Friday Full-Length: Baby Huey, The Baby Huey Story: The Living Legend

Posted in Bootleg Theater on April 17th, 2015 by H.P. Taskmaster

Baby Huey, The Baby Huey Story: The Living Legend (1971)

By the time The Baby Huey Story: The Living Legend was released in 1971, its title was a misnomer. Based out of Chicago for his short career, James “Baby Huey” Ramey himself died late in 1970, succumbing to a cocktail of heroin and alcohol addiction. He was 26 and had a heart attack. His producer, none other than Curtis Mayfield, set about compiling The Baby Huey Story: The Living Legend and released it in 1971 on his own Curtom Records to minimal fanfare at the time, but the album has held up to decades of scrutiny as a classic of heavy funk and soul, moving beyond simple James Brownisms as Ramey‘s band tears into the upbeat jam of “Mama Get Yourself Together,” which follows opener “Listen to Me,” on which Ramey digs into screams that could only fairly be called “face-melting.” In a quick 41 minutes, The Baby Huey Story is told in its entirety, but it’s the best argument around for keeping Ramey‘s legend alive.

Also the only argument. While reissues have attempted to feign some manner of original presentation over the years as Baby Huey‘s cult has grown, The Baby Huey Story remains the only Baby Huey release in earnest, and while its organ-laced take on Sam Cooke‘s “A Change is Gonna Come” and funkified swing on Mayfield‘s hard times and The Mamas and the Papas‘ “California Dreamin'” don’t leave much to be desired, it is worth speculating what Ramey might’ve been able to contribute to soul had he not died so young. “Mama Get Yourself Together” and closer “One Dragon Two Dragon” are original compositions, both using expansive instrumentation, horn sections, mellotron keys, percussion, organ, electric guitar, and though both are instrumentally-focused, they present Ramey as a bandleader of considerable presence and potential. In the context of The Baby Huey Story, they deepen the soulful agonies of “A Change is Gonna Come” (you can hear the pain in the spoken and the sung parts) and the fat, fuzzed-out bass of “Running,” but it’s just as easy to imagine Ramey pushing his own songwriting forward on subsequent releases. We’ll never know.

It’s mighty mighty. Hope you enjoy.

So I have a job interview on Wednesday, which is an interesting development. Having been unemployed for over a year now and not by choice, I feel like I’m ready to get on to something new. Gonna buy a suit and give it an honest shot. We’ll see how it goes, but don’t expect too many posts on Wednesday one way or another. The place is like an hour away and I anticipate a good amount of fatigue one way or another when the interview is over. Not that I’ll be running laps, but you know what I mean. It’s hard work being human, and I haven’t done it in a while.

This week, huh? Wow. Roadburn already feels like a year ago, a distant time out of time, but I feel like the emotional benefits of having gone have carried me back into “real life” — as much as this is and that isn’t — better than I could have hoped they might. I’ve been feeling good this week, in other words. While I’ve been tired, and barely able to keep up with what’s happening around me, musically and otherwise, I think back to being at the 013 and I look out the window at the beginnings of Spring here in Massachusetts and it doesn’t seem so dire. I wound up catching the right train. Things work out.

I may or may not have an interesting project in the works for the months to come. I know that’s very vague, but I want to make note of the development if only for myself, to sort of mark the calendar, and I’m full-on believe-it-when-I-see-it mode, but there’s stirrings in a cool direction and I’m hopeful the planets align in my favor. Ducks in a row, pages bound and all that.

Man this Baby Huey record smokes.

Thanks all for checking in this week. Next week, reviews of Enslaved and Wo Fat and hopefully Lamp of the Universe. Monday is a full-album stream from The Atomic Bitchwax, and I’ll have premieres as well for Arenna and Apostle of Solitude of one sort or another as the week goes on. Busy as ever. Hoping to see Sun Voyager this weekend in Boston as well. Might get a podcast up for Wednesday too, since I won’t be around. Certainly plenty of new stuff to feature.

Have a great and safe weekend. I hope to catch you back next week, and please check out the forum and the radio stream.

