be amazing. As it is now, it’s still worth visiting, but only if you have a lot of patience and a strong back.

Streetlight Records
I didn’t get to spend a lot of time at Streetlight, located close to the Castro district, since they were closing up when I got there. From what I was able to shift through though, I could tell it was a pretty good store with a decent selection of tunes on both CD and vinyl. It was their CD singles selection that really impressed me though, I scored a ton of Madonna, Pet Shop Boys and Erasure CD singles there (which was how I knew I was close to Castro). A nice place, I just wish I had more to say about it, I’ll definitely have to check it out again the next time I go.

Black Pancake Records
This store is pretty new, and is run by guys who used to run a store called Tweekin Records. It’s very cramped (I nearly hit my head a few times) but they still let the records breathe, and they’re organized very well. It’s also run by a real cool dude. Not only did he let me use their bathroom, he recommended some solid LPs to me, and didn’t give me a “what the fuck” look when I snagged a 12″ single to the Streets of Fire theme song. That, combined with some great listening stations and an overall chill vibe, made me feel like I could hang out at this place all day.

Green Apple Books
Let me just say that the Green Apple Books is an AMAZING used book store, the kind of book store you just don’t see anymore, with piles of books stacked up as far as the eye can see. If you like books like I like records, then you’ll be in heaven though.

But if you like records, this might not be your place.

Green Apple has a sizable record and CD selection, but it’s a mess. Most of the CDs are kept in rickity shelves that you have to pull out slowly to look through, and most of them are at that uncomfortable knee-high level that makes them a (literal) pain to shift through.

The situation with their LPs is almost as bad. Nearly half of their record selection is on the ground, and for tall guys like me that’s no fun at all. Making matters even worse, the stacks are packed in too tight and too deep. Even with my massive wingspan, I was stretching to grab the records at the back of the shelf. How they expect anyone to find or buy records with a system like this is beyond me. It’s the one store I went to where I didn’t buy a single thing.

Aquarius Records
Are you looking for the newest (or oldest) albums by anyone who has ever even tried to possibly even maybe flirt with mainstream success? You won’t find them here. But if you’re looking for the b-side compilation to your favorite German 70s prog-group, or the latest release by the hottest Norwegian death metal album then you’ll be in luck here. Super-niche for sure, but still a lot of fun. And while their selection may be uber-hipster, the staff is still very friendly and polite.

If I missed any awesome San Fran stores let me know! I plan on returning there someday soon. I really fell in love with that city, and not just from the contact buzz.

Erasure
Hallowed Ground (Vince Clarke’s Big-Mix)
Chains Of Love (Almighty 12″ Definitive Mix)
Phantom Bride (Ghostly Groom Dub By FrankMusik)
A Little Respect (Wayne G & Andy Allder Hurdy Gurdy Club Mix)
Heart Of Stone (Joebot’s ‘Ounce Of Bounce’ Remix)
Phantom Bride (Dogmatix’s ’12” Tearless’ Mix)
Chains Of Love (Plastic Operator Remix)
These great remixes are from the Phantom Bride CD EP, which came out in 2009 but is already out of print in America for some reason. I bought it used at Streetlight, along with the Erasure singles that I featured last week. Every remix here is a home-run, download them all and have a fabulous night.

 

Biggest Audio Dynamite II

Wednesday, August 17th, 2011

My photos from Outside Lands 2011 are up on Flickr! Enjoy!

Next post I’ll share my thoughts on the festival itself, but I’m still in pain from something stupid I did at the concert, so I don’t feel like sitting in front a computer any more than I have to. Instead, have a metric buttload of BAD II/Big Audio.

Big Audio Dynamite II/Big Audio
The Globe (Single Edit)
The Globe (Single Remix Edit)
The Globe (12″ Mix)
The Globe (Dub Version)
The Globe (By The Orb)
The Globe (Instrumental)
Rush (12″ Mix)
Rush Dance
City Lights
Rush (Live)
Rush (Live) (Different Version)
Medicine Show (Live)
Mirror Man
Looking For A Song (The Zonka/Shapps Remix)
Looking For A Song (Zonka Shapps Early Mix)
Looking For A Song (Extended Album Mix)
Looking For A Song (Zonka’s Adventures In Space)
Okay, that’s it! That’s all the Big Audio (Dynamite) [II] that I have! I feel as if I’ve said all I can about BAD for now, except that “Looking For a Song” is one of the most underrated tracks from an underrated album that you’ll ever hear. Download it and love it.

