FDF Volume 3 Issue 220 - Stabbing Westward : Ungod

By: March


Album - Ungod
Artist - Stabbing Westward
Key Players - David Suycott - drums and percussion. Jim Sellers - bass. Walter Flakus - keyboards. Christopher Hall - vocals, keyboards. Stuart Zechman - guitars, bass
Produced By - John Fryer

Release Date - February 1994

What caused me to blow off the dust? - From time to time I get in a "heavy" mood and find that the more alternative stuff does the trick more often than a straight up "metal" record. I recall at one time thinking this band was going to be big for some reason. I am sure they were not unhappy with their success.

Overview - A very early configuration of the Chicago based band Stabbing Westward was formed in 1985. In 1994 the band released this major label debut. According to the bands site in September of 1993 the band played the CMJ Music Marathon in front of 4,300 people opening for Rage Against the Machine. The bands blend of alternative meets industrial metal was a hit with fans and the band would release two more albums for Columbia records. Nothing from this album would chart, but subsequent albums and singles would crack various US play lists.

FDF Comments (aka the songs) - There is a long slow fade up to start off the track "Lost". Suycott is the first you hear, with some deep tom tom strikes and ti sounds like the keyboards and guitars buzz. Sellers is the second dominate instrument (bass) you hear. The bass line is clean, and has a real deep tone to it. The track continues to grow in intensity. Flashes of percussive chimes echo off the tom tom. By the time Hall sings his first line its very subdued. Pushed to the bottom in a dark chanting delivery until the he and the band explode, albeit only briefly as the song is nearing completion. The track sets a dark and moody tone for the record, so lets see, and listen again, to see if this sticks. I can't remember really. The track "Control" rumbles seamless from the lead off track. The guitars, bass and drums are more in sync. Hall comes in and has a more "soaring" delivery. Flakus throws in some keyboard fills at the close of the verse as they tease a chorus. Hall has a strong voice and he can hit the upper ranges with angst and not crack. Sellers gets love from the mix as the bass has a great punchy and clean sound to it, while the rest of the band wrestles with the industrial feel of the track. The guitars from Zechman are not dominant until the chorus strikes and then he hits you will a wall of compressed power chords as Hall howls over it all. The song that I always dug from this record comes in "Nothing". The Zechman lead guitar intro as the keyboard, bass and drums collide are such a heavy hit to the senses. Hall offers a more laid back delivery for the feel of the music Even the chorus, barring his higher vocal range reaches he keeps the vibe similar. The guitar riff is just a juicy nugget. Simple, but right in your ears and face. The song ends and there are some odd keyboard loops that fade up in to the track "ACF". This track starts out far more quiet and laid back. Flakus and Hall strike keyboards, but once again Sellers bass gets punchy high in the mix. As the verse begins it remains largely ambient sounds with the bass chugging out a few notes as Hall sings. After the verse concludes the second verse kicks off and the band kicks in but it quick to ease back in to the earlier feel of the record. The band seems to have found their real repetitive track, at least to these ears. Verse, chorus, verse keep the same urgency. "Lies" is another stand out track. It reminds me of a hyped up track from the film "Blade Runner". The band really fires off on this track. Suycott seems to have found the roto-toms on his drum kit, but he pummels the bass and floor tom-toms. This here is the soundtrack for a speeding ticket. Just a driving, rocking, kick ass moment. See in the download area if you don't believe me. No, I won't pay your ticket either. Just past the halfway point of the record we hit the title track and second longest track (7:43) on the record. "Ungod" is another track slow to build. A single "beep" tone shifts between the speakers as it sounds like a guitar slowly works to find its place. The single notes are more chops than notes. After a little of this Suycott and Sellers put everyone on task. The vocals start and the song works to find a real place. Nearing the three minute mark the track gets a little more urgent and seemingly more focused and then it really gets good and heavy. If you take away the beginning its really pretty great, but the beginning is what sets you up for it all. "Throw" continues the buzz saw guitars with the bass and drums being a very strong presence. Hall adds a lot to the band, he could just shout but he hits these strong operatic like vocals ranges that adds such a unique sound. Flakus and Hall add various keyboard fills and Zechman, whom always seems to have a big sound, never gets too flashy. Flakus starts a keyboard loop and Zechman blasts a few short guitar notes as "Violent Mood Swings" kicks off. The full band comes and once again the sound is nice and full. All instruments are up in the mix, no one player is any more important which is a nice way to listen. There is a wild drum effect on Suycotts kit for the final few bars of the track. Sellers lone bass notes start of "Red on White" and this is the first real "quiet" feeling song. The keyboards sounds like pianos but it wants to grow with big keyboard drones. The song seems to stop and then the vocals come in. Very hushed once more and the band teetering on exploding. Suycott is the only one that really seems to head the direction of getting loud, but it never really happens, which is actually okay. The album closes with the longest track "Can't Happen Here" (8:09) that starts with tabla (Indian Percussion) and and chimes. Its has a similar feeling to the track "Lies" in its bassy keyboard and heavy drum roll. Hall sings a few short lines but the track continues with its percussive build up. Hall gets to soar over an overdub of his own vocal track which is very strong. Just as the song seems to want to start a long fade it gets aggressive once more and then it fades to completion.