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Wino Wednesday: “Adrift” Live in Frederick, MD, Feb. 2014

Posted in Bootleg Theater on April 15th, 2015 by H.P. Taskmaster

wino wednesday

It’s been two weeks since the last Wino Wednesday, which I think is as long as I’ve gone in the more-than-three-years since the feature started. Between the Quarterly Review and traveling for Roadburn, time was pretty limited, but I didn’t want to let it go any longer than it already has, so here we are. Half a decade ago, in 2010, Scott “Wino” Weinrich, issued his first acoustic album, Adrift (review here), via Exile on Mainstream.

Having at that point already fronted the beginning stages of the Saint Vitus reunion, it was something of a side-step for the guitarist/vocalist, still just three years removed from the last The Hidden Hand album and also participating at that point in Shrinebuilder‘s 2009 offering and the subsequent shows, but for Wino fans, it made sense for him to dig to the roots of his songwriting process and unearth something like Adrift, which in turn led to his collaboration with Conny Ochs and a new style of performance he continues to refine today.

I wouldn’t call his first steps in that direction tentative. His first acoustic tour was with his Shrinebuilder bandmate Scott Kelly, also of Neurosis, and they released a split 7″ to mark the occasion, but with Adrift, we got to see a new side of Wino‘s personality, not necessarily separate from the ride-these-riffs grooves of Spirit Caravan or the foundational trad doom of The Obsessed, but more contemplative, more up front. An acoustic guitar provides little cover, and Adrift laid bare a lot of Wino‘s persona in a way that felt sincere in the listening and still managed to deliver in terms of songwriting and performance.

For this week’s Wino Wednesday, we have a clip of Wino playing the title-track of Adrift live at Guido’s Speakeasy, in Frederick, Maryland, which is arguably the epicenter of Wino‘s influence at this point. At the very heart of a Maryland doom he helped create, he stands with an acoustic guitar, a crappy stand that can’t seem to actually hold up the microphone, and someone with a shaky cellphone recording it vertically. It’s not the best quality clip I’ve ever posted for a Wino Wednesday, but worth it for the solo at the end.

Hope you enjoy:

Wino, “Adrift” Live at Guido’s Speakeasy, Frederick, MD, Feb. 1, 2014

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Last Giant Premiere “Harmony” Official Video

Posted in Bootleg Theater on April 7th, 2015 by H.P. Taskmaster


What are Portland heavy rockers Last Giant doing in their new video for “Harmony?” They’re having a good time, as one might expect from listening to their Feb. 2015 full-length debut, Heavy Habitat (review here). Miniature American flags for drumsticks, flourescent lightbulb for a microphone (also phallus, also sort of guitar), and what looks like a tripod for a bass — it’s all business as usual for Last Giant, who play under a flickering light being visibly switched on and off in front of red white and blues streamers, the clip for “Harmony” having been filmed — on a phone, or so it looks — sometime during their Winter 2015 tour of the West Coast. They’re having fun with it, and so should we. If you take it too seriously, you’ve missed the whole point.

That said, “Harmony” is also a fitting example of Last Giant‘s songwriting, upbeat with an underlying current of punk, but still weighted tonally. Live, they’re the trio of guitarist/vocalist RFK Heise (ex-System and Station), bassist Adam Shultz and drummer Matt Wiles, but on the record — and it’s the studio version of the song you hear in the video, despite some other noise bled in — it was all Heise, recording guitar, bass, drums and vocals on his own with Red Fang producer Adam Pike at Toadhouse Recordings, and while the results are still a party, it’s easy to imagine that next time around, the dynamic in the band will be considerably different since, you know, there’s a band now and everything. Fancy that.

“Harmony” is the third Last Giant premiere (see here and here) I’ve hosted on this site, which might seem like overkill until you take a couple minutes to check out the song itself. Again, not sure where the video was shot — other than to say “America,” which isn’t all that specific but a pretty safe bet given the color scheme — but hope you enjoy anyway:

Last Giant, “Harmony” official video

Last Giant on Thee Facebooks

Last Giant on Bandcamp

Last Giant’s website

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Friday Full-Length: Howlin’ Wolf, The Howlin’ Wolf Album

Posted in Bootleg Theater on April 3rd, 2015 by H.P. Taskmaster

Howlin’ Wolf, The Howlin’ Wolf Album (1969)