 

Where I was last week

Monday, August 15th, 2011

Front row, center under the drums. The big guy freaking the fuck out. That would be me.

New post coming very soon I promise. Take one guess as to who it will be about…

Check out my Thing…soundtrack

Monday, July 18th, 2011

Ennio Morricone – The Thing: Music From The Motion Picture
Humanity (Part 1)
Shape
Contamination
Bestiality
Solitude
Eternity
Wait
Humanity (Part 2)
Sterilization
Despair
The Thing remains the only horror film directed by John Carpenter that he did not also contribute the score to. But I think it’s fair to say that he found a good replacement in Ennio Morricone.

Morricone is a god of film scores, having written approximately 800 billion in his 82 years (Okay, so it’s more like 500. Still, that’s fucking insane). Even if you don’t know the name Morricone, you are familar with his work. He did this. And this. Also this and this. Some notable Hollywood films he did the scores for include Brian DePalma’s The Untouchables and…Exorcist II: The Heretic.

Hey, they can’t all be bangers.

Morricone’s score to The Thing perfectly captures the claustrophobic feel of the film, although it doesn’t work that well as an independent piece of music. Most of it is so quiet that it is barely audible, and just when your ears have become accustomed to the muted music, it explodes in a menagerie of plucking strings and bombastic horns.

After a while, the soundtrack itself becomes kind of scary, as you wait for it to jolt your system with another sonic blast. While it’s not easy listening, I imagine it would be a great way to liven up your day-to-day activities. Work in a cubicle? Play this on headphones and you’ll have the most intense numbers-crunching session of all time. Clean your home while listening to it, and be prepared for your humdrum dusting to turn into a terrifying battle against microscopic dust aliens.  Listen to it at the bus stop and you’ll slowly start to suspect that everyone around you is really an alien shapeshifter – well, that might happen at the bus stop no matter what you’re listening to, but you get my point.

A word on the technical aspect of this rip. Like I said before, this is a QUIET soundtrack. One limitation of vinyl is that quiet music can be overcome with surface noise, and that was the case with my original recording.

To make it a little more listenable, I cleaned it up using Audacity’s noise removal tool. While the quiet parts are crystal clear now, some of the loudest parts of the score have some very slight distortion. I still think it’s more than a fair trade-off though, considering the ration of quiet-to-loud parts. And besides, I wasn’t about to chuck out 40-plus bucks for a used CD copy.

I Pity the Fool who Doesn’t listen to Be Somebody by Mr. T

Wednesday, July 6th, 2011

It’s hard to explain to kids today (and by “kids today” I mean anyone under 25″) just how awesome Mr. T was in the early ’80s.

Growing up the ’80s I didn’t just idolize Mr. T, I wanted to be the dude. I wanted the gold chains, the awesome mohawk, and the unending ability to pity fools. I loved Mr. T because he was ALWAYS Mr. T. There never seemed to be an “off” switch on that dude.

Even as a little kid I knew that Slyvester Stallone was just an actor. Rocky wasn’t real, it was just a movie. I even had some doubt as to how real wrestling was – I knew Hulk Hogan didn’t just walk around the house tearing his t-shirts off and rocking out to Derringer, he saved that shit for the Main Event.

But Mr. T was Mr. T 24/7. Even when he was playing a role like on The A-Team or in Rocky III, he was still fucking Mr. T. No bullshit there. Not much acting there, what you saw was what you got, all the time.  The dude didn’t even change his act when he met Nancy Reagan or guest starred on Diff’rent Strokes. He even had his own cartoon where he played himself as a gymnast/detective. No matter what you say about Mr. T, you have to admit – that is a commitment to a lifestyle.

The kids loved Mr. T and he loved them back, so in 1984 he made an educational/motivational video for children called Be Somebody…or Be Somebody’s Fool. You should watch it. It’s pretty epic, filled with some great sage-like advice from Mr. T, as well as some “amazing” musical performances.