Where are they now? - The band broke up on 2002.Christopher Hall has formed the L.A. based band The Dreaming. They released their first studio album "Etched in Blood" in 2007. Walter Flakus has been working with The Clay People and Chokt. He also worked/works in Chicago rock station. David left suddenly during the Ungod tour while Stuart left after the Ungod tour in 1995. Jim Sellers and his wife have opened a natural foods market.


FDF Personal Comments (aka the Live experience) - I never saw the band live.

FDF Overall Take - If you like your stuff heavy with that industrial feel you should check them out. If you are unsure of what I am getting at..think of early Nine Inch Nails...the harder stuff (not Animal) and its a pretty close comparison. Big guitars, pounding drums etc. This is/was a lot better than I recall and I almost feel bad it has sat idle for so long. Again, if you are looking for some heat...this is a strong record.

Links
Official Site

Curious? Check out some MUSIC!

Control
Lies
Nothing

Tracks are from "Ungod" which you can buy here.

Disclaimer - For the most part songs listed you can find on iTunes or your local cd shop. The idea is to give you a little taste of the music. Please support the artist buy purchasing some of their work. Songs are posted for about 1 week but can and will be removed at the request of the artist, band, band management etc. If you are one of those persons contact me via the email link in the profile and they will be removed as soon as we are made aware of the request.

FDF Volume 3: Issue 219: Butthole Surfers - Independent Worm Saloon

By: March

Album - Independent Worm Saloon
Artist - Butthole Surfers
Key Players- King Coffey - drums. Jeff Pinkus - bass. Paul Leary - guitar, vocals. Gibby Haynes - lead vocals.
Produced By - John Paul Jones

Release Date - March 23, 1993

What caused me to blow off the dust? - I wonder what sort of traffic the first word in the band name will bring to this blog. All that aside, there is a time and place with me and the Surfers..just felt like it was time.

Overview - The sixth studio album from San Antonio, Texas based Butthole Surfers. The band had singed to Capitol records and this was the second release for the label. The band would ride a little big of commercial success in to the follow up (Electriclarryland). The band blends hard core, heavy rock with psychedelia to create one of the most wild and non traditional music that would be heard on mainstream radio. This album would crack the Billboard top 200, peaking at 154.