After closing out last week with Muddy Waters‘ 1968 psych-blues outing, Electric Mud, it seemed only fair to cap this week with Howlin’ Wolf‘s companion piece, The Howlin’ Wolf Album, which arrived a year later also on Chess Records and also with psychedelic rockers Rotary Connection serving as the backing band. Actually, the full title, at least according to the cover, This is Howlin’ Wolf’s New Album. He Doesn’t Like It. He Didn’t Like His Electric Guitar at First Either., which, let’s face it, is a little long. And as with Electric Mud, which was reputed to be hated by the famous bluesman who made it, it may or may not be accurate. Whether or not Howlin’ Wolf thought much of Rotary Connection‘s penchant for flutes, fuzz, wah pedals and heavy bass, it’s probably not the best marketing decision in the world to put on the front cover that the artist involved doesn’t actually stand behind the material on the record. I guess there’s a reason only two of these kinds of albums were made by Cadet Concept/Chess Records. Hard to imagine producer Marshall Chess wouldn’t have gone after John Lee Hooker sooner or later if The Howlin’ Wolf Album and Electric Mud had been commercial or critical successes.

Still, the pair’s longevity and influence on heavy rock and roll is palpable. You can hear it in the jam of “Smokestack Lighting” and the bragging “Tail Dragger,” in the slushed up takes on standards like “Evil” and “Back Door Man,” the latter of which closes the album introduced by Howlin’ Wolf who tells us to sit there and watch him play some real blues. Fair enough, sir. The Howlin’ Wolf Album doesn’t push as far into psychedelic jamming as Electric Mud, but it has plenty of spacious moments anyway in a broader cut like “Built for Comfort” or “Moanin’ at Midnight,” which lives up to its title with sparse backing guitar behind blues harp and Wolf‘s characteristic, name-earning vocals. As an experiment, it’s way easier to call it a success in hindsight than it would’ve been at the time, but its reach proves to be on the right side of history, and whether or not Howlin’ Wolf was actually into it at the time or afterwards, it’s a record that’s had a considerable impact across the lines of genre, and it was a special moment for blues and rock that wouldn’t come again.

Hope you enjoy.

Wow. What a week. I split out shortly to go see Electric Wizard in Boston. It’ll be Tuesday before I review that, however, because last night I also saw Birch Hill DamWasted TheoryLord Fowl and Second Grace in Worcester, and that will have to be Monday. Kind of funny to have written 50 reviews — quite literally, 50 reviews — in the span of the last five days and still feel like I’m so far behind, but there you go. File it under “go figure.”

So that’s Monday and Tuesday, right there, and then Tuesday night, I fly out to go to Roadburn and there’s the rest of your week. I’ll have a Mirror Queen track premiere in there somewhere, but basically next week is all about Roadburn coverage and, as ever, that should prove to be plenty. I have some writing to do this weekend both for that and for the Maryland Deathfest program guide (thanks to Kim Kelly for having me involved in that), and I’ll be posting regular updates along the way. You know how it goes. I don’t sleep until the flight home, but it’s always worth it.

I feel like an asshole leaving the dog alone the second night in a row, but she’s got food and water, I’ve “accidentally” left the door to the guest bedroom open so she can go jump on the bed if she wants and I don’t expect it’ll be a late night. The Patient Mrs. has been away at a conference since Wednesday, and as I’ve done nothing since I dropped her off at the airport except review records, feel overwhelmed, eat the same rice and beans leftovers and go to that show in Worcester, it’s probably for the best. If I can, I’m going to try very, very hard to really veg out sometime over the course of Saturday and Sunday, at least for a few hours, in hopes of building up some reserve of energy beyond what caffeine can muster.

Bring ibuprofen. Bring gum. Drink water. Gotta stay hydrated. All these things running through my head already as I start to mentally prepare. Eat salad.

Have a great and safe weekend, and please check out the forum and radio stream.

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Slow Season Premiere “Wasted Years” Video; Tour Dates Announced

Posted in Bootleg Theater on March 31st, 2015 by H.P. Taskmaster

slow season

Visalia, California, four-piece Slow Season made their debut on RidingEasy Records late last year with their second album, Mountains (review here), and they’ve been hitting it ever since. Earlier this month, they were out with labelmates The Well and made a stop at SXSW, and in April they’ll be playing with Joy for Record Store Day before launching a US tour in May that starts with Grizzly Fest – held at the Fresno Grizzlies minor league stadium — alongside Fuzz, and a slot the next day at Psycho California with PentagramSleep and about a million others. Not a bad way to launch a tour, and they’ll play with the likes of Mothership, BlackoutZedGoyaHot Lunch and Sons of Huns on the road as well, so it’s not like it’s a letdown after the first two nights either.

