Morning Music Funnies # 7 – John Lydon on Roseanne

On October 7, 1999 John Lydon (aka Johnny Rotten) was scheduled to appear on The Roseanne Barr Show. The show agreed to allow Lydon and his crew to shoot film behind the scenes as part of the deal.

Upon arrival, Roseanne’s battalion of supercilious staffers sprung into action. One snarky comment from Lydon about a life size Roseanne cardboard cutout put her backstage posse on red alert. Suddenly, Lydon found himself in a swirling vortex of bitchy handlers bent on shutting down the cameras and bum-rushing the recalcitrant Punk icon out of the building. This is a wonderful document that illustrates  all that’s wrong with celebrity culture and all that’s right with Punk.

Advertisements

Dean Ford “Feel My Heartbeat” Album Review

 

Dean Ford Releases New Solo Album “Feel My Heartbeat”

By Dale Nickey

Los Angeles, CA (The Hollywood Times) 5/30/16 – In 1969 a Scottish group named The Marmalade hit the charts in a big way with their Top Three ballad, “Reflections of My Life”. It was a melancholic look back at life, sung by a young singer/songwriter who had not yet lived it. The singer was Dean Ford (Born Thomas McAleese). The Marmalade made their splash and suffered the fate of many entrants into the 60’s sweepstakes. They had a couple of hits and faded into history, only to return sporadically on oldies radio, the odd soundtrack or the occasional K-Tel compilation. Continue reading

Now Be Thankful – David Swarbrick Remembered

Authored By Dale Nickey:

I am thankful. I saw David Swarbrick perform live. Twice. Both times with Martin Carthy. Both times at MaCabe’s Guitar Shop. And, it wasn’t until I heard about Swarb’s passing that the fog of years parted and I remembered that I actually spoke to the man. A brief encounter to be sure, but still I touched greatness.

 McCabe’s is an L.A. music institution that goes back decades. It sits in the ocean community of Santa Monica; a safe haven for expatriate Brits. While I’ve been alive there has always been a McCabe’s. It a woody, friendly music shop that specializes in acoustic exotica of all sorts. I bought my Mandocello there. Likewise, if you need paddle tuners for your Beach Uke, that’s where you go. They also host concerts. Their main musical affiliation is with folk and blues. They have a big room in the back with a nice stage where you can squeeze in 150-200 punters on folding chairs. I saw Elizabeth Cotton there. Jean Richie, Pentangle, June Tabor, John Renbourn and John Fahey, I even played there once myself in the folk duo Adie and Dale.

On gig night it’s usually packed out. Fresh baked cookies were offered in the front of the store. The restroom was small and you had to wait your turn. One night I bumped into Bert Jansch exiting as I was going in. I once banged shoulders with Yvonne Elliman whilst trying to navigate the crowded upstairs hallway. It was that kinda place. It might still be.

 Anyway, I went there at the dawn of the 90’s decade to watch the duo of Martin Carthy and David Swarbrick perform. I went with my friend Dominic, whom I was in a band with at the time. He was not familiar with either of the folk heavyweights we were about to see. But, because of my recommendation, he decided to check it out.

 It was an amazing show. Martin Carthy had a youthful, bouncy spirit and his chunky, finger styled guitar playing was as solid as the Rock of Gibraltar. Then there was Swarbrick, he played standing for the entire hour plus set. I remember there was a very tall gooseneck microphone stand that arched far above and pointed downward towards his fiddle. He burned for the entire set. He didn’t sing, he just played. Virtuosic and effortless. My companion leaned over and offered that “The Bloke” was a real monster. – the musician’s code word for an instrumentalist of uncommon skill and virtuosity. Swarb would be bequeathed the nickname “The Bloke” for the remainder of the evening and his exploits were discussed at length on the long drive home to The Valley.

I didn’t hear Swarbrick play a bum note the entire set, and he played a lot of notes. If he did hit one, his confidence and experience probably spun it to gold somehow. There he stood, taking the occasional drag from (what looked like) a home rolled cig. He had a bowl styled Beatle haircut. Swarb got the biggest laugh of the night when McCarthy told a joke and Swarb reacted a good half minute later when a helpful audience member in the front row translated it to the diminutive fiddler. Even then, Swarb’s ear problems were legend.