FDF Comments (aka the songs) - The album opens with a blistering track called "Who Was in My Room Last Night?". After a swirling vocal of "I'm Flying...away" the machine gun drums and chugging guitar. Haynes vocals are heavily distorted and compressed at the same time. Leary gets to toss out big guitar riffs at the close of each verse while Coffey keeps everything locked in. Around this time "industrial" metal was finding small cracks on MTV and radio so this tune fits right in with its urgency. A sudden change of pace...(acoustic guitars??!) start off "The Wooden Song". It is a much more laid back affair with rolling drum fills and a very relaxed overall feel to the song. Pinkus gets to shine on the bass, with a clean few bars before Leary comes back in with a little more of a distorted guitar solo. The solo is short and to the point, so much so he replays it later in the song. Not a song you'd associate to the Surfers. The chaos comes back on "Tongue" a far more frantic intro has your head spinning. Pinkus runs some heavy effects on his bass and then Haynes comes in. His vocal style is complimentary to the music. As the song takes form he shows good sense in singing rather than screaming fills. The music actually gets a little complex and twisted between the verse. Its a very short track as well. I don't give a fuck about the FBI is sung along to a car radio as a "skit" "Chewin' George Lucas' Chocolate" starts with a car being pulled over. I'll leave the surprise as to what is said to you the listener (its not that shocking, but lets have you dust the record off!). "Goofy's Concern" has Leary using his buzzy guitar once more and the track seems to open up with a more rock feel to it. The lyrics used are the same as the background in the previous track (the band sings along to their own tune...clever eh?). Coffey continues to hammer the drums and roll across the kit as Leary grinds his guitar. "Alcohol" is another swirling and chaotic track. The vocals at the start surround the listener before the band hits down and gets things rolling. It will keep the listener on task with the heavy tonal shifts. The heavy feel from the lead of song comes back on "Dog Inside Your Body". Vocals are compressed and the band is just waiting to explode, but when the time comes Leary takes a short solo. The urgency is there on the song and it has you waiting and waiting for it to really open up but it remains in check. Leary gets a few short solos.
"Strawberry" is another Pinkus lead track. From the start the bass has a real bright and punchy ring to it while Coffey hammers out the back beat. Haynes is a little more laid back, but the track is still a rocking affair. "Some Dispute Over T-Shirt Sales" the vocals on this track are similar to the track "Jesus Built My Hot Rod" by Ministry. Haynes had sung on that track for the band and this could be some sort of homage. The music is quick and to the point, with the band using big fills. Haynes sings about as fast as possible on the track, and it really is an extension of "hot rod". "Dancing Fool", yes it is a Frank Zappa song and this is a cover of the track, but with the bands own twist. The bass from Pinkus finds a solid groove as Leary and Coffey settle in to place. Leary seems to want to hold the song from starting a little, but before you know it, the band is off to the races. Pinkus is still high in the mix and his clear bass lines can be heard slicing through the chaos. In the end, to these ears, it only shares the same song title. At the start the track "You Don't Know Me"becomes a very focused track. The band has almost a rock-a-billy feel as they get rolling. Leary has a clean and clear guitar part while Coffey puts the back beat in motion. The vocals are clear and pointed. This is a real strong track, show casing another side of the band few would realize even existed. "Annoying Song" starts with some of the most compressed and somewhat silly vocal effect on the voice (sounds like a heliumed' up chipmunk). The vocal portions are just with drums and after each the full band plays. Musically I like this song a great deal, but the goofy effect on the vocals gets old quick. "Dust Devil" swings back with that crunchy overall sound with Haynes chanting lyrics over the tight foundation laid by Coffey, Leary and Pinkus. The band gets some time to solo and run off one another. Leary has the longest and most distorted solo on the whole record here. "Leave me Alone" is another track that really jumps off the speaker with a driving back beat. Again the vocals are very compressed, live Haynes often sings through a megaphone so this could very well be the vocal trick done here. Leary gets to shine again on the solos. Coffey rolls across the drums as "Edgar" begins. Pinkus and Leary fight for attention and Haynes swirls in. Musically its heavy and driving but the vocals are more "drone". "The Ballad of Naked Man" is very different with the intro being acoustic guitar and banjo. The percussion seems to be more hand/conga based and the there are some high harmonies sung by Leary, that feel a little campy, but also add a nice touch. The album concludes with "Clean it Up"a track with someone simulating vomiting..and violently as well. With guitars and drums crashing all around. Shouts to "clean it up" and an extended spoken word part hard hard to dissect but the music never seems to change in the heavy feel.


Where are they now? - The band has been active since 1981. They have not been very active as a recording or live band over the last few years. Their last album of new material was in 2001. The entire band listed here were all early members (since 81) and only Pinkus left the band from 1994 to 2008 where we worked with a band called Daddy Longhead.

FDF Personal Comments (aka the Live experience) - The only time I saw the band as part of Lollapaloosa. It was August 9, 1991. They were very early in the day (second band if memory serves me correct) and the wild stage show seemed to lack something in the daylight. Still the band was wild and fun and most notably singer Gibby had a shotgun that he kept firing over the audience. They'd NEVER get away with that these days.

FDF Overall Take - There are some confusing moments, but some really great industrial, metal fused rockers. Tracks like "Who Was In My Room Last Night" are easy stand outs and at the time of the release it was about as heavy as anything heard on commercial radio at the time. Some of it can be harder to take, but there is some good rocking moments too.

Links
Official site is here.

Curious? Check out some MUSIC!

This is the official video for "Who Was in My Room Last Night?"



mp3's have been removed..