There’s a reason I start with touring, and it’s because on tour is also where Slow Season filmed their new video for the song “Wasted Years” from Mountains. You’ll see banners for The Grotto in Fort Worth and The Lost Well in Austin as the four-piece of Hayden Doyel (bass), Daniel Rice (vocals/guitar), Cody Tarbell (drums) and David Kent (guitar) switch between one show and another the song, suitably enough, remaining the same all the while. The clip has a humble, DIY vibe — no computer graphics, no fancy production other than some snappy editing — but it fits with the natural vibe of the track itself, with its catchy but not beat-you-over-the-head-with-the-chorus hook and steady, welcoming roll. As vibes go, Slow Season‘s is an easy one to dig into, organic but unpretentious, and mindful of songwriting even more than aesthetic.

They were recently in the studio again, though I’m not sure to what end, but if I hear of a new release I’ll let you know. In the meantime, enjoy the clip for “Wasted Years” below, followed by the dates for Slow Season‘s upcoming tour:

Slow Season, “Wasted Years” official video


**STARS & BARS TOUR 2015**
5/16 – Grizzly Fest, Fresno w/ FUZZ
5/17 – Psycho CA, Santa Ana w/ Om, Sleep, Pentagram, Earthless, Pallbearer, BANG!, Radio Moscow, and more!
5/18 – Sweet Springs, Los Osos •¥
5/19 – Blue Lagoon, Santa Cruz •¥
5/20 – El Rio, San Francisco w/ Hot Lunch •
5/21 – Rock Bar, w/ Zed •¥
5/22 – The Know, Portland w/ Sons of Huns •
5/23 – Christo’s, Salem w/ Sons of Huns •
5/25 – Urban Lounge, Salt Lake City w/ Red Telephone
5/26 – Three Kings Tavern, Denver w/ Cloud Catcher
5/27 – Foam, Kansas City
5/28 – The Scene, St. Louis +
5/29 – Cobra Lounge, Chicago +*
5/30 – Louie’s, Kalamazoo +*
5/31 – TBA, Columbus ¥
6/1 – TBA, Nashville ¥
6/2 – TBA, Birmingham ¥
6/3 – TBA, Memphis ¥
6/4 – The Blue Note, OKC ¥
6/5 – Double Wide, Dallas ¥
6/6 – The Lost Well, Austin ¥
6/8 – TBA, Santa Fe
6/9 – TBA, Phoenix w/ Goya
6/10 – Brick by Brick w/ Great Electric Quest, Red Wizard, LOOM
•w/ Blackout
+w/ Dead Feathers
*w/ Bone Hawk
¥ w/ Mothership

Slow Season on Thee Facebooks

Slow Season’s website

Slow Season at RidingEasy Records

RidingEasy Records

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All Them Witches Premiere Full Set Live Video from the Middle East

Posted in Bootleg Theater on March 30th, 2015 by H.P. Taskmaster

all them witches

I was at this show, All Them Witches at the Middle East Upstairs in Cambridge, MA. It was early February, there were four-foot snowbanks on either side of the road when you tried to park. The dude from local openers These Wild Plains had a man-bun, but The Well killed it, and All Them Witches, who had come through in the fall supporting Windhand, slid easily into the headliner slot. The place was packed. I had “Mountain” and “Charles William” and “Elk.Blood.Heart” stuck in my head for days. Days.

You won’t see it in the video, because the skillful hands of Treebeard Media – whose Stephen LoVerme and Erin Genett filmed and edited the full set — rightfully cut it out, but at several points between songs, some dude in the back kept yelling out the name of his band. Now, I won’t say the name of that band, because when dealing with small brains looking for attention it is important not to give that attention even in an admonishing way, but All Them Witches bassist/vocalist Michael Parks kept thinking someone was yelling “little bitch” at the band, and wondered out loud why someone was shouting it, if they were shouting it at the band or what. I don’t know if anyone ever mentioned that it was general, not-directed douchebaggery and not aimed at him, Ben McLeod (guitar), Allan Van Cleave (Fender Rhodes) or Robby Staebler (drums), but it seems worth pointing out. Ambient assholeism: A constant hassle.