During this period, the duo of Carthy and Swarbrick cranked out two fine albums; “Life and Limb” (1990) and “Skin and Bone” (1992). It was upon their return to McCabe’s to tour the second album that I saw them perform again.

This time I went with a female companion (and future ex-wife). I was sad to find Swarb playing seated for the entire set. His bearing seemed less robust than the first gig I saw. However, the playing remained the same. Flowing, effortless and perfect. My English challenged companion had never heard of these two musicians. She whispered into my ear about “The Little Guy” and how “strong” and “very correct” his playing was.

After the set we loitered at the front of the store, everybody congregated and chatted. My date held court with Billy Connelly, Maddy Prior and Martin Carthy near the repairman’s counter. She was blissfully unaware of the celebrity she was confronting. Martin Carthy laughed broadly and was animated by a sweaty post-gig buzz, Connelly seemed bemused and Maddy looked a bit put out. Meanwhile, I made my way to a hunched, solitary figure sitting at a round wooden table near the album bin. It was Swarbrick. I’m always flummoxed and shy around musicians I admire. I sheepishly told him, “great set” and offered up a rare vinyl copy of “Fairport Convention Live at Sydney Opera House” for his signature. I seemed surprised at being presented with such an artifact. He perused it and quietly mused, “I wonder if I ever got paid for this one?” He then signed, and I slowly backed away and thanked him in the manner of an acolyte retreating from the master. I told it you it was a brief encounter. But we met. I’m so glad we did.

Fast forward to the new century. I was pleased when David Swarbrick accepted me as a Facebook friend. Oh, me and lot of people. I’m sure he would not have remembered my name, we only exchanged the odd thumbs up and the occasional pithy aside in the comments section. But I valued the connection none the less. It’s one of the few upsides to this digital media world that David Swarbrick could still remain present and connected with fans and friends the world over despite his restricted mobility. Think about all the musical giants of the previous century who lived out their winter years with only a rotary phone and a black and white television as their links to the outside world. Forgotten and sad.

I’m at that age now. I’m surrounded by so many friendly ghosts and people preparing for the great transition. I’ve been lucky so far but I am nervously clutching my ticket number dreading my turn to be called. Swarb did alright in the life sweepstakes. He made it to 75 with loads of memories, accomplishments and a loving family at the end. He laughed in the face of death twice. He was a one-off. It seems like this year more than any other, the great upward migration has begun. RIP Swarb.

thH6M67013

 

David Swarbrick Dead at 75

 

thH6M67013

News has just come in to The Muse Patrol that Folk-Rock pioneer David Swarbrick died on June 3. He was 75.

Swarbrick has courageously beat back illness and infirmity for decades. He will always be remembered as a key member of the greatest Folk Rock ensemble in the history of British Music, Fairport Convention. The line up of Swarbrick, Sandy Denny, Richard Thompson, Dave Mattacks, Simon Nicol and Ashley Hutchings was a virtual all star band dedicated to giving British traditional music its groove back during a time in the late 60’s when The Band was similarly reviving interest in American roots music on this side of the pond.

th6GX596NG

David LaFlamme was America’s electric violin pioneer during the late sixties. In Britain, it was David Swarbrick.  ‘Swarb’ was already folk royalty in Britain when the call came to join Fairport Convention in their desperate attempt to retool and recover after a road accident that claimed the life of drummer Martin Lamble. Swarbrick took the gig just in time to feature on the band’s 1969 masterpiece, “Liege And Lief”. Suffering and conquering the agonies of stone-age electric violin technology, Swarbrick found his inner rocker and became a star attraction in the band. He even multi-tasked as Fairport’s lead singer after the departure of Sandy Denny. Eventually, ear problems and other health issues forced his retirement from the band and active touring. He’s cheated death twice. Once after a premature obituary was published in the “The Daily Telegraph” in 1999; and again after a risky, but successful double lung transplant in 2004. 

th1TJPHXH0

For a brief time during the late sixties and early seventies, British Folk-Rock threatened to make a big splash on both sides of the Atlantic. It was old music played by young guns at high volume. This outdoor performance from 1971 is a period curio that captures the genre and Swarbrick at their peak.  This performance could also well be the precise time and place where the spirit of the sixties died. Now Swarbrick has also passed. British music will be forever poorer in his absence.