Tongue
You Don't Know Me

Tracks are from the album that you can buy here.

Disclaimer - For the most part songs listed you can find on iTunes or your local cd shop. The idea is to give you a little taste of the music. Please support the artist buy purchasing some of their work. Songs are posted for about 1 week but can and will be removed at the request of the artist, band, band management etc. If you are one of those persons contact me via the email link in the profile and they will be removed as soon as we are made aware of the

FDF Vol 3 Issue 218: Judgement Night - Music from the Motion Picture

By: March

Album - Music from the Motion Picture Judgement Night
Artist - Various
Key Players -Various
Produced By - Happy Walters, Glen Brunman and Amanda Scheer

Release Date - September 14, 1993.

What caused me to blow off the dust? - Does anyone recall the movie? Nuff said.

Overview - Released in conjunction with the film of the same name. The movie starring Emilio Estévez, Cuba Gooding Jr., Jeremy Piven and Stephen Dorff as a group of friends on the run from a group of drug dealers (led by Denis Leary) after they witness a murder. All of the tracks on the sound track were collaborations between hip-hop artists and rock / metal artists. The album peaked at #17 on the Billboard 200.

FDF Comments (aka the songs) - Broken down for ease in reading both acts, the track name and some thoughts.

Helmet and House of Pain - "Just Another Victim": Of all the tracks off the sound track this is the only one I ever recall getting even a tiny nod of radio play. Page Hamilton starts with the crunchy Helmet guitar sound and the tempo falls in check with their persona. Hamilton howls the first verse and as the chorus approaches more samples become present. Helmet holds down the second verse and its a matter of "rinse/lather/repeat". After what is basically a helmet song the tempo slows to a grind and House of Pain are the vocalists. The drum beat is much more canned and Hamiltons riffs are held in check.

Teenage Fanclub and De La Soul - "Fallen" - This is a very different feeling track. Finger snaps and a much more laid back tempo. De La Soul take the lead and have Teenage Fanclub back them up. It sounds like a less "silly" version of a De La Soul track. It sounds like them, but a little more serious and focused. TF is used more as a back up band. I don't hear any of the accents in the vocals and just a light guitar and pretty simple drum beat with some percussive fills. De La Soul has some fun near the end camping it up some, but the tempo doesn't change much.

Living Colour and Run DMC - "My, Myself and My Microphone": - We are back to the "rock" on this track. Run DMC feeds off Vernon Reeds guitar prowess. This is a little more driving musically but the Run DMC lyrics are clear and strong. They are not a secondary fill on this. Rev. Run sings the second verse and there are more DJ scratches and fills. Living Color are terrific musicians (we gushed over them on Livid! here). They don't really break out, but offer a strong bed for Run DMC to craft their lyrics.

Biohazard and Onyx - "Judgement Night": The title track for the film has that crunchy guitar listeners would expect from Biohazard. Onyx has a lot more overlap on their rap vocals. Much like the previous track the band is just there seemingly as the "live track". The bass is not punishing for example and barring the distorted guitars it could be any other bed a rap act sings over. Biohazard is the first band to be "name checked" on the sound track as well. This is the first song that seems to warrant the parental advisory sticker.

Slayer and Ice-T - "Disorder": We get some rumbling drums and Ice-T gets, well..very Ice-T about what needs to be done. "War..we don't need your War" he shouts. Finally a track that feels like a mash up/duo. Each member of Slayer is high in the mix and Ice-T swaps vocals with Tom Araya. If you held this cd in your hand and read who was involved this honestly is the first track that would equal that expectation you'd imagine. It is so good they even give you a ripping guitar solo from Kerry King.

Faith No More and Boo-Yaa T.R.I.B.E - "Another Body Murdered" - We actually start with a solo piano on this track. It doesn't last long before Mike Patton of Faith No More starts to chant. The guitar comes up and Boo-Yaa are right underway. Faith No More is relegated to backing band status but do a strong job and push the tempo and urgency after the first verse and half. It gets a good drum tempo for rapping later with some tight instrumental breakdowns. Personally I'd have liked to have heard more of Mike Patton, but this song actually gets better as it goes and ends up being another one of the stronger tracks.