The show was fantastic, despite. All Them Witches were fresh off recording their yet-untitled third album when they hit the road, and if there were any cobwebs, they didn’t show on stage as the Nashville four-piece ran through 55-minutes of quality jams taken, with the exception of “Elk.Blood.Heart,” from their second full-length, Lightning at the Door (review here). No new material, but the performance brimmed with a vitality and veered into and out of improv-sounding moments so smoothly that it gave a fresh take to familiar songs anyway. Here’s the setlist:

Funeral for a Great Drunken Bird
When God Comes Back
The Death of Coyote Woman
The Marriage of Coyote Woman
Swallowed by the Sea
Charles William

With thanks to the band and to Treebeard Media, I’m happy today to host the premiere of the full-set video. Please find it below, and enjoy:

All Them Witches, Live at the Middle East, Feb. 6, 2015

All Them Witches on Thee Facebooks

All Them Witches on Bandcamp

Treebeard Media

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Friday Full-Length: Muddy Waters, Electric Mud

Posted in Bootleg Theater on March 27th, 2015 by H.P. Taskmaster

Muddy Waters, Electric Mud (1968)

Well over four decades later, it’s kind of hard to separate fact from fiction and fiction from legend when it comes to a record like Muddy Waters‘ 1968 excursion into psychedelia, Electric Mud. A sort of precursor/companion to Howlin’ Wolf‘s The Howlin’ Wolf Album – which was released the next year and also featured psych rockers Rotary Connection backing a famous bluesman who either did or did not hate the resulting collaboration — Electric Mud nonetheless had an impact beyond probably what producer Marshall Chess of Chess Records could have imagined when he brought the involved parties together to record these tracks, influencing two generations of fuzzed-up blues jams from Led Zeppelin on down to any number of revivalist practitioners today.

It wasn’t the birth of blues rock. Close though. The Yardbirds had been kicking around for a couple years by ’68, as had Cream, but Muddy Waters wasn’t a rocker, and whether it was his take on the Rolling Stones‘ “Let’s Spend the Night Together,” or the yowls that topped the jam in “Mannish Boy,” his approach wasn’t a rocker’s approach. Rotary Connection had released their self-titled debut LP in 1967, and their swing and penchant for fuzzy exploration is a big part of the personality of the album, but Electric Mud‘s mismatch turns out to be one of its greatest assets, the rhythm of “I Just Want to Make Love to You” or “Herbert Harper’s Free Press News” not nearly as fluid as its lead guitar, but busy, and swinging, and — what seems today unmistakable, though it’s a hindsight observation for sure — heavy.

To imagine this and Electric Ladyland and The White Album and Blue Cheer‘s Vincebus Eruptum and numerous others from Deep Purple to Sly and the Family Stone being released in the same year, it’s easy to see why the Baby Boomers point to 1968 as the culturally defining moment of their generation — something Gen X has started to do with 1995, fascinatingly; I would’ve thought ’91 or ’92 — but in its style and concept, Electric Mud is an outlier, and that too is part of what makes it seem so historically righteous. Its moments of stretch-out are righteous, Mud himself kills it despite the culture clash, and it’s almost too easy to read the future of heavy and blues rock into its swaying measures. I can’t imagine what the dudes who would soon enough form Cactus must have thought when they heard this for the first time. Ditto that for BudgieAtomic Rooster and so on.

Hope you enjoy.

So. You may or may not recall that at the end of last year, I did a five-day feature called Last Licks 2014. The idea was to wrap up the year with a splurge of 50 reviews across those five days, basically wiping the slate more or less clean heading into the New Year. Well, it’s been three months and I’m buried in mail again. I’m NEVER gonna complain about people sending me their music — NEVER. EVER. That said, there’s a fuckton of it and I feel like at this point I’m only able to answer about half of the emails that come in.

Bottom line? Next week — assuming I can get my shit together this weekend, which should be an adventure since The Patient Mrs. and I have our niece and nephew for the next three days — I’ll be doing a Quarterly Review. Once again, taking it all on, 10 reviews a day for five days. I’m gonna get through the stuff in the piles and on my desktop and then the week after that, I’m gonna go to Roadburn without feeling like I’m blowing anything off (other than life, responsibility, and the usual) and it’s going to be awesome. That’s the plan, and again, it depends on how willing the ducks are to get in a row, but I’m hoping it works out and that I can do another one in the summer, fall, end of year, etc. Try it at least for the rest of this year, if not next.