 

Jandek releases new CD – Dublin Friday

Authored by Dale Nickey:

More Jandek ?  >>> Houston ThursBrussels Sat / St. Louis Fri

jandek

JANDEK – Dublin Friday (CD)

Corwood Industries (0820)

 

Word salad surgery…

Corwood Industries has just released Dublin Friday – a live acoustic set of guitar/vocal pieces, I have given up trying to read logic into Jandek’s release schedule. This performance dates back to June 11, 2008. The venue is The Douglas Hyde Gallery in Dublin Ireland. As of late, Corwood’s releases tend to hopscotch back and forth in time without any explanation or pattern.

Dublin Friday seems a companion work to Houston Saturday (2011), which employed the same solo acoustic format. Indeed, Corwood included a DVD version of the Houston performance (along with Dublin Friday) in its latest care package to this reviewer, so it’s clear they see the linkage as well. However, where Houston Saturday (2011) was a song cycle totally in thrall to lust, love and human connection, Dublin Friday is totally absent any sentimentality, romance or emotion. If it were a book, I would describe it as an eight chapter novella set in a Kafkaesque parallel universe of the mind. Or perhaps, Finnegan’s Wake on Ambien.

On Dublin Friday, It’s tough to gauge how much of the lyric content is composed or extemporized. It’s apparent The Representative has stockpile of phrases and images preloaded – while at the same time – his delivery suggests a cut and paste methodology. Evocative phrases are delivered in random order with no consideration to narrative. There are times you can hear Jandek trying to stay a step ahead of himself, reshuffling his mental deck on the fly. The songs on Dublin Friday (as do many of Jandek’s compositions) occupy the nether region between automatic writing and conventional song craft. At this performance, Jandek’s internal clock set set between seven and nine minutes per piece. Only Part Seven deviates from this time frame, coming in at 5:41.

The Representative of Corwood Industries has dispensed with song titles for this release. Instead, we get eight selections titled “Part One”, “Part Two”…etc. However, the eight selections scan like segmented parts of a conceptual whole.

That being said, Dublin Friday is a strong and involving set. Jandek ‘the man’ keeps reviewers at arms distance, so the intent and motivation behind this set of non-stop, non-sequiturs will forever be open to conjecture.

 

What follows is a track-by-track analysis of the songs found on Dublin Friday:

Part One – A protracted and meandering guitar introduction paints a desolate musical landscape. What follows is a clutch of lyric snippets that stop and start maddeningly. Short unfinished phrases cut and pasted together. Example: “You see the general terms basking in the gentle hues. To make things clear, he said nothing.”

Part Two – A delicate, pin-prick guitar intro precedes more florid word play. Part Two describes abandoned journeys and thoughts inadequately expressed. Jandek seems trapped in some kind of emotional stasis. The Reps guitar work is active and possesses a harmonic logic that reveals itself only to those willing to invest in repeated listens. Sample lyric: “He said nothing enthralled by demeanor, ravished by the movement of hands…”

Part Three – This selection promises something more in the realm of a structured narrative. But, that’s just a come-on. Musically; The Rep is exploring richer, darker tones than he did in Part Two. However, no threads are maintained. Example: “Tell me I’m not mistaken by the holocaust of vision, the break-up of a sentence. It’s only that…I mean. It’s all so obvious.” Oh, is it?

Part Four – Some recognizable harmonic motifs threaten to emerge throughout this piece but are ultimately stillborn. After some introductory improvisation, the artist finally intones, “The cacophony of gestures, flew about like secret symbols, or martial arts chopping phrases, into bits of a conundrum.” The guitar work throughout Dublin Friday is oddly appealing and involving. Later in the piece, The Representative expresses his desire for a ‘box of surprises’. The Representative demonstrates a command of subtle dynamics throughout the piece. Nice ritard ending.

Part Five – Part Five starts off with some clacky single string work, Jandek continues to toss his existential word salad… “Imbued with his blustery bellow, and his promenade of gestures like a floating benevolent cloud that captures your imagination when you’ve nothing to do.” A fairly symmetrical song structure ultimately reveals itself as the vocal verses alternate with guitar breaks that further explores the wild, interval leaps in the songs intro. So far each piece seems to have its own musical identity. However lyrically, entropy and confusion still reign supreme; or to quote The Representative, “To interrupt this madness would be catastrophic”.