Sonic Youth and Cypress Hill - "I Love You Mary Jane": Cypress Hill make the first of two appearances on the sound track with indie noisemakers Sonic Youth. Its got the cranky single guitar build up but the haunting vocals come from Kim Gordon. This is the most down tempo track to this point. The quirky vocal delivery from Cypress Hill skip across the slow musical tempo. Cypress sings praises to "mary jane" as Kim sings in hushed tone underneath. The track gets more of a Sonic Youth feel at the end, but it is not for long.

Mudhoney and Sir Mix-A-Lot - "Freak Momma" - This track sounds so under produced compared to the others. Sir Mix sings at a rapid fire pace and Mudhoney keeps him right on task. The band joins in to sing the song title with Sir Mix and we then return to the verses. It is actually a refreshing sounding track as it feels far less "packaged" for the sound track. You could almost see this as being something done outside of a sound track "gimmick"

Dinosaur Jr and Del The Funky Homosapien - "Missing Link" - J Mascis of Dino Jnr is known as a great guitar player, and he does get to play but he holds back some. Del The Funky offers a pretty straight forward lyric and then Mascis gets to spread out some. He keeps busy on the guitar even during the verses which is a nice touch since he is great to listen to. The song fades quickly though.

Therapy? and Fatal - "Come and Die" - The big guitar from Therapy? gets things rolling and when the drums come in they feel/sound a little more canned vs being a live drum track, but that switches quickly. McKeegan and Carins of Theapy? offer up the big tasty riffs for Fatal to sing over. Therapy? offers a little on the chorus but not a ton vocally. On a later verse they do, but it is brief. As much as I love Therapy? this feels like the most unfocused track and feels largely forgettable.

Pearl Jam and Cypress Hill - "Real Thing" - The collection ends with the second appearance from Cypress Hill. The track takes a little to get rolling with big bass fills from Jeff Ament. The guitars a buzzy, but buried under the vocals. There are some DJ scratches. The most noticeable part of Pearl Jam might be, to most, Eddie Vedder and barring being mixed along with others on the chorus he is not show cased.


FDF Overall Take - I am pretty sure I bought this for Helmet, Therapy? and maybe Pearl Jam. One of the curious things, for as heavy as all the artists are there is not a ton of cursing. Some of the tracks have no questionable content at all. It is refreshing in a sense that the bands didn't need to resort to such antics. At the time this was a big deal and the genre of rock and roll was comfortable in blending these genres. Now, the record sounds almost campy sadly. It is not out and out bad, but if you buy the record for the "rock" artists chances are you'd be let down. If you stumble upon it for cheap money its not terrible, but don't pay anything crazy for it is my suggestion.

Links

This is the trailer for the film is here.

This very site has reviewed some of the bands showcased here so here is an index:

We looked at "No Code" from Pearl Jam.
Body Count, Ice-T's project.
"Vivid" from Living Colour
"Troublgum" from Therapy?
"Meantime" from Helmet
"Whitey Ford Sings the Blues from Everlast (House of Pain).
"Tougher Than Leather" from Run DMC

Curious? Check out some MUSIC!

mp3's have been removed..

Disorder - Slayer and Ice T
Just Another Victim Helmet and House of Pain


The album appears to be out of print, but not terribly hard to find. You can track down various versions here.

Disclaimer - For the most part songs listed you can find on iTunes or your local cd shop. The idea is to give you a little taste of the music. Please support the artist buy purchasing some of their work. Songs are posted for about 1 week but can and will be removed at the request of the artist, band, band management etc. If you are one of those persons contact me via the email link in the profile and they will be removed as soon as we are made aware of the request.

FDF Volume 3 Issue 217 Too Much Joy - Son of Sam I Am

By: March

Album - Son of Sam I Am
Artist - Too Much Joy
Key Players - Tommy Vinton - drums. Sandy Smallens - bass and vocals. Jay Blumenfield - guitar, vocals. Tim Quirk - vocals
Produced By - Michael James

Release Date - 1989


What caused me to blow off the dust? - I have been meaning to do this record, then I'll forget about it, then I'll remember...well this week I remembered.

Overview - This is the bands major label debut. Hailing from New York this foursome were embraced by the college music sect with their fun pop rock sensibilities. They'd write a few records, tour, get arrested while supporting 2Live Crew and go on "hiatus". They last performed as a band in 2007.