After you’re done watching it, you’ll probably be jonesing for that epic soundtrack so you can relive the magic and the music wherever you are.

Don’t worry. I have you covered.

Mr. T – Be Somebody
Be Somebody
Treat Your Mother Right
Stylin’
Love Each Other
I Am Somebody
Peer Pressure (New Edition)
Poppin’ and Breakin’
Try
Be Somebody…or Be Somebody’s Fool is a weird and wonderful artifact of the 80s, but the  Be Somebody album is even weirder and more wonderful, this is despite the fact that Mr. T only contributes to three of the eight songs on the album: “Be Somebody”, “Treat Your Mother Right” and “I Am Somebody.”

As you might expect, these are the best/worst songs on the album. Both “Be Somebody” and “I Am Somebody” are message songs (shit, a sample of a dude yelling something that sounds like “Message!” is looped throughout the latter track) about the power of self-esteem and doing your best. “Treat Your Mother Right” is a slow-jam about maternal love, and the less I say about that one the better.

The rest of the album is crazy mixed bag. “Love Each Other” is a ballad about loving each other (duh) sung by someone who is credited as “The Dimples.” A Quick IMDB search reveals this to be Marta Marrero AKA Martika, who appeared in Breakin 2: Electric Boogaloo (not a surprise) and Disney’s Kids Incorporated (really not a surprise) before going on to one-hit wonderdom with “Toy Soldiers.”

The other ballad on the album is “Try”, featuring lead vocals by one Valeria Landsburg, who played Doris on the Fame TV show. While the titular fame seems to have eluded Valeria, she has managed to carve quite the small career for herself in Hollywood, working as an actress, singer, writer and director. Go Valeria!

NOTKB prototype New Edition make an appearance on Be Somebody with “Peer Pressure.” Guess what? It’s about peer pressure and how bad it is. It’s not “Candy Girl” I’ll tell you that much.

The two weirdest tracks on Be Somebody are “Stylin'” and “Poppin’ and Breakin.'” These are straight-up old-school instrumental electro tailor-made for breakdancing. What’s even more amazing is that they’re both pretty damn good too. They also feature a fairly impressive line-up of amazingly talented and diverse session musicians.

The percussionist on both tracks is a dude who goes by the name Munyungo. And if his webpage is to be believed (and why wouldn’t it be) that dude has quite the resume, working with Herbie Hancock, Miles Davis, Stevie Wonder, Sting, and about every Motown band worth a damn. Bassist Michael Henderson, another frequent Miles Davis contributor, joins him on “Poppin’ and Breakin'” as well. When Michael Henderson isn’t rocking the bass on Be Somebody, fellow session musician Kevin Brandon is. A man whose work you may have heard on OutKast, Justin Timberlake and Mary J. Blige records. He’s not a household name, but he’s big enough to have a page on M-Audio where I found this information!

Finally, there’s guitarist Greg Poree, who produced most of the record, and appears on nearly all the tracks. He also worked with Herbie Hancock and Stevie Wonder, as well as Michael Jackson and Aretha Franklin. Today he can be foun as the guitarist on Dancing With The Stars. A show that should totally have Mr. T as a contestant next season.

So that’s a lot of talent, but most of them aren’t really well-known.

Okay, how about Ice T?

That’s right, the Ice T (I assume no relation to Mr. T), served as the “associate producer for Mr. T’s vocal” on Be Somebody. I assume this means he just tried his damnedest not to make Mr. T sound any worse than he already was. It’s crazy the think that he was only three years away from Rhyme Pays when he helped on on this record. You think Coco knows about this skeleton in T’s closet?

Enjoy the Mr. T. There will be more later this week.

That’s right. You’ve been warned.

Tell Me Where To Get Music

Monday, June 27th, 2011

The majority of MP3 blogs I visit have gone dormant.

Comment and tell me some good MP3 blogs.

Thank you very much.

New music here either Monday or Tuesday.

I’m not Dead!

Tuesday, May 10th, 2011

I feel happy!

New posts this week I promise.