Part Six – At this juncture, Jandek’s limited harmonic palette begins to reveal itself. However, despite the musical groping and meandering, interesting motifs continue poke their head out into the light, then wither and recede just as quickly as they came. Instrumentally, this piece less busy and employs descending lines in lieu of the nihilistic noodling of the previous piece. Again, the landscape is strewn with faceless people, saying nothing and revealing nothing. The narrator’s use of evocative phraseology only succeeds in plunging the listener further into the dark.

Part Seven – A guitar intro mines the lower registers of the instrument. “You simply must understand. Let’s begin where it all started. All is agreed. I will not repeat. The conviction pierced fleshly barriers of sound.” Elsewhere: “He said nothing, and they acted like he was saving the world”. As with all the selections on this CD, the song’s conclusion is met with pregnant silence followed by sustained, reverential applause.

Part Eight – On this, the final song, Jandek’s amps up the adrenaline, strums a little harder and gets a tad more bellicose. Unidentified people are saying nothing. In fact, this entire eight part odyssey could well be summarized by the phrase. “My heart is shaken by this witness, he said nothing.”

Upon first hearing, Dublin Friday exhibits the familiar traits that have denied Jandek a mass audience for decades. The cold, brackish exterior will forever scare off the casual listener.

It makes sense that music journalists are the most fervent ambassadors of his work. We are forced to pro-actively listen to this music as part of our job, and it’s in these requisite, repeat listens that Jandek music begins to reveal its layers. Despite first impressions, this is not throwaway bullshit. Neither is it pop craft. It’s something different; and I’m relieved to say, it’s as honest and purposeful as any music currently being created. We can come along for the ride or not. Jandek will never thank you for coming. He plays, and we either show up or stay home. The Representative is one of the few musical artists who understands art shouldn’t give a shit and it doesn’t apologize. The muse just issues forth its nectar or poison from its pustule or pod when it no longer can be contained. A work such as Dublin Friday allows us to witness the act of creation with without filters. It’s not entertainment. It’s pure spectacle.

 

 

 

 

 

 

 

Ashes to Ashes (Bowie Remembered)

Authored by Dale Nickey:

 

 

Superheroes aren’t supposed to die…

David Bowie loved to surprise and shock people. Sadly, he saved his best for last as he passed on Sunday January 10, 2016 at the age of 69. No one saw it coming.

Everything he did in life was art. The way he looked, his elegant speech, videos, film, music…above all, the music. It makes sense that he would orchestrate his final exit to perfection and go out on top. And somehow, leave us smiling through the tears.

Born David Jones, Bowie entered the music business through the same portal as many other seminal British artists during the sixties; he attended art school and cultivated a passion for music. He paid his dues playing in R&B bands on the London club circuit. The Kingbees and The Manish Boys were among the more notable ensembles Bowie played in during that era.

 

davidbowieyoung

His recording career was going nowhere in particular until he released the epic single “A Space Oddity” in 1969 (five days before the Apollo moon mission). It became a hit single in Britain (and later in the U.S.). Although “A Space Oddity”” didn’t catapult him to worldwide stardom at that time, its success earned him the opportunity to make more records until he found his stride.

In 1971 he released “Hunky Dory”, arguably the finest album of his career. It was a gigantic leap forward from his previous album, the spirited but scruffy “The Man Who Sold the World” where Bowie grabbed the attention of the press by shooting the album cover lounging on a chaise in a dress. “Hunky Dory” yielded the classic rock evergreen “Changes”. The rest of the album is a masterclass in songwriting; ranging from the acid folk of “Andy Warhol”, to the Punk Glam snarl of “Queen Bitch”, to the dour S & M imagery of “The Bewley Brothers”. There was no filler, only brilliance. But, how could he possibly top himself?

david-bowie

1972 saw the release of “Ziggy Stardust and The Spiders from Mars”; an album that (in its own way) changed the world as much as Beatlemania. The Beatles only hinted at an androgynous parallel universe where the languages of art, love and lust were freely spoken. Now we had a painted, sequined poster boy who not only talked the talk, but came armed with classic tunes that could outlast the critics and the naysayers. Bowie made it OK for a man to wear makeup and look beautiful. Well, for a little while anyway.