Also, this weekend marks a year since I was last gainfully employed, which I shit you not makes me want to go jump in front of a truck. Unemployment’s almost out, and I have no fucking idea what to do next. I have been losing significant amounts of sleep over it and the tension in my house is palpable. It’s a shitter. It’s been a shitter for the last year. You’d think I’d be used to it by now.

On that note, I hope you have a great and safe weekend. In addition to this maddening amount of reviews, also look out for premieres from All Them Witches (a live video that’s killer), Slow Season, Deaf Proof, Abrahma, and maybe more. Space seems to be in demand the last couple weeks, which I guess is nice. Also might hit a couple shows? Gonna be a hell of a week.

Alright, I’m out. Vacuuming to do. Please check out the forum and radio stream.

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Band of Spice Premiere “You Can’t Stop” Official Video

Posted in Bootleg Theater on March 27th, 2015 by H.P. Taskmaster

band of spice

Formed in 2007 as Spice and the RJ Band, Swedish five-piece Band of Spice will issue their sophomore full-length and first outing in half a decade on April 28. Economic Dancers is the name of the album and it’s coming out via Italian imprint Scarlet Records, which has a relationship with Band of Spice frontman and principal songwriter Christian “Spice” Sjöstrand — noted for his past work in co-founding Spiritual Beggars and singing on their first four records, as well as fronting The Mushroom River Band  — going back a decade to the debut album of the more aggressive project KayserSpice and the RJ Band, which was initially the trio of Spice himself on guitar/vocals along with drummer Bob Ruben (“R”) and bassist Johan (“J”), expanded to a foursome after 2009’s Shave Your Fear, the follow-up to their 2007 debut, The Will, and with the inclusion of rhythm guitarist Anders Linusson, the name no longer applied. Spice and the RJ Band became Band of Spice.

The fifth member is pianist/organist Hulk, and while “You Can’t Stop” from Economic Dancers is short, it doesn’t take long for Hulk to make his presence known. Pretty much the first riff, actually. The song is a two-minute rush, constant movement propelled along by Ruben‘s kick drum, and in addition to taking a solo after the second chorus, the organ follows the start-stop riffing early on, leaving Spice plenty of room to soulfully belt out the verse lines, the whole thing sounding rushed but still in control. How “You Can’t Stop” portends the rest of Economic Dancers, I couldn’t really say, but Spice is a proven entity in terms of songwriting, so I’d expect some shakeup within the band’s framework of classically styled heavy rock and roll, traditional in its construction but pulsing with an energy all its own. Oh yeah, and it’s catchy as hell. The video, fittingly, captures the band on stage tearing it up to a vibrant crowd, booze, moshing, the whole bit. Looks like a good time to me.

On the player below, you’ll find the video premiere for “You Can’t Stop,” and some more info from Scarlet Records with some comment from Spice about Economic Dancers, which, again, is out April 28.

Please enjoy:

Band of Spice, “You Can’t Stop” official video

Band Of Spice, the new band featuring Swedish singer/songwriter Spice (Spiritual Beggars, Kayser), have released the video for the song ‘You Can’t Stop’, taken from their new album ‘Economic Dancers’, which will be available available starting from April 28th, 2015 on Scarlet Records.

Here is how Spice himself commented this new release: “When I wrote these songs I was listening a lot of music from the end of the Seventies and the early Eighties. As we recorded them, the songs came out quite smooth, organic and melodic, with a touch of “dirt” I would say. This time, instead of renting a studio to record the album, as we did with the previous albums, we decided to build our own studio. We felt that we needed the time to get it right. We didn’t want to rush it. We wanted to fill the songs with just the right amount of warmth, love and justice. The lyrical concept is about abuse, hope, hopelessness, weakness and strength. To try to live life without safety nets and still be able to stay sane. I hope you will enjoy it.”.

Economic Dancers preorder at Scarlet Records’ Bandcamp

Economic Dancers on eBay

Economic Dancers iTunes preorder

Band of Spice at Scarlet Records

Scarlet Records on Thee Facebooks

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