FDF Comments (aka the songs) - The albums opens up with some sample and "Making Fun of Bums" opens right up. The guitars and bass pop off the speakers and Vinton hammers out a quick tempo. The three singers adds a great, fun pop sound to all the tracks. Blumenfields guitar runs are quick and he will then chop the riffs right back at the right time. The track follows a pretty standard rock tempo and the lyrics are fun and funny. "Song for a Girl Who Has One" showcases the bass work from Smallens. Once again the vocals are really strong with high harmonies washing over each other. The band really shines vocally. Sure the tracks have an indie pop feel, but this is the same sort of campy rock the late 90's took over. The track has an extended harmonica portion as well, but it is not the showcased instrument until it plays the song out. On the track "Clowns" the band sings about how people are scared of them. They sing "I have yet to meet a person not afraid of clowns" and "clowns were all the bosses they had and record companies that said we're bad"). Smallens and Vinton really lock in on this track and the lyrics will have you cracking a smile. There are great acoustic guitar runs as the band sings harmonies and the bass still chugs along underneath. Great track. Vinton has the big drum intro as the guitar and bass ring out chords and "My Past Lives". Quirk seems to speak the first verse talking about all the people he was in past lives. What stands out is the music coming from the band, it really stands on its own. As the chorus comes the band gets a lot more urgent and once again having three guys singing really works for the band. The tracks continue to be quick and "That's a Lie" rumbles off the speakers. The vocals are little more pushed but still the band plays off one another very well. The harmonica returns and Quirk tells you "that's me playing harmonica" (a lie..get it?). "Hugo!" is the first track where the acoustic guitar seems to be a more prominent instrument. Smallens continues to shine on bass. Tracks like "Kicking (The Gone Fishing Song)" and "Life is Flowers" are keep the fun meter high with great big riffs and really great harmonies. I say this a lot, but its really true. This band has been horribly overlooked for what they had done. The track "Connecticut" has a real funk bass intro with off tempos tossed by Vinton. It sounds complex compared to what the band had done before this. The band sings "come on down to the edge of the woods" but Connecticut is the real title. It even samples "In a Big Country" at one point. After the sample Blumenfield gets a guitar solo but Vinton and Smallens battle one another for the funk. "Bad Dog" has the second guitar solo in as many songs and the jangly guitar continues in "1964". What still really stands out is how heavy the bass is in the mix. I don't ever recall paying this much to the bass work on the album, but its great stuff! "Worse" continues the love of the bass. Smallens gets big punchy notes whole Blumenfield and Vinton forward. Quirk always keeps the vocals on task but Smallens and Blumenfield add harmonies and call and responses almost constantly. "Seasons in the Sun" is a cover of the Terry Jacks tune done a little faster and heavier. The band shows their love to the band "The Mekons" on the track "If I was a Mekon" yet another pop/rock anthem. The album closes with "Train in Vain". It is not a cover tune. It is a piano ballad but the band sings about masturbating so it takes a fall less serious turn right away.


Where are they now? - Vinton worked for the New York police department. Smallens works as an executive in the music business (radio). Jay works in production for TV an music and Tim is an executive with Rhapsody. (Just a note some of the info I have found is a few years old..I'll update if I find better stuff..or please comment!)

You can read the band's take on the royalty issue here.

FDF Personal Comments (aka the Live experience) - I did see the band twice. The first time, which I don't have a stub for but I know it was at TT The Bears and they played with Boston band "Letters to Cleo". Tim had a bondage mask on for the first few songs. He had bought it earlier in the day just down the street. They were just a blast live. The second time was February 25, 1995 at the Paradise. The band again was really strong and just crazy on stage.

FDF Overall Take - At the time I stumbled upon this record. I was working at a local record store and this came in as a promo copy. My boss (the owner) didn't care for it and due to some language it was hard to play in store. All that aside when I listen to this again today its a perfect blend of pop, punk, and just fun rock and roll. The band is tight and all of them are strong musicians. This is a real gem of a record, fun to dust off for sure.

Links
The bands page is right here, as well as a terrific fan page here.


Curious? Check out some MUSIC!

mp3's have been taken down.

Clowns
My Past Lives
Song for A Girl Who Has One

If you do want to buy a record of theirs, use their web site to get the stuff, so they get the money. Do so right here.

Disclaimer - For the most part songs listed you can find on iTunes or your local cd shop. The idea is to give you a little taste of the music. Please support the artist buy purchasing some of their work. Songs are posted for about 1 week but can and will be removed at the request of the artist, band, band management etc. If you are one of those persons contact me via the email link in the profile and they will be removed as soon as we are made aware of the request.