“Hunky Dory”, “Ziggy Stardust” and “Aladdin Sane” comprise one of the most potent trilogies by any artist in the history of Rock Music. 1974’s “Diamond Dogs” was brilliant but something had changed. Bowie dumped his faithful backing band and was clearly eager to jump into the artistic void.

davidbowie_2103771b

“Young Americans” used Philly soul to capture the ears of America. The album yielded Bowie’s first American chart topper “Fame” (co-written with John Lennon). With “Station to Station” Bowie entered a harrowing phase of drug abuse that saw him lose his memory and a significant portion of his body weight. Didn’t matter, Bowie was now an artist for the ages who couldn’t make an inconsequential album

Bowie had to rehab and reboot or snuff it. For Bowie, that meant taking his buddy Iggy Pop and moving to Berlin by The Wall. He did things like shop for his own food and wash his own laundry. The austere cold war environment inspired his second great trilogy of albums. “Low”, “Heroes” and “Lodger”. Bowie brought Art-Rock heavyweight Brian Eno in to collaborate and help him explore his inner Stockhausen. Never had such a commercially potent artist taken such a radically uncommercial detour. Bowie was reinvigorated, his muse was overhauled and ready to meet the challenge of the 80’s.

david-bowie-1

 

Bowie was famous and successful. But, he had not yet achieved ubiquitous celebrity in America. That changed with “Let’s Dance”. It was a pure commercial dance record by design. Bowie brought in Chic hit maker Niles Rodgers as producer and introduced the world to an unknown guitar slinger by the name of Stevie Ray Vaughn. Massive hit singles “China Girl”, “Let’s Dance” and “Modern Love” pummeled the charts, radio and MTV. David Bowie owned the year of 1983.

Bowie would never scale those heights again. He still made good records. He also did some big tours and stayed ahead of the curve by selling shares in the David Bowie brand on the stock market. He also accurately predicted that streaming and file sharing would destroy the music business as we knew it. He did several films, live theater, raised a wonderful family and manfully followed Queen after their epic Live Aid performance at Wembley Stadium.

People sometimes forget he was a good sax player. He did all the horn parts on his early albums. He was a one take wonder. Super producer Ken Scott rated him as the best studio singer he ever worked with. There were no bum takes on a David Bowie session. He wrote “All the Young Dudes” for Mott the Hoople; and who can ever forget his duet with Freddie Mercury, “Under Pressure”?

He was also a heavy smoker. He packed up in later years, but who knows what damage had been done. He died of cancer far too soon. However, he remained trim, youthful and dapper to the very end. He died a dignified and peaceful death surrounded by family. Listen to his music and be amazed by the wonder of it all.

David-Bowie-david-bowie-31564924-1141-1600

Jandek on DVD – Houston Thursday

Authored by Dale Nickey:

DVDcoverart

 JANDEK “Houston Thursday”

Corwood Industries (0818)

Filmed live at Mango’s in Houston Texas – July 12, 2012

Prepare to get punked….

“Houston Thursday” sees The Representative of Corwood Industries (aka Jandek) getting down to his industrial-punk roots. In stark contrast to Jandek’s recent trend towards extended compositions; “Houston Thursday” is a taut, no nonsense sprint through 16 songs. The majority of the numbers clock in at under three minutes with only the final track (Glass Boxes) breaking the four minute mark at a tolerable 09:37.

Don not attempt to adjust your screen at the start of this DVD. The opening image is an indistinct (but intentional) blur that had me fiddling with my remote. However, once we gain admittance to the venue, the videography reveals itself to be creative and mood appropriate. Front woman Sheila Smith is the visual focal point of this performance. Sporting a pageboy hairstyle that is reminiscent of Uma Thurman in Pulp Fiction; Smith shouts out verse over thick slabs of Guitar, Bass and Drums. The Representative of Corwood Industries confines himself to electric guitar for the entire set. His fully bearded face is seldom seen. Mostly, we get shots of the man from the waist down or close ups of his hands playing the guitar.

Sheilacorwoodindustries.com/

In keeping with the fast and furious spirit of “Houston Thursday”, here is a brisk wind sprint through the track list:

My Letters – DVD opens with artsy fartsy camera work set against a staccato eighth note groove. Droning metal mayhem sets the pace for the remainder of the set. Opening missive, “You don’t understand my voice”.

Emergency – Old school thrash quickie for the A.D.D. sufferer. The homer crowd is clearly into it and cheers lustily after each number. Smith advises, “You should learn how to ride a bike”.

Your Designs – Concise little ditty that answers the musical question, ‘who gives a shit?’ Key lyrics, “I don’t want to know your designs, I don’t want to know your thoughts, I don’t want to have a clue about you. Not knowing is better… You confuse me, you confuse everyone…” Well done.

Dallas Bitches – Nice razor wire guitar work from The Representative in support of Sheila Smith’s rant about…well…Dallas Bitches.

On The Metro – Prickly echoed guitar squall set to a nice bass hook and syncopated drum work. Sheila likes cars about as much as she does Dallas Bitches.

Walk Talk Leave – Sheila looks amazing. But, she’s pissed because people are jackoffs. “They exist to resist”. They are also crappy listeners; because apparently, they have water in their ears.

Asked For A Refund – One of the longer entries at 3:20, The Rep kicks things off with a space needle guitar intro. Then Sheila testifies, “They cut me open and I did not bleed…they sewed me back up”. Sheila’s desire for a refund remains unrequited.

Can’t Hear You – More auditory problems ensue as Sheila laments “I can’t hear you, even while I am listening”. One of the few selections on “Houston Thursday” that courts dispensability. Nice bass line though. The Representative finally makes his verbal presence felt with two well timed grunts.

Floor – Throughout “Houston Thursday” The Representative of Corwood Industries (aka Jandek) mixes in liberal amounts of echo to pleasing effect. Moreover, his guitar work boasts an atonal cogency that is eye opening. Part way through “Floor”, the bassist and drummer ‘floor it’ unexpectedly and drive the tune into a nice concrete wall ending.

Chit Chat – Sheila regains control of the stage and eloquently communicates her inability to communicate. The Representative kills it on guitar. One of the best tracks on the DVD. Really could have gone on a bit longer.

Sit On Your Feet – Speed metal drumming in support of The Representative. Smith sits at the feet of The Representative in another paean to ineloquence.

Not Think – Nice jazzmeat drum solo starts things up as The Representative does some higher register lead guitar work suitable for a slasher flick, then dives down to some thick, lower register improvisation that brings to mind some of Robert Fripp’s more anarchic moments.

Books That I Read – Lo tech/high concept camera angle brings us into the audience for the first time. Guitar, Bass and Drums come at each other from all directions – fists flying – until a sudden breakdown ends the piece. Impressive.

Beholden To You – Still viewing from the audience, the band slams in and we find Sheila (stage right) kvetching about being too short for the microphone. The Representative guides the way with a wall of red noise, then switches gears to some nuanced lead work and back again.

People Will Talk – Dumb as dirt drumbeat starts in support of Jandek’s wall of grunge. Close ups of Sheila evoke the image of a pretty little Goth princess who could murder you in your sleep after giving you the best sex of your life.

Galveston – Sheila Smith scores more face time and the camera clearly loves her. Key lyrics, “She’s in charge, she’s responsible, she takes care of us all. We love her, but we don’t know her.” And, “I moved to Houston after the flood.” Sheila also states unequivocally that she doesn’t believe in renters insurance. Jimmy Webb run for your life.

Glass Boxes – Weirdest thing, my reliable old hi-fi receiver packed up and took a shit right before this track commenced. Spooky. Anyway, viewing this without sound gave me an appreciation for the videography which appears to be a single camera shoot. The vibe of the music is captured and augmented by creative use of angles, movement and light (or) lack thereof. Textbook example of DIY Punk videography – if there is such a thing. Musically, “Glass Boxes” is a slow burn monologue that finds band and Sheila playing off each other. Smith describes a visit to an art exhibit where the artists are housed in glass boxes. Armed only with a pamphlet and instructions to keep smiling, the narrator tries to make sense of it all without much success. After some initial musical fireworks, the flame of the song flickers and slowly extinguishes itself courtesy of a delicate drum beat fade out. Show’s over.

Houston is Jandek’s hometown. It makes sense that he would do some of his best work on his home turf. “Houston Thursday” is a refreshing change-up from Jandek’s supersized offerings in recent years. Fans of L.A. speed-punk merchants – The Minutemen and noise-pop purveyors Beast of Beast will find comfort here. This DVD also reveals Sheila Smith to be a key player in Jandek’s late period renaissance. Among the many live DVD concert performances that inhabit The Corwood Industries catalog, “Houston Thursday” stands as one of the best.

jandek

To visit the Corwood Industries catalog click >>corwoodindustries